I’ve heard countless stories of performers who were discouraged by their instrumental teachers when they would improvise or compose, as it took away from valuable practice time and was a “distraction.”
Orchestral terrorism, John Adams and Steve Reich use MIDI, a harpsichord built out of LEGOs—we are surely at the end of days.
The next time you feel the urge to insert, say, an intervallic aggregate simply because it bears a connection to another structural element in the music, take into sonic consideration the consequence of your actions. Are you really contributing anything to the sound?
How is that music can deliver us both heavenly and hellish experiences at the same time?
Can you call yourself a composer if no one else does? And why is the performer rather than the composer called the artist in performances and on recordings?
Can you just tell a composer to do an educational project along with a commission and expect success?
Using creativity in everyday life.
With all the different styles of music out there, is new music really the healthy option?
Music is a language in which one cannot lie; is it dishonest, then, to write strictly serial music?
Aside from Michael Jackson’s brushes with the criminal justice system, there is never anything about music on the Times Square news ticker; but maybe that’s okay.