What’s the fate of our work after we’ve left the stage? Robert Carl explores making our music “survivable.”
When you’re a far from the nation’s new music capitals, how to you build a vibrant creative life? When composer Ray Evanoff moved his life to New Orleans, this question became front and center.
In between highlights from his various albums, Gabriel Kahane charmed the gathered crowd with his story of moldy cookies, the letter, the golf sweater (which he was wearing), and a business trade with a most unexpected twist.
I won’t rehash any discussions about the technical differences between musicals and operas, but I am interested in exploring preconceived notions held by those working in both genres and the effect they have on composing for the theater.
Advice from new music veterans on maintaining motivation, making career choices, and standing up to your critics. Also, we explain hip hop to Milton Babbitt.
This Sunday the virtual #musochat salon will hold its third open door event on Twitter to talk creative issues and career quandaries. How did all this get started in the first place? Here’s what we now know…
How can artists serve the social good, create excellent work, and critique the system when it is the system which is actively eroding the social good and preventing them from accomplishing excellent work?
Earlier this month, we were all finally been able to see what Pluto looks like thanks to NASA’s New Horizons interplanetary space probe. Now, also thanks to NASA, we can all listen to the only album that has thus far physically traveled beyond Pluto–The Golden Record.
A World Wide Web Consortium Music Notation Community Group has been launched as the result of a partnership of MakeMusic, Steinberg, and Hal Leonard/Noteflight.
While campers experienced hiccups along the way, there was none of the insecurities, impostor syndrome, or existential angst that impairs so many young composers, including myself.