While I had a fabulous time at the free Bang on a Can Marathon at Manhattan’s Winter Garden Atrium, my level of commitment and connectivity to the listening experience was nowhere near what it had been just days before in concerts at L.A.’s Walt Disney Hall.
Many composers who are mid-career or beyond lack the training and experience of composing music that is for the blossoming musician. How can we entice them into exploring this uncharted territory?
So, with the long holiday weekend cutting into the work week and rising summer temperatures to distract, apparently even sun-adverse bloggers have abandoned their computer terminals for a bit of R&R in the great outdoors. Or the boss has been peering over the cubical walls and monitoring keystrokes again. Either way, posting has been at something of a minimum…
I’ve tried my hardest to penetrate the Uptown/Downtown dialectic that seems to dominate stylistic discourse among many NewMusicBoxers, but there’s something about it that I could never quite wrap my head around, and I think I finally know what it is.
In the few days since the publication of “Serial Port: A Brief History of Laptop Music,” I’ve already begun to hear from people, some referenced in the story itself, others simply involved in the culture at large.
Perhaps there’s a way to make the American Symphony Orchestra League conference more of a new music event.
Our house has been overrun with dozens of children’s videos for preschoolers but last evening my husband decided to take matters into his own hands; he began with popping in a DVD of Philip Glass’s Koyaanisqatsi.
In which we ask none of the big questions, but address a few of the little ones.
Is composing for posterity hindering your creativity?
I’ve thought about submitting scores to competitions under the name, in the style, and in the simulated hand of one of the judges, carefully pieced
together at the computer; on one level it’d be a joke, of course, but
part of me thrills at freaking out successful composers this way.