It’s bad enough to have some pop song you heard on the radio playing in your brain all day, but to have the twists and turns of Prokofiev, or the changing rhythms of Adams (did that section actually start on the downbeat?), or the haunting sounds of George Crumb…it’s quite distracting.
Ross isn’t the only superstar putting time into introducing the general public to the joys of classical music.
There might be issues of inadvertent liability if you are trying to be particularly discrete when recording out in an urban setting and keeping your equipment under wraps.
I’m a huge believer in first instincts and happy mistakes, or maybe I’m just lazy.
I’m transcribing a recording that I’ve heard dozens of times before, but I’m finding that none of that listening has prepared me to overcome the elusiveness of Oscar Peterson’s hyper-mercurial playing.
How do I begin translating musical research into a new piece?
Might the web be the most effective way to make a greater number of composers more visible?
Clearly Bernstein still matters, but does West Side Story, in today’s musical theater world?
Trembling hotel maids, a French bulldog, and an errant email? Guilty pleasures, xoxo.
I’ve been thinking about creative uses of microphones and unorthodox recording techniques in general, and was wondering if any of you have any that you’d like to tell us about.