Shortly after learning that Lewis Spratlan had won the 2000 Pulitzer Prize in Music for part of an opera that had been completed in 1978 but was only performed in a concert version this past year, we trekked up to Amherst to talk to him about it.
Members of the board of directors of the American Music Personnel in Public Radio–Outgoing President Beverley Ervine (WOSU-FM, Columbus OH), Chris Kohtz (WGUC-FM, Cincinnati OH), Boyce Lancaster (WOSU), Robert J. Lurtsema (WGBH-FM, Boston MA), Deanne Poulos (KBAQ-FM, Phoenix AZ), and Lois Reitzes (WABE-FM, Atlanta GA)–get grilled about broadcasting the music of American composers.
Although she is active as a vocalist, dancer, director, choreographer, and filmmaker, Meredith Monk explains that she considers herself first and foremost a composer.
A few months after his 92nd birthday, Elliott Carter invited us into his home to talk about what was already his tenth decade immersed in the new music scene.
Arnold Broido (Chairman and Past-President of Theodore Presser Company and Chairman of the International Confederation of Music Publishers) and his son, Tom Broido (Presser’s current President) describe the current state of music publishing and how that impacts the publication of new music.
Composer and Clarinetist Don Byron continues to defy expectations with every album and concert appearance he is associated with–whether his departure point is jazz, klezmer, hip-hop, contemporary classical music, or some strange hybrid that is somehow both all and none of the above.
The legendary American educational philosopher Maxine Greene (b. 1917) met with Hollis Headrick (Executive Director, The Center for Arts Education), Polly Kahn (Director of Education, New York Philharmonic), Richard Kessler, and Frank J. Oteri to discuss the role new music could p[lay in arts education.
In celebration of the 60th anniversary of the founding of the American Music Center, the history of the AMC is here presented exclusively in the words of its six founders–Aaron Copland, Howard Hanson, Otto Luening, Quincy Porter, Marion Bauer, and Harrison Kerr–culled from archival interviews, books and letters and then shuffled and re-organized to emulate a conversation.
Tod Machover shares some of the extraordinary new musical interfaces he has been creating at the MIT Media Lab and explains how and why these new technologies will redefine music in the 21st century.
To celebrate The Philadelphia Orchestra’s centenary on November 16, 2000, the artistic and management team of the orchestra decided to devote their entire 2000-2001 concert season exclusively to music composed since the orchestra was founded–that is to say the music of the 20th century.