Sometimes extraneous noise, while hindering the ability to listen with undivided attention to the actual performance, is part of what makes concerts in alternative spaces exciting, socially-engaging events.
Why do so few composers go to the players who premiered their pieces to get their honest feedback about what worked and what didn’t in the music?
We’re not just faking it.
Resume obesity is rampant among young composers. How far are you stretching the truth?
Lessons and trends gleaned from the 2007 Midwest Composers’ Symposium.
The attention of an audience should be of paramount importance for any music.
At a time when there are more female role models, mentors, and opportunities, the number of women entering composition looks as if it is drying up.
If we take a look in the mirror, we’d realize that we’re pointing at ourselves—and we’re looking fine.
However well-intentioned all those classical music marketing mavens may be, the fact is you can’t fool people into the concert hall by simply dressing up the surface. Classical music isn’t for the masses anymore; it’s for us geeks!
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.