American Music Project, a nonprofit organization focused on supporting performances of American classical music and the commissioning of new work, to launch with premiere of Amy Wurtz’s Piano Quintet.
I wonder if, rather than anticipating an end to genre designations, perhaps new music needs to cultivate a whole lot more of them, since much of the terminology currently in use is overly general at best, and vague or misleading at worst.
Lerew’s flagging entrainment of ultradian rhythms and the consequences thereof was commissioned by ACF, along with the works of two other competition finalists–Michael Laurello and Kristina Warren–which were workshopped by So Percussion at Princeton University.
Too embarrassed to ask your colleagues for guidance on handling performance anxiety? Facing a problem so professionally complex your mom doesn’t know how to help you? You need a fierce friend and NewMusicBox is here to help.
No authentic, talented artist is ever going to forget the importance of the quality of the art that they create just because they wish to earn a living from it. Only once an artist has wrangled those ingredients can they attempt to monetize them.
A wide-ranging Boston summer playlist featuring tracks from Pulitzer Prize Fighter, the Boston Modern Orchestra Project, Mehmet Ali Sanlıkol, Neil Cicierega, and the Boston Symphony Chamber Players.
As in his music, Richard Toensing (1940–2014) embraced the challenges of teaching with his simplicity inside complexity. He had an indelible ability to be engaging, stringent, rigorous, and nurturing all at once. He was well known for his integrity, his delightful wit, and his zero-tolerance policy for what he called “that bull-hooey ego nonsense that gets in the way of hard work and real life.”
To teach, perform, compose, commission, start ensembles, or start a concert series is nothing new. We are not creating new industries or products, nor are we objectively improving on the past.
Tons of people have devoted their whole life to new music, but few people have done so to the same extent as composer/trombonist Jim Staley, who for more than a quarter of a century devoted his home to it as well. But 35 years on, Roulette has moved boroughs and has gone from being new music in someone’s home to a home for new music.
Students who improvise, in a rigorous context, become better musicians sooner; and the sooner, the better. Why are we waiting until students self-select to go to music school to introduce these ideas?