Are the kinds of art Americans are seeking and the places they want to go to experience that art accurately being measured by a survey like this one? Are the nation’s cultural organizations evolving fast enough to meet those needs and effectively support the livelihoods of living artists?
While it is nothing new for an American composer to find himself living overseas, I’ve noticed that most composers (and Americans in general) have a very limited conception of “where the action is” in Europe.
Those of us who gravitate toward improvisational music do so because we enjoy relating to other human beings as equals.
We can make composing relevant again. We can answer the question: Why compose now?
By Ann Starr
Composition is a high-risk undertaking with real consequences for the composer’s life and mind; Morgan Powell is drawn to it by the (potentially lethal) need to question; by questions that produce thoughts with unforeseeable outcomes.
It may actually be easier to include contemporary works on education, family, community outreach, and pops concerts than on the typical classical subscription concert.
Although we’ve been conditioned to a compartmentalized view of policy, new political and economic realities present an opportunity to work towards a more integrated (and hopefully more sustainable) ecosystem: one where culture, creativity, and artists are valued across the board—from the Department of Agriculture to the FCC.
Fluid, chimerical transformation driven by a material constancy composed of archetypal elements is always present in the best work, always free, authentic, and unwilling to be boxed in; it does not yield easily to taxonomy.
It’s hard for me to believe that NewMusicBox has been around for ten years, and yet it always continues to feel new.
In the last few years, as the ecological problems that surround us have become more pressing, I have found a way to combine my career-long interest in the performance and promotion of “new music” with my concern for the environment.