An informal comparison of the resumes of applicants fresh out of doctoral programs in 2007 with the ones that got the baby-boomer American university composers hired back in the ’70s and ’80s reveals that you probably have to be better now than you had to be then.
I really can’t understand why some people feel compelled to walk out of a concert while a performance is still going on; is anything really so unbearable?
Why do we try to prove music’s extra-musical worth, instead of valuing it for its own inherent qualities?
The Future of Music: Whatever you do, just don’t clap at the wrong time.
Has anyone seen any whacked-out movies with a soundtrack that defies the film’s own context lately?
New music is capable of asking the hardest questions and challenging the most deeply sedimented assumptions. Do you really want to go through all that on the bus? That’s why there’s no new music on my iPod.
Do composers have the right, or even the ability, to determine the context in which their music gets heard?
Last month by coincidence one of my student’s endeavors was highlighted in Chatter’s Friday Informer. The project is a new music ensemble comprised and run solely by teens. No one over 18 allowed.
In a world of art school terrorists, what would Inspector Gadget do? Also, a birthday tribute to Phil.
Nowadays, the only composers turned off by the academic establishment are those averse to writing dissertations. It’s not a matter of aesthetics or artistic differences anymore, it just boils down to laziness.