The process of meditating is remarkably similar to the way that so-called serious music is “supposed” to be listened to or how books are read, even though meditation is ostensibly a personal inward activity while listening or reading are outward activities focused on someone else’s thoughts.
What makes young musicians resistant to playing new music?
In which we view life through the lens of new music and contemplate smell-o-vision, suspicion of terrorism, perfect pitch genes, Yahoo support groups for microtonalists, and more. Plus, send us exquisitely mean reviews.
I had a vested interest in the announcement of this year’s Guggenheim fellows since I was among the roughly 3,000 who applied.
I’d like to backtrack several weeks here and take a look at an issue that was raised but not completely resolved in an earlier post: What’s the nature of the relationship between my generation of composers and popular music?
On Saturday I made my biennial pilgrimage to the Whitney Biennial; why isn’t there a similar biennial in our music community that could involve an orchestra, chorus, several chamber ensembles, soloists, etc.
When picking a piece for students to play, almost everyone’s answers said the music has to be within the technical abilities of the player(s), needs to challenge, and has to be of high “quality”; but how do we evaluate “quality”?
Perhaps there’s a reason to learn how to drive afterall.
Can you articulate your musical concerns to other artists from different disciplines? It’s harder than you think, and we could all get a little better at it.
When’s the last time you saw a theory course in someone’s professional bio?