Whether or not you caught the glitz, the glam, and the shade-throwing acceptance speeches during the 2016 Grammy Awards ceremony broadcast last night, you still may have missed out on the jazz and classical awards presented earlier in the day. And the winners are…
For miners, sound often answers questions about work and safety. For composers, recording and carefully listening to the sounds of a region can suggest ways of bridging between place and creative sound works.
It is with great sadness that we report American composer Steven Stucky died of brain cancer in Ithaca, New York on February 14, 2016.
Over the course of the last eight weeks I attended three significant national music events which were extremely different from each other in terms of scope and scale—the 2016 Minnesota Orchestra Composer Institute, the annual Chamber Music America conference, and the Midwest Clinic, the world’s largest music gathering.
It can feel impossible to label and organize the diversity of music that falls under the “new music” heading. Does that hurt our advocacy for the music we care about?
We have always had cultural gatekeepers: artists, publishers, concert promoters, radio producers, teachers, etc. At the top of this filtering process is the mind and ears of the artist. What can help provide context for the music and enrich and inform the listening experience? Will that change the end result, deepen the experience, or help uncover influence?
Archival and contemporary sounds of a place connect the listener to the people and history of an area. This sonic ethnography may then become material for creative projects in unique ways and push creative practice into direct social engagement.
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.