It is impossible to assess the general public’s receptivity to “good music” from passers-by ignoring a performance by Joshua Bell; all you can assess from this stunt is the basic human need for filters and frames to guide perception.
For most of us, it seems to come down to believing whether the majority of people have the ability to appreciate non-commercial contemporary music.
Is less really more?
All and all, composers are a harmless bunch, although, come to think of it, I did almost puke at a Francisco Lopez concert, but that was more my fault than his.
Forget serialism, forget postmodernism, forget historically informed performance and electronics and extended techniques: The absorption of Asians into the formerly European- and American-dominated field of classical music is the classical music story of the latter half of the 20th century.
I had three experiences during my first-ever visit to Cleveland this past weekend which offer some interesting variations on the theme of getting more people interested in hearing new music.
New Music Images claims it can take any composer and, regardless of the “style” of the music, attract the attention of the media and the American Idol-loving public.
If you can’t beat ’em…
After hearing pieces in just intonation and the beauty of 7th, 11th, and yes, even 13th partials, how could I constrain myself to a system that ignores them completely?
As a composer of intimidating-looking music, what compromises, if any, do I need to make in order to break into the realm of symphonic writing?