The National Endowment for the Arts has announced the 2017 NEA Jazz Masters Fellows, which is the United States government’s highest honor in jazz.
The Pew Center for Arts & Heritage has announced their 2016 grants in support of the Philadelphia region’s cultural organizations and artists. Fifty three grants totaling more than $10 million will provide funding.
Opera Philadelphia, in collaboration with Music-Theatre Group in New York, has announced that composer Rene Orth has been selected as its sixth composer in residence. Funded by The Andrew W. Mellon Foundation, the position combines an individualized plan of study with a living stipend and health benefits.
The 2016 Paul Revere Awards for Graphic Excellence were announced during the luncheon of the annual meeting of the Music Publishers Association at the Redbury Hotel in New York City on Friday, June 10. Among the award-winning publications were scores by Steven Mackey, William Kraft, John Harbison, Augusta Read Thomas, and Daniel Dorff.
Thirteen emerging composers will participate in the 2016 ACO Underwood New Music Readings and the 2017 Minnesota Orchestra Composer Institute.
The six composers selected to participate in CULTIVATE, Copland House’s annual all-scholarship intensive creative workshop and mentoring program for emerging composers, were chosen out of nearly of 93 applicants from 26 states and 3 countries
I met Ursula Mamlok when she was in her early 70s, and initially I didn’t know how to define her. Who was she? Coming from Colombia, where I had only heard about one other woman composer of classical music before me, I didn’t realize—in all its dimensions—what it would mean for me to study with her. It took me a long time to realize the levels of her strength.
The winning works by nine young composers, ages 15 to 27, include music for orchestra and wind ensemble as well as solo and chamber pieces plus compositions involving electronics.
Each recipient will receive $275,000 in flexible, multi-year funding as well as financial and legal counseling, professional development activities, and peer-to-peer learning opportunities provided by Creative Capital.
As a musicologist, I’ve been consistently impressed by Tony’s work as a theorist and historian of music—the way he has created critical foundations for his own work, within the long history of Western art music, all the while undercutting and mocking those very conditions of possibility.