While initially my wife and I were extremely excited about an iPod (after all, our society instills in us the desire for the latest technological innovation), the charm wore off as soon as we talked about what music we would put on it.
There’s nothing more revealing than borrowing colleagues’ MP3 players; it can be a revelatory window into their psyches, not only for what they listen to, but how they listen and organize.
Is “classical music is not dying” the new “classical music is dying”?
History is a strong force, but when we’re able to suspend its effects, even temporarily, some amazing things can happen. Is it really worth it to grapple with the burdens of the past?
It may be the Information Age, but maybe we need those magic ruby slippers to see that the real creative wealth may be in our own backyards.
Sometimes extraneous noise, while hindering the ability to listen with undivided attention to the actual performance, is part of what makes concerts in alternative spaces exciting, socially-engaging events.
Why do so few composers go to the players who premiered their pieces to get their honest feedback about what worked and what didn’t in the music?
We’re not just faking it.
Resume obesity is rampant among young composers. How far are you stretching the truth?
Lessons and trends gleaned from the 2007 Midwest Composers’ Symposium.