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.
Seeing and hearing Nixon in China staged live by the Chicago Opera Theatre was a revelation.
Why do some of us take composers who teach younger students less seriously than composers who teach at universities?
The Da Vinci Code gets more play from the music than the plot, the International Music Police launch their own Schoenberg investigation, expected chatter concerning lists and critics. Plus: How did that piano get there?