SESAC, one of the three performing rights societies operating in the U.S.A., has agreed to buy the Harry Fox Agency (HFA), which is the pre-eminent American collecting agency for mechanical rights.
When a journalist like Tippett can interview anyone in the world, which musicians does she choose? And what does this tell us about musicians’ perceived impact in the wider world?
While many commenters to Bill Holab’s article directly focused on the immediate topic of yay or nay vis-à-vis Sibelius 8, others have passionately advocated for alternative music notation software programs.
I’d worked as a teaching assistant in college and had taught composition for a couple of summers, but this was the first time I’d encountered the label “teaching artist,” let alone had it applied to me. Over the course of the next nine weeks, I would learn more about being a composer, a teacher, an artist, and a person than I ever thought possible.
There have been big changes in the notation software market in recent years, and a lot of people are confused about what is going on and what the future might hold. So here are a few updates (if not upgrades) from the land of music notation software.
The variety of activities that Charlie Morrow has been involved in for more than half a century is staggering even by today’s standards, when the wearing of numerous hats is almost a pre-requisite for being successful as a composer.
The 54 awarded projects include concerts and recordings as well as dance, film, theater, opera, and more, all involving contemporary music as an essential element.
A lot of our most highly funded institutions and visible organizations are dominated by quickly aging visions of making music. This stretches from professional ensembles and orchestras to the academies and conservatories where future musicians are trained.
James Horner was a true gentleman, a smart businessman, an excellent teacher, a sensitive artist with a big heart, and a composer who loved the art of collaboration—despite not always getting his way.
The National Composers Intensive, organized by the LA Philharmonic, invited ten collegiate composers to write for wild Up. While readings of student works are not uncommon in the new music world, the Intensive was unusual in that composers had multiple opportunities to hear and revise their works.