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?
How do nonspecialists differentiate between composers and contemporary music?
The ideas of George Rochberg seem a remarkable prophecy of the polystylism of today’s contemporary music landscape, yet Rochberg’s own music is sadly neglected and his wrtitings about music alternately provoke irrational vitriol or hyberbole.
What makes a good teacher for a young player?
Though we may only have ears for the music, it’s still being filtered through the drugs, the critics, the culture, and own our personal computers.
The magic of music is that, while it exists in time, it has the ability to bend time. So why do so many concerts list the duration of each of the works on the program?
Why is it so difficult to get people interested in new music? Is our own professional weltschmerz so overpowering that even we can’t really get that giddy about it anymore?