In my thinking, the exclusion of audience participation means that measures have been taken to keep it from happening, but its disinclusion merely means that it was never taken up for consideration. Audience participation at orchestra concerts is not considered as essential to the music’s performance. And now that jazz-studies programs are nearly ubiquitous in American academic institutions, we should be concerned that institutional-based jazz-studies programs have the potential for disincluding the relatively experienced performer from their learning environment.
In many ways, writing music is very much like speaking a foreign language.
Out of a total 96 applicants, 38 New York City-based new music organizations have received funding totaling $152,000.
Turning pages might seem like an almost desultorily simple task. It is not. It is a skill, and a surprisingly delicate one at that.
Simply making “good music” in our idiom(s) of choice is not enough, when many people simply may not have the footholds to grasp our intended meanings.
Brandt’s music quickly moves past the New Age sound world as she piles on more and more layers of counterpoint, creating music that instead winds up sounding more akin to one of Phil Spector’s self-described “little symphonies for the kiddies,” albeit without the saccharine lyrics.
Recently, the Atlas Theater concluded its first season of its New Music series, as curated by Armando Bayolo, and announced plans for their 2102–13 season.
“He followed his own path, and it took decades to be recognized,” says pianist Sarah Cahill. “I think a lot of young composers today—not just in the Bay Area but across the country—are picking up on what he started.”
In the minds of many people, publishers are monoliths—giant, impenetrable entities that control the copyrights of others and draconically police their usage. But what was particularly heartwarming about the 2012 Annual Meeting of the Music Publishers Association was how deeply personal it all was.
A total of 49 publications, including scores of compositions by William Bolcom, Chen Yi, Valerie Coleman, John Corigliano, David Del Tredici, John Harbison, Charles Ives, Vijay Iyer, Robert Kyr, Paul Moravec, Steve Reich, David Evan Thomas, Maury Yeston, Neil Young, and Frank Zappa, were honored in the 2012 Paul Revere Awards for Graphic Excellence announced during the annual meeting of the Music Publishers Association.
A rare performance of Grisey’s Le Noir de l’Étoile: a work that is big, challenging, logistically elaborate, and best suited to a context where it can reign as the event that it is.
After all this time, we still haven’t figured out that there is enough room in our culture for each style, each genre, each musical language to not only stand on its own, but for others to present and interpret the music in new and unique ways.
Many people attending jam sessions look at them primarily as a place to perform, and not a place to listen and learn. It’s the latter attitude that is the key to appreciating, and making the most of, a jam session.
When Zoë Keating takes the stage, her charismatic presence—a perfect balance of focused performer and welcoming MC—exerts a magnetic attraction. She is a composer who, with a chair, her cello, a bit of software, and some amplification, conjures an entire orchestra of sound out of the timbres of this one instrument.
It is a composer’s prerogative to seek out new stimuli and accept new challenges in order to ward against stagnation. But there are also external forces which conspire to define composers and lump their work into handy pigeonholes.
Following up on some loose threads from last week’s post, I’d like to delve a little further into the many-layered and non-transparent relationship between composers, performers, and listeners in music.
One of the most excellent things about the music of guitarist/composer Mary Halvorson is that every composition percolates with a charming sense of unpredictability.
One inherent problem with building an audience for new music is the very fact that the listeners want to hear music that is new to them.
The most valuable performance tradition in American music—more important than subscription orchestra concerts, new music series, musical theater, rock concerts, and the opera—is the jam session, where musicians of any age, stature, and stylistic bent will agree to improvise at least one song together with the intent of making the best music possible.
I’ve had several “adventures” in my life that on the surface seem relatively unrelated, but have ultimately been spiraling me towards where I am today. My current visit to Los Angeles has been unearthing old and forgotten memories of one of those adventures.
The brainchild of composer Bright Sheng, “The Intimacy of Creativity” aims to bring a workshopping culture to chamber music, organized around a course of rehearsals, discussions, and performances of music by invited composers.
Here’s why it’s so important for ensembles to make sure they keep living composers apprised of performances of their own works: performances are as much the bread and butter of a composer’s career as the performer who actually brings the new work to life onstage.
“Composing and performing help me discover who I am not only as an artist, but as a human being,” says composer and violinist Cornelius Dufallo, who enjoys a richly varied musical career that encompasses music from the realm of avant-garde improvisation to the most exacting fully-notated scores.
Canadian-born composer/pianist Zosha Di Castri has been chosen as the inaugural participant in “New Voices,” a new creative partnership between the New World Symphony, the San Francisco Symphony, and music publisher Boosey & Hawkes designed to identify and nurture emerging composers from the Americas.