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Articles
Ravi Krishnaswami

Stuff I Learned Writing Music for Advertising—The Evolving Ecosystem and Tearing Down Walls

Some networking, research, and lucky timing got me an interview for a coveted studio assistant position at a “jingle house.” Eighteen years later, I’ve had more music on TV than I can keep track of, though hardly anyone would know my name.

Articles
Kathy L. Scherler

Little Band of Dreamers

I had this crazy idea that music could somehow help the children at a rescue center who were victims of either sex trafficking or domestic abuse deal with their pain. I quickly learned that music making became a survival skill for them.

Articles
David Conte

A Model of Generosity and Wisdom—Remembering Karel Husa (1921-2016)

As a mentor and teacher, Karel Husa was a model of generosity and wisdom. In addition to my composition studies with him enabling me to have a true artistic breakthrough, Husa was also an extraordinary teacher of conducting. The skills I learned in his class inspired me to pursue for a time a career in conducting along with composing.

Interviews
Molly Sheridan

Joshua Fried: Let's Dance

Joshua Fried begins each of his RADIO WONDERLAND shows with a spin of a boombox radio dial, snippets of caught commercials and DJ chatter popping out of the static and drawing his audience’s ears in on a raft of mainstream culture before he starts cutting it apart. His creative path has led him from The Pyramid Club to more esoteric new music circles, but he hasn’t abandoned his pursuit of great grooves.

Patrick Zimmerli

Interviewing the Interviewer: A Conversation with Ethan Iverson

If you didn’t know it already, you’ll see that Ethan Iverson has an extremely interesting and idiosyncratic take on new music based on years of serious study and experience from which I think we can all both be entertained and learn quite a bit.

Ratzo B Harris

A Man at Home On the Road—Remembering Mose Allison (1927-2016)

I once asked Mose Allison about whether he considered himself a jazz or a blues musician, since there seemed to be some controversy about that among music experts. He laughed: “Well, I’ve been tryin’ to figure that one out too—good luck!”

Daniel S. Godfrey

Proudly Disruptive Yet Guilelessly Generous—Remembering Elliott Schwartz (1936-2016)

There is much that Elliott Schwartz (1936-2016) hoped would surprise, enlighten, and delight us all: that music can make perfect sense and be completely unexpected in the same instant.

Frank J. Oteri

Shulamit Ran: Music Has Magical Powers

According to Shulamit Ran, “Music seems to have the capacity to bring time to a standstill. It’s an illusion, but at the same time it’s a miracle.”

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Patrick Zimmerli

Jazz and Classical—Musical, Cultural, Listening Differences

Early next year a CD will be released featuring my compositions on Nonesuch Records. I’m very excited about the recording, which features Joshua Redman, one of today’s greatest working jazz musicians, as well as Brooklyn Rider, one of today’s most brilliant classical string quartets. (The equally brilliant jazz bassist Scott Colley and percussionist Satoshi Takeishi… Read more »

Bruce Hodges

Turn the Volume Down, Now

Over decades of listening, ear parts gradually age and deteriorate. But this is not the same as what the National Institute on Deafness and Other Communication Disorders (NIDCD), part of the National Institutes of Health (NIH), refers to as “noise induced hearing loss” (NIHD). And despite both multiple causes and multiple outcomes in different people, NIHD is preventable.

New Music USA

NewMusicBox Mix: 2016 Staff Picks

Before we ring in 2017, it’s become a bit of a tradition here at New Music USA to give a cheer for some of the standout music of the past year. Don’t see a favorite of yours? We hope you’ll add it so we can all give another round of applause to the great work that hit our ears in 2016.

Paul Dresher

Magical Yet Practical—Remembering Pauline Oliveros (1932-2016)

While Pauline Oliveros was fully grounded in the practicalities of making music, she was always able to connect directly to a place that can reveal mystery and magic.

Andrew Norman

On Being Named Composer of the Year by Musical America

We are not just the inheritors and interpreters of a tradition, we are also the definers of that tradition, and we have a responsibility to pass on an art form that is broader, more inclusive, and more socially engaged than the one we inherited.

Patrick Zimmerli

A Composition Competition and the Quest for Standard Repertoire

Is music meant to be ephemeral or enduring? And indeed, are those two goals consonant with one another, or at odds?

George Grella Jr

When Jazz Was Cool

Cool turns out to be easier to define, or at least encircle, than many other cultural concepts, not least because it doesn’t seem to exist anymore. In an uncool world, where does a mass audience find jazz?

Frank J. Oteri

2017 Grammy Nominees Announced

The Recording Academy has announced the nominees for its 59th annual Grammy Awards and the list of luminaries includes many people who should be familiar to readers of NewMusicBox

Frank J. Oteri

Nicole Mitchell: Endless Possibilities

Composer/flutist Nicole Mitchell’s move to Chicago as a young adult was a transformative experience, and the activities she was engaged in during her years in the Windy City were what ultimately determined her path as a creative musician.

Ronit Seter

Getting close with Saariaho and L’amour de loin

Kaija Saariaho’s L’Amour de loin is the first opera composed by a woman to be presented at the Met in more than a century. Ronit Seter explores its creation, sharing insights into Saariaho’s style and process.

Molly Sheridan

Andy Costello: The Power of the Unexpected

Utilizing short pieces drawn from multiple authors, Andy Costello offers a playful exploration of communication and the power of the unexpected in performance.

Articles
Patrick Zimmerli

In Defense of Jazz

Jazz, once revered as America’s classical music, has come in for a beating lately at the hands of popular culture. How did it go from such an august status to one where it exists in the imagination simply to be mocked?

Articles
NewMusicBox Staff

Andrew Norman Wins $100K Grawemeyer Award for Music Composition

Andrew Norman’s Play has received the 2017 University of Louisville Grawemeyer Award for Music Composition. The $100K international prize is granted for a work premiered during the five-year period prior to the award deadline (i.e. Jan.1, 2011 – Dec. 31, 2015). Previous recipients include Witold Lutoslawski, György Ligeti, Joan Tower, John Corigliano, Toru Takemitsu, John Adams, Aaron Jay Kernis, and Kaija Saariaho.

Articles
Angela Myles Beeching

Your Better Bio: Getting Real & Covering the Bases

Getting at the motivation behind your work means letting readers in on who you are as a real person. Ultimately, it’s what makes a bio memorable and what can create a sense of a shared human experience.

Programme Name: Diversity and Inclusion in Composition Conference - TX: 19/10/2016 - Episode: n/a (No. n/a) - Picture Shows:  Josie D’Arby, Tom Service, Toks Dada (Programme Co-Ordinator, THSH), Bill Bankes-Jones (Artistic Director, Tête à Tête), Chi-chi Nwanoku (Founder, Artistic & Executive Director of the Chineke Foundation) - (C) BBC - Photographer: Guy Levy
Articles
Jeffrey Mumford

Who Is In the Club?

Under most circumstances, when a White person describes themselves as a composer it can be safely assumed that, in the minds of those present, the images of Mozart, Beethoven, Bach or—perhaps for those more progressive in their tastes—Bartók or Stravinsky (all men) come to mind. Conversely, when a Black person so identifies him or herself, the images of the Chevalier de Saint-Georges, R. Nathaniel Dett, Florence Price, William Grant Still, or—of a more recent vintage—Olly Wilson or George Walker would not come to mind. Rather, there is a strong supposition that, as a Black person, you write either jazz, R & B, or gospel music.

Articles
Angela Myles Beeching

Your Better Bio: Describing your music and your self

It’s a challenge for any musician to answer the question, “So, what’s your music like?” The good news is that there are multiple ways to describe your music and there are tools to make writing easier. Angela Myles Beeching helps you get started.

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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.