Negative Space is the first full length album of electronic musician/sound artist Michael Hammond’s recording project No Lands; it features nine electronic works that combine song format and ambient soundscape—the work of, as Hammond states in the liner notes, “Three years and a hurricane.”
This seems like the perfect venue to take up a challenge laid down by composer-journalist-scholar Kyle Gann, who in 2008 tasked a generation of music historians with having “dropped the ongoing narrative of composed music.”
The panel awarded Ben Hjertmann the $12,000 Barlow Prize to compose a major new work for saxophone quartet. In addition, the endowment granted a total of $62,000 to ten composers who will write works for the following ensembles and musicians. They are…
Our decision to award more small grants is driven by the same underlying principle that has motivated our entire approach to project grants: bringing artists into the public limelight is crucial for a modern-day healthy ecology for new music.
Like many composers, I write orchestral, chamber, and vocal music, for any sort of concert opportunity that comes up, but since I started composing I wrote church music because that’s where I was. In the churches I’ve gone to, that meant writing for choir.
PLUS: Review last year’s full week of education-related content in case there’s a pop quiz at the faculty mixer.
Michael Ching’s A Midsummer Night’s Dream is resolutely tonal, frequently extremely tuneful, and sometimes borders on pop. Yet it is radical and totally unexpected. There are no Instruments in the orchestra, every sound is made by voices. It sounds nothing like what you might imagine an opera based on Shakespeare would sound like. And yet it totally works.
An orchestra sensation at age 23. Published by 30. Then a Pulitzer Prize and a Grawemeyer. Now a biography. What’s left after someone writes up the story of your life? Aaron Jay Kernis just keeps on going, continuing to balance composing, teaching, and raising a family.
You can make a Broadway musical out of anything.
While localities and regions may be less important in terms of a specific shared sound or group of influences (although that’s still a possibility, too), I’d contend they remain essential as accumulations of a “critical mass” of resources and opportunities to collaborate.