Soundtracks: March 2000

If there’s anything that the 26 new CDs featured in SoundTracks this month have in common it’s their inability to be pigeonholed. Taken together, they are proof of how far ranging American music is. While it seems ironic that the most futuristic sounding music that came across our desks this month were discs collecting early […]

Does Anybody Really Know What Time It Is?

Frank J. OteriPhoto by Melissa Richard Throughout last year, across the street from Macy’s in New York City, a “Millennium Clock” counted down the seconds until January 1, 2000. Throughout January it stayed at 0, but at some point during this month it started up again counting down the seconds until January 1, 2001. I […]

American Music’s “Elder Statespeople” Comment on the Future of Music

Henry Brant“…Genuine indigenous music worldwide is disappearing…” Marian McPartland“…I can’t think of playing music and not including something by Dizzy Gillespie or Thelonious Monk or Wayne Shorter…” George Perle“…I have been offered 100 words to reply to the question, “What is the future of music?” but I need only three…” George Rochberg“…Surfaces keep changing, never […]

Publishing, Self-Publishing, and the Internet

A panel held during the Women’s Philharmonic‘s “Composing A Career” SymposiumThe New School for Social Research, NYCSaturday, November 6, 1999—2:30-3:30 p.m. Fran Richard : Vice President of Concert Music, ASCAP Ralph Jackson : Assistant Vice President, Classical Music Administration, BMI Linda Golding : President, Boosey & Hawkes Jennifer Higdon : Self-Published Composer Frank J. Oteri […]

Self-Published Composers Explain What They Do and Why Theodore Wiprud

Theodore Wiprudphoto courtesy of Allemar Music Self-publishing used to be a default position for me: no corporate publisher had brought out my music so I was the one copying scores and parts. Later I made a conscious decision to take my career into my own hands, to claim full responsibility for finding performers and an […]

Self-Published Composers Explain What They Do and Why Andrew Rudin

Andrew Rudinphoto courtesy of Skåne Hill Music Somewhere in a warehouse in the Midwest, hundreds of copies of a work I wrote for flute & piano lie sequestered by a major American music publisher. After contracting to publish the work, three years elapsed before engraving was accomplished and 1st proofs offered. Another year and a […]

Self-Published Composers Explain What They Do and Why Amy Rubin

Amy Rubinphoto courtesy of Musicians Accord Self-publishing has permitted me to circulate my music to a wide variety of performers throughout the United States and Europe. I send perusal scores as quickly as possible to ensembles and soloists who express general interest in my work, and in addition I answer “calls for scores” listed in […]

Self-Published Composers Explain What They Do and Why Terry Riley

Terry Rileyphoto courtesy New Albion Records For many years my written music was being handled for me by a publisher which was somewhat unfamiliar with what is needed to send out scores and parts to orchestras and other chamber groups. I supplied them with masters that were for the most part printed out from my […]

Self-Published Composers Explain What They Do and Why Donald Martino

Donald Martinophoto by Lourdes Awad, courtesy of Dantalian, Inc. If not the first, I am certainly very nearly the first composer to establish by himself, for himself, and without banding together with other composers, a fully commercial publishing house which produces engraved or autographed editions in quantity by offset printing. It was the emerging tendency […]