Extended techniques and integrated theatrical elements are a hallmark of Kate Soper’s compositional style, and presenting her work herself is a good way to push the performer into new territory with confidence. “I will do anything as a performer that I as a composer ask me to do.”
Joan La Barbara is the latest recipient of the Foundation for Contemporary Arts’s biennial John Cage Award and sound artist and visual artist Jennie C. Jones has received the annual Robert Rauschenberg Award.
I have finished the first “student composition” of my life. Now the nine-minute piece goes to the musicians who will be playing it who range from freshman to graduate level and two are sort of on loan from the jazz department. At every lesson I worried aloud about the difficulty of some of the ensemble playing; I didn’t want to be setting anyone up for a terrible experience, myself included.
In addition to being one of the titans of the free jazz movement, Paul Bley, in collaboration with his wife Carol Goss, was a pioneer of the music video. Carol Goss shares the story of how that collaboration began.
Why as professionals do we perpetuate, and why as composers do we imitate, the sound of a soprano section comprised of pre-pubescent boys? Why insist on the misunderstanding that adult female sopranos are able to or should sing strictly senza vibrato in the way children do?
Vincent Calianno has been awarded the 36th annual ASCAP Foundation Rudolf Nissim Prize for The Facts and Dreams of the World According to Michael Jackson, a 12-minute work for orchestra. Selected by a panel of conductors from among 170 entries, the Brooklyn-based Calianno will receive a prize of $5,000.
After more than a decade of gorging on ones and zeros, the vinyl resurgence should be great for new music, right? Well, it’s complicated…
I am expected to bring fresh music in every week. I have spent more than twenty years writing to deadlines and I am proud to say I’ve never missed one, but this feels different. I don’t know why. For each lesson, I bring in music.
Have you wanted to compose choral music but have not—or have you ignored the contemporary choral scene altogether—because of its religious association?
I’m staggering, this late December, to the end of my first semester in graduate school, pursuing a master’s degree in composition, but I am thrilled to report that my comrades in the department are just as worn out as I am. This counts as a win because I am 58, and they are younger than my own children.