I had three experiences during my first-ever visit to Cleveland this past weekend which offer some interesting variations on the theme of getting more people interested in hearing new music.
New Music Images claims it can take any composer and, regardless of the “style” of the music, attract the attention of the media and the American Idol-loving public.
If you can’t beat ‘em…
After hearing pieces in just intonation and the beauty of 7th, 11th, and yes, even 13th partials, how could I constrain myself to a system that ignores them completely?
As a composer of intimidating-looking music, what compromises, if any, do I need to make in order to break into the realm of symphonic writing?
While it is extremely convenient to simplify ideas through binaries and compartmentalization, art (and indeed human nature) is rarely so clear cut.
Why do so many composers shy away from declaring themselves pedagogues; do we actually believe that “those who can’t do, teach?”
During which we squint and see the world in a whole new way—and have to bother with a lot less of it!
Lately, I’ve been hearing the language used to describe enjoyment and interest take a turn toward mental imbalance.
I’ve been forced to consider a problem I’ve been putting off for years: My music just doesn’t sound good enough.