The field of composition is rife with laurel-resters who trade on their earlier work while their standards decline; even composers whose younger successes were relatively modest conform to this model.
To distinguish between what’s new and what’s old is ultimately a waste of time.
It is one thing to see a child crying tears of frustration when learning a new piece; but it’s quite another thing when it is a professional musician.
Misunderstanding just about everything.
Could defining some new words describing music’s secret ingredients lead to a deeper understanding of how music affects us?
What sort of unexpected inferences might a performer make about your music based solely on its style of notation?
Even when I’m reading fiction, I can’t escape music: in Vikram Seth’s novel, The Golden Gate, the music of Schoenberg is anathema to the protagonist.
Combining one’s work with one’s family life can be a very tricky business, especially if it means deciding to teach your own child music.
Just your usual week of radical musicology, complex charts, and the opera-ready “Trapped in the Drive Thru.”
Is there a growing trend towards tonality among composers today?