Music people, in general, have always seemed to possess a higher level of character and integrity in pursuit of a particular calling. But it seems that now, even in the new music world where we are all essentially in the same boat, so-called professional courtesy is no longer a given.
Institutionalized jazz is safe, museum-piece jazz, but the music still happens in basements and lofts and living room performance spaces. These are the alternative venues and institutions for a music that, by definition, is outsider music, counter-culture music.
The big point that critics of college teaching fail to understand is that teaching music is more than just teaching music. A good teacher connects the great musicians and musical works of the past with the present, while paving the road for the future.
There’s a lot of blame to spread around for our music appreciation downgrade, but I think there’s a single phenomenon that’s working harder than all the others: the constant bombardment of music functioning as an aspect of an environment.
Whether you’re a composer or a musician or an enthusiast, I know you’re probably pressed for time, but chances are your perspective is not being represented. If you don’t share it, who will?
New music proponents are uniquely qualified to stop worrying about the Major Symphony Orchestra in favor of much more productive—and yes, more American—channels.
There’s a belief among musicians that there is a cabal of jazz writers, reporters, and critics who influence, undermine, and control jazz musicians. As someone who has had the tremendous privilege of working as a jazz writer, reporter, radio station music/program director, documentarian, and essayist for 25 years, I can honestly say that no such cabal exists.
There will always be some new music I will never cover and sometimes I feel conflicted about this but there is only so much time. And even if I were able to produce words for everything that passes my way, there would then be a fair amount of neutral or negative criticism, which I think would do a disservice.
In this new and somewhat turbulent era for classical music, our own personal success isn’t just about us anymore. The old model is no longer relevant because simply having a job or being a superstar doesn’t necessarily contribute to our communities or to our art.
The Affordable Care Act made maternity coverage more accessible for freelance musicians. But is contemporary music—its career arcs, social scenes, traditions, and infrastructure—ready for a baby boom?