Introducing a new way to enjoy the music and interviews NewMusicBox collects every month! You can now sit back and listen to audio-only versions of the profile videos we have created in a single continuous stream, or pick and choose to create your own playlist.
What if we technologists could be as rigorous about reinventing our creative processes as we are about reinventing software? And what if some of our time-tested best practices could be of use to new music makers, as they pave the way for new explorations of sound and performance?
“What are you working on now?” Few—if any—composers are willing to admit when we’re not writing anything. It’s time to acknowledge that in a creative practice, a period of rest can be necessary.
The possibility for “new music” to find its way into advertising is there, it just needs to be the right sound for the right project.
It’s no secret that there’s a student loan crisis in the United States. It’s also no secret that this crisis impacts the music community. With the 2016 elections on the horizon, it’s a good time to speak up about these issues and make sure that they’re on the table for consideration.
Earlier this month, Nouveau Classical Project premiered Vin Calianno’s Sororatorio: a Cuntata, which took as its text the famed, absurdly vulgar 2013 email lashing delivered by a Delta Gamma chapter president. So just how did he end up setting that much anger and profanity to music?
The music community is uniquely equipped with the kind of long-game thinking that it takes to make substantive policy changes. We have more power than we often imagine, even if it takes some time to see results.
Unlike composing concert music, in film and advertising a composer is tasked with writing music the audience wants, but sometimes that audience has trouble parsing what it wants.
Even if it’s a composition that explores elements I find interesting outside of the commercial medium, I sometimes forget it happened. This constant push to be more and more productive makes your attachment to what you’ve written minimal.
This is an era that rewards simple explanations, yet telling the often-complex stories of how non-superstar musicians make work while making a living is more important than ever.