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?
Even when I’m reading fiction, I can’t escape music: in Vikram Seth’s novel, The Golden Gate, the music of Schoenberg is anathema to the protagonist.
Combining one’s work with one’s family life can be a very tricky business, especially if it means deciding to teach your own child music.
Just your usual week of radical musicology, complex charts, and the opera-ready “Trapped in the Drive Thru.”
Is there a growing trend towards tonality among composers today?
How do nonspecialists differentiate between composers and contemporary music?
The ideas of George Rochberg seem a remarkable prophecy of the polystylism of today’s contemporary music landscape, yet Rochberg’s own music is sadly neglected and his wrtitings about music alternately provoke irrational vitriol or hyberbole.
What makes a good teacher for a young player?
Though we may only have ears for the music, it’s still being filtered through the drugs, the critics, the culture, and own our personal computers.