“It’s not your skill level, it’s how much you communicate,” cellist Erik Friedlander advises. “It’s how much you express that the audience really wants to hear. They come to hear you be real.”
Matana Roberts, Joan Tower, and Gabriel Kahane will share stories and music at this free event in New York City.
Julia Wolfe has been awarded the 2015 Pulitzer Prize in Music for the oratorio Anthracite Fields which premiered on April 26, 2014 in Philadelphia in a performance by the Bang on a Can All-Stars and the Mendelssohn Club Chorus.
Composers Christopher Cerrone and Nina C. Young—along with 29 other artists and scholars—will be provided with a fellowship that includes a stipend, a study or studio, and room and board for a period of six months to two years in Rome.
[UPDATED APRIL 21, 2015] Anthracite Fields by Julia Wolfe has been awarded the 2015 Pulitzer Prize in Music. The work (which was commissioned through Meet the Composer’s Commissioning Music/USA program and is published by Red Poppy Music/G. Schirmer, Inc. ASCAP) premiered on April 26, 2014 in Philadelphia in a performance by the Bang on a… Read more »
The music community is uniquely equipped with the kind of long-game thinking that it takes to make substantive policy changes. We have more power than we often imagine, even if it takes some time to see results.
Discovery Grants aim to identify, support, and help develop the work of female composers writing for the operatic medium, raising their visibility and promoting awareness of their compositions.
This season, four composers will have a new symphonic work workshopped and read by Berkeley Symphony at the Osher Studio in Berkeley on May 2, 2015 at 3pm (the first public unveiling of the composers’ works in process) and on May 3, 2015 at 7pm (a run-through of the completed pieces).
Unlike composing concert music, in film and advertising a composer is tasked with writing music the audience wants, but sometimes that audience has trouble parsing what it wants.
The Guggenheim Foundation has awarded fellowships to 175 scholars, artists, and scientists–among them 11 composers.
“Black MIDI” refers to the moments in a piece where the notes, if displayed on a traditional two-stave piano score, are so dense that there appears to be just a mass of black noteheads. The increased density of notes also affects the computer, which is sometimes unable to process all of the notes within a particularly complex section. The goal of Black MIDI is to approach this processing failure without actually crossing that line.
Pittsburgh has more going on in new music, and the arts in general, than you would expect for its size (around 300,000 people in the city, and 2.4 million in the metro area). This is due in part to a high density of universities with good music programs, but new music events aren’t confined to the academic year. When summer comes and many cities offer little in the way of classical music besides orchestral pops, Pittsburgh has more modern sounds than you can shake a 4th of July sparkler at.
Even if it’s a composition that explores elements I find interesting outside of the commercial medium, I sometimes forget it happened. This constant push to be more and more productive makes your attachment to what you’ve written minimal.
Composers and performers today look to the media (whatever they think that might be) as a conduit between their art and the general public. As digital media and social networks continue to evolve, both the proximity and the fixed boundaries between creators and the media have been affected.
This is an era that rewards simple explanations, yet telling the often-complex stories of how non-superstar musicians make work while making a living is more important than ever.
To be a real leader, one must possess certain traits such as dignity, integrity, and a sense of fairness, all of which Clark Terry embodied. I personally feel blessed to have had the opportunity to be associated with Clark for more than 30 years.
Twenty performing artists will each receive $275,000 in flexible, multi-year funding as an investment in and celebration of their ongoing contributions to the fields of contemporary dance, theater, and jazz.
While my friends and colleagues were pursuing projects in concert, dance, opera, and other artistic mediums, I was meeting music producers for new commercial opportunities.
Seven composers have been selected for the 2015 Underwood New Music Readings which will take place on Wednesday, May 6 and Thursday, May 7, 2015 at the DiMenna Center for Classical Music in New York City.
At 87, Samuel Adler remains steadfast in his determination to preserve and build upon the Western classical tradition–as the composer of six symphonies, five operas, a dozen concertos, tons of sonatas, and ten string quartets (eight of which he still acknowledges), as well as a teacher for 63 years and the author of definitive tomes on orchestration, choral conducting, and sight singing.
Jazz is all about repurposing pop and folk material for new expressive ends, and the greats were remix artists before the term existed.
Selected from an application pool of more than 600 submissions, 28 young composers (plus an additional seven accorded honorable mention) will be recognized at the annual ASCAP Concert Music Awards at Merkin Concert Hall in New York on May 21, 2015. The award-winning composers share prizes of over $45,000.
Tod Dockstader’s electronic music composition, for most of his life, was always an avocation, something he did part-time, outside of his day job, earning him little income. Being an outsider without academic credentials, Tod was denied grants and access to the major electronic music centers. Yet fans of his music included Federico Fellini, and Pete Townshend.
Composers and performers who participated in experimental music festivals of the 1960s are relatively easy to find and talk to if you want to track them down. After all, many of them went on to established careers in the arts, and they have gigs and websites and email addresses. But audience members? People who just wandered in off the street? That’s a little more difficult. Where do you even start?