Because composers’ processes are diverse and often opaque, potential commissioners sometimes don’t know how to value what we do. This lack of understanding can result in a reluctance to discuss compensation and often justifies gross demands on our time and abilities.
BMI (Broadcast Music, Inc.), in collaboration with the BMI Foundation (BMIF) has announced the seven winners and three honorable mentions in the 70th Annual BMI Student Composer Awards during the first in-person ceremony for these awards in three years.
Raven Chacon has been awarded the 2022 Pulitzer Prize in Music for Voiceless Mass. The annually awarded $15,000 prize is for a distinguished musical composition by an American that has had its first performance or recording in the United States during the previous year. The work, which premiered on November 21, 2021 in Milwaukee, Wisconsin,… Read more »
I engage the future not as something that comes later on, that replaces a complete and whole present, but rather that the future is a method of thinking that shows something that is already here.
Austin’s economic and social reality is complex and our art communities are forever adapting to the challenges and opportunities presented by these realities.
The prevailing narrative is that social media and digital streaming services have taken over the space that critics once inhabited. But I would like to present a more optimistic concept of the future, which we could build by reframing music criticism’s cultural value.
Having worked as a composer, producer, songwriter, and artist throughout the Film/TV, contemporary, video game and commercial music worlds, I have learned that a good creative creates, a great creative finishes. Here are several fundamentals I’ve come to lean on that help me in navigating through music industry deadlines, multiple project balancing, and multi-tasking generally.
There are many people to celebrate among the recipients of the 64th Annual Grammy Awards, and since several that we care about deeply were excluded from the TV show and, as a result, you might have missed them, we’re shining some light on them here.
As Western orchestras, choirs, chamber groups and soloists scramble to find music by Ukrainian composers, and record renditions of the Ukrainian anthem, what is happening to the musicians who must live through this nightmare firsthand?
Let’s do a quick exercise: listen to a sound, any sound (a baby crying, a phone ringing), and ask yourself: can I hum it? Trace the movement of the sound with your hand in the air and observe: is it rising and falling in a pattern? The answers to these questions point toward the equipment needed to recreate them.
No artist in Baltimore lives here because they’re making a lot of money or getting a lot of commissions or opportunities. These music creators live here because they’re inspired every day. This place is fertile ground for truly original artmaking.
When I think about music 10 years into the future, the one thing that jumps out in my mind most is the perennial question of genre: How we define it and how it’ll change. Will there be any genres in 10 years? What will post-genre and cross-genre and everything in-between look like? Which new genres will emerge and take over the musical landscape?
Contemporary music is still desperately needed in the teaching repertoire for most orchestral instruments. But I have found that EVERY style can be student friendly if it is tested and presented in a way as to welcome the learner into its universe and not alienate them.
Can we foment a culture in which composers’ utterances are deemed valuable solely on the basis of having been uttered, regardless of hegemonic notions of musical quality?
Music is indelibly linked to space and place. It has only been until very recently that the idea of space and place has been limited to the tangible. That shift away from liveness (something that I believe was on its way) is a huge step in the future of new music.
Different Cities Different Voices is a new series from NewMusicBox that explores music communities across the US through the voices of local creators and innovators. Discover what is unique about each city’s new music scene through a set of personal essays written by people living and creating there, and hear music from local artists selected… Read more »
Guidelines for how to pitch to NewMusicBox.
Developing instrumentalists and singers need technically and financially accessible works from living composers. Here is a mix of practical and philosophical ideas for how you can help.
Different Cities Different Voices is a new bi-monthly series from NewMusicBox that explores music communities across the US through the voices of local creators and innovators. Discover what is unique about each city’s new music scene through a set of personal essays written by people living and creating there, and hear music from local artists… Read more »
Concert cancellations are likely to commence in the coming weeks and we should be concerned for the musicians and the small choral art organizations who support them.
Unfortunately, many of us are back to feeling unsafe when it comes to in-person learning, due to the increase in the Delta variant. Here are some tips for private music teachers who are transitioning back to Zoom learning.
As I comb the internet for pieces to use in the introductory orchestration course I will teach for the second time this fall, I am reminded of a familiar frustration: it is easy to find scores by white men, and much harder to find scores by anyone else.
A visual that inspires the composer or improviser is sure to also inspire audiences to a fuller and more moving experience. The Kentler International Drawing Center is driving this connection home with its now-touring exhibition Music as Image and Metaphor.
I never thought I would feel so grateful for the small sounds of people coexisting with me, yet there I was, bobbing my head along, feeling pure contentment and gratitude for sharing this space with all of these strangers.