Institutionalized jazz is safe, museum-piece jazz, but the music still happens in basements and lofts and living room performance spaces. These are the alternative venues and institutions for a music that, by definition, is outsider music, counter-culture music.
It was Open House Chicago this weekend. Open House is, apparently, a worldwide celebratory architectural free-for-all phenomenon that started in London. But I’ve only ever experienced it in Chicago. Here, it usually falls in late October, when each rainstorm is a tender rite of passage that strips the city of a bit more color.
Twelve orchestras and composers have been selected to receive Music Alive: New Partnerships grants of $7,500 each, the League of American Orchestras and New Music USA announced today.
Finding a way to attend the International Society for Contemporary Music’s annual World Music Days ought to be a new music aficionado’s equivalent to going on the hajj. Here are some highlights from this year’s edition which was held in Wrocław, Poland.
It’s fair to say that we yearn for more opportunities to enjoy music in less formal spaces. But can you still have a valuable musical experience while ordering a drink, chewing an hors d’oeuvre, or making conversation?
Boston loves its exemplars—those acts that either are so singular as to make (and, sometimes, break) the mold, or that so fully embody a sound, or a genre, or an attitude, as to aspire to a kind of universal standard.
When I began to study Hindustani music, I treated the recording of each lesson the way I would have treated the score of a Beethoven sonata, meticulously learning and memorizing each phrase, with all its subtle twists and turns. It took me years to realize that most Hindustani musicians do not practice this way.
Alison Brown, Daoud A. Haroon, and Meshell Ndegeocello are among the 34 newly announced United States Artists Fellows. Each will receive an award of $50,000.
“I like things that are minimal, unexpectedly simple, and surprisingly powerful… In math and music I think it’s really striking how you can take these tiny little ideas, and they can explain huge reactions.”
In Wolff’s music, one might say that the implied history of each piece, the fact of its composition, its notation, its interpretation and performance, is elevated to the point where it is not just present, but it is, in fact, how the piece is experienced. Every sound is a reminder of its own origin.