A series of interviews and essays on depression, anxiety, and making music.
A provocative meditation on jazz, Western classical music, and the real power of being able to swing.
Creative work in a time and place of crisis is essential to a community coping with tragedy and can become a necessary and powerful agent of change. If we truly believe that black lives matter, it’s essential that we commit to hearing what their voices have to say.
If you’re in the business of making and selling records, then streaming means your job has changed, and it’s not as simple as opting in or opting out. Whether you want to stream or not, things are different now. The one thing you mustn’t do is ignore it.
The composer faces a future more uncertain than that of anyone, except perhaps the poet. When school days come to an end, the composer mortality rate—not to mention that of their all too perishable idealism—is close to 100 per cent. I am one of the many in that uncertain middle ground trying to survive, pen in hand.
There have been big changes in the notation software market in recent years, and a lot of people are confused about what is going on and what the future might hold. So here are a few updates (if not upgrades) from the land of music notation software.
A deep-cut exploration of the nature of technology, our relationship with it, and how decisions about it in one place and time shape attitudes in another place and time.
With over 200 commissions and many times that number of premieres to its credit, PRISM has presided over what future music history textbooks might just look back on as a golden era for the sax quartet medium.
What a jazz singer does with a melody is every bit as compositional as an improvised instrumental solo, and not only when those singers are scat singing. Over the course of the next three weeks, three extraordinary jazz vocalists who come from three very different backgrounds and span three generations—Sheila Jordan, Fay Victor, and Jen Shyu—will tell the story of why they sing, what they sing, and perhaps most importantly, why they sing what they sing.
“Black MIDI” refers to the moments in a piece where the notes, if displayed on a traditional two-stave piano score, are so dense that there appears to be just a mass of black noteheads. The increased density of notes also affects the computer, which is sometimes unable to process all of the notes within a particularly complex section. The goal of Black MIDI is to approach this processing failure without actually crossing that line.