As with any political issue, your inner Che Guevara might be telling you to organize a protest or to occupy a square on your campus. While that could be a good way to draw attention to an issue, it’s clearly not the best way to get lasting results.
It is easy to believe that we are enriching ourselves, and those around us, by becoming living content providers. But we need to supplement this presentation of material with some shading of our humanity.
There’s been a “desert island nine symphonies” game making the rounds on Facebook. (Pick nine different numbered symphonies, 1-9, by nine different composers.) Here are some American repertoire ideas.
I believe that by skillfully connecting new listeners to contemporary music, we can bring more challenging works to a much wider audience without sacrificing a single note of music.
Making our music survive is about a lot more than just writing it down. It has to do with teaching our harmonic language and melodic style to those who learn from us. It has to do with nuance, experience, storytelling, and subtlety.
Here in Tallinn, I am under the impression that if one has even the smallest idea for a concert, it will happen with little to no red tape.
The hall was full, energetic, anxious for the Future Classics concert, the culmination of the Minnesota Orchestra Composer Institute. But one must ask the question. If the appetite for new music is so huge here, why aren’t more American orchestras doing this?
I am not surprised when protest organizers contact me asking for musicians to play at their protests; I am less surprised still when I hear that it was the music that elicited the loudest response and the most action.
Using extramusical models and precise planning works for some people but not everyone. I generally feel, however, that academic study of composition places emphasis on this methodology.
Where is the line between motivating someone and abusing them? Will the movie Whiplash make young jazz musicians think that all you need to do to become the next Bird is work really hard, get yelled at, and practice till you bleed? Is this portrayal of the teacher-student dynamic helpful or harmful?