Throughout my life, it had been drilled into me that jazz was created by blacks and represented the apex of African-American musical civilization. Against that historical backdrop, I also practiced a form of racial profiling of musicians. To like a “white sound,” or worse, a white musician who “sounded black,” was cultural treason. But jazz at the beginning of the 21st century is appropriately black, brown, and beige.
One seemingly unresolved issue in the realm of field recordings is the tension between authenticity and abstraction. One can view an artist’s work with “the field” as existing somewhere between these two different, though not mutually exclusive, concerns.
Discrimination against someone of the “wrong” color, ethnicity, sex, or sexual orientation is generally frowned upon in modern society. But progress is still needed in the area of discrimination on the basis of a person’s age and ageism is very much alive in the emerging composer arena. In short, once you get to a certain age, you’re considered too old to tango.
Why music students should be more wary than anyone about education debt.
I am strangely optimistic right now, at least for art, despite the enormous challenges we face as a species. Part of the reason is that I feel the forces that I’ll enumerate are in fact moving us towards a sort of new “common practice,” one that is far more diverse and comprehensive.
We all know what is meant when the accusation of academicism is lobbed: that person (or their line of thinking) is cloistered, out of touch, has little bearing on the real world. But really, there is no “real world” and no “general public.” They are ghosts we chase or sticks with which we composers use to beat ourselves up.
In presenting the four numbered symphonies by Ives during the course of one concert, the Detroit Symphony is taking listeners on a journey unlike any other in music. It is a serious examination of how American music evolved and how one composer brought that about.
According to their violist, the Attacca Quartet’s decision to record the complete string quartet works of John Adams was one of the easiest they’ve ever made.
As a community of music colleagues, we have a problem—and we all share the responsibility to make it better. As it turns out, the research Sheryl Sandberg discusses in Lean In may help us.
As long as the “influence” of Reich’s music can be traced back up the chain, the narrative will keep feeding itself. But there are risks to leaving the engine running unchecked.