The New York Phil had a dream of young conductors and new music. Oh, wait, no—that was me.
Composing music is like creating a fictional character, we have to fully realize each toenail and eyelash if our goal is to generate something convincing.
Can new music have at once the same quality of “pushing at the edge of the conceivable” that Beethoven’s had in its day as well as its emotional resonance?
Is listening to a new music concert online at home a danger to the live concert experience?
For the brief all-too-finite period of time of the ASCAP I Create Music Expo we were all one community, albeit one that is defiantly not monolithic, even within individual stylistic paradigms.
Do we artificially make symphonic music into the gold standard, the quality and importance of which other genres must live up to?
Maybe all you really need is an umlaut?
If we’re going to sing something in German nowadays, maybe we can update things a little and cast Fergie in the lead role.
I’d like to expound on the presence of violence in classical and contemporary music and on whether that presence suggests that we (i.e. the American art music community) are complicit in the mass-media promotion of socially problematic behavior.
I’m simultaneously ecstatic and somewhat puzzled by the choice of Ornette Coleman’s Sound Grammar as the winner of the 2007 Pulitzer Prize in Music