John Nuechterlein, currently the managing director of the American Composers Forum, has been promoted to the position of president and CEO.
In 1993, the American Composers Forum initiated the Faith Partners program, which pairs up a composer with 3 different faith-based organizations in an 18-month long residency.
Composer/guitarist James Lentini, a juror in the 2003 Segovia International Guitar Competition in La Herradura, Spain, hears some of the world’s best young guitarists perform his original composition “Westward Voyage”
On January 31, the American Symphony Orchestra League announced Henry Fogel as the organization’s new president and chief executive officer.
The Polar Music Prize jury generally gives the prize to two or more artists. This year marks the first year that the prize was given to only one person, symbolically pointing to Keith Jarrett’s remarkable ability to smoothly span genres.
Mongo Santamaria, a Cuban-born conga player and percussionist who became one of the biggest figures in Latin jazz, died on Saturday at a Miami hospital, where he had been put on life support after suffering from a stroke last week.
One of the most significant musical figures of the twentieth and twenty-first centuries, American composer Lou Harrison, died while in transit from Chicago to Columbus, OH, Sunday night.
To 19th Century composers such as Wagner, opera had the potential of being a “total art,” integrating drama, dance, visual art and design, philosophy, and poetics within the grand embrace of music. And then along came the cinema. Putting a silver screen across a stage revolutionized the potential of location and reality in telling a […]
Photo by Kathleen Tréfousse Concert pieces are like oil paintings: drawing on the canvas in charcoals, weeks of underpainting, then working and reworking the final canvas. Working this way, I’ve explored many creative possibilities and approaches and even elements eventually discarded are sometimes new beginnings for my next work. A film score has to be […]
Photo by Catherine Byrd Composing for film is probably most closely related to composing an opera. Whereas in most 20th-21st century concert music, formal structure is an issue—whether one chooses to revert to 18-19th century forms, chooses serial techniques, or to invent one’s own structures—in film music the structure is dictated by the film’s narrative. […]