Why do composers discount music’s surface level? Maybe the key to deeply engaging listeners lies at the most uncomplicated, superficial level of musical expression, the facade that hides all that ungainly counterpoint and harmony.
No composer has the power to force a listener to approach his or her piece in a particular manner. On the other hand, how can a composer write for an audience with a potential infinitude of ways to listen?
When does early music really end?
True improvisation is simply the act of making things up.
Classical music and the eternal undead.
Despite everything those elitist connoisseurs keep telling you, classical music is not inherently superior to all other genres of music.
Who are these hypothetical composers that choose the aesthetic math problem over the big sheet of newsprint on which to finger-paint?
Music is ultimately more valuable than politics.
I’ve heard countless stories of performers who were discouraged by their instrumental teachers when they would improvise or compose, as it took away from valuable practice time and was a “distraction.”
Orchestral terrorism, John Adams and Steve Reich use MIDI, a harpsichord built out of LEGOs—we are surely at the end of days.