The magic of music is that, while it exists in time, it has the ability to bend time. So why do so many concerts list the duration of each of the works on the program?
Why is it so difficult to get people interested in new music? Is our own professional weltschmerz so overpowering that even we can’t really get that giddy about it anymore?
NPR has cancelled their two remaining syndicated programs devoted to classical music: Performance Today and SymphonyCast, but I’m not terribly shocked.
How do we undo negative experiences with teachers so that children can still be receptive and willing to try again?
This week, bloggers celebrate that a woman can read a teleprompter all by herself (go, Katie!), rejoice over photographic proof that TomKat has truly procreated (nice job, Katie!), and lament that the Village Voice really is out to destroy itself (goodbye and good luck, Christgau). But meanwhile, in new music land…
How do you deal with that dreaded question you’ve never quite developed a pat answer for: What kind of music do you write?
When we composers are “off the clock,” so to speak, how does it benefit us to hate certain kinds of music?
Adding, subtracting, and multiplying our way to glory.
If we don’t apply a filter when it comes to what we listen to, are we wasting our valuable time?
I’d like to defend the legitimacy of the academic composer. I don’t fully grasp how one could be a composer in the USA without a university position and still manage to stay afloat financially.