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Articles
Trevor Gureckis

Right Place, Right Time

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.

Articles
Rob Deemer

Musings on the Media

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.

Articles
Kevin Erickson

Who Counts as an Expert?

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.

Articles
Marcus McLaurine

Missing the Gig: Remembering Clark Terry (1920-2015)

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.

Articles
NewMusicBox Staff

2015 Class of Doris Duke Artists Announced

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.

Articles
Trevor Gureckis

What Have YOU Been Up To?

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.

Articles
NewMusicBox Staff

ACO Announces Composers Chosen for Underwood Readings

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.

Interviews
Frank J. Oteri

Samuel Adler: Knowing What You’re Doing

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.

Articles
Ethan Hein

Jazz Remixes

Jazz is all about repurposing pop and folk material for new expressive ends, and the greats were remix artists before the term existed.

Articles
NewMusicBox Staff

ASCAP Announces 2015 Morton Gould Young Composer Award Winners

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.

Articles
Tom Steenland

Remembering Tod Dockstader (1932-2015)

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.

Articles
Caitlin Schmid

There’s This Thing Happening: The New York Avant Garde Festival and Its Audience

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?

Articles
Álvaro Gallegos

In search of Musical Integration Between the United States and the Rest of the Americas

Today, across South America, one finds dozens of tourists from all over the world (including many from the United States) who wish to explore the richness of the region. But within the world of notated music, the situation is the opposite. In fact, we can no longer talk about Latin American as a single unit, given the lack of information that exists between its different countries.

Articles
Álvaro Gallegos

En busca de una integración musical entre Estados Unidos y el resto de las Américas

En cualquier lugar de Sudamérica uno se encuentra con decenas de turistas de todo el planeta (incluyendo muchos estadounidenses), que buscan explorar las riquezas de la zona. Ya está claro para ellos que no todo es selvas impenetrables, ni pequeños poblados de madera. Pero en el medio de la música de tradición escrita, también debemos hablar a la inversa. Incluso no podemos hablar de Latinoamérica como una entidad unitaria, ya que existe desinformación entre lo que hace un país y otro.

Articles
Ethan Hein

Brahms's Third Racket

There’s no clearer way to see the creative thinking of a diverse group of musicians than to give them the same set of raw materials.

Articles
NewMusicBox Staff

Aaron Jay Kernis to Direct New Nashville Symphony Composer Lab & Workshop

The Nashville Symphony has announced a newly created Composer Lab & Workshop developed and guided by Nashville Symphony Music Director Giancarlo Guerrero and composer Aaron Jay Kernis, who will serve as Workshop Director and Chairman of the Selection Panel.

BFS Convention, RNCM Manchester, 23 August 2008
Articles
Molly Sheridan

Robert Dick’s The Other Flute Mocked on Network TV

Jimmy Fallon spent 50 seconds during Monday’s Tonight Show making fun of pioneering flutist and composer Robert Dick’s name and textbook. Now Dick is hoping to get invited on the show himself so he can let his artistry do the talking instead.

Articles
Caitlin Schmid

FLUX-PIECE, FLUXCONCERT, FLUXFEST: Maciunas’s FluxFest Kit 2

I’m not here to argue about whether or not Fluxus is music. In some ways it is, and in some ways it isn’t. Personally, I find it hard to ignore that its members—many of whom at one point or another considered themselves musicians and composers—pointed to musical forms and instruments in so many of their titles and with so many of their materials and processes.

Articles
Molly Sheridan

Miranda Cuckson: String Alchemist

Violinist Miranda Cuckson embraces even the sharpest, most unapproachable-seeming pieces, conveying the music with such palpable control and insight that it’s as if she’s holding the door into these worlds open for the audience.

Articles
Ethan Hein

Mad Fresh

We in Western culture have a habit of reflexively using “original” as a synonym for “good,” especially in music. I’m going to argue that originality is not actually a virtue, but rather, that freshness is. The concepts are related, but not identical.

Articles
David Stock

Remembering Ezra Laderman (1924-2015)

Over nearly half a century, Ezra Laderman found a home in the academic world, then in government service at the NEA, then back to teach and administer at Yale. Through all those changes, he continued to compose on a regular schedule, turning out a stream of superbly crafted works, no matter his other duties’ demands. What a role-model!

Articles
Caitlin Schmid

Why Not Include the Bird—Tudorfest, 1964

The San Francisco Tape Music Center’s 1964 Tudorfest was more than what you could read in the reviews. It was more than its success. It was a scramble, a stretch, a compromise—the usual behind-the-scenes madness.

Articles
Matthew Guerrieri

Digital to Analog: Plug and Play

It is the history of music, forever communicating—what, exactly? But forever communicating, nonetheless, even as the message gets hopelessly lost in the translation to music. And it’s not a bug; it’s a feature.

Articles
Ethan Hein

Biting Breaks: Sampling and Ownership

I make sample-based music because I feel like it’s more worthwhile to identify existing sounds that have been overlooked, to bring them to fresh ears, and to give them fresh meaning in new contexts.

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.