When picking a piece for students to play, almost everyone’s answers said the music has to be within the technical abilities of the player(s), needs to challenge, and has to be of high “quality”; but how do we evaluate “quality”?
Perhaps there’s a reason to learn how to drive afterall.
Can you articulate your musical concerns to other artists from different disciplines? It’s harder than you think, and we could all get a little better at it.
When’s the last time you saw a theory course in someone’s professional bio?
Over the years I’ve been accused of listening to too much music, as if we could determine such an amount the way a dietician determines the proper daily calorie requirements for healthy living.
I meet many non-trained composers who write more successful music for amateurs than the trained professional.
In which we take cues from Dada, Madonna, Hollywood, and (for the more practical kids in the crowd) Business Week.
How long has it been since you’ve been completely blown away by a new piece of music? And by completely blown away, I mean you underwent an utter transformation, everything was earth-shatteringly different afterwards, and now, following a considerable amount of soul searching, an absolute epiphany has hit—or something along these lines anyway.
My composer friends and I are in near-unanimous agreement that a “faked” performance of our music is far better than no performance at all.
According to Rufus Wainwright, in classical music: “you can write your most interesting music when you’re old, fat, and ugly”; what does he mean by that?