Everything you’ve heard about fair use is probably wrong. It’s always a gamble as to whether something is or isn’t a fair use and, in my humble opinion, courts have recently shown a lot of chutzpah in making the determination.
A composer ventures into deeply personal territory, sharing her unique experience of sound, color, trauma, and the body.
In the first installment of our first-person series on music & mental health, Marcos Balter opens up about anxiety, composition deadlines, and each person’s singular path towards happiness.
Why should a recording be the same every time you listen to it? Until recently, this question wouldn’t even have made sense. But today there’s no reason why this must be the case.
A series of interviews and essays on depression, anxiety, and making music.
New Music USA has submitted six works for consideration in the 2016 ISCM World Music Days. All are works that received funding through our grantmaking programs and all are works composed since 2010.
Brooklyn-based sound artist and composer Bernd Klug has turned the Austrian Cultural Forum in New York into a social musical instrument. His art installation, traces of [dis]location, spans three floors and uses the architectural structure of the building to create multiple points of engagement. traces of [dis]location runs until September 16 and is free and open to the public. […]
Here’s a situation that’s commonly misunderstood among creative collaborators: Jack and Jill agree to write a song together. They call it “Tumblin’ Down the Hill.” Jack writes the music and Jill writes the lyrics. Who owns what?
A provocative meditation on jazz, Western classical music, and the real power of being able to swing.
In advance of the release of her second full-length album Unremembered, Sarah Kirkland Snider opens up about integrating disparate influences, embracing deeply emotional content, and the process of developing her signature works.