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?
NPR has cancelled their two remaining syndicated programs devoted to classical music: Performance Today and SymphonyCast, but I’m not terribly shocked.
How do we undo negative experiences with teachers so that children can still be receptive and willing to try again?
This week, bloggers celebrate that a woman can read a teleprompter all by herself (go, Katie!), rejoice over photographic proof that TomKat has truly procreated (nice job, Katie!), and lament that the Village Voice really is out to destroy itself (goodbye and good luck, Christgau). But meanwhile, in new music land…
How do you deal with that dreaded question you’ve never quite developed a pat answer for: What kind of music do you write?
When we composers are “off the clock,” so to speak, how does it benefit us to hate certain kinds of music?