Surrounding ourselves with a diversity of people will help to make us smarter and more creative. Building it into our projects will continue to result in innovative works and better music. But that doesn’t mean it’s easy to do.
I was told after I wrote it—by a (perhaps too) “serious” musician—that BasSOON It Will Be Christmas wouldn’t get played much. Well, it gets played at least a dozen times annually and has been played by many top orchestras, such as the symphonies of Atlanta, Houston, and Pittsburgh.
To thrive in the 21st century, we need to rethink our philosophies around how we conceive of success and our methods of making money. What would it look like if we all changed the way we view our careers? What would music schools look like if we changed the way we message vocation?
There was a very distinct point at the beginning of my composing career when a decision changed absolutely everything for me. My future would take time to pan out, of course, but at the moment when I chose the three-letter response instead of the two-letter one, an entirely new career path was set into motion.
Certain sounds of resistance—shouting, speeches, chanting, and singing—simultaneously bring together and diffuse, and meaningfully hold in suspension situations that could easily descend into chaos and violence.
How do you define radio in this day and age of digital platforms? If you were in charge of a new music radio show, 24/7 stream, or podcast, what would you include?
New and archival recordings offer a glimpse of social life in the Little Cities–sonic insights that open up an archive of ideas for a careful listener willing to jump on a carnival ride or blow the dust off a forgotten piano keyboard.
The Seattle new music community is exploring new ways they can support one another. What’s working in your community?
For miners, sound often answers questions about work and safety. For composers, recording and carefully listening to the sounds of a region can suggest ways of bridging between place and creative sound works.
It can feel impossible to label and organize the diversity of music that falls under the “new music” heading. Does that hurt our advocacy for the music we care about?