What’s the fate of our work after we’ve left the stage? Robert Carl explores making our music “survivable.”
I won’t rehash any discussions about the technical differences between musicals and operas, but I am interested in exploring preconceived notions held by those working in both genres and the effect they have on composing for the theater.
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.