I may know better than to judge a CD by its cover, but it was hard to resist the poetic allure of the graphic score which unfolds across the front of Voyage in a White Building 1, a New World Records-issued recording of three pieces by Burr Van Nostrand.

The centerpiece of the concert I attended on Saturday night was Tchaikovsky’s Symphony No. 5, a piece of music that is performed almost every season by virtually every orchestra in the world. While I attended the concert because of a new work on the program, I have to admit that most of the people in the audience wanted to hear Tchaikovsky.

Tania León, Jon Deak, Steve Smith, the late Morton Gould, and 28 young composers were honored by the American Society of Composers, Authors and Publishers (ASCAP) during its 14th Annual Concert Music Awards, an invitation-only event held at Merkin Concert Hall at the Kaufman Center in New York City on Friday, May 17, 2013.

Though luckily there were no drug cartel-associated mass murders in Monterrey as their had been on the opening night of last year’s festival and again on the morning after the last performance, this year’s Encuentro Internacional de Jazz y Música Viva was framed by its own internal controversy that emerged from its saxophone competition.

This year the academy gave out a total of $910,000 to 68 visual artists, architects, writers, and composers during the 2013 Ceremonial. Bob Dylan was inducted as an honorary member of the academy.

Obviously there are some genres–jazz quickly comes to mind–in which specific musical creative events occur and are lost on a daily basis. We can’t keep everything, so it goes, but when it comes to our musical creations, this is how we as composers are going to be remembered.

Aside from the spectacular content, these shows illustrated (to me at least) the impact of the venue and how spaces shape the experience and help guide the audience.

I’m curious about composers recycling their work. As useful as repurposing material can be for stimulating ideas, has it become in some instances a shortcut by which we avoid the hard work of creating truly new material “out of thin air”?

Last week I was the recipient of my first negative review! I was surprised at how angry and upset I was when I first read it, and how long it took me to calm down about it. In short, as much as I thought I was prepared for this inevitable moment, I wasn’t.

Troy Herion’s interest in making movies grew directly out of making music. It was a way to further extend the possibilities of what music can be. And in works like Baroque Suite and New York: A City Symphony, Herion has fused visual and sonic elements together so symbiotically that it is difficult to imagine them independent of one another.