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Tanya Tagaq in performance
Articles
Fabienne Krause

Opening Concepts—The Themes That Shape Each Year’s Edition of Classical:NEXT

After raising my glass to the visitors at the welcome reception, I’ll already be looking forward to the first sounds of our opening concert. You can sense the hunger of the hundreds of art music people, and it’s a clear reminder that there remains no substitute for people meeting each other in person.

Northern Ohio Youth Orchestra
Articles
Colin Holter

A Newly Endowed Residency Program for Underrepresented Composers

Why are the seventy northeastern Ohio high-schoolers in this room so psyched to be playing music nobody’s ever played before? The short answer: because of Arlene and Larry Dunn, whose most recent gift to NOYO has endowed its composer-in-residence program.

Danielle Ferrari on teamwor
Articles
Danielle Ferrari

Teamwork in the Conservatory: In the Game of Music, We Can All Win

Creative artists come from different backgrounds with varying life experiences that contribute to our own unique skill sets. Rather than competing against each other, we can utilize our individual knowledge to work together and create immensely beautiful things. Life’s much more fun when you work with others!

Articles
Spencer Arias

What kind of music do you write?

What kind of music do you write? Composers get this question all the time, and the answer can often be quite complicated. However, the language that they ultimately use to describe their work is incredibly interesting and should not be ignored.

Chineke! Orchestra opens Classical:NEXT 2017
Articles
Jennifer Dautermann

Seeking to Facilitate the “New Normal”

I’m sitting on a train en route to the Czech Republic just after treading numerous, long-haul carbon footprints on musical discovery trips between my Berlin home and Miami, New York City, Cape Town, and Johannesburg. Not unusual in my life since starting work on Classical:NEXT, an annual international art music professionals’ gathering, and these travels reinforce for me the importance of cross-cultural pollination.

Articles
NewMusicBox Staff

2019 ASCAP Foundation Morton Gould Awards Announced

ASCAP Foundation President Paul Williams today announced the recipients of the 2019 ASCAP Foundation Morton Gould Young Composer Awards.

Danielle Ferrari in the studio
Articles
Danielle Ferrari

I Came Here With Nothing: 21st-Century Paths in Music Education

Danielle Ferrari was a very lost graphic design major when she was accepted into the San Francisco Conservatory of Music’s groundbreaking Technology and Applied Composition program. But she found an educational gold mine that allowed her to learn everything she needed and more to be happy as a music creator.

Interviews
Frank J. Oteri

Hannibal Lokumbe: Always Go With the Feeling

Our recent talk with composer-trumpeter-raconteur-poet-community activist-force of nature Hannibal Lokumbe was a 45-minute roller coaster ride that was part testimonial, part reminiscence, part philosophical manifesto, and part performance art, but all pure emotion. Many questions were left unanswered and others just led to other questions for us, some of which we probably will never be able to answer.

Articles
Stan Tymorek

In A Novel About New Music, Do Re Mi Meets DNA

Not only do many composers of new music have trouble finding an audience for their music, they–unlike writers and detectives–are rarely portrayed in novels. One notable exception is the 2014 novel Orfeo by Richard Powers, whose protagonist is a contemporary composer who inadvertently demonstrates how avant-garde music can reach “hundreds of thousands of listeners.”

Articles
Chrysanthe Tan

Pro-Tips and Scripts: Autistic Accessibility in Music

People who want to attend artistic events exist in *all* kinds of bodies and have all kinds of needs. Wrapping up her four-part Introductory Course to Improving Autistic Accessibility in Music, Chrysanthe Tan shares pro-tips, concrete ways to take positive action, and sample scripts for a variety of music-related scenarios.

Paul Pinto, Dave Ruder, Aliza Simons, Gelsey Bell, Brian McCorkle, Amirtha Kidambi 
Robert Ashley Improvement (Don Leaves Linda)
Articles
Rebecca Lentjes

“This event is probably not unique”: On communication and metaphor in Robert Ashley’s Improvement

Rebecca Lentjes explores communication and metaphor in Robert Ashley’s opera “Improvement (Don Leaves Linda)” and how the work arrives at big ideas through a focus on particular microcosms of American life.

Articles
Chrysanthe Tan

Q&A: Autistic Accessibility in Music

This week, Chrysanthe Tan opens up her “Autistic Accessibility in Music” series of columns to address reader-submitted questions, covering topics like sensory-friendly rooms, classroom techniques, wheelchair accessibility, stimming, and more!

The Mill & Mine
Articles
Molly Sheridan

Quick Cuts for Big Ears

With only a week to go until the kickoff of the 2019 edition of the Big Ears Festival in Knoxville, TN (March 21-24), we’ve been digging through the NewMusicBox archives and revisiting the amazing conversations we’ve had with some of this year’s featured artists to get ready for what’s ahead.

Articles
NewMusicBox Staff

18 Composers Receive 2019 ASCAP Foundation Herb Alpert Young Jazz Composer Awards

The ASCAP Foundation has announced the 18 recipients and 4 honorable mentions of the 2019 Herb Alpert Young Jazz Composer Awards. The recipients, who receive cash awards, range in age from 11 to 29 and hail from five continents.

Articles
Chrysanthe Tan

Master Guide to Improving Autistic Accessibility in Music

An organized, actionable reference guide to help you enact a permanent framework for autistic accessibility in your musical efforts.

Tony Manfredonia
Articles
Adam Schumaker

Artist Financial Profile: Tony Manfredonia, Game Music and Orchestral Composer

There is no one way to make a living in music. But knowledge is power, so Adam Schumaker has recruited some amazing musicians who have generously agreed to openly discuss their finances and how they make it all work.

Ambisonic cube, an 8-channel loudspeaker system that creates the effect of 360-degree sound.
Articles
Alexander Rothe

At the Intersection of Digital Audible Histories and Experimental Music Practice

Seth Cluett takes NewMusicBox readers on a tour of his fascinating “Sounding Circuits: Audible Histories” exhibition now on display at the New York Public Library for the Performing Arts. It features rare objects, artifacts, and recordings from the early history of electronic music, plus an 8-channel Ambisonic Cube as its centerpiece.

Articles
Chrysanthe Tan

An Open Letter From Your Autistic Colleague

Musicians, arts administrators, colleagues: It’s time we talk about autism.

Bright Sheng sitting in front of his grand piano
Interviews
Frank J. Oteri

Bright Sheng: My Father’s Letter and Bernstein’s Question

Bright Sheng is concerned about directly moving audiences in whatever format or style he is working in and is passionate about sharing what led him to his aesthetic positions.

Mixing desk
Articles
Kelly Hiser

The Voice in the Machine

Our inclination to hear the human in the machine is far from new. Technology is as old as humanity. Perhaps we have always seen—and heard—ourselves in our tools.

NOTUS, 2015-2016, on stage
Articles
Dominick DiOrio

‘Singers and Musicians’ Part 2: On Conductors, Identity, and Musical Segregation

Every identity comes with inherent biases, assumptions, and privileges to varying degrees. A helpful exercise is to take an identity and think of the immediate mental image that comes to mind when you invoke it. Let’s take “conductor.” Picture a conductor in your mind. What does this person look like? What are they doing? What are they wearing? Who is in the frame with them?

Hammond Brochure c. 1937 in Federal Trade Commission v. Hammond Clock Company, Respondent's Exhibits housed in the Hammond Organ Company records
Articles
Kelly Hiser

"Hearing" the Hammond Organ

The Hammond Organ became an immediate success when it hit the market in April 1935 and had a major impact on the soundscape of both popular and religious musical life in the U.S. However, advertising that pitted the instrument against pipe organs stoked outrage among a small but well-organized community of pipe organ performers, designers, and manufacturers. A remarkable legal battle ensued…

Florence Price and Daughter Florence Robinson at Summer Home, ca. 1950.
Articles
Douglas Shadle

Plus Ça Change: Florence B. Price in the #BlackLivesMatter Era

Is the sudden widespread interest in Florence B.Price’s music a convenient fad or does it signal the potential for deeper structural changes over the long term?

Dominick at the exhibit hall in Minneapolis in 2017 with conductor Maria Ellis.
Articles
Dominick DiOrio

On Networking: A National Conference Preview

For five days, choral leaders will meet in one place and be inspired by performances, attend interest sessions presented by teachers they admire, and forge new connections that—for the composers present—often lead to new commissioning projects and second and third performances of just-written works.

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 Andrew Cuomo 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 Andrew Cuomo 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.