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Articles
KileSmith

12 Things I’ve Learned from Church Music Parts 1-3—Where You Are plus What and Who You Know

Like many composers, I write orchestral, chamber, and vocal music, for any sort of concert opportunity that comes up, but since I started composing I wrote church music because that’s where I was. In the churches I’ve gone to, that meant writing for choir.

Articles
NewMusicBox Staff

Back to School: Five Articles to Get the Semester Started Right

PLUS: Review last year’s full week of education-related content in case there’s a pop quiz at the faculty mixer.

Articles
Frank J. Oteri

Sounds Heard: Michael Ching—A Midsummer Night's Dream

Michael Ching’s A Midsummer Night’s Dream is resolutely tonal, frequently extremely tuneful, and sometimes borders on pop. Yet it is radical and totally unexpected. There are no instruments in the orchestra, every sound is made by voices. It sounds nothing like what you might imagine an opera based on Shakespeare would sound like. And yet it totally works.

Interviews
Frank J. Oteri

“Which of these Aaron Jay Kernises am I?”

An orchestra sensation at age 23. Published by 30. Then a Pulitzer Prize and a Grawemeyer. Now a biography. What’s left after someone writes up the story of your life? Aaron Jay Kernis just keeps on going, continuing to balance composing, teaching, and raising a family.

Articles
Matthew Guerrieri

Unexpected Song

You can make a Broadway musical out of anything.

Articles
DeanCMinderman

Location, Location

While localities and regions may be less important in terms of a specific shared sound or group of influences (although that’s still a possibility, too), I’d contend they remain essential as accumulations of a “critical mass” of resources and opportunities to collaborate.

Articles
Matthew Guerrieri

Style Points

Looking around, listening around, culture is as stylistically non-hegemonic as I’ve ever experienced. But parallel to that is a kind of greater semiotic compartmentalization: the vast majority of cultural artifacts I encounter keenly announce their stylistic allegiance early and often.

Quick collection of photos taken on my holiday to Morocco from October 9th to 24th, 2010.
Articles
Isaac Schankler

Dying From Exposure

What is not problematic on an individual level can become catastrophic on a larger level, and I worry that we are rapidly ruling out pretty much every scenario that would allow a typical musician to make a living.

Articles
R. Andrew Lee

What Are We Afraid Of?

It’s important to put your best face forward professionally. We’re all hustling for gigs, and it doesn’t make sense to do anything but make yourself look as appealing as possible. But perhaps there is another layer to it.

Articles
DeanCMinderman

The Media and the Message

Knowing the specifics about each media outlet in your area can help you to target your communications more effectively. And there’s no real reason one has to choose between traditional and social media; a comprehensive communications plan should include both.

Articles
Frank J. Oteri

Robert Honstein: Oblique Strategies

One of the themes Robert Honstein frequently comes back to in his pieces is technology and how it impacts on our lives, yet ironically his music thus far has been anything but high-tech. Aside from the occasional electric guitar or electric bass, Honstein’s timbral palette consists predominantly of acoustic instruments. If that somehow seems contradictory, it’s more a by-product of his being attuned to the world we currently live in but not feeling straitjacketed by it.

Articles
New Music USA

New Music USA Requesting Feedback on Project Grants

A brief list of questions has been posted to collect your thoughts on the application experience, your use of the site, areas for further development, and anything else you’d like to share.

Articles
Alexandra Gardner

Sounds Heard: J.C. Sanford Orchestra—Views From The Inside

Composer-trombonist-conductor JC Sanford’s recent release Views From The Inside on Whirlwind Recordings delivers loads of aural surprises wrapped up in layers of jazz orchestra.

Articles
NewMusicBox Staff

British Report on Commissioning Fees Inspires Concern

Sound and Music, a national agency for new music in Britain, has conducted a survey of 466 composers designed to explore the economic challenges facing the creation of new work. Average fee per commission in 2013: £1,392.

Articles
R. Andrew Lee

Claire Chase and the Winner-Take-All Economy

We are subsuming a mindset that places little value in our work and then wondering why no one cares about what we do. If a touch of entrepreneurship is how we survive our present situation, so be it. But I do not believe entrepreneurship holds great promise for our future.

Articles
Ellen McSweeney

All Up In Your Space: Billie Howard on How Artists Live

Is there a mess on the desk? Evidence of vice or obsession? A disruptive cat or two? Billie Jean Howard’s blog By Measure offers the voyeuristic pleasure of vicariously poking around another artist’s home.

Articles
DeanCMinderman

New Music Opportunities for Young Students Grow in Missouri

Young people who want to compose or perform new music often don’t have a clear way to gain educational experience, but several organizations in Missouri are working to change that for local students.

Articles
Garrett Schumann

Trauma, Meaning, and The Quietest of Whispers

Evan Ware suggests that his piece is an invitation for an interpretative dialog between his listeners’ experiences and his music’s ingrained symbols. Yet, even if we accept this premise, how do we evaluate the way pieces of music, and their composers, foster the formation of listeners’ interpretations?

Articles
Alexandra Gardner

Sounds Heard: Jeffrey Mumford—through a stillness brightening

Jeffrey Mumford’s recent 2-CD album through a stillness brightening features a selection of imaginative, skillfully executed solo and chamber works to fire up the ears.

Ancient Shop Signal
Articles
R. Andrew Lee

When Entrepreneurship and Artistry Conflict

I don’t think that teaching some basic entrepreneurial skills is by itself a bad thing, but it’s not a cure-all for the difficulties musicians face financially. Perhaps even more troubling, though, is that in promoting certain business practices there doesn’t seem to be a discussion about how they may conflict with artistic pursuits.

Articles
NewMusicBox Staff

Washington National Opera to Mount 3 New 20-Minute Operas

Three teams of new opera composers and librettists will premiere new 20-minute operas, each based on a contemporary American story, in a semi-staged concert performance on November 21, 2014 in the Kennedy Center Terrace Theater.

SONY DSC
Articles
NewMusicBox Staff

New Foundation Will Support Performance and Commissioning of American Music

American Music Project, a nonprofit organization focused on supporting performances of American classical music and the commissioning of new work, to launch with premiere of Amy Wurtz’s Piano Quintet.

Articles
DeanCMinderman

Finding a True Name in a Post-Genre World

I wonder if, rather than anticipating an end to genre designations, perhaps new music needs to cultivate a whole lot more of them, since much of the terminology currently in use is overly general at best, and vague or misleading at worst.

Articles
NewMusicBox Staff

Todd Lerew Wins the 2014 ACF National Composition Contest

Lerew’s flagging entrainment of ultradian rhythms and the consequences thereof was commissioned by ACF, along with the works of two other competition finalists–Michael Laurello and Kristina Warren–which were workshopped by So Percussion at Princeton University.

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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.