The American Academy of Arts and Letters has announced the seventeen recipients of this year’s awards in music, which total $205,000.
Significant features distinguish software from hardware in terms of their apparent (or at least perceived) suitability for specific musical tasks, and this has an often-unremarked influence on musical processes. Nic Collins draws out some illuminating distinctions.
There was a very distinct point at the beginning of my composing career when a decision changed absolutely everything for me. My future would take time to pan out, of course, but at the moment when I chose the three-letter response instead of the two-letter one, an entirely new career path was set into motion.
Can’t find it on Spotify? The major streaming services are expanding their catalogs, but they’ll never amass the treasure trove of contemporary American music that New Music USA has coming in the door every day. Tune in and explore!
Between May and September, three different orchestras will give public readings of new works for symphony orchestra written by a total of sixteen jazz composers as part of the third Jazz Composers Orchestra Institute (JCOI) Readings.
Whether she is writing for orchestra, chorus, solo piano, an opera, or her own indie-rock inspired chamber ensemble Victoire, Missy Mazzoli is still “asking the same questions” and “finding different answers to the question of how to bring an intimate, vulnerable, human experience to a situation.”
Certain sounds of resistance—shouting, speeches, chanting, and singing—simultaneously bring together and diffuse, and meaningfully hold in suspension situations that could easily descend into chaos and violence.
How do you define radio in this day and age of digital platforms? If you were in charge of a new music radio show, 24/7 stream, or podcast, what would you include?
Just look at the names: new complexity, neo-romanticism, post-minimalism—three of the broadest trends in contemporary music, all with echoes of pastiche baked right into their labels. Clearly artists have always taken ideas and materials from other sources—how could we not?—but never before have we so celebrated the attribution of those sources.
During a year in which the Oscars have received strong criticism for their lack of diversity, this seems an especially odd move–not only in terms of the music itself, but also when considering that it means the absence of Korean soprano Sumi Jo and transgender performer ANOHNI.