Most serious instrumentalists don’t like to sing onstage. They may have sung in chorus or solfege class, and may sing in the shower, but the spotlight is something else. Adding to the stress, stage direction may take the singer/instrumentalist away from his or her music stand, requiring that the instrumental parts be memorized.
If we want our collaborations to be satisfying for everyone involved, we need to come up with ways of working together that explicitly address two related questions: what is each of us willing to do, and what does each of us want to do?
Alsop’s final festival next year will be her 25th, leaving behind a deep legacy. Her successor will have giant shoes to fill, and multiple challenges.
New music musicians are generally left-leaning and pro-labor, yet much of the new music field is non-unionized. Why is that?
Musicians feel intense pressure to excel, but positive psychology offers strategies to help deal with and overcome the obstacles.
If that incendiary Spectator article actually had anything to teach us, it’s that there’s intense interest in female composers!
Composer Carolyn O’Brien calls on her ingenuity and strength to create through, and with, severe depression. Read her on the importance of formal structure, a sense of play, and a great husband.
Two composers sit down and talk about depression, PTSD, and how social media can increase isolation.
A composer ventures into deeply personal territory, sharing her unique experience of sound, color, trauma, and the body.
In the first installment of our first-person series on music & mental health, Marcos Balter opens up about anxiety, composition deadlines, and each person’s singular path towards happiness.