Maybe all you really need is an umlaut?
If we’re going to sing something in German nowadays, maybe we can update things a little and cast Fergie in the lead role.
I’d like to expound on the presence of violence in classical and contemporary music and on whether that presence suggests that we (i.e. the American art music community) are complicit in the mass-media promotion of socially problematic behavior.
I’m simultaneously ecstatic and somewhat puzzled by the choice of Ornette Coleman’s Sound Grammar as the winner of the 2007 Pulitzer Prize in Music
How do you legitimize the right of young persons’ music to be listened to by an audience beyond their peers?
The things she does with 4/4 time!
Does an archetypal new music composer ride exist?
What does professional wrestling have in common with modern composition?
It is impossible to assess the general public’s receptivity to “good music” from passers-by ignoring a performance by Joshua Bell; all you can assess from this stunt is the basic human need for filters and frames to guide perception.
For most of us, it seems to come down to believing whether the majority of people have the ability to appreciate non-commercial contemporary music.