By now it’s more than a decade since Jonathan Kramer, George Rochberg, Ralph Shapey, and Iannis Xenakis have passed, so there is some time to assess where their art stands in their wake, even though it’s still very early in the eternity game.
Today the Detroit Symphony became the first American orchestra to make its performance archive available on-demand. Among the 100 full-length works featured are pieces of music by 17 living composers.
Combining words and music, Matana Roberts recounts an experience that showcases the kindness of strangers and the instincts of an improviser.
Why is it so challenging to find the right singers to fit the bill, and is there value in writing for and/or casting singers who specialize in the “wrong” style as dictated by the form?
What’s the fate of our work after we’ve left the stage? Robert Carl explores making our music “survivable.”
When you’re a far from the nation’s new music capitals, how to you build a vibrant creative life? When composer Ray Evanoff moved his life to New Orleans, this question became front and center.
In between highlights from his various albums, Gabriel Kahane charmed the gathered crowd with his story of moldy cookies, the letter, the golf sweater (which he was wearing), and a business trade with a most unexpected twist.
I won’t rehash any discussions about the technical differences between musicals and operas, but I am interested in exploring preconceived notions held by those working in both genres and the effect they have on composing for the theater.
Advice from new music veterans on maintaining motivation, making career choices, and standing up to your critics. Also, we explain hip hop to Milton Babbitt.
This Sunday the virtual #musochat salon will hold its third open door event on Twitter to talk creative issues and career quandaries. How did all this get started in the first place? Here’s what we now know…