While I was in Kansai for the FBI Festival, I dropped by the Osaka National Museum of Art to see Plus/Minus, the exhibition of Yuki Fujimoto, an artist whose conceptual works often use sound as a medium of expression.
Most of the instruments with which I work lie in a continuum of
“messiness,” of wider or narrower sonic possibility-spaces.
Computers and the internet are better than no computers and no internet, and they aren’t going to go away; but, at the same time, they are not the be-all end-all.
Opera: coming soon to a theater near you.
Mr. Waggoner needs to be reminded that a lot of the noise with which the world is inflicted is optional.
Keeping an eye on the bad guys.
I was in Osaka recently to perform at the 10th Annual Festival Beyond Innocence, almost certainly the last—certainly the last ever at its weird and wonderful location known as Festival Gate.
Modern composition has a reputation for experimentation and ingenuity, but are composers these days really thinking outside of the box?
If my music is incompetent, two large public universities are at least somewhat complicit. If my music labors under false or unrealistic assumptions, on the other hand, all the blame belongs with me, because you choose your assumptions.
The left label says “noise,” the right, “music.” It’s an ad, but what is it advertising?