Too often we live only by a temporal, horizontal axis in which we over-analyze, live within our heads, and lose connection with the earth and with our bodies. Being in touch with silence reinforces access to our inner selves and serves to reinvigorate connections with the earth and our identities.
We as musicians have a responsibility to respond to the world around us, to give the people a song to raise their spirits and fuel the fight in their hearts.
Few of these works can be experienced in their entirety, but that is partly the point; they act as a corrective to our uniquely modern assumption that—given advances in travel, communications, and media technology—we can know the whole world.
I recently saw a huge banner on the side of one of Tallinn’s major shopping centers promoting an upcoming concert by the Estonian Philharmonic Chamber Choir featuring works by Carlo Gesualdo, Salvatore Sciarrino, György Ligeti, J.S. Bach, and a premiere by Helena Tulve. I have a hard time imagining a similar advertisement hanging on the Prudential Center in Boston.
Another exclusive new music-themed crossword created just for NewMusicBox readers! De-stress from the holiday crush and review the year that was…
It is absolutely reductive to think of music being solely either for the performer or for the audience. This is a both/and situation because we all get something different out of it. We are all there to play our own parts.
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.