When difficult artists write cleaner music, does it represent a welcome clarification or a huge step backwards?
Everywhere I went in Charleston last week, I was reminded of Spoleto.
There still is still a Berlin Wall between composers (and their representatives) and the community of non-professional/student players; we do not have a way to communicate to them and they do not have a way to find us.
Though I suspect many of you would prefer the music that way, and maybe it’s time we all stopped apologizing for it.
Given the lengthy relationship between music and booze, it’s amazing that there hasn’t been a thoroughly researched book or article on the subject and how it relates to modern composition.
Harmonic organization is only a small (and shrinking) part of how most of us hear music now. The presence or absence of a steady pulse, for example, is easily as significant as the presence or absence of a tonic among today’s listeners.
Have we as a society become too smart for music?
Nobody is going to revoke your serious composer membership card just because you can admit to yourself that you like a Kelly Clarkson song.
In addition to the ever-expanding approaches to writing music, it’s worth considering the new ways of hearing it that the information age may cultivate in us.
Richard Schickel wrote an impassioned plea for the continued relevance of criticism despite its predicted demise as a result of the democratizing force of the blogosphere, but can’t there be meaningful, substantive commentary online?