When I realized that the usual way that I compose wasn’t working, I found a huge scroll of paper and tried something completely different.
Is there a different musical ethos between the West Coast and the
East Coast that has to do with the natural environment?
There are many different ways for a composer to go against type: first, there’s the Drastic Turnabout where the “against type” is actually the first incarnation of the composer’s style; next is the Perpetual Chameleon; and a third is the Musical Traitor.
On December 5, H. Wiley Hitchcock, Karlheinz Stockhausen, and Andrew Imbrie all gave up their mortal forms, but they left us with their minds— signified by their corpuses of works, each of which was extensive.
Composing music isn’t always some fuzzy, mystical process, so why does the myth of the divine muse still hold sway over how people perceive the music?
Where does “old” music end and “new” music begin?
Strippers, puppets, and Barbie dolls—or, rather, a risk-embracing new music concert in Rome.
For better or worse, we are living in a visually-dominant culture, and for music to have meaning within our culture, it needs to be seen to some degree.
How could any student enrolled in a reputable conservatory need to be persuaded to be interested in the great legacy of past composers?
I don’t think even Grand Theft Auto could prepare you for classical life in the digital age.