It seems like the entire audience problem debate stubbornly looks outward, asking questions about marketing, “outreach,” and accessibility, all the while carefully avoiding some seriously necessary self-examination. Instead of an audience problem, I think new music has a quality problem.
For as much as it stirs the pot when a “serious music” review mentions the soloist’s hem line, it turns out things get even more heated when pop goes under the cold lens of the theoretical magnifying glass.
Lately I’ve been reflecting more and more on how I’ve dealt with rejections and supposed failure as a young composer. Because I now teach at a small liberal arts college, I constantly see and interact with a sea of undergrads. And because of their presence, I am reminded of how I dealt with what I perceived as devastating defeat upon experiencing rejection.
Snider will compose a new work that will be given its premiere in the 2015-16 season. In addition to concerts presenting her work, Snider will receive a $10,000 prize and a one-month residency at the Ucross Foundation, an artist’s retreat in northern Wyoming.
From among 112 eligible applicants, 8 composers have been awarded $12,500 to support the development of their compositions as part of a two-year initiative to increase diversity across the field.
Providing great performances and cultural snapshots of Austin then and now, Copland and Mexico and Brooklyn Rider gave us an inside look into where we’ve been and where we’re going.
We musicians know that silence is as precious as sound itself. But we also, like most human beings, fear the idea of a long silence. Is it safe—is it even possible—to pause our perpetual inner soundtrack and be truly alone with our chaotic thoughts, our chaotic selves?
Twenty-seven young composers have been selected from nearly 630 submissions. The award winners share prizes of more than $45,000 and receive complimentary copies of Sibelius software, donated by Avid.
Juan Orrego-Salas (b. 1919) is the last surviving member of a major group of mid-20th century American composers. He was a protégé of Aaron Copland, Randall Thompson, and Luigi Dallapiccola, and a personal friend of Irving Fine, Lukas Foss, and Pablo Neruda, among others. He also founded the Latin American Music Center. His is an important story in the annals of American music.
The Foundation for Contemporary Arts announced the recipients of awards totalling $500,000: the biennial John Cage Award, the second Robert Rauschenberg Award, and 14 Grants to Artists awards in the disciplines of dance, music/sound, performance art/theatre, poetry, and visual arts.