Dubbed “The Generation of ’38,” this year’s Tanglewood Contemporary Music Festival is devoted almost exclusively to the music of American composers born in or around the year 1938, but where are Merle Haggard, McCoy Tyner, and Annea Lockwood?
Mark this 2007 reality: younger audiences today have only known and experienced theater music piped through live-in-performance loudspeakers. They have no cultural or even physical memory of non-electronically mediated music in the theater.
As performers we either are afraid to speak to composers or feel
that we don’t need to work with them.
We shall brainwash them with our music.
Sonic Youth’s concert will be an exercise in the collective longing for a radical past, brought to you by cell phones and event planners.
Remixing music has been going on for decades, but why haven’t more new music composers gotten into tweaking works by their colleagues?
The back story on performing the music of David Rakowski with your nose on the internet.
Whether Motown or Mozart, the pieces we love are changing all the time as our context for them changes—it’s actually never the same old song.
I’m delighted and admittedly a tad envious of Harry Potter’s seemingly vast impact on people; what could we do to effect a similar response for something in the new music scene?
What makes one work better than another is often a matter of programming and the performer’s style and approach to learning a new piece, but it can also be an issue of playability.