NewMusicBox

Your home for the diverse and timely stories, news, opinions, and voices of new music creators and practitioners across the United States.

All
Articles
NewMusicBox Staff

American Music's "Elder Statespeople" Comment on the Future of Music

Henry Brant “…Genuine indigenous music worldwide is disappearing…” Marian McPartland “…I can’t think of playing music and not including something by Dizzy Gillespie or Thelonious Monk or Wayne Shorter…” George Perle “…I have been offered 100 words to reply to the question, “What is the future of music?” but I need only three…” George Rochberg… Read more »

Articles
NewMusicBox Staff

Self-Published Composers Explain What They Do and Why Theodore Wiprud

Theodore Wiprud photo courtesy of Allemar Music Self-publishing used to be a default position for me: no corporate publisher had brought out my music so I was the one copying scores and parts. Later I made a conscious decision to take my career into my own hands, to claim full responsibility for finding performers and… Read more »

Articles
NewMusicBox Staff

Self-Published Composers Explain What They Do and Why Andrew Rudin

Andrew Rudin photo courtesy of Skåne Hill Music Somewhere in a warehouse in the Midwest, hundreds of copies of a work I wrote for flute & piano lie sequestered by a major American music publisher. After contracting to publish the work, three years elapsed before engraving was accomplished and 1st proofs offered. Another year and… Read more »

Articles
NewMusicBox Staff

Self-Published Composers Explain What They Do and Why Amy Rubin

Amy Rubin photo courtesy of Musicians Accord Self-publishing has permitted me to circulate my music to a wide variety of performers throughout the United States and Europe. I send perusal scores as quickly as possible to ensembles and soloists who express general interest in my work, and in addition I answer “calls for scores” listed… Read more »

Articles
NewMusicBox Staff

Self-Published Composers Explain What They Do and Why Terry Riley

Terry Riley photo courtesy New Albion Records For many years my written music was being handled for me by a publisher which was somewhat unfamiliar with what is needed to send out scores and parts to orchestras and other chamber groups. I supplied them with masters that were for the most part printed out from… Read more »

Articles
NewMusicBox Staff

Self-Published Composers Explain What They Do and Why Donald Martino

Donald Martino photo by Lourdes Awad, courtesy of Dantalian, Inc. If not the first, I am certainly very nearly the first composer to establish by himself, for himself, and without banding together with other composers, a fully commercial publishing house which produces engraved or autographed editions in quantity by offset printing. It was the emerging… Read more »

Articles
NewMusicBox Staff

Self-Published Composers Explain What They Do and Why Jennifer Higdon

Jennifer Higdon photo by Patented Photos I basically do everything that an established publishing house does: I take orders from customers, print scores and parts, do the binding, mail the music, do the billing, report performances to ASCAP, and negotiate contracts for commissions. The duplication of music is not that difficult – any copy place… Read more »

Articles
NewMusicBox Staff

Self-Published Composers Explain What They Do and Why Randall Davidson

Randall Davidson photo courtesy of Boys Art Music Self-publishing contemporary music is not at the glamorous end of the tide-pool. As a result, very little of my time is spent addressing the ocean of conductor/producers in the world who “might” use my music. I’m more aware of what’s close at hand, of the subtle currents… Read more »

Articles
John Robinson

Fit To Print: A "Hyperhistory" of the Current State of American Music Publishing

John Robinson Photo by Melissa Richard The English verb “to publish” is derived from the Latin verb publicare, meaning “to make available.” Most people think that music publishing is similar to book publishing, and many aspects are parallel. Selection: Publishers of both books and music employ editors who sift through countless submissions by aspiring writers… Read more »

Articles
NewMusicBox Staff

Soundtracks: February 2000

While discs continue to appear on our desks that were recorded and released in 1999, the first batch of recordings with a triple-zero date have begun to surface. This is indeed an exciting time because all new music is old and contrapositively all old music is new! Plenty of new music is featuring on a… Read more »

Articles
Frank J. Oteri

The Current State of Music Publishing in America

Frank J. Oteri Photo by Melissa Richard The media has hyped the recent revolutions that computers have wrought as the most significant event in the history of publishing since Gutenberg invented the printing press half a millennium ago. But what impact will all of this have on the publishing of musical scores by American composers?… Read more »

Articles
NewMusicBox Staff

Self-Published Composers Explain What They Do and Why

Randall Davidson, Composer and Publisher of Boys Art Music “Self-publishing contemporary music is not at the glamorous end of the tide-pool…” Jennifer Higdon, Composer “…it seemed absurd to me to have to give up the copyright to my own creative work…” Donald Martino, Composer and Publisher of Dantalian, Inc. “…To obsessive types like myself it… Read more »

Articles
Frank J. Oteri

How do you listen to music most of the time?

I am an incurable record collector. For me, the ability to hear something whenever I want it is more alluring than most live concert experiences. And there are so musicians I want to hear whom I would never be able to hear any other way than on a recording, due to both geographic and chronological… Read more »

Articles
NewMusicBox Staff

How does the venue and the audience affect the music you play? Fred Hersch

Fred Hersch Photo by Hollister Dru Breslin When I play solo, I prefer a concert hall (non sound system!). Since I don’t have other musicians to interact with (and since my programs are largely improvised), the three things that affect my performance the most are (in order of importance): the piano itself (the tone of… Read more »

Articles
NewMusicBox Staff

How does the venue and the audience affect the music you play? Mary LaRose

Mary LaRose Photo by Ron Schwerin Of course, I am affected by my listeners, but the band always depends on each other first for being it’s own audience, and then from there it goes out to involve. Different venues create unique situations in music. Performing in the studio is unnatural since music is meant to… Read more »

Articles
NewMusicBox Staff

How does the venue and the audience affect the music you play? Oliver Lake

Oliver Lake Photo by Chris Drukker It’s very difficult to describe the effect that different venues have on my performances. Certain audiences have different energies. Often the audience becomes a part of the performance and that can affect the performance in different ways. The more intimate, the better. I primarily play for myself and hope… Read more »

Articles
NewMusicBox Staff

How does the venue and the audience affect the music you play? Nick Didkovsky

Nick Didkovsky Photo by Pamela Farland The venues I perform in do not affect the set list I put together for my band, Doctor Nerve. I usually do that on the train on the way to the venue. If we make last minute changes, it’s usually due to a management request like, “We’d prefer two… Read more »

Articles
NewMusicBox Staff

How does the venue and the audience affect the music you play? Kitty Brazelton

Kitty Brazelton Photo by Judy Schiller Performance is dialogue. So every performance must be different. I may start with the same message but I don’t say it the same – to different people or in different environments. And I expect the same skill in flexibility from my musicians. “Listen” to the room, its shape, its… Read more »

Articles
Lara Pellegrinelli

America's Most Fascinating Jazz Clubs

Lara Pellegrinelli Photo by Melissa Richard One minute, you’re just sitting around in some dark, dank, tiny, crowded, smoke-filled basement room with a drink in your hand; the next, you’re intently focused, completely absorbed, magically transported into the light of improvisation. That, in a nutshell, is the power of jazz, a power which moves listeners… Read more »

Articles
NewMusicBox Staff

Soundtracks: January 2000

For our first compendium of new American music CDs of the millennium, of course, we’re continuing to feature discs that were recorded in the last millennium! But in the coming months we will soon find out that like so many other terms that need to be re-examined, the appellation “20th century music” no longer suffices… Read more »

Articles
Frank J. Oteri

Does The Place Make The Space? Clubs, Recordings and Audiences and Their Impact on Jazz

Frank J. Oteri Photo by Melissa Richard On special occasions I take people on tours of historic bars in New York City. The rule is that we won’t go into a place unless it was open before Prohibition and remained open during Prohibition and ever since. In one evening, we are usually able to stop… Read more »

Articles
NewMusicBox Staff

How does the venue and the audience affect the music you play?

Kitty Brazelton Composer/Vocalist “…I may start with the same message but I don’t say it the same – to different people or in different environments…” Nick Didkovsky Composer/Guitarist “…It’s best when the audience is working as hard as we are to make the event happen…” Oliver Lake Composer/Saxophonist “…The main thing is that I play… Read more »

Articles
Ken Smith

"Some People Think He's God": Ken Smith Remembers Paul Bowles

Although he was a success as both composer and author, as a recluse Paul Bowles was a total failure. After fleeing New York for Morocco in 1947, he and his wife Jane continued to entertain a seemingly endless parade of visitors in his adopted country. Even in the 1990s, after Betolucci’s film of The Sheltering… Read more »

Articles
NewMusicBox Staff

How did your education shape your attitudes about music? Joshua Cody, Composer and Director of the Sospeso Ensemble

Joshua Cody Photo courtesy Sospeso Ensemble I studied with several very gifted composers at Northwestern University, where I was also able to study some literature and philosophy. I’ll always feel uneducated-learning is an ongoing process. Of course the deeper one’s knowledge of the repertory and of the history of music, the more opportunity for depth… Read more »