Almost a decade ago people used to look at me funny when I said something like: Anybody can compose music. Why does everybody think it’s so difficult?…
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…
I’ve been thinking a lot recently about John Cage’s final definition of music, which is an extremely compact two-word koan: sounds heard.
Philip Glass (in a small room), Windows (Eno vs. Fripp), critics (philosophy and disguises of), music (time off from), and stuff (free).
Ms. Reynolds opens a very large subject relevant to our age in American music education. Band, orchestra, and choral music for children to perform should be written by the best composers, and in fact most of it today is written by non-composers.
Admit it. You have weird taste in music and you compose stuff that’s even weirder. So why gripe about the fact that the general public has no interest in what you’re doing?
Blogging has helped make us more of a community, but it is just a tool.
Andrew Lloyd Webber gives us a run for our money and so does the Mac store. Plus more lists and predictions of doom for the iPod generation.
Where are all of the music criticism adjectives hiding?
Why do so many composers still insist on numbering their works rather than naming them?