Though several of our new music pals have hung out the ol’ end-of-August “gone fishing” signs, The Ramble has delivered a 4,381 word tour of the world’s music information centers to divert us while they’re gone. More…
What can we, the new music community, do to stop the general Wal-Mart-ing and Clear Channel-ing of American culture?
Yesterday at a press conference for Dr. Atomic, its outspoken and sometimes provocative director and librettist Peter Sellars suggested that perhaps there are some places that art should not go.
William Bolcom is a Pulitzer Prize-winning composer AND was popular in high school. Something doesn’t seem fair about that. MORE…
- What if everyone’s favorite child sorcerer was studying composition? Check out this amazing Harry Potter recast from Scott Spiegelberg, assistant professor of music at DePaw University. It’s the ninth installment in John Lanius’s Carnival of Music.
- Musicformaniacs.blogspot.com, curated by Mr Fab since October 2004, is a virtual Wal-Mart of ” ‘outsider’ recordings and utterly unique sounds.” A great lunchtime playground for audiophile adults, recent highlights include a feature on Toydeath, a band that creates music out of an “arsenal of toys to make any kindergarten green with envy”, and the gangsta rap of Philip Glass.
- Talk about service journalism…Ionarts blogger Charles T. Downey gives us the down and dirty recap of the Santa Fe premiere of Osvaldo Golijov’s one-act opera Ainadamar.
- Note to those seeking the youth market: it’s not a short attention span you must deal with, it’s a demand for complexity. Bring on the Ferneyhough.
- Mediabistro.com gives Alex Ross a pop quiz. Come back from vacation, Alex. We miss you!!!
Is the Tate Gallery rejection of a collection of paintings by the Stuckists an example of careful critical evaluation or yet another example of how the arbiters of taste limit audience awareness of artistic possibilities?
With the Beethoven Experience download project, the BBC took a big step forward towards delivering the music to the audience on their terms rather than waiting for them to hurdle our velvet rope.
Does music have meaning and if it does, how far can public intelligibility go?
Thou can rip off Romeo and Juliet, but thou shalt not mess with West Side Story until it enters the public domain many, many years from now.
I’m all for setting up a dialogue between new and old work, which can deepen the experience of both, but is this the only compelling way to present new orchestral work?