Nobody is going to revoke your serious composer membership card just because you can admit to yourself that you like a Kelly Clarkson song.
In addition to the ever-expanding approaches to writing music, it’s worth considering the new ways of hearing it that the information age may cultivate in us.
Richard Schickel wrote an impassioned plea for the continued relevance of criticism despite its predicted demise as a result of the democratizing force of the blogosphere, but can’t there be meaningful, substantive commentary online?
In the world of pre-college music education, there is a lot of frustration among players and teachers regarding the affordability of buying or renting new music.
Professionals who would have better served humanity had they chosen another career, or never gotten out of bed in the first place.
The conception of “digital space” has infiltrated the multitude of ways in which we compose, even if the byproduct is good old-fashioned acoustic music.
A scuffle at the Boston Pops is one thing, but the news that a ten
year old has been convicted of beating a homeless man requires more of a
response from us.
While it is possible (and in my opinion desirable) to listen to all music, individuals’ listening modalities span a wide and often irreconcilable gamut.
What can we as composers and administrators do to help those performing organizations that have a true desire to continue to involve living composers, but are still green to it?
If we learned anything from COPS, it’s that you can’t commit a crime in America while wearing a shirt. That applies even to orchestra patrons, apparently, and we’ve got it on tape.