The stronger your ear, the more liberated your musical imagination. That’s how Beethoven could compose after deafness. His ear—outer, and then inner—was spectacular.
When the horsemen of the Apocalypse come riding in, it looks like they’re going to be mounted on the Internet.
Could the aesthetical chasm between composers and audiences be neurological?
Does the new music scene have some kind of collective control issue?
We have Adorno to thank for that great image of new music as messages in a bottle. What he failed to mention was that said SOSes to the world are stopped by unremovable corks.
When listeners get lost in a piece, what can I do to more clearly lead the way?
Pundits periodically profess that some composers write too much music. Is such a claim valid? And if it is, how much is too much? Is it also possible to not write enough?
Having a good ear is the quintessence of a composer’s gift; but what constitutes a good ear for a composer?
Lists from London, lists from France. Depressing lists, lists that hate lists, lists for Franz Liszt.
Have there been any revolutionary leaders in music, rather than evolutionary benchmarks?