The National Endowment for the Arts has announced the 2017 NEA Jazz Masters Fellows, which is the United States government’s highest honor in jazz.
The musicological exploration of electroacoustic music, its historical and social dimensions, is long overdue. In fact, as so many pivotal figures pass away, I cannot fathom why there has not been a rush to collect primary source material, let alone to interpret it.
The Impact Fund, a new project of New Music USA, represents the first major effort to aggregate and amplify the voice of the New York new music community online.
Sometimes radical new art needs an institutional network of support to be fully realized. Attributing Philip Glass’s success entirely to his creative iconoclasm ignores the substantial community of impresarios and patrons who have influenced his work and reception history.
The Pew Center for Arts & Heritage has announced their 2016 grants in support of the Philadelphia region’s cultural organizations and artists. Fifty three grants totaling more than $10 million will provide funding.
Opera Philadelphia, in collaboration with Music-Theatre Group in New York, has announced that composer Rene Orth has been selected as its sixth composer in residence. Funded by The Andrew W. Mellon Foundation, the position combines an individualized plan of study with a living stipend and health benefits.
New Music is at its core an artistic project based on critique: this is its link to modernity—what fundamentally defines its nature. It questions past, dysfunctional normative models as a means to generate newer, more appropriate aesthetic fields through which another future may be built.
The 2016 Paul Revere Awards for Graphic Excellence were announced during the luncheon of the annual meeting of the Music Publishers Association at the Redbury Hotel in New York City on Friday, June 10. Among the award-winning publications were scores by Steven Mackey, William Kraft, John Harbison, Augusta Read Thomas, and Daniel Dorff.
I’ve composed works using electroacoustic technologies since 1963, and I want to share with you over the next several weeks some of my thoughts about the current state of the medium. Since I am trained as a Western classical composer, my comments will be from that perspective. 1. Structural Issues in Current Electroacoustic Music The […]
Thirteen emerging composers will participate in the 2016 ACO Underwood New Music Readings and the 2017 Minnesota Orchestra Composer Institute.