The End of the World? We’ll Compose It.
I’m not a political analyst or a climatologist; I don’t hold a doctorate, just a master’s degree in Music Composition. Far be it from me, then, to forecast what the next ten years will hold. But as I consider the best and worst possible outcomes for our trajectory and the role music might play, anxiety clouds my vision.
20 Predictions for the Music Business in 10 Years
The ideas below came to me in a dream. Some of them seem a little unusual—I should probably apologize for that. I had a couple glasses of a very fine Barolo from the Monforte region of northern Italy before falling asleep, so maybe that played a factor.
Music For Tomorrow’s World
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.
Out of the Box: In Defense of Analog Criticism
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.
Genres Won't Go Away But They Won't Be The Same
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?
Out of the Box: Plus C’est La Même Chose
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.
