What must we do to really make inroads into how new music is learned and appreciated beyond the concert hall?
The future looks bright (or at least things are universally dark) everywhere I turn.
Is it my job to write music that moves at your pace or mine?
If there is a larger relationship that music and food both share on an immediate, visceral level, finding out might tell us something about why certain people gravitate toward particular musical styles.
Our schools are sorely neglecting students in how they prepare them for life after the classroom; composers, in particular, come out socially challenged, often unable to effectively promote their music or to even speak about it.
If this is the future, I’ll be hiding under that rock over there.
I’ve hit the age where I’m not longer eligible for most of those “young composer” competitions. So now what?
Wouldn’t it be ironic if our study of music with an eye toward the elevation of critical standards is leading us to accept more music (and more musicians), not less?
We really don’t have a decent word to embrace every possible musical creation, but perhaps I should get over my aversion to the phrase “piece of music.”
How is it that jazz has become the vehicle for the resurgence of robust music programs in the schools while classical music, and its offspring (arguably US) still find it a challenge to be seen as relevant to arts education in the United States?