Sharpen your pencils, voting Recording Academy members. Nods were given to…
I sometimes wonder if, several decades from now, people will look back on the current era of new music and characterize it in terms not far removed from tourism.
While Silk Road’s music is enjoyable, its goals laudable, and the musicians’ skills impressive, hybridization of this sort is not a perfect model for understanding or addressing the issues of modern-day globalization through music.
Music people, in general, have always seemed to possess a higher level of character and integrity in pursuit of a particular calling. But it seems that now, even in the new music world where we are all essentially in the same boat, so-called professional courtesy is no longer a given.
NewMusicBox Regional Editor Ellen McSweeney has been recognized among the “professionals of the year” in the edition of Musical America 30: Profiles In Courage released today.
When Nick Norton tells people he’s a composer, the conversation usually turns to the music itself. The one question that no one ever seems to ask, however, is “why?”
Paul Dresher has done work in at least three distinct musical streams with equal vigor and equally significant results. But whether he’s creating a fully notated piece of post-minimalist chamber music, a poly-stylistic score for an intense musical theater work, or an idiosyncratic experiment for one-of-a kind instruments of his own design, he’s always operating with the same basic assumptions about his audience.
The Board of Directors of the Fromm Music Foundation at Harvard University have announced the names of twelve composers selected to receive 2014 Fromm commissions.
Ah, Thanksgiving: a holiday as rich in calories as it is in cultural significance. What’s the proper soundtrack for a day that means so many different things? Why not canvas the work of Chicago composers for music that’s as complex as Turkey Day?
After today, I would never know if a student went on to accomplish something, continue his education, or even be released from prison. I realized as I distributed the scores that I had included my full name as the composer; I was supposed to protect my own privacy.