Why would a “classically trained” composer, complete with a Ph.D. and a list of works and performances that many of us would envy, need help writing music for young wind players and percussionists?
We’re playing a little PowerBook, drooling over Elliott Carter as cover boy, financing 365 days of composition, and marking the death of Mozart’s last contemporary. All of these and more this week in the new music news you can use.
Are you missing out on free money? If you’re not signed up with ASCAP or BMI the answer is yes.
Maybe I’m way out of line here—if so, please call me out—but I just can’t help thinking that a little mandatory instruction in vernacular new music might pay off.
By hermetically sealing off a single composer’s work when we present single-composer concerts, are we somehow losing a contextual framework for listening to it?
Can a slow tempo makes a piece for young people bomb?
Boldly going where new music has never (or at least recently) gone before: DBR on CBS, copyright comics, and critics get the last word, again.
Why not tap composers to specifically create these aural pacifiers, rather than compromise music not designed to be presented in such a context? What about a sonic environment designed to gently transition the ears from the constant din of whirring airplane engines to the comparative peace and quiet of the terminal?
Welcome, Colin Holter, a first-year grad student at the University of Illinois at Urbana-Champaign who will be blogging on grad school issues. You can read him here each Wednesday.
While the notion of a premiere occuring on a specific date and geographical venue in history is comforting to musicologists and folks who compile best of the year or best of the nation lists, it presents a somewhat incomplete picture of how creative works evolve and manifest themselves.