I’ve been down with the flu this week, so I will be brief with you.
It seems that the way people compose will affect their output—whether it comes from the ether, as it were, from a spirited improv session, or from a careful working out on the instrument itself.
Lessig celebrates “amateur culture,” where people produce for the
love of what they are doing and not for the money; but where does that
leave professionals, those of us who seek to be in the happy position of
actually making a living doing what we love?
I hate to admit it, but watching Alex Ross on The Charlie Rose Show was a little bit disconcerting as my supposedly hermetically sealed artistic hovel was being infiltrated by the mainstream.
Meter is the hamster-wheel I confront with each piece I work on.
I was amazed to see virtually the entire audience remain for a performance of Luigi Nono’s A floresta é jovem e cheja de vida, which came last on the second half of a 2 and 3/4 hour concert.
Whatever your view might be of our nation’s current military endeavors, there’s no debate that some of the highest level ensemble playing occurs in military bands.
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?