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Articles
Katherine Balch

Mentor, Me—Sustained Musical Mentorship

Kati Agócs was a patient and thorough teacher who guided me like the complete beginner I was but treated me like a professional. I was such a sponge because I was able to see a person I so deeply admired that might one day be me.

Articles
Marc Weidenbaum

Does Music Played in a Metadata Void Actually Make a Sound?

LPs and CDs package music with a wealth of information—liner notes, additional images, studio details, and lists of personnel. For newer digital releases and libraries of files that carry only a handful of metadata fields, their absence suggests that the music can somehow meaningfully exist without such information. Marc Weidenbaum argues that it can’t.

Articles
Anne Leilehua Lanzilotti

Building Curriculum Diversity: Stereotype Threat

One of Anne Lanzilotti’s favorite things about teaching is that curriculum is alive and therefore must be nourished so that it may change over time. That means constantly reading and learning from colleagues and students about new music and new approaches to sound.

Articles
John Pippen

What Do You Think?

How do we critique each other’s work? What is at stake in such a conversation? For every successful endeavor, there are more failures. As I became aware of this contingency, “What do you think?” became an increasingly high-stakes question.

Articles
Ryan Ebright

In Support of New Music

Over the next few months, we’ll be sharing case studies that illuminate networks of support for new American music, as presented by a panel of musicologists at the third annual New Music Gathering this past May. The full series is indexed here.

Articles
Frank J. Oteri

Kristin Norderval: Permanent and Impermanent Sonic Moments

Composer/vocalist Kristin Norderval’s output has been extraordinarily diverse but addressing societal wrongs is perhaps the one common focus that unites decades of work whether she’s improvising vocals and transforming sounds on her laptop alongside other musicians, performing with the viol consort Parthenia in a song cycle she wrote for them, creating electronic scores for dance, building sound installations involving upturned pianos or repurposed trash, or starring in her own evening-length opera about an abduction during the Argentinian junta, The Trials of Patricia Isasa, which premiered last year during the 2016 OPERA America conference in Montreal.

How-Tos
Andrew Ousley

How to Promote Your Album

The moment you start thinking about making a recording is when you should also begin thinking about how you’re going to promote it. Andrew Ousley concludes his series by walking you through the process step-by-step.

Articles
Marc Weidenbaum

What Is Music's Comic Book Superpower?

In a comic book or graphic novel, there may be little lines that suggest a tiny burst of noise or emblazoned effects—words writ large in blocky colorful type—that announce the intrusion of sonic events. Sometimes there are even actual musical notes. This week, Marc Weidenbaum explores what the reader “hears” off the page.

How-Tos
Andrew Ousley

Photos, Videos, Website: The Tools You Need and How To Get Them

There are tools you need before you can do any sort of publicity or marketing around yourself and your music. The primary materials are photos, videos, audio recordings, a bio, and a website to tie them all together.

Articles
Marc Weidenbaum

Is the Printed Circuit Board a Form of Musical Notation?

Is the printed circuit board a form of musical notation? And even if it isn’t, what can one glean from all those diodes, the cryptic copper lines, the tiny landscapes of circuitry?

Articles
Frank J. Oteri

Future of Publishing and Music Education Debated plus Awards Announced at MPA Annual Meeting

The annual get together of members of the Music Publishers Association of the United States at the Redbury Hotel in New York City combined a luncheon, legal and copyright updates, lively panel discussions, and an award ceremony, and concluded with a cocktail hour.

Articles
New Music USA

New Music USA Announces Nine New Additions to the Impact Fund Cohort

The Impact Fund cohort is a group of 33 New York City-based ensembles, presenters, and venues tackling challenges facing the city’s new music community today, creating a vibrant public identity for the sector, building connections and collaborations, and finding innovative solutions to the need for increased performance and rehearsal space.

Articles
Frank J. Oteri

Composer Advocacy Notebook: Staying Focused on Next

Classical:NEXT has the potential to be the most viable international gathering place for open-minded music-focused people, despite its name.

Articles
Andrew Ousley

Top 10 Things to Know About Social Media Marketing

Social media can feel like a time drain for already busy musicians, but it will only become more important in the coming years to have your own following of supporters that you can communicate with directly. So get started or fine tune your efforts right now.

Articles
Marc Weidenbaum

Audio or It Didn’t Happen

Sometimes Marc Weidenbaum records sound: by writing about it. It’s not so much notating it as noting it, unpacking it, coming to understand how it works by investigating how it works.

Articles
Chris Sivak

So You Want To Host A Composition Competition

We all want to serve the act of making music, but Chris Sivak sometimes wonders if an organization might not be aware of how their competition guidelines inhibit what they’re setting out to do.

Articles
Andrew Ousley

The Basics of Publicity

Branding, media relations, and when to hire a publicist…

Articles
Frank J. Oteri

Sky Macklay: Why I Love Weird Contemporary Music

Sky Macklay is a highly conceptual composer who typically gets a flash of inspiration for a concept before she writes a single note. Sometimes it’s politically charged, like her Black Lives Matter-inspired choral work Sing Their Names or her provocative chamber opera whose three characters are two spermatozoa and a uterus. But other times it can be an investigation of a purely musical process–like a duo that’s simultaneously fast and slow or a relentless chain of cadences.

Articles
Lee Kesselman

The Man With Qualities: Remembering My Friend, Daniel Brewbaker (1951-2017)

To say that Daniel Brewbaker had achieved a certain kind of legendary status in my mind before we even met is no exaggeration. Now, after his untimely death, while it is still too fresh for me to contemplate, I’m trying to remember everything I can about our friendship.

Articles
Judy Bozone

Experiencing Influences

Living in Thailand offers me a simpler way of life than I had in America, and this simplicity has helped my composing and imagination grow into the spaces that used to be exhausted keeping up with a fast-paced life.

Articles
Robert Paterson

In the Name of “Research”

We wanted to use sexuality as the “in”: a topic that might intrigue a wider audience, maybe even get someone to attend their first opera. Getting people in the door is key.

Articles
Frank Pesci

The Big, and Ever-Present, “What’s Next?”

In a motion that has been well practiced during the last week, I reach for the interior jacket pocket that holds my business cards. I’m pleased to find only one remaining.

Articles
Judy Bozone

Music at the Root of Language

Because I am in a different culture, I am learning just as much information as I am teaching.

Vintage photo of Old carousel
Articles
Sarah Kirkland Snider

Candy Floss and Merry-Go-Rounds: Female Composers, Gendered Language, and Emotion

Problematic gender messaging—in academia, the media, and the culture at large—can toxify the soil in which young musicians hope to grow their careers. Too many female composers drop out as a result. For the health, longevity, and diversity of the art form, we must do better.

Funders

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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.