Daniel Bernard Roumain and Bill T. Jones simultaneously operate inside and outside the cultural mainstream.
The Unexpected Importance of Yes
Joan La Barbara discusses her compositional motivations and demonstrates her battery of vocal techniques.
What exactly does it mean to be writing an opera in the first years of the 21st century? Tobias Picker and Mark Adamo revel in the staggering resources of the world’s most opulent art form.
Leonard Slatkin: Not Afraid of Anyone
Just as he can roll up his sleeves and be completely down to earth when interacting with musicians, National Symphony Orchestra Music Director Leonard Slatkin also doesn’t worry about the rank of anyone who might be sitting in the audience—even the president.
Raz Mesinai: Evading Genre, Escaping Geography
Whether he’s using a palette of electronic or acoustic sounds, notating, improvising, or at work in the studio, Mesinai has a story to tell.
Matthew Shipp: Leaving the Door Open
One of jazz’s top pianists talks about why his music is jazz and why it also isn’t.
Made in America
Joan Tower begins the biggest premiere marathon in new music history.
The Melting Point?
Brian Ferneyhough and Esa-Pekka Salonen are reshaping American music, but neither is sure he’s an American composer.
Call it the “mutt” aesthetic—Steve Mackey does, being a dog lover—but it just might be the voice of this generation.
Whether combining serialism and minimalism, reconceptualizing microtonality or ragtime, or re-assembling an Elvis recording, James Tenney’s music continues to push limits while bridging opposition.