The human body offers a reservoir of largely unexplored creative material. When we design music with an understanding of biology, we further remove ourselves from static practices and embrace fundamental aspects of creativity.
We naturally only skimmed along the surface of the program during the event (and I haven’t had the chance to trial it), but even from the short presentation we had, Dorico looked incredibly deep and nuanced.
In 2012 came move number 19 and I left the records when I left the apartment. It was an impulsive yet life-altering decision that on occasion still keeps me awake at night. A few year later, when Bob Attiyeh of Yarlung Records and I decided to start raising money for a new CD project featuring three works of mine, we hadn’t discussed a vinyl release and I thought maybe someday. But it soon became clear that Bob was thinking big.
New music is an important focus in the 2017 Musical America awards which have just been announced. Among the awardees are composer Andrew Norman and the new music ensemble Eighth Blackbird.
Music is a choice the listener makes and the difference between music and noise is a matter of perspective. The streets can be our concert halls, and every listener can be an artist. We are not limited. So what do we want to contribute to our physical, social, and musical environments?
An exploration of knowledge and belief in the search for meaning in art (and life)—and the vital role of humor, friendship, and failure along the way.
Beyond the mainstream commentary and think pieces bound to follow, John Corigliano is in a unique position to reflect on Bob Dylan’s Nobel win. We asked him about the literary merits and character of Dylan’s text, from his perspective as someone who set the songwriter’s work in 2000.
Richard Peaslee possessed an openness to the unconventional and untried, along with a streak of irreverent humor and wildness that drew him to subject matter and musical expression outside the mainstream.
When Hafez Modirzadeh pushed Aakash Mittal to move beyond ethnic stylizations towards a concept of universal music, it was a life-changing moment that sent him down a path of inquiry, exploration, and creative destruction that he is still traversing to this day. Could he really abandon an idea so integral to his identity?
To further showcase the spirit of the community Ear Taxi is organized to celebrate, we asked a diverse roster of local creators to highlight stand out (but quite possibly under-the-radar) aspects of the scene—to pull back the curtain on Chicago for those in the know about new music but maybe a stranger to the city. Add your favorites!
Patricia Morehead arrived in Chicago in the fall of 1984 and went on to found and direct the CUBE Contemporary Chamber Ensemble for 20 years. In the midst of the Ear Taxi celebration, she takes a moment to reflect back on her history in the city and praise its evolving new music community.
Chicago is a city of individuals with an entrepreneurial streak and a DIY mentality who work hard to build from the ground up, but who are also very interested in finding their shared identity. And Seth Boustead finds that all voices, unique as they may be, are welcome in the search.
Chicago is a particularly concentrated expression of confluences in current culture, and the evidence of this is both the explosive energy of the city’s new music community in recent years and also how hard its characteristics are to pin down.
Inspired by the Ear Taxi Festival’s concentration of activity, we are devoting the week to an examination of the creative energy that fires Chicago from a variety of angles.
Since music from literally any place and time can now be equally with us in the here and now, the once seemingly impenetrable dichotomies of domestic vs. foreign, new vs. old, and us vs. them have become completely porous and ultimately meaningless. It is all equally ours to enjoy, as well as to be the source of inspiration for our own creative impulses.
Making sense of the world we live in seems to be one of the focal points of Adam Rudolph’s life. The way he has chosen to do so is through making music, most of it collaboratively. He could just as well have become a philosopher—he even looks and sounds like one when he speaks—but that would not be hands-on enough for his worldview.
The right expression might involve no joke at all; funny business might be in the improv solo, the notes, and/or (choose carefully, you may have to live a long time with this) the band name.
We’ve done a little restyling just in time for the new season to improve mobile browsing and to bring you even more music, news, and ideas from creators spanning the nation.
Making a living off your music, solely or otherwise, may take some time to achieve. And among the many interim options available, having a day job, related or not to your vocation, shouldn’t be viewed as a matter of shame or a setback.
She was recognized for synthesizing “various musical styles in highly physical, large-scale narrative compositions that reimagine folk traditions and lore and address issues of the American worker.”
Coming from a Jewish background personally did not mean that somebody was necessarily familiar with any intrinsic qualities of klezmer, although—unless they’d developed an aversion through early negative exposure to this sometimes-stigmatized heritage—it usually didn’t hurt.
What does it mean when strangers show up, infiltrate our institutions, assimilate our knowledge, and then leave? Ensemble-in-residence…who does that?
After 20 years as executive leader of American Composers Orchestra (ACO), President and CEO Michael Geller will depart the organization at the end of 2016. He is leaving to attend to personal and family obligations while considering new professional opportunities. ACO’s Board of Directors is seeking a new executive director who will continue to build upon the success and stability that Geller has spearheaded over the past 20 years.
So how can you too hold down a glamorous, innervating office/day job and still find time to fulfill your artistic dreams, musical or otherwise? Here are eight suggestions (some of which I’m sure apply to “full-time” composers as well).
