In the trenches of balancing one too many ensembles, practice time, class, papers, group projects, and more practicing, it can be hard to stomach the thought of adding something else. But there are a few other things may want to make sure you learn while you’re still in school.
New Music USA has announced its fifth round of project grants awards, totaling $276,770 in funding to support artistic work involving a wide range of new American music.
Rudresh Mahanthappa explores his composite cultural identity through an extremely wide range of fascinating musical activities. Some of these projects have been direct attempts to synthesize contemporary jazz and much older Indian traditions. Perhaps even more intriguing, however, has been music in which jazz and Carnatic elements co-exist alongside many other components.
What musicians create serves many purposes, but it is all in vain if we are not genuinely connecting with the listeners. We owe it to ourselves to deepen their listening and to maximize our communication.
Miles didn’t make Bitches Brew by himself; it was the product of a unique compositional collaboration between the trumpeter and his longtime, essential producer at Columbia Records, Teo Macero (1925-2008), an in-house composer, arranger, and producer for Columbia Records who also shaped and directed essential albums by Thelonious Monk, Charles Mingus, Dave Brubeck, Johnny Mathis, and Tony Bennett as well as a recording of music by Alan Hovhaness plus the soundtrack to The Graduate.
Just as these kids are not afraid of clicking this or that button on today’s technology (which both my husband and I very much are), they are not afraid of poking into any musical corner. There doesn’t seem to be any outside to the box marked Music. Everything is inside.
When presented with new music, there is a question my voice students ask in quiet panic: “Where is do?” According to the established choral curriculum, we just cannot agree.
Extended techniques and integrated theatrical elements are a hallmark of Kate Soper’s compositional style, and presenting her work herself is a good way to push the performer into new territory with confidence. “I will do anything as a performer that I as a composer ask me to do.”
Joan La Barbara is the latest recipient of the Foundation for Contemporary Arts’s biennial John Cage Award and sound artist and visual artist Jennie C. Jones has received the annual Robert Rauschenberg Award.
I have finished the first “student composition” of my life. Now the nine-minute piece goes to the musicians who will be playing it who range from freshman to graduate level and two are sort of on loan from the jazz department. At every lesson I worried aloud about the difficulty of some of the ensemble playing; I didn’t want to be setting anyone up for a terrible experience, myself included.