It’s crucial that the perspective of Native America be witnessed through the work of artistic practices.
The ASCAP Foundation has announced the 21 recipients and 17 honorable mentions of the 2021 ASCAP Foundation Morton Gould Young Composer Awards, which encourage talented young creators of concert music ranging in age from 13 to 30.
[Ed. Note: Beginning on April 30 and continuing on consecutive Fridays until the next round of concerts of M³ (Mutual Mentorship for Musicians) taking place on June 12 and 13, 2021 under the auspices of the National Jazz Museum (and which have received funding from New Music USA), NewMusicBox is publishing excerpts from each of… Read more »
Violinists and yoga instructors Melissa White & Elena Urioste discuss the impact of abusive or unsupportive teachers and methodologies in conservatory life that strip power from students instead of inspiring self-care and compassion.
In our 2nd installment from the anthology of writings by the members of M³, Erica Lindsay states that the goal of sonic creation is to “express what is beyond your own understanding” and Sara Serpa decries the difficulties of balancing an artistic career with parenthood.
For the past 20 years, Ricky Ian Gordon has been creating works for the stage—operas, musicals, or one-of a-kind music/theater hybrids—and getting them produced one after another, seemingly without a pause. But 14 months ago, everything came to a screeching halt as the world went into lockdown due to the pandemic.
To celebrate today’s publication of The Art of Being True, an anthology of writings by the members of M³, and in anticipation of their upcoming concerts on June 12 and 13, we will be publishing excerpts from each of the 12 participants’ contributions, 2 per week, every Friday between now and June 12.
There are stark differences between imaginative impulses and anxious physiological signals.
While people who looked and sounded like us were being taken from their homes, we presented a song cycle underscoring how human and relatable immigrants actually were.
Conductor and composer Daniela Candillari reflects on her personal experience with performance anxiety, how emotion shapes our perception of time, and why her memories of living through the wars in the former Yugoslavia have returned to her during the pandemic.
This three-decade-old episode of an attempt to diversify the world of contemporary composition––amidst a landscape of increasing arts austerity, loud Congressional battles over avant-garde art, and public backlash from prominent composers––has much to offer today’s attempts at fostering inclusion.
The only thing that is almost as exciting as watching and listening to a multimedia performance by Pamela Z is to hear her talk about it.
New Music USA has submitted six works for consideration in the call for scores for the 2021 International Society for Contemporary Music (ISCM) World New Music Days which, pandemic willing, is scheduled to take place in Shanghai and Nanning from September 17-25, 2021. Each of these six works is by a composer who was chosen to participate in New Music USA’s Amplifying Voices program.
Pianist and Music Educator Cindy Lam shares her experience of PTSD, the stigma surrounding mental health challenges within Asian-American circles, and reflects on the escalating hate crimes against the AAPI communities.
On April 4, 2020, I was diagnosed with COVID-19. I began exhibiting symptoms on March 26, and started my self-isolation at home before moving elsewhere, to maintain the health of my husband and son after they tested negative. Composers are generally quite comfortable with self isolation, even to the point of seeking it out, and so I decided to take the Romantic view: I had just been granted an unexpected artist residency!
Composer Sarah Kirkland Snider shares her experience with Generalized Anxiety Disorder and Major Depressive Disorder and how they impact her creative process.
Inspired by similar crowd-sourced spreadsheets for dancers, baristas, museum workers, and adjunct professors, we created the Real Music Wages Database to help freelance music workers navigate what can be a very confusing financial landscape and give us tools to negotiate wages for ourselves, particularly in situations when we don’t have a union or an agent working on our behalf.
Judith Lang Zaimont is defiantly unwilling to be typecast for creating music in a particular style, which makes her music always a welcome surprise.
Julia Adolphe shares why she started this project, and how her composition professor, Steven Stucky, created a safe space for her to talk during lessons.
[Switch~ Ensemble] led a Community Survey about the habits, preferences, and interests of concert-goers for livestreams. We are pleased to provide a summary of the responses, as well as recommendations based on our analysis of the data.
In the midst of the pandemic, national protests against systemic racism, increasing threats of domestic terrorism, and going stir crazy in my living room, I started the podcast at first simply as a creative and emotional outlet. I yearned to connect with friends and colleagues about the collective toll this period has taken on our mental health and creativity, and to remain active and present within our community while so many of us are forced to wait, or worse, are struggling to survive or function.
How much should composers get paid for commissions? As composers ourselves, we recently set out to find the answer. We were motivated not only by our curiosity, but also by our desire to know what is fair and equitable.
Kris Bowers creates music that is attuned to whatever project he is working on–whether it’s the score for the 2018 motion picture Green Book, the 2019 EA Sports videogame Madden NFL 20, the 2020 Phyllis Schlafly-inspired Hulu series Mrs. America, or the 2021 Netflix sensation Bridgerton.
If we want the art we make to heal our community’s loneliness and pain and bring us back together again, then it has to be about more than creating a pristine product to be consumed.