Music by Mason Bates, Derek Bermel, Daron Hagen, John Musto will be played in the semifinal round of competition.
The anachronism of the Concertgebouw in its ancient surroundings prompted me to consider that quirk of the relationship between human geography and cultural consumption that causes new music to be played in old places.
Many times it was impossible to find what you were looking for at Patelson’s, but inevitably other things found you. In some ways, my entire aesthetic outlook derives from this way of acquiring things. I eschew seeking things I want, because if I only looked for what I wanted, I’d miss all the stuff I didn’t realize I needed.
The 39 winners of the 2009 ASCAP Foundation Morton Gould Young Composer Awards will share prizes of approximately $45,000 and be recognized at the 10th Annual ASCAP Concert Music Awards at The Times Center in New York on May 21, 2009.
The annual John Donald Robb Composer’s Symposium at the University of New Mexico always includes an intriguingly eclectic array of music reflecting both regional creativity and a cross-section of current national trends.
When I’m writing music for an instrument that isn’t a piano, I don’t want to get seduced into writing piano music.
Marilyn Bergman has announced that she will be stepping down as President and Chairman of the Board of the American Society of Composers, Authors and Publishers (ASCAP); her successor will be elected by the ASCAP Board of Directors during their next meeting later this month.
I’m sure London isn’t unique, but I have to say that the caution I heard so many months ago continues to resonate as I learn more about the maze-like network of social scar tissue that connects the UK’s greatest minds in contemporary music.
As a group, Native Americans who write music churn out work in genres from classical to hip-hop, and those in the classical business write in styles from neo-romantic to electro-acoustic and pretty much everything in between.
Repetition is fundamental to comprehension.
Any fellow or guest of the American Academy in Berlin will quickly realize that there is one dreaded social event with which are going to become pretty well acquainted: the Formal Seated Dinner.
A new piece for solo piano is a piñata I swat at every couple of years without yet tasting the sweet candy of success.
G. Schirmer, Inc./Associated Music Publishers, Inc. has launched SchirmerOnDemand, an online service that allows registered users to view, and in some case print, select perusal scores from the catalogues of nearly 50 composers.
Jerod Impichchaachaaha’ Tate combines traditional musical material from the Chickasaw and other Native American tribes with such old-fashioned formal devices as fugues and sonata form.
Usually revivals happen on significant birth and death anniversaries, and yet William Grant Still (1895-1978) has neither this year.
Thirty-nine writers, performers, and composers have been named as finalists for the 2009 Bush Artist Fellowships (BAF) from a competitive field of 414 applicants. The $50,000 fellowship is the largest artist grant in the Upper Midwest and one of only three open-application artist fellowships of this size in the United States.
Composer Daniel Bernard Roumain has been selected to compose the second work to be commissioned by the Sphinx Commissioning Consortium, an alliance between the Sphinx Organization and nine American orchestras that seeks to build the repertoire of works by Black and Latino composers.
Columbia University has announced the appointment of Melissa Smey as the new director of Miller Theatre, effective immediately.
American Composers Orchestra has announced the winners of its 18th annual Underwood New Music Readings: Ivor Francis, Jesse Jones, Eric Nathan, Wang Jie, and Reiko Yamada.
When the academies of Rome and Berlin pool their resources everyone benefits.
Peermusic Classical has announced the signing of maverick American composer Ingram Marshall to its publishing roster, a list which also includes Charles Ives and Lou Harrison.
Kati Agocs, Gordon Beeferman, Jason Freeman, Kenneth Froelich, Ruby Fulton, Rafael Hernandez, Kristin Kuster, Missy Mazzoli, and Alejandro Rutty have been selected to participate in the next round of Music Alive, a joint program of Meet The Composer and the League of American Orchestras.
To hear such a capable ensemble realize the instructions that I labored over with so much trepidation and be happy with the result? Priceless.
While most composers, performers, and listeners would probably agree that there is a wide and flexible field of possibility available in bringing a piece of music home creatively and with its dignity still intact, they would also be quick to add that there are distinct limits beyond which the native sense and spirit of a musical creation undergoes rapid self-destruction and loses its core identity.
