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.
The usual dramatics over politics, Steve Reich, and applauding between movements.
Is new music is too middle-of-the-road for the public at large?
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?