In the wake of global demonstrations and protests against police brutality and racial discrimination, I’d like to use this opportunity to take a broad look at the choral landscape in terms of diversity, confronts questions that existing research present, and shares some resources and recommendations for potential ways to create space in choral music so that it might more accurately reflect the world we live in.
The concept for New Music Gathering was born in an online forum and now, in our time of physical distancing, it has been reimagined for virtual space.
I knew I wanted to hear from artists I believed in, who have been thinking deeply, and for many years, about the role of musicians in enacting social change.
The task of “emerging” artists is to slowly grow into their industry. To create their community, one conversation at a time.
Guidelines for how to pitch to NewMusicBox.
For Our Courageous Workers, a 4-movement, 11-minute long graphic piece I conceived which was composed together with Hajnal Pivnick and Dorian Wallace, was intended to fulfill many purposes. To call attention to the risks that front-line essential workers face, doing the jobs that allow us to live and survive through this virus period, and to celebrate them and their work. To inspire the people of the city, isolated by necessity and decree, and bring them together through music.
Raymond Lustig’s 2018 opera SEMMELWEIS, which is based on the story of 19th-century Hungarian physician who pioneered hand washing and antiseptic procedures, is streaming for free this month online. We asked Lustig to share his thoughts about Semmelweis’s ongoing relevance in our own time.
Thoughts from a brand new orchestra ED during quarantine.
Anthony Davis has been awarded the Pulitzer Prize in Music for his opera The Central Park Five.
David Skidmore, Robert Dillon, Peter Martin, and Sean Connors of Third Coast Percussion explain how they introduce audiences to percussion instruments, how they each came to devote their lives to making music, the dos and don’ts for writing and performing for percussion music, the staggering range of music they have nurtured from an extraordinarily wide range of creators as well as some of their own original compositions, and finally what they are all have been doing to cope during our present unprecedented and uncertain time.
Ideas for treating lockdown as an opportunity rather than an imposition.
I am, once and for all, the eternal beginner. – Gustav Mahler, 1909 I read this sentence over a century after it was written, six months after leaving an abusive relationship and trying to begin my life, in general and as a composer, again. At that time, everything felt new and nigh impossible; going outside,… Read more »
Our own journey with Olly Wilson began in 2014. We were entranced by the music and intrigued by the man, who clearly carried a special spirit. As a “Special COVID-19 Pandemic Release,” 100% of the proceeds from the sale of our recording Olly Wilson: Remixed will be donated to the New Music Solidarity Fund.
Maintain a consistency of creative work and to try not and focus on where it may or may not lead. To compose, practice, and play (albeit on the Web) is an act of defiance.
I parked in the front bus lane and jogged up to the main office, tailing the building service manager, who smiled (I think) from behind his face mask and waved me in. As an instrumental director, I’ve spent plenty of time in my empty school building: quiet mornings before the sunrise for a marching band… Read more »
Nathalie Joachim’s exuberant, forward-looking attitude about music-making and her inspiring comments about how she came to follow her creative path still represent our collective future once we are able to get past the tragedy currently affecting all of our lives.
In the hopes that this can lead us toward a consensus about what might be best practices for how to deal with this extraordinary and unprecedented situation moving forward, we posed a series of seven questions to Alanna Maharajh Stone, Katherine Balch, Andrew Bliss, Fay Victor, Roger Weitz, Kate Nordstrum, and Ashley Bathgate.
Standing in the canyons (sometimes playing my flute), thinking of the people who have lived and who continue to live there, I felt the truth of Willa Cather’s assertion that “it made one feel an obligation to do one’s best.” Two years later, during the second season of the Grand Canyon Music Festival, we headed east out of Grand Canyon National Park, descending down from the Coconino plateau, past the Little Colorado River Gorge, towards the Navajo Nation, on our way to perform for the first time for students in Tuba City.
If you read my “Performing Microtonal Choral Music” articles earlier this year, you may remember that I threatened to post some video of my most recent choral and orchestral piece after its premiere. I am hereby making good on this threat.
Although Viet Cuong’s compositional output began with works for wind ensemble, he has branched out into numerous other mediums including chamber and orchestral music.
The ASCAP Foundation has announced the 20 recipients and 3 honorable mentions of the 2020 Herb Alpert Young Jazz Composer Awards. The recipients, who receive cash awards, range in age from 17 to 28.
Many of us have feelings about what is true, beautiful, or good in music which match the fervor most people hold only for politics or religion. I know I have on occasion felt viscerally offended by “bad” music. Soberly considered, such reactions make no sense. It’s just sound.
Why did you start writing music? Now, what do you hope to accomplish? This year? This decade? By the end of your life? In response to these questions, you might envision your music’s success according to a variety of measures: The awards, press, and publicity it receives. The size of audiences it attracts. The money… Read more »
Are our venues and arts institutions (whether for profit or non-profit) free to do as they please, or do they bear some level of obligation/duty to the communities in which they reside? If art venues and institutions abandon their vital role within the arts scene/ecosystem, leaving the next wave of creative young nest-less, what will that mean for the arts overall in the next twenty years?