The love that a student has for her teacher is a special one. I miss you like crazy. I still hear your words of counsel from our music lessons of old. I remember your distinctive walk, frail and steely both, across worn carpet to the treble-bright piano in your studio, thick music score in hand. When I was over early at the house, you and beautiful Anita would fry up corn pancakes while discussing a marvelous new clarinetist who bled “for his composer and played like it was his last breath!”
No application necessary (or accepted): MacArthur Award for Creative and Effective Institutions and Robert D. Bielecki Foundation awards announced
The Seattle new music community is exploring new ways they can support one another. What’s working in your community?
Wohl’s talent for seamless integration of acoustic and electronic timbres generated significant buzz after the 2013 release of his album Corps Exquis, and it is praise that will likely only cling more tightly in the wake of his full-length follow-up Holographic.
Whether or not you caught the glitz, the glam, and the shade-throwing acceptance speeches during the 2016 Grammy Awards ceremony broadcast last night, you still may have missed out on the jazz and classical awards presented earlier in the day. And the winners are…
For miners, sound often answers questions about work and safety. For composers, recording and carefully listening to the sounds of a region can suggest ways of bridging between place and creative sound works.
It is with great sadness that we report American composer Steven Stucky died of brain cancer in Ithaca, New York on February 14, 2016.
Over the course of the last eight weeks I attended three significant national music events which were extremely different from each other in terms of scope and scale—the 2016 Minnesota Orchestra Composer Institute, the annual Chamber Music America conference, and the Midwest Clinic, the world’s largest music gathering.
It can feel impossible to label and organize the diversity of music that falls under the “new music” heading. Does that hurt our advocacy for the music we care about?
We have always had cultural gatekeepers: artists, publishers, concert promoters, radio producers, teachers, etc. At the top of this filtering process is the mind and ears of the artist. What can help provide context for the music and enrich and inform the listening experience? Will that change the end result, deepen the experience, or help uncover influence?