I am reluctant to comment on the controversy surrounding the use of the terms Uptown and Downtown. However, I hope it might be granted that there are some statements I could make that could not meet with persuasive disagreement.
Given that our favorite say-it-with-Hallmark holiday will be soon upon us, this love affair between science and music has got me thinking that perhaps we should do a few experiments of our own. So grab some graph paper, and let’s get started.
Is there a universally adequate musical solution to page turns?
Love, contour/interval serialism, Franz Ferdinand, and amusia…explained.
Art Jarvinen insists that The Invisible Guy is not an opera.
Uptown and Downtown are historic terms that are completely meaningless when applied to modern composition today.
At home, I drink red wine while hearing things like the three carefully intertwined lines of counterpoint in the fourth movement of Mozart’s Divertimento for String Trio all the time, but being able to do so during a live performance makes the music breathe differently.
Since posting my report on Golijov’s Ainadamar (“Fountain of Tears”), I’ve been trolling around Internetland reading more about what others have thought of the production. The most striking report came courtesy of The Standing Room, which took critics and fellow bloggers to task for failing to comment on the political implication of the piece.
In which we do our best to avoid the powdered-wigged one’s birthday and highlight less over-exposed genius where we find it.
You’re probably well familiar with Chamber Music America, an organization dedicated to the niche field of chamber music. What you may not realize is that there are a vast number of musicians, especially young people like myself, who are in the dark about such organizations…