Despite clever marketing schemes, ultimately the price we’re willing to pay for something has little to do with whether it’s cheap or even fair.
I’m so confused, boss.
Is the lack of interest in conceptual approaches to music a sociological incongruity, or a generational thing?
What sort of psychology induces the programming of known bad repertoire rather than the only possibly bad commission?
Is it better to compose away from an instrument or at one?
Similar to fashion, some artists and ensembles have lots of style while others only blend in with the crowd, and some people just don’t care about fashion—musical or otherwise.
Making a statement, without saying a word.
Do you have to suffer to produce excellent music? Hard to say: Cage didn’t, and Randy doesn’t, but you (and I) might.
Orchestras all over the country traditionally celebrate the annual marker of our sovereignty with a bombastic concert, replete with fireworks and all sorts of other extra-musical hoo-ha. Frequently, Tchaikovsky’s historically inappropriate 1812 Overture gets trotted out.
I ask the age-old question: If a tree falls in the forest and no one is there, does it make a sound? Or, if a composer writes a piece of music, and there is no one to perform it, does it matter?