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Articles
Alexandra Gardner

Accidental Audience

A thoughtful blog post by composer Daniel Wolf addressing the concept of “public” spaces (which, as he points out, are not actually as accessible as one might suppose) has got my brain churning about musical performance in unrestricted places. By that, I mean the sort of place where unsuspecting folks would happen upon a musical performance (or whatever sort of performance) and pause to check it out, or run away screaming, or… well something.

Articles
DanVisconti

Old Habits

I initially approached composing for electronic media with the same habits acquired through years of notated composition for traditional instruments, which yielded mostly disastrous results. As of the new year, I’m starting an electroacoustic work that is giving me the opportunity to reflect on lessons learned since my first hesitant foray into electronic music.

Articles
Hannah Lash

Warming Things Up in Minneapolis (The 2011-2012 Minnesota Orchestra Composer Institute Blog, Day 1)

The six of us participating in this year’s Composer Institute all met at 5:00 p.m., scurrying as quickly as we could across the block of chilling Minnesota winter from the hotel to Orchestra Hall. Most of us had not been acquainted with one another prior to this evening, but the experience of critiquing and receiving criticism for something so intimate as a creative act is probably one of the most intense and speedy ways to get to know others.

Articles
Colin Holter

Like They've Never Heard Before

As I’ve mentioned once or twice before on NewMusicBox, I’m getting ready to teach a month-long continuing education course on radical American music before World War II. To that end, I recently checked Carol Oja’s Making Music Modern: New York in the 1920s out of my university library.

Articles
Jenny Clarke

Resolving to Sing

New Year’s resolutions, while frequently focusing on the physical–going back to the gym, revisiting that diet, getting out the running shoes–can also bring singers out of hiding and into audition rooms. When January 1 comes around each year, audition requests start to trickle into choirs’ e-mail boxes as singers set new goals and plans for the year, and as groups broadcast audition details for the spring season.

Interviews
Frank J. Oteri

David Borden: Continuous Counterpoint

David Borden’s formidable category-defying musical accomplishments are a direct precedent to today’s largely DIY contemporary music landscape. The skewed counterpoint and unexpected harmonic progressions in The Continuing Story of Counterpoint, his 3-hour magnum opus which he began composing 35 years ago, make it sound vibrant and fresh to this day, whatever instruments are ultimately used for its performance.

Articles
Darcy James Argue

Celebration: Remembering—A Tribute to Bob Brookmeyer

Trombonist and composer-arranger Bob Brookmeyer packed several lifetimes’ worth of music into almost 82 years of living. Now the rest of us have the rest of our lives to try to catch up to where he left off.

Articles
Ratzo B Harris

'Tis the Season!

The standard end-of-the-year party is attended by people who have got, or are anticipating the arrival of, their end-of-year bonuses and want to party a little harder than usual. As the coarser forms of social lubricants are dispensed and imbibed, inhibitions and standards of decorum drop and playing music that everyone finds satisfactory can be, to use a single word, challenging.

Articles
David Lang

Using YouTube to Find a Pianist

It is hard to tell in advance sometimes if something new will turn out to be a good idea or a bad one, which might be a good reason to do it by itself.

Articles
Rob Deemer

Making Arrangements

Arranging pre-existing musical material is, in my humble opinion, a valuable and yet rarely examined tool in a composer’s toolbox, as well as a useful portal through which musicians with little composing experience can enter the wonderful world of creative musical writing.

Articles
Alexandra Gardner

How To Send a CD (Holiday Edition)

At NewMusicBox, we receive lots of recordings via snail mail throughout the year. Many of these recordings are commercial releases, but we are also very happy to receive one-off, non-commercial CDs from composers who want us to hear their music. Because there are a multitude of ways to prepare home-baked CDs, I wanted to run through some important things to keep in mind before you drop them in the mail, ensuring that they are easy to handle once they have reached their final destination.

Articles
Tony Arnold

Digging Deeper: Singing the Music of Elliott Carter

The crux of the matter in grasping Elliott Carter’s difficult and satisfying music lies not in conquering its inherent and unavoidable technical issues. What’s crucial is finding the broader context in which those challenges can be seen not as obstacles to successful performance, but rather as essential musical materials that upon close investigation reveal important information about the nature of Carter’s music itself, its structure, aesthetic, and intent.

Articles
Colin Holter

Singing Your Song

I’ve been working recently on a little diversion from my usual composing: a set of arrangements for a songwriter of my acquaintance. Although I’ve written dozens of songs (and a little music for string quartet), it’s novel for me to be entrusted with someone else’s material and explicitly given free rein to push or pull it in whatever direction the tune suggests.

Articles
New Music USA

New Music USA's Supported Projects Are On Everybody's Lists

Coming up to the end of the year, we’ve been watching projects funded through New Music USA‘s grant programs turn up on “Best of” lists and snag a couple Grammy nominations, too. It’s great to see stuff we helped make happen do so well out there in the world.

Articles
Devin Hurd

I Hear the Gongs Singing—Percussive Adventures in Chicago

Tatsuya Nakatani is the very picture of dedication to his music and the carefully constructed sound world that he fully inhabits. His stage incorporates an expansive collection of gongs, mallets, bows, and drums that he loads and unloads from the van he drives, touring for months at a time in order to bring his immersive percussive sound to an assortment of ears in towns and cities across the country.

Articles
DanVisconti

Games Played: IV-V-I

With the holidays upon us, many of us musical types have been doing some last-minute shopping, racking our brains to think of any gift that is sufficiently cooler than a treble clef paperweight. So it seems like a good time to bring up IV-V-I, a new harmony-based card game created and designed by composer and educator Rafael Hernandez.

Articles
Jenny Clarke

Choral Glories in 2011

Choral music has experienced an astonishing year, claiming its place as a vital and evolving form that touches and engages millions of participants and audiences.

Articles
David Smooke

Rules for Design

If you can’t make it good, make it big. If you can’t make it big, make it red.

Articles
Matthew Guerrieri

New England’s Prospect: Sometimes a Great Quotient

At Tufts University’s Granoff Center last Monday, a concert by NotaRiotous, the performing ensemble of the Boston Microtonal Society, showed that there was music that happened to use microtones, and then there was microtonal music.

Articles
Frank J. Oteri

Scrooged

Well, it’s that time of the year again and, like many people I know, I’m scrambling at the last minute to find the right thing to give various members of my family. My favorite things in the world are books and recordings, so they are frequently my default gift ideas. But in this day and age, many people shun such things and they are also much more difficult to come by in shops.

Articles
AndrewSigler

Six Skinny Strings: The Reason for the Season

Two weeks into the virtually undodgeable 24/7 Winter Wonderland sound collage that is this time of year, I’ve been looking for something without sleigh bells, warm brass, and mixed chorus. My search for sanctuary from the rising Yuletide led me to Skinny’s Ballroom in the heart of downtown Austin for a bit of improv holiday cheer.

Articles
Rob Deemer

The Inside and Outside of New Music According to the Times

It is not often that one gets such a parallax viewpoint on the subject of new music in the mainstream media, and the opportunity allows those of us who are active in the profession not only to digest and react to what is being said but also to gain a better sense of how our world is seen from “outside the beltway,” so to speak.

Articles
Ratzo B Harris

Stan Kenton at 100

Stan Kenton, whose centenary was yesterday, was on the vanguard of the wash of “experimental” music produced after the Second World War, but has slid into relative obscurity only because of an affected disdain towards so-called “middlebrow” culture in the critical dialectic.

Articles
Alexandra Gardner

The Gift of Original Music

Composers have been dedicating works to performers, commissioners, teachers, and colleagues for ages, but what about music that is not necessarily intended for public performance, such as a lullaby for a newborn?

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NewMusicBox receives major support from the Francis Goelet Charitable Lead Trusts and The ASCAP Foundation.

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NewMusicBox is funded in part by public funds from the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council, the National Endowment for the Arts, and with support from The Aaron Copland Fund for Music and The Amphion Foundation, Inc. Support for New Music USA and its many programs and activities is provided by foundations, corporations, government agencies, and hundreds of individual contributors.

NewMusicBox receives major support from the Francis Goelet Charitable Lead Trusts and The ASCAP Foundation. NewMusicBox is funded in part by public funds from the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council, the National Endowment for the Arts, and with support from The Aaron Copland Fund for Music and The Amphion Foundation, Inc. Support for New Music USA and its many programs and activities is provided by foundations, corporations, government agencies, and hundreds of individual contributors.