From finding ways to encourage the performance of new music by students to creating opportunities for all composers to write for young players and considering how to help educators find their way to us, many penetrating questions have been raised. But has this online conversation made a difference?
What is it that makes one composer more adventurous than another?
Musical response to another art form is tempting, but the composer still isn’t excused from composing.
In New Zealand, nationally specific material is separated out into its own section in book stores and record shops. But, by and large, contemporary classical music (that term again) is still overshadowed by standard rep and local pop fare. Sound familiar?
Even though I pride myself on how much I try to stress collaboration between performers and composers, I was still taken aback with the ease and forthrightness the documentary film crew had when talking about the music.
We bring the repertoire, you bring the audience. I’ll bring the popcorn.
The “system” is outmoded, and the divisions imposed by our institutions
only succeed in keeping young composers apart, despite the fact that
students themselves don’t buy into all the divisiveness.
What is lost if the Dexys Midnight Runners keep running?
Are over-the-top responses to performances sincere expressions of aesthetic pleasure or manifestations of emotional states that are far more complex?
Is interpretation something that we can foster in a player or is it innate?