Unlike composers who grew up in the United States where just about any kind of music seems part of our tradition, Shanghai-born Du Yun approaches all traditions as somehow exotic, whether classical, pop, avant-garde, or even the traditional Chinese music that deeply influences so many other Chinese émigré composers.
Wayne Horvitz’s music for 55: Music and Dance in Concrete, taken out of its original site-specific multimedia context, comes across as part psychedelic soundtrack (think Barbarella), part mysterious fun house (think Sleep No More).
Beware of musicologists bringing hegemonic narratives to discipline the chaos of the contemporary.
The CEOs of ASCAP, BMI, and SESAC were all together for a Texas BBQ lunch meeting organized by the Association of Independent Music Publishers (AIMP) in which each was individually asked about a variety of topics.
For composer and sound artist Ryan Ingebritsen, Song Path is a practice that explores guided meditation and hiking as a compositional form. Ellen McSweeney caught up with him to chat about what it means for a primarily electronic artist to lead troupes of people through the woods.
The non-professional will be the usual musician in a church environment. So when someone who doesn’t do music for a living appreciates what I attempt to do, that’s a special thrill.
The big point that critics of college teaching fail to understand is that teaching music is more than just teaching music. A good teacher connects the great musicians and musical works of the past with the present, while paving the road for the future.
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…