Nancy Bloomer DeussenPhoto by David Lawrence I consider myself a composer of the Romantic tradition but I’m not sure about the “neo” since I have been writing essentially in this idiom since I was 18 years old, back in the early 1950s. I may have matured harmonically and acquired new composer skills (counterpoint, orchestration, computer […]
Dean SuzukiPhoto by Ryan Suzuki I have been thinking for some time about the state of the contemporary repertoire in choral music, and the problems encountered in getting new work commissioned, written, and performed. This past May there was a great deal of discussion of choral music in NewMusicBox. While many who contributed to or […]
Beth AndersonPhoto by Elliotte Rusty Harold Lots of composers never left tonality. Minimalism could be seen as the antidote to serialism or as the reinvention/return of tonality. Certainly Terry Riley‘s In C has a powerful tonality. Cage used to say that all music was tonal since it was made of tones, but he wasn’t defining […]
Greg Sandow It’s August, the dog days, and I’m going on vacation the day after I write this. Very tempting just to comment more on things my friends and colleagues (not to mention total strangers) have been saying in the forum on my pages here. I confess I go two ways about that. On one […]
Bruce AdolphePhoto by Christian Steiner Are the emotionally charged harmonic progressions in a Gesualdo madrigal tonal? Are Debussy‘s whole-tone passages or Benjamin Britten‘s mixture of fourths and clusters tonal? Like so many common terms in music, tonality is a terribly abused word, almost as misunderstood as the phrase Classical Music. It is a matter of […]
Why “romantic” is as bad a word as “classical”
A group of 13 composers associated with the term “neo-romanticism” ponder if that word accurately represents their music.
A group of scholars, musicians, and composers gather for three days of papers, panel discussions, concerts, and socializing.