The 9 men and 3 women who have been awarded 2016 fellowships in the music composition category have created music is an extremely wide variety of styles, from operas and works for symphony orchestra to electro-acoustic music and jazz.
In the Pacific Northwest underneath the decommissioned Fort Worden is a 2 million-gallon concrete cistern, now empty, that has a 45-second reverb time. And its impact on experimental music has resonated across the country and down through the decades.
ASCAP Foundation President Paul Williams has announced the 15 recipients and 4 honorable mentions of the 2016 ASCAP Foundation Morton Gould Young Composer Awards.
The American Composers Forum will honor Gilbert Kalish, Nicole Paiement, Alex Ross, and Robert Spano during public ceremonies this year.
Composing about place and stories of its cultural, geographic, and human history serves a vital advocatorial role on several levels.
To Muhal Richard Abrams, there are no boundaries. Any label we put on something—fixed composition vs. spontaneous improvisation, group vs. individual, even old music vs. new music—is artificial and limits possibilities. From his vantage point, all dualities are contained within each other.
With our collective action, it is within our grasp to begin to create a new kind of concert hall for the 21st century—bringing in new audiences, inspiring new generations through art and music, and building stronger communities.
“Do you consider the audience when you are writing your music?” Several times, I’m shocked to hear the composer reply: “No.” How can this be?
We have spent thousands of hours in practice rooms and countless hours alone composing, practicing, and pursuing funding. Music is hard. But we can use the adversity training idea to fully embrace the challenge that music, and the surrounding industry, brings to our lives.
Though born, raised, and compositionally trained in Southern California and currently pursuing a master’s degree at Juilliard under the tutelage of John Corigliano, 23-year-old Saad Haddad has been focused on creating music that incorporates traditional Middle Eastern musical aesthetics. But he is not at all dogmatic in his transfer of Arabic music theory to pieces that are designed to be interpreted by musicians trained in Western classical music and performed for its usual audiences.