Although she grew up in a very culturally diverse New York City neighborhood that has also long been a hotbed for artistic experimentation and rebellion, composer/violinist Jessie Montgomery most strongly identifies with European classical music.
As a musicologist, I’ve been consistently impressed by Tony’s work as a theorist and historian of music—the way he has created critical foundations for his own work, within the long history of Western art music, all the while undercutting and mocking those very conditions of possibility.
Our landscape shapes our perception of the world, and thereby our culture. Music that we create about, for, and with a community can itself act as an advocate for these places.
Composers Jonathan Berger and Christopher Trapani will join a group of scholars, artists, and writers headed to Italy for a year-long residency at the American Academy in Rome.
Ten of the 24 electronic compositions selected for presentation during Switzerland’s 10th Forum Wallis (which were chosen from among 289 submissions from 45 countries) are by American composers.
Not everyone should be in “the business.” If rejection really hurts, opt out. I did for a few years when I started taking this all too seriously. Now I savor every application.
Most of us believe that we possess the power to make positive change in the world. Are we experiencing a resurgence in new music composed to highlight social equity? If so, why now?
In for a Penny, In for a Pound by Henry Threadgill (released on Pi Recordings on May 26, 2015) has been named the winner of the 2016 Pulitzer Prize in Music. In addition, Lin-Manuel Miranda’s musical Hamilton has been awarded the 2016 Pulizter Prize for Drama.
During the funding application process you are doing something similar to what you do as an artist: Sending your gifts out into the world with little hope of recognition or remuneration. But you are not sending forth your art; instead you are launching a very elaborate lottery ticket into the world.
When compensation takes the form of passion and satisfaction, instead of monetary remuneration, what is the impact on performance quality, commitment, and artistic freedom? If we could remove money from the equation by making sure artists get paid enough to do better than get by, what would that look like?