New music is capable of asking the hardest questions and challenging the most deeply sedimented assumptions. Do you really want to go through all that on the bus? That’s why there’s no new music on my iPod.
Do composers have the right, or even the ability, to determine the context in which their music gets heard?
Last month by coincidence one of my student’s endeavors was highlighted in Chatter’s Friday Informer. The project is a new music ensemble comprised and run solely by teens. No one over 18 allowed.
In a world of art school terrorists, what would Inspector Gadget do? Also, a birthday tribute to Phil.
Nowadays, the only composers turned off by the academic establishment are those averse to writing dissertations. It’s not a matter of aesthetics or artistic differences anymore, it just boils down to laziness.
I’m convinced that new music would be easier to explain to younger students if introductory textbooks made a genuine effort to periodize it just as the preceding centuries’ music has been.
Before you start thinking I’ve really gone off the deep end and have turned into some sort of crank synaesthesiologist, read me out.
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?