There is this split between the media’s impulse to categorize and the artist’s impulse to resist classification.
Bassist and jazz bandleader Linda Oh offers insights on bridging training and personal expression, ditching stifling preconceptions, and the fundamental value of truly listening to the people around you.
Would music by any other title sound the same? Composer John Supko and critic Jeffrey Edelstein contemplate the naming game.
Is the idea that musicians should be allowed to participate fully in our country’s economy unrealistic? A meditation on reversing the devastating effects that the digital age has wrought.
Musicians feel intense pressure to excel, but positive psychology offers strategies to help deal with and overcome the obstacles.
A conversation between composer John Supko and critic Jeffrey Edelstein
Composer, conductor, and pianist André Previn has been equally comfortable making music in and for concert halls, jazz clubs, opera houses, Broadway theaters, and the silver screen for three quarters of a century. But now he’s composing more prolifically than ever before.
Playwright, composer, and performer Lin-Manuel Miranda, 35, was recognized for his work which reimagines “American musical theater in works that fuse traditional storytelling with contemporary musical styles and voices.” Mimi Lien, a set designer for productions such as Dave Malloy’s Natasha, Pierre, and the Great Comet of 1812, was also among this year’s round of 24 fellows.
Four emerging composers have been chosen from a national candidate pool to participate in the 2015 Columbus Symphony EarShot program. Activities will include two intensive reading sessions/rehearsals, feedback sessions with orchestra musicians and mentor composers, a final dress-rehearsal, and a public concert that is part of the CSO’s Happy Hour Concert Series.
Perhaps writing indeterminate music can be both a rewarding end in itself, and a path to finding that which indeterminacy can’t give us.