In a world where most composers are self-published, wouldn’t the use of opus numbers today seem like the ultimate act of hubris?
For the first time in my life as a “professional” composer, I disappointed a commissioner: she wanted a piece for her daughter that was ready to play but, in her assessment, that is not what I delivered.
Composing volcanoes, oddly musical apartments, art songs about dirty old men. Is it getting hot in here, or is it just me?
What, if anything, can the new music community learn from Snakes on a Plane?
The further into a piece of music you get, the less sense it makes; as composers we can explore this paradox.
Why is the classical music community so obsessed with how old people are?
McDonalds knows that if you get the kids interested in your product they will stay with you virtually all of their lives. What would happen if we could pull that off with new music?
Cheesy and clichéd as a lot of the concert offerings are at the height of the tourist season, it seems everyone visiting town just assumes that this is Prague, and classical music is what you do here.
What does it take to get things in order so that you’re able to send out scores in a timely fashion? I’m thinking a craigslist ad will do the trick.
How much do you charge for the music that you compose?