I have a certain tendency to refer to my indeterminate pieces as “my indeterminate pieces.” But wait, aren’t they generative? In this week’s episode, I want to try to hash out some of the terminology floating around this sort of music.
Composer Carolyn O’Brien calls on her ingenuity and strength to create through, and with, severe depression. Read her on the importance of formal structure, a sense of play, and a great husband.
Two composers sit down and talk about depression, PTSD, and how social media can increase isolation.
Everything you’ve heard about fair use is probably wrong. It’s always a gamble as to whether something is or isn’t a fair use and, in my humble opinion, courts have recently shown a lot of chutzpah in making the determination.
A composer ventures into deeply personal territory, sharing her unique experience of sound, color, trauma, and the body.
In the first installment of our first-person series on music & mental health, Marcos Balter opens up about anxiety, composition deadlines, and each person’s singular path towards happiness.
Why should a recording be the same every time you listen to it? Until recently, this question wouldn’t even have made sense. But today there’s no reason why this must be the case.
A series of interviews and essays on depression, anxiety, and making music.
New Music USA has submitted six works for consideration in the 2016 ISCM World Music Days. All are works that received funding through our grantmaking programs and all are works composed since 2010.
Brooklyn-based sound artist and composer Bernd Klug has turned the Austrian Cultural Forum in New York into a social musical instrument. His art installation, traces of [dis]location, spans three floors and uses the architectural structure of the building to create multiple points of engagement. traces of [dis]location runs until September 16 and is free and open to the public. […]