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Articles
DanVisconti

Tabula Rasa

I now have a real appreciation for the psychological effect of a “clean start.” Clean starts help us focus the boring, long-term discipline of maintaining any behavioral change into a single memorable moment, the memory itself often becoming an icon or totem to meditate on.

Articles
Frank J. Oteri

Chris Thile: It's All One Thing

If it’s difficult to describe the music that Chris Thile has been making since before he reached puberty, then that’s just the way he likes it.
Read the interview…

Articles
Colin Holter

A Little New Music Nostradamus

As we gear up to celebrate the last day of 2008 and the first wee
hours of 2009 here in London, I’m moved to make a few predictions
about what the new year of new music has in store, as is my custom.

Tom Hamilton

Invisible Performer

In printed programs, I am usually credited for “sound mixing and voice processing,” and that covers a lot of my role in a given performance, but I don’t have an easy “elevator description” of what it is that I do in the company.

Articles
Frank J. Oteri

Old and New Acquaintance

I like old music as long as it is doesn’t stifle the new.

Articles
DanVisconti

Back in the USA

Germany, I think I’m falling for you.

Articles
Colin Holter

Homesteading On the Final Frontier

What I’m about to tell you may change your life: the YouTube Symphony Orchestra is going to save classical music.

Articles
Trevor Hunter

Ten of My Favorite 2008 Recordings

I acknowledge this list to be not only arbitrary, but incomplete; while the roughly 150 new CDs that I heard this year are probably more than the average listener sampled, they clearly represent only a tiny fraction of what’s actually out there.

Articles
Frank J. Oteri

People to Remember During the Holidays

Unprotected, freely flowing intellectual property is not the best way to spread the word about a composer.

Articles
DanVisconti

Polymaths, Not Prodigies

It’s exactly the skill sets I was once encouraged not to cultivate that have proven most important to being a musician.

Articles
Carl Stone

Swords Into Chords

A cool webpage which encapsulates the notion of positive transformation, turning bad into good with a musical component.

Articles
Colin Holter

Extreme Opera: Charm City Edition

When the Baltimore Opera Company recovers from its current slump, lets hope it and its peer organizations are moved to take a hard look not just at what they’re selling, but also at why and how they’re selling it.

Articles
Frank J. Oteri

Searching for a Gift That Keeps on Giving

Might the songs we hear over and over again every December be the final vestige of a mainstream repertoire?

Articles
Trevor Hunter

Keeril Makan: Bodysong

The music of Keeril Makan contains multitudes: pulsating rhythmic gestures, noise and abstraction, beauteous slow-moving harmonies, and long-breathed modal melodies.

Articles
Linda Dusman

Song of Herself

It has never been fashionable to reference a woman’s experience in music, or even generally understood.

Articles
Frank J. Oteri

The Day After

I think being on two different TV stations at the same time might up the ante for composer success.

Articles
NewMusicBox Staff

Come and Get Your Pulitzer

Submissions for the 2009 Pulitzer Prize in Music are now being accepted.

Articles
DanVisconti

Different Worlds

A very accomplished German composer confessed to me that he had never been able to enjoy the Berg Violin Concerto; he said it “lacked a strong theoretical consistency” and found it “lazy in its references to the past.” This exchange really hit home how strong some of the fundamental differences between American and European composers remain today.

Articles
NewMusicBox Staff

Complete Ives's Unfinished Work

The Ives Vocal Marathon is hosting a competition to complete Ives’s unfinished song “Smoke,” built on text by Thoreau.

Articles
Carl Stone

An Interview with Gene Coleman

In 2001 Coleman was a recipient of one of the residence grants supported by Japan-US Friendship Commission, and he used his time to make important connections so as to lay the groundwork for future
collaborations.

Articles
Alexander Ness

Uniform Diversity: The Common Myth of Tonal Progress

Is the progress from a common practice to a diverse one truly progress, when it compels us to choose between a reactionary, audience-friendly idiom, an exclusionary avant-garde, or a sober modernism or ironic postmodernism that hovers between these two extremes?

Articles
Colin Holter

Gone Composin'

There’s something to be said for a finite period of self-imposed exile; it’ll give me a chance to make sense of all the music I’ve heard so far in London and Huddersfield and to regain my focus as I make war against a hard deadline for the first time in years.

Articles
Frank J. Oteri

What a Century!

The Carter celebrations represent the first time any composer has ever composed new works during his own centenary. This would be merely statistical gobbledygook if the music didn’t continue to be so compelling.

Articles
NewMusicBox Staff

Nathan Currier Named 2008 Sackler Composition Prize Winner

Composer Nathan Currier has won the Raymond and Beverly Sackler Music Composition Prize.

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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.