New Music: A Product of Modernity (and Capitalism)

industry

As long as music is supplied in exchange for economic capital, musicians participate in the logic of capitalism. The question is whether this is perceived as an issue that needs to be addressed or, on the contrary, if it is an inevitable consequence that cannot be tackled through the music itself.

Cultivating a Sense of Belonging: Our Debate over Electroacoustic Music Terminology

A table with a variety of electroacoustic music gear. Image courtesy Blake Zidell & Associates for NYCEMF and the New York Philharmonic Biennial)

I most often still catch myself calling it electronic music, even as that term has been appropriated by popular music. But I find the term electroacoustic music works best. It distinguishes what we do from “other” music, while attempting to encompass many modes of production and performance. The term has also come into wide and less controversial usage over the past twenty years (though not without some continued confusion).

Mary Ellen Childs: Engaging All the Senses

Mary Ellen Childs

While the music of Mary Ellen Childs has a distinctive and recognizable sound, she has long been interested in engaging the other senses as well–whether it’s presenting live music for string quartet along with an immersive video projection, creating extremely tactile percussion works that are as much about choreography as they are about rhythm, or finding ways to merge listening and olfactory perception.

The Rush of Performing vs. Merely Being a Witness

Close up of a concert poster for the 10-piece ensemble live concert of Gretta Harley's Elenet 115 on a pole with other concert posters.

I get a rush when I perform, especially premiering a new piece in front of an audience, or when the musicians that I’m playing with sound exceptionally good—when we are all gelling, the stars align and we’re breathing together, and that exact moment is the only moment and it is perfect. It’s a different feeling than when I’m in the audience, listening to others play the music I write down on paper. My heart races. Time slows down and I hold my breath. I am merely a witness to the music.

Communal Experimentalism in the Sixties: The Pulsa Group

Serge Tcherepnin, brainwave experiments at Harmony Ranch, 1970

As a group dedicated to exploring “perceptible wave energies” through light and sound, Pulsa created art and music that not only made group collaborations audible and palpable, but they also reminded their audiences and participants—through light and sound—that actions have effects.

Complex but Emotional—Remembering Ursula Mamlok (1923-2016)

Ursula Mamlok at the piano (Photo by Simon Pauly)

I met Ursula Mamlok when she was in her early 70s, and initially I didn’t know how to define her. Who was she? Coming from Colombia, where I had only heard about one other woman composer of classical music before me, I didn’t realize—in all its dimensions—what it would mean for me to study with her. It took me a long time to realize the levels of her strength.

Creation is Messy

Record release show for Gretta Harley's Element 115 (Uup) featuring Mettle. (Photo by ML Naden)

Creation is messy. Artistic inspiration without the mess (and an incredible amount of work and planning) will never see the light of day. Our finished work is only as good as it is because of the untidy part. Art needs us to bravely embrace our inner slob, even though most of us prefer a little primping before going outside.

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