Rather than attempting a synthesis, Pamela Z’s music highlights—and perhaps even celebrates—difference. She presents identity as a matter of polyphony, sometimes between irreconcilable parts.
The whys and hows of romancing your fans and serving your ticket buyers.
In C, Taylor Swift, and Cultural Canonization: A reflection in 53 phrases.
In its early days at least, the net served as globalization’s ideological model. That ideology spilled over into the first experiments in net-art and net-music.
Does the new music performance belong to the performer, the audience, or both? Both points of view, though conflicting, are necessary to uplift the other party and elevate both the artistic achievement and commercial viability of our community.
While Silk Road’s music is enjoyable, its goals laudable, and the musicians’ skills impressive, hybridization of this sort is not a perfect model for understanding or addressing the issues of modern-day globalization through music.
When Nick Norton tells people he’s a composer, the conversation usually turns to the music itself. The one question that no one ever seems to ask, however, is “why?”
After today, I would never know if a student went on to accomplish something, continue his education, or even be released from prison. I realized as I distributed the scores that I had included my full name as the composer; I was supposed to protect my own privacy.
In open data sets, Suby Raman found a lot of really interesting stories to tell about the performing arts. Because he’s a composer, he knew what to look for in the data and what would matter to people. Because he’s a programmer, he knew how to handle the big data set itself.
If I write music that both satisfies and excites me, and is music that I want to hear, and I’m being honest about all of that, then I’m good. Anything beyond that is a lucky perk, and anything less than that can be worked on until it’s up to snuff in my musical worldview.