As my understanding of the Inner Ear grows, I ask if it can be separated from the Mind itself. It’s no longer a radical notion that our individual memories have been externalized in something very like a cloud. And if memories can be external to the person, then could Identity itself, the individual consciousness, also be externalized? How would the perceptual systems function in a disembodied Mind? What would music be to such an entity?
Who owns what rights will depend on the nature of your collaboration and what you negotiate. For transactional partnerships involving pre-existing text, the author/publisher keeps the copyright of the words, but allows the composer to use them in their piece. The composer then owns the copyright for the resulting musical work, but not the copyright for the words. If the author is creating new text for the composer to set, the same generally will be true.
Informed consent is essential for successfully collaborating with writers. However, what each person must be informed about and consent to depends in part on whether the partnership will be transactional or more collaborative.
Introduction I could wax poetic about why composers should set texts by living authors. Some big reasons include texts that stand out amid the sea of well-worn Public Domain poems, topics and style relevant to today’s audiences, more diverse voices and viewpoints, the ability to interact with the author, the possibility of tailor-made texts, and… Read more »
After pondering a list of 10 questions representing the most frequent and pernicious” you should ask yourself to avoid bad trans writing in opera and music theater, we encourage you to “unlearn the lazy shortcuts that use binary genders to bypass genuine characterization.”
Chris Rouse was not only one of the great composers of our time, he was also a great friend and colleague.
There is a “call and response” that exists between revolutionary art and meaningful political outcomes.
Composing in the Wilderness takes composers out into the rugged expanse of Alaska to find inspiration, connect with nature on an intimate level, and bring a new piece of music from idea to performance all within a few weeks.
Before an actor can bring a character to life, someone has to write that character into existence. Who are the trans writers bringing trans stories into the world, and how do they handle trans issues in their work? This article starts to provide an answer.
How can art be a hammer, and not simply representational? One solution is to work in dialogue with actual social movements and create spaces where activists are at the center of the creative and economic processes behind the creation of new work.
The artists interviewed for this article have performed everywhere from Germany to San Francisco, in grand opera houses and black box theaters, in revivals of standard repertoire and world premieres; they are different ages, at different points in their careers; they have different genders, and different ethnicities. Their voices capture a broad cross-section of contemporary trans singing theater communities.
Mario Davidovsky was a passionately involved member of society and the music world. A lot of people have noted his generosity nurturing other artists, his integrity, his vehemently stated opinions, his volubility and notoriously long conversations that would range over world history, science, religion, politics.
How we convert our environment, through the sensory mediums of our ears, tongues, fingers, eyes, and nostrils into reality is as political and contested as net neutrality versus corporate control of the internet.
Music has the ability to touch us deeply, and music used in the service of storytelling can transport us into different places and times, even allowing us to assume the perspectives of people very different than we are. I believe that this is where the potential power of the art form lies. I also believe that embracing this power is what will allow the form to remain vibrant and relevant well into the future.
In all the stories I’ve experienced across all forms of media featuring trans characters written by cis creators, only a handful haven’t been deeply misguided at best, and that number keeps shrinking because the creators who get it right keep coming out as trans. Operas and musicals are no different.
Artivism and Decolonization: A brief Theory, History and Practice of Cultural Production as Political Activism
We do not claim that our definitions of artivism are monopolistic. There are probably as many ways to define artivism as there are to define music, performance art, jazz, or growing your own food. We share our experiences after years of an activist-infused practice, such as performances at the U.S.- Mexican border outside of migrant detention centers, at an environmental conference in Northern Iraq, and at the founding of an Ecosocialist International in Venezuela. We feel the Artivist must go beyond critiquing the moment in which they were born.
Musicians are uniquely positioned to convey the following simple message that we should all, as artists, understand: no matter who you are, where you are from, how much money you have, or what language you speak, you have inherent worth.
Paul Elwood explores a fundamental question: If it’s not passion in the 50+ age category (and, in his mind, that’s debatable) what is it that keeps us going in our work—especially if, like him and countless others, huge success hasn’t come knocking?
When your life falls apart, you learn to build a new one. Likewise, when your vision collapses, you learn to see things through a different lens. Josh Armenta has used these experiences to transform how he works and to embrace citizen-artistry with a new found defiant zeal.
The need for a plurality of voices within our field has become dire. If we do not begin to represent our communities and the world around us, our institutions cannot continue to evolve. As organizations across the nation attempt to deal with this issue, many continue to face roadblocks, despite incremental efforts. How do we break the cycle and move the culture of classical music into the 21st century?
After struggling with depression and anxiety, Josh Armenta tried adjusting his lifestyle and even moved to a new city, hoping that the changes would help alleviate these problems and allow him to better focus on his composition. Eventually he took the step to try medication, however, and for the first time in years could see that things would be okay.
There was perhaps no more important a “yes” in my career than when I accepted Frank J. Oteri’s offer to come and work on this crazy thing called NewMusicBox 18 years ago. It has been a beautiful adventure.
It is essential for any composer who wants to write opera to have an extensive background as a dramatist, wordsmith, orchestrator, and musician. But currently, this expectation is also impractical, unreasonable and highly exclusionary. In order to cultivate a diverse generation of talent, we must find a way to overcome the existing limitations of accessibility to sufficient training.
How are albums adapting and changing in the digital world? James Moore is looking for clues as to where the art form might be headed.