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Articles
Trevor Hunter

Hot Heart Cool Mind: The Music of Ned McGowan

A move to Amsterdam precipitated a burst of activity from Ned McGowan, turning him into a musical polymath whose diversity of interests is perhaps his greatest asset.

Articles
Molly Sheridan

The Friday Informer: This Is The End

Build it up and burn it down.

Articles
Carl Stone

Wave Theory

It sometimes seems hard to use old ways to express new ideas; is it any easier finding new ways to express old ideas ?

Articles
Colin Holter

Tripping Down the Spiral Staircase of Reason

Rather than be pleased that I’ve executed a creative vision quickly and confidently, I’m terrified that I’m clinging to some fluent but shallow compositional facility that my last few pieces have taught me.

Articles
Lisa Hirsch

Lend Me a Pick Ax: The Slow Dismantling of the Compositional Gender Divide

Women have made tremendous strides toward parity with their male colleagues in the field of composition, but we’re not all the way home just yet.

Articles
Yotam Haber

Tick Tock Goes the Clock

When a group of artists works in close quarters, we are conscious of each other’s progress, of each other’s writer’s blocks, and our own productivity becomes effected whether we like it or not.

Articles
Frank J. Oteri

Tabula Plena

As a senior in high school, I wrote a three-movement piano concerto in only nine days; nowadays I consider it a good year if I complete a piece of music. The more music I come to know, the harder I find it to compose.

Articles
Molly Sheridan

The Friday Informer: What He Wants, He Gets

The windy city seduces Muti after teasing his hair.

Articles
Carl Stone

Caws for Alarm

I’ve always felt it was interesting that the vast majority of sounds in the Tokyo urban soundscape are all intentionally introduced, not just byproducts of some other activities.

Articles
Colin Holter

Dangerous Liaisons

If I have invested time and effort learning how to write according to a particular set of prescriptions, I will take some convincing that those prescriptions are not necessary and desirable; to admit that the rules are both arbitrary and pointless is to devalue my own accomplishment in mastering them.

Articles
Alan Fletcher

Who Cares If You Don't Listen?

Adventurous new music reaches wide audiences and they applaud it, so this is a good time to sort out rhetorical falsehoods from rhetorical flourishes in the great debate over new music.

Articles
Frank J. Oteri

The Best Edited Art Work

Last night I think I might have seen the best edited art work, a work in which a part was literally greater than the whole.

Articles
Yotam Haber

What Did You Just Call Me?

Does an abstract piece of art or music substantially gain power
from its name?

Articles
Molly Sheridan

The Friday Informer: Come As You Are

Did I mention the naked dancing girls?

Articles
Carl Stone

Never Trust Any Column Over Thirty

A new version of a familiar piece of creativity software like Max/MSP 5 is the perfect vehicle for productive fooling around: plenty of comfort with the fundamentals, but lots of additions and reworked features that keep me poking, prodding, exploring, experimenting and creating.

Articles
NewMusicBox Staff

See Me, Hear Me: A/V Circa 2008

See Me, Hear Me: A/V Circa 2008
NewMusicBox celebrates its 9th anniversary with a bi-coastal exploration of audio/visual work, featuring talks with Scott Arford, Betsey Biggs, R. Luke DuBois, and the duo LoVid (Tali Hinkis and Kyle Lapidus).

Articles
Colin Holter

I'll Quote You On That

Listen to something else—I don’t care.

Articles
Molly Sheridan

One for the Money, Two for the Show: Gerd Leonhard and Music 2.0

The future is here, as they say, and boy is it messy. If you are a creator of content, your economic model for making a living probably feels a little twisted around at the moment. In Music 2.0, Gerd Leonhard proposes a way out of policing copies and a way into enjoying “music like water”.

Articles
Frank J. Oteri

A Fashionable Chatter

I’ve heard it said negatively that the majority of people who attend new music concerts are either composers, performers, or people somehow involved with it professionally. But indeed what if that is not a bad thing?

Articles
Yotam Haber

A Notational Puzzle

While I love Sciarrino’s 6 Capricci for its quiet bravura and powerful, concise musicality, I find its notation a sometimes-exasperating exercise in code breaking.

Articles
Frank J. Oteri

Henry Brant (1913-2008)

American composer Henry Brant, known for his pioneering development of spatial music, died in his home in Santa Barbara, California, on Saturday April 26, 2008 with his wife and children at his bedside. He was 94.

Articles
Molly Sheridan

The Friday Informer: We Can't Go Back, We've Come Too Far

Oh, Mr. Holland, you’ve outdone yourself!

Articles
Carl Stone

There's Gold in Them Hills

The confluence of four major holidays over the course of seven days at the end of April/beginning of May leads many people in Japan to take the whole ten days off, the so-called Golden Week.

Articles
Colin Holter

The Music Theorist's Immunity Challenge

Imagine, for a moment, how rich and fascinating the theory world would be if even half of the Beethoven scholars in the country suddenly chose a new composer to study, one born after 1925.

Funders

NewMusicBox receives major support from the Francis Goelet Charitable Lead Trusts.

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NewMusicBox is funded in part by public funds from the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council, and the National Endowment for the Arts; and with support from The Aaron Copland Fund for Music Inc., Alice M. Ditson Fund of Colombia University, and The Amphion Foundation, Inc. Support for New Music USA and its many programs and activities is provided by foundations, corporations, government agencies, and hundreds of individual contributors.

NewMusicBox receives major support from the Francis Goelet Charitable Lead Trusts. NewMusicBox is funded in part by public funds from the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council, and the National Endowment for the Arts; and with support from The Aaron Copland Fund for Music Inc., Alice M. Ditson Fund of Colombia University, and The Amphion Foundation, Inc. Support for New Music USA and its many programs and activities is provided by foundations, corporations, government agencies, and hundreds of individual contributors.