“Come, then, into the music room,” she said, and I followed her into an apartment finished, without hangings, in wood, with a floor of polished wood. I was prepared for new devices in musical instruments, but I saw nothing in the room which by any stretch of imagination could be conceived as such. It was […]
Discussions of cultural appropriation often frame the problem in one of two ways: in terms of cultural property or in terms of what composers are “allowed” to do. Both of these approaches tend to result in the conversation getting sidetracked. Another way of framing things would be to say: music is a kind of social interaction. Denying the social aspect of music-making doesn’t make it stop happening; it just means that when it does happen, you don’t see it.
The American Composers Forum in partnership with So Percussion, have announced the finalists in the 2014 American Composers Forum National Composition Contest. Each of the three finalists, who were selected from over 250 applications based in 39 states, will receive a cash prize of $1,000 and be asked to compose an eight- to ten-minute piece for So Percussion.
In the two audio/visual compositions by Ingram Marshall (composer) and Jim Bengston (photographer) included on a recent surround-sound DVD release from Starkland, the artists offer an especially effective marriage of these two realms. Taken together, they arrive like a series of postcards relaying vivid, complex impressions of places—perhaps sent by residents now long gone.
I’m currently a bit obsessed with the upswing in available information related to creativity that has taken place over the past couple of years. Lately I feel as if the swell has become even larger, with a huge inflow of books and websites devoted to the why and how of creative process and creative thinking. I can’t help but wonder, why is all this material coming out now?
Yusef Lateef’s art traveled in higher dimensions, transcending medium or style. His telescope of intuition ranged far into deep space, towards new galaxies of thought and musical processes. He was a prototype of the modern renaissance artist. He refused to let any outside force define him or his activities.
Whenever I hear words like “relevant” or “important,” I always want to ask, “relevant or important to whom?” While I do think the audience for classical music, and new music in particular, could be larger than it currently is, I’m usually pretty skeptical of “cultural relevance” as a concept. But something happened recently that made me reconsider.
While Eric Nathan doesn’t have a secret strategy for garnering so many compositional accolades (top awards from ASCAP, BMI, and SCI, the Rome Prize and a recent commission premiered at the ISCM World New Music Days), he is extremely pragmatic. But there’s also something of an element of whimsy as well as a deep love for visual art that fuels his creative process.