I see the whole concert hall paradigm as a way to lease entitlement to a leisure class. While I don’t begrudge anyone going to hear live music in a concert hall, I do think that the current trend to make jazz a concert hall music is gutting the source of that music: the jazz club.

Taking a page from the “Do what you love and you’ll never work a day in your life” book, Stephen Lias has figured out a way to combine his love of composition and pedagogy with his love of trail-blazing and bear-dodging with his Composing in the Wilderness project.

Hundreds of millions of people have seen Disney’s version of Le Sacre. It became a door–a misshapen door, perhaps, but a door nonetheless–for many to venture into contemporary music.

In real, human, one-on-one relationships, people don’t want to perform/record/commission your music because they are trying to give you something you want; they decide to take action because doing those things becomes something that they want.

Practically everyone in new music feels like the victim of some kind of persecution, often while being completely oblivious to the persecutions they themselves are perpetrating.

Giver of Light takes chances, and if not all of them pay out, still, it’s a lot better than cautiously going through the motions. It’s the sort of piece that Guerrilla Opera is made for: original and a little bit speculative, in need of realization to hone in on its identity.

The mission of Big Farm revolves around expressive freedom for each artist, and as a result, calling their debut album “eclectic” would be an understatement.

Meredith Monk, John Luther Adams, Anthony Braxton, John Kander, William Kraft, Pacific Serenades, the JACK Quartet, and the Grand Canyon Music Festival’s Native American Composers Apprentice Project were honored by New Music USA during a private ceremony at the New Museum of Contemporary Art in New York City on May 13, 2013.

Composer and clarinetist Derek Bermel has been named the new artistic director of the American Composers Orchestra commencing with the 2013-14 season. He succeeds composer Robert Beaser who has been ACO’s artistic director since 2000 and was ACO’s artistic advisor from 1993.

Going through my mother’s effects has been like traversing an emotionally charged landscape that unrolls to reveal a fascinating design of discovered and rediscovered possessions of a person I’ve known from the start of my life. The material that currently has my attention is vinyl.