Necessity is the mother of invention. Necessity is also the mother of all-nighters. Here’s how to fill manpower gaps to get work done when resources are low.
Nobody has a fulfilling experience if the music is asking for something the venue cannot provide, nor if a venue is calling out for new types of performance while we insist on the conventions of the concert hall.
I asked 30 technologists and new music practitioners how they work together with others. Here is their advice.
In the world of new music, curating is mostly a word we’ve usurped for use in funding applications and marketing materials. We use it because it sounds better to say someone (or a number of someones) “curated” a concert rather than “chose the pieces we’ll play.” But this is a myopic view of what curation can be.
Have you created a brand that people trust without hesitation, return to again and again? Trust is the superpower that bequeaths upon us endless leaps of faith. How do we get it?
When she graduated with her master’s degree, Dale Trumbore give herself three years to try composing as a full-on career before considering any more schooling. She hasn’t returned to the classroom yet.
It is community that brings our creations to life and extends them far beyond what we are capable of on our own. The reverse is also true: our creations bring communities to life, by connecting like-minded people and providing them with a space in which to safely explore their interests and passions.
I’ve finally figured out how to break through the filter of self-doubt on a fairly reliable basis. For me, what works is a series of mantras—nuggets of wisdom from people smarter than I am that I can repeat until the filter unclogs.
The new music community offers us a model of rigorous self-examination, a thorough and ongoing exploration of the processes leading to creative innovation. The tech community favors a skills-based approach to growth. The strategies overlap, even as the applications differ. Here are the top growth strategies of 35 colleagues from the industries of new music and tech.
There may be no greater way to make yourself feel like a bad composer—the worst composer, really—than watching the fluffiest of all fluffy shows in the house of one of the Great American Composers while being paid, essentially, to live there and compose.