Is all publicity, good publicity?
Whenever I meet non-musicians in a social context and the nature of my job (i.e. “composer”) is made public, there are a few questions I can almost always expect to be asked.
How service organizations define what a composer is and what new music is both have significant implications in how they promote our constituency.
A Dr. Seussian look at the industry this week.
You can always find what you are looking for in randomness.
Examining the gap between a teacher who somehow still likes to pick up and hold his music, and his students, to whom a song, a track, a tune, a composition, is as ephemeral as an infrared signal from a game controller.
The Grand Valley State University New Music Ensemble has set a new bar for interpretation and performance standards by “living” Reich’s Music for 18 Musicians.
New music is an unqualifiable entity, or at least it should be, as far as genre distinctions go.
It’s one thing to say that the vast majority of history’s composers remain unknown. But how many of history’s known (and even “great”) composers are, effectively, “mis-known”-either through insufficient performance of the bulk of their output, or through actual suppression of significant chunks of their oeuvres?
Brokeback Mountain: The Opera—who would you commission?