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?
Why are we trying so hard to be cool like a high school cheerleader? I thought this life was the reward we got for making it through all that madness.
Like every other American out there, I’m goin to be selfish and rant about stuff that affects me, me, me. So here’s a few things that would help make grants, commissions, and residencies better suited to composers’ needs.
Analogous compositional plans have been used since the Middle Ages, but will the arrival of new media finally spawn new ways for composers to approach their materials, overshadowing more traditional methods.
To my thinking, the painter Brice Marden (who is currently the subject of a major MoMA retrospective) shares a lot of aesthetic common ground with composers as diverse as David Borden, Gloria Coates, Alvin Curran, Frederic Rzewski, and Charles Wuorinen; yet I doubt there’d be lines around the block to attend a concert assembling any of their lives’ work.