Stephen HartkePhoto by Robert Millard The very idea of a “common practice” style in musical composition today is a curious one in that it evokes the image of a deliberate transmission of accepted stylistic practices from composer to composer, and yet I think it is fairly safe to say that we actually live in what […]
Dave DouglasPhoto by Ashley Mitchell I don’t think there ever was a musical “common practice,” except maybe on a biological level. To assume that there was once a common way is to grant one approach a creative preeminence or even hegemony. In my opinion, the world of music is too wide for that. If anything, […]
Andrew Druckenbrod Those outside the classical music business tend to view it as a specialty. That’s certainly been the case for me as a classical music critic. How many times has someone come up to you, whether you’re a composer, performer, administrator and the like, and just assumed you can name whatever piece is playing […]
Greg Sandow Well, maybe not the world, but—just maybe—classical music. By “we” I mean all of us active in new music. And I know I’ve written before, either in a column here or in a response to a comment, that we can’t replace the classical music world. It’s too big, too mainstream for the way […]
Anthony CornicelloPhoto by Maria Cornicello I think a common practice has been emerging during the last half-century, a new sense of harmonic clarity, often with a very slow rate of change. The mid-century avant-garde composers tended to use fast-moving harmonies that often encompassed the chromatic aggregate. For the listener, the result was often a dense […]
Benjamin PiekutPhoto by Megan Wolf When I initially spoke with friends and colleagues about the notion of a new “common practice,” I became aware that the concept is not nearly as widely-recognized as I had initially thought. Is it a set of performance techniques? Is it neo-romantic symphonic music? Or could it be defined as […]
Finding a new common practice where anything is possible.
The quest for common ground in music seems as fanciful as searching for El Dorado.
Anthony Cornicello, Dave Douglas, Stephen Hartke, Petr Kotik, Jeffrey Mumford, and Augusta Read Thomas consider the possibility.
Roberto Sierra and Chinary Ung The Milwaukee Symphony Orchestra and the Saint Paul Chamber Orchestra are among the first cultural organizations to benefit from the Joyce Foundation‘s newly established Joyce Awards, a funding initiative designed to support mainstream Midwestern cultural organizations commissioning works by artists of color. Each organization will receive a grant of $50,000 […]