I met Ursula Mamlok when she was in her early 70s, and initially I didn’t know how to define her. Who was she? Coming from Colombia, where I had only heard about one other woman composer of classical music before me, I didn’t realize—in all its dimensions—what it would mean for me to study with her. It took me a long time to realize the levels of her strength.
Creation is messy. Artistic inspiration without the mess (and an incredible amount of work and planning) will never see the light of day. Our finished work is only as good as it is because of the untidy part. Art needs us to bravely embrace our inner slob, even though most of us prefer a little primping before going outside.
If you think hard enough about new music and how it makes its way in our present society, there are striking similarities to the fictional wizarding community that J. K. Rowling has so elaborately depicted in her Harry Potter narratives.
Daniel Spreadbury talks about his work in open source and web standards, some of Dorico’s most exciting features for composers, and how Dorico users will benefit from the larger Steinberg ecosystem.
In my opinion, the most exciting new music being composed and performed in East Asia is for traditional Asian instruments. I’m particularly intrigued by the new music people are writing for Chinese instruments. The best works engage with these instruments’ cultural associations as well as contemporary thinking.
Community is not one of the words typically included in descriptions of minimalism. Indeed, more often than community, minimalism had to do with conflict. But eventual authorial disputes were the result of a long series of close collaborative engagements.
The winning works by nine young composers, ages 15 to 27, include music for orchestra and wind ensemble as well as solo and chamber pieces plus compositions involving electronics.
Professionally, I identify as both composer and songwriter. I don’t have to choose, do I? I can have both, yes? What is the difference between songwriting and composing anyway? When does a songwriter call herself a composer, or the other way around?
From ancient stone idiophones to singing kites, Cambodian traditional music offers tons of fascinating possibilities for contemporary composers. But the music is no longer developing and now more closely resembles a museum rather than a living art. Chinary Ung hopes to change that through several initiatives he has organized there.
For those who missed the May 3, 2016 event at Roulette Intermedium in Brooklyn, full clips are available now.
The work of building a career never stops. An all-to-brief encounter with Felicia Day helped R. Andrew Lee adjust his perspective on tackling both the big goals and the mundane chores.
Why vinyl? Commitment. In this mid-second decade of the 21st century, music is being taken for granted on a collective scale. An entire generation of music listeners will never pay for music, nor do they believe that they should. The long form music medium has taken a back seat to song culture, yet the average person only listens to a song for approximately 24 seconds before deciding if it’s worth their time to continue to listen.
As a composer, I consider myself lucky to have had the opportunity to live in and personally get to know many different musical cultures and communities. Eight years ago I met two people who have given me a personal connection to the broader new music community in Asia. I have now been living in Taiwan since last August, teaching composition and music technology at National Chiao Tung University.
Each recipient will receive $275,000 in flexible, multi-year funding as well as financial and legal counseling, professional development activities, and peer-to-peer learning opportunities provided by Creative Capital.
Shakespeare’s plays, a novel by Stephen King, and personal letters from American soldiers written in wartime have all served as inspiration for compositions by Paul Moravec. However, when he is composing more abstract instrumental works, like his extremely beautiful Violin Concerto, Moravec claims there is always “a kind of musical narrative” at work even if it does not have a precise verbal meaning.
Suffering a severe ear infection and terrified that his livelihood as a teacher, composer, and performer might come to an end, Chris began fretting over the seemingly small losses. “I adapted neither brilliantly nor heroically. Retreating, I made no music.”
Although she grew up in a very culturally diverse New York City neighborhood that has also long been a hotbed for artistic experimentation and rebellion, composer/violinist Jessie Montgomery most strongly identifies with European classical music.
As a musicologist, I’ve been consistently impressed by Tony’s work as a theorist and historian of music—the way he has created critical foundations for his own work, within the long history of Western art music, all the while undercutting and mocking those very conditions of possibility.
Our landscape shapes our perception of the world, and thereby our culture. Music that we create about, for, and with a community can itself act as an advocate for these places.
Composers Jonathan Berger and Christopher Trapani will join a group of scholars, artists, and writers headed to Italy for a year-long residency at the American Academy in Rome.
Ten of the 24 electronic compositions selected for presentation during Switzerland’s 10th Forum Wallis (which were chosen from among 289 submissions from 45 countries) are by American composers.
Not everyone should be in “the business.” If rejection really hurts, opt out. I did for a few years when I started taking this all too seriously. Now I savor every application.
Most of us believe that we possess the power to make positive change in the world. Are we experiencing a resurgence in new music composed to highlight social equity? If so, why now?
In for a Penny, In for a Pound by Henry Threadgill (released on Pi Recordings on May 26, 2015) has been named the winner of the 2016 Pulitzer Prize in Music. In addition, Lin-Manuel Miranda’s musical Hamilton has been awarded the 2016 Pulizter Prize for Drama.
