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.
Is free improv undertaken for the benefit of the performers or the audience?
I know that exciting new music performances happen around the country throughout the year, but April and May really do feel like a double contemporary American music month in New York City. But what can we do make a louder splash about new music among the general public?
The thought of having my special own radio station sounds fantastic, but the idea that my tastes can be defined by an algorithm based upon an absolute set of parameters does somewhat unsettle me.
Mother would be shocked.
The music I find myself attracted to avoids the middle-of-the-road-ness of being all things, all of the time.
The Replacements’ Let It Be is abundant in “authenticity.” Should we care?
Today we’re celebrating our eighth anniversary online, but it seems like we’ve still only scratched the surface.
I recently asked a chamber ensemble if it would be possible to take five minutes to read through one of my student’s pieces; instead of doing it behind closed doors, the group offered to do the reading as part of a public rehearsal/workshop.