NewMusicBox

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

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Articles
Bridget Carson

Writing Music for Developing Instrumentalists and Singers

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.

Articles
Aleah Fitzwater

Zoom Tips for Private Music Instructors

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.

Articles
Lisa Neher

Online Score Sales for Self-Published Composers

How can you get your music in front of the right musicians in a format that makes it easy for them to purchase, download, and start practicing your pieces right away?

Two people photographed from the back walking on the left and right rails of traintracks in the country.
Articles
Jessica Rudman

Sealing the Deal: Signing the Contract and Completing the Collaboration

Assuming you are setting a completed text in a transactional partnership, you’re now ready to write up your contract, get it signed, and start composing.

Four old fashioned metal keys.
Articles
Jessica Rudman

What You Get and What You Give: Permission and Compensation for Setting a Text

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.

Articles
Jessica Rudman

Transactional and Collaborative Approaches to Working with Authors

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.

Pile of poetry books
Articles
Jessica Rudman

A Primer on Collaborating with Authors

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 »

Gong personality pic
Articles
Olivia Kieffer

Playing the Brake Drum: A very short guide to percussion parts for composers who write for band

I have performed in the percussion section of bands, on and off, since the seventh grade. Over a span of 25+ years, this includes performing in a wide variety of groups, from junior high to high school, intermediate and advanced college bands, and community bands. I have seen the worst of the worst in percussion parts, and also some of the best. I hope to provide some very practical writing advice for those looking to write for band, as well as for those who may want to fix their major sins and/or minor transgressions ex post facto.

Collaboration
Articles
Danielle Eva Schwob

Structure and Freedom in Collaboration (A.k.a. The Incomplete Non-Idiot’s Guide to Workshopping with Musicians)

A.k.a. the incomplete non-idiot’s guide to workshopping with musicians

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.

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!

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.

Articles
Dominick DiOrio

Writing for “The Chorus”: Text, Dynamics, and Other Occupational Hazards

In order to guide us all toward a more perfect harmony in writing for the chorus, and because writing for the chorus is often neglected in the training of composers at academic institutions, I have put together a compilation of some of the most prevalent pitfalls that I have seen over and over again—even by some of today’s most reputable composers.

toy piano preparation
Articles
Alan Shockley

Beyond the 88: Playing Around Inside the Toy Piano

The toy piano is a different beast from a modern grand—and in a way that’s what makes it a great instrument for exploring piano preparations. Toy pianos are a lot cheaper, after all, and a lot easier to repair or replace if you damage one. But that aside, this diminutive instrument also offers a great timbral world all its own to experiment with.

More extended piano techniques
Articles
Alan Shockley

Beyond the 88: A No-Fear Guide to On-the-String Piano Techniques

Harmonics? Muting? Glissandi and Pizz?! Alan Shockley continues his video series on prepared piano playing with an introduction to a handful of techniques on the strings that will provide many new timbres to explore.

Golf tee piano preparation
Articles
Alan Shockley

Beyond the 88: More no-fear piano preparations

Alan Shockley dives in deeper with detailed video demos of even more piano preparations that will allow you to continue to explore without fear!

Prepared piano
Articles
Alan Shockley

Beyond the 88: A No-Fear Beginner's Guide to Preparing the Piano

Lots of pianists and composers are a bit intimidated by the idea of reaching inside the piano, or of inserting foreign objects into the instrument. For those who would like to do some exploring but are feeling apprehensive, Alan Shockley is here to walk you through a few simple preparations and give you the confidence to get started.