Environmental degradation and cultural annihilation aside, the total combination of sounds on the PCT is something that is interesting and wondrous to behold. There’s often a special kind of beauty in the confusion that arises when you’re not entirely sure what you’re hearing.
Currently director of composition at Shenandoah Conservatory and composer-in-residence with Opera Philadelphia, Little’s complete catalog is now represented worldwide by Boosey & Hawkes.
When we listen together, the space in which we convene affects our impression not only of the sound but of ourselves. To what degree are we as audience members encouraged to use our musical experiences to imagine ourselves as royalty of a different era?
Paola Prestini combines wild imagination and controlled practicality on an almost molecular level—it’s as if both are fused together in her DNA. Whether she’s talking about her own multimedia operas or VisionIntoArt, the interdisciplinary arts production company she co-founded 15 years ago, she tends to think big but she always manages to make it happen.
Julia Adolphe and Melody Eötvös will each receive a $15,000 orchestral commission as part of a new program administered by The League of American Orchestras and EarShot to provide commissions and premieres for scores composed by women.
In a crowd, nuance fades away. When the argument is literally framed by a fence in the street, the question of “which side are you on?” can take on a certain stark, if ultimately artificial, clarity.
I’m not saying you can’t hate some pop music; I’m just saying you can’t, in the presence of a practicing postmusicologist, hate on all pop music just because it is popular, disguising elitism as self-pitying pride in new music’s marginalized market position.
We are appalled to see the orchestra’s supremely talented players locked out from playing their concerts while at the same time being asked to accept painful salary cuts and submitting to the reduction in the size and quality of their ensemble.
People don’t get together and play—and people don’t get together and listen to other people play—because they love composing. They love something else, something inside, around, below, and above themselves. They love…that’s it; they want to love. Even if they don’t know it, they want to love.
With LDS names popping up everywhere else, where are the Mormon composers? Until fairly recently, Mormon composers who were known as such weren’t all that known outside of Mormon circles. Conversely, those who were more well-known as composers weren’t readily identified with their native religion.
A 60-minute tour de force, performed completely from memory and without pause, Colombine’s Paradise Theatre is a stunning display of physical and musical virtuosity on the part of its performers.
Talking about a “postmodern avant-garde” might well seem oxymoronic. But what at first glance appears self-contradictory might, upon closer inspection, disclose itself as a fundamental social tension within new music culture—or, rather, a tension between the ideals of that culture and the material reality of contemporary socio-economic structures.
To get the work, we need to say yes, and to keep the work, we need to produce. But to produce, from what church music has taught me, we need to write faster, rewrite when necessary, and write for the people who actually want new music. If we do, our music will keep getting performed and performed well.
The MacArthur Foundation noted that Coleman is a musician “whose technical virtuosity and engagement with musical traditions and styles from around the world are expanding the expressive and formal possibilities of spontaneous composition.”
Unlike composers who grew up in the United States where just about any kind of music seems part of our tradition, Shanghai-born Du Yun approaches all traditions as somehow exotic, whether classical, pop, avant-garde, or even the traditional Chinese music that deeply influences so many other Chinese émigré composers.
Wayne Horvitz’s music for 55: Music and Dance in Concrete, taken out of its original site-specific multimedia context, comes across as part psychedelic soundtrack (think Barbarella), part mysterious fun house (think Sleep No More).
Beware of musicologists bringing hegemonic narratives to discipline the chaos of the contemporary.
The CEOs of ASCAP, BMI, and SESAC were all together for a Texas BBQ lunch meeting organized by the Association of Independent Music Publishers (AIMP) in which each was individually asked about a variety of topics.
For composer and sound artist Ryan Ingebritsen, Song Path is a practice that explores guided meditation and hiking as a compositional form. Ellen McSweeney caught up with him to chat about what it means for a primarily electronic artist to lead troupes of people through the woods.
The non-professional will be the usual musician in a church environment. So when someone who doesn’t do music for a living appreciates what I attempt to do, that’s a special thrill.
The big point that critics of college teaching fail to understand is that teaching music is more than just teaching music. A good teacher connects the great musicians and musical works of the past with the present, while paving the road for the future.
Negative Space is the first full length album of electronic musician/sound artist Michael Hammond’s recording project No Lands; it features nine electronic works that combine song format and ambient soundscape—the work of, as Hammond states in the liner notes, “Three years and a hurricane.”
This seems like the perfect venue to take up a challenge laid down by composer-journalist-scholar Kyle Gann, who in 2008 tasked a generation of music historians with having “dropped the ongoing narrative of composed music.”
The panel awarded Ben Hjertmann the $12,000 Barlow Prize to compose a major new work for saxophone quartet. In addition, the endowment granted a total of $62,000 to ten composers who will write works for the following ensembles and musicians. They are…