Jimi Hendrix’s “Woodstock Banner” is among the most iconic moments of rock history—a symbol of the art’s social and political potential. For Hendrix, “anthem” was not a noun, but a verb—a song in motion.
Here in Tallinn, I am under the impression that if one has even the smallest idea for a concert, it will happen with little to no red tape.
The 2015 CMA/ASCAP Awards, the “New Music from CMA” commissions’ concert, and the majority of the ensemble showcases at the 37th national conference of Chamber Music America provided a real immersive new music experience—one in which definitions were constantly being expanded and which celebrated diversity and inclusivity.
The hall was full, energetic, anxious for the Future Classics concert, the culmination of the Minnesota Orchestra Composer Institute. But one must ask the question. If the appetite for new music is so huge here, why aren’t more American orchestras doing this?
New Music USA announced yesterday its third round of project grants awards, totaling $284,250 in funding to support artistic work involving a wide range of new American music. The program recognizes and supports the multiple roles composers and contemporary music practitioners play in the artistic landscape and responds to the creative spirit of collaboration between artists […]
The inaugural New Music Gathering in San Francisco was proof in action that an environment that removes the problems of proximity, competition, and ego can generate an immense amount of collaboration, friendship, and growth.
I am not surprised when protest organizers contact me asking for musicians to play at their protests; I am less surprised still when I hear that it was the music that elicited the loudest response and the most action.
Composer, conductor, and Trinity Church music director Julian Wachner believes that all music is meant to induce a transformative experience upon the listener and believes that changing listeners’ lives through music is a “moral responsibility of the compositional craft and the performative craft as well.”
I can’t tell if the Spektral Quartet is getting bigger or smaller. At the quartet’s Saturday night concert, “Snowpocalypse Antidote,” I had the opportunity to reflect on “miniaturization” and the pleasure of small forms. They’re “doing small” in a very big way.
Using extramusical models and precise planning works for some people but not everyone. I generally feel, however, that academic study of composition places emphasis on this methodology.