How can artists serve the social good, create excellent work, and critique the system when it is the system which is actively eroding the social good and preventing them from accomplishing excellent work?
While campers experienced hiccups along the way, there was none of the insecurities, impostor syndrome, or existential angst that impairs so many young composers, including myself.
How did the sounds and rhythms of the earth influence the birth and growth of musical traditions? How does our experience of particular natural environments influence the music we make?
When working with campers, I had to learn to move beyond my own personal choices in order to honor the individuality of their creative and musical interests.
Everything we have in our civilization is grown or extracted from the living earth; we will never escape this truth. How this truth influences our creativity, and how creativity influences our capacity to live this truth is a pivotal question.
I was able to draw parallels between the staves in my score and the tracks in a ProTools session. By looking past our preconceived notions of musical genres, we were able to find the interconnectivity inherent in all musical expression.
All societies in decay make war on artists and intellectuals because they offer ideas that are uncomfortable. What are you here to say?
While many commenters to Bill Holab’s article directly focused on the immediate topic of yay or nay vis-à-vis Sibelius 8, others have passionately advocated for alternative music notation software programs.
I’d worked as a teaching assistant in college and had taught composition for a couple of summers, but this was the first time I’d encountered the label “teaching artist,” let alone had it applied to me. Over the course of the next nine weeks, I would learn more about being a composer, a teacher, an artist, and a person than I ever thought possible.
A lot of our most highly funded institutions and visible organizations are dominated by quickly aging visions of making music. This stretches from professional ensembles and orchestras to the academies and conservatories where future musicians are trained.