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Articles
Yotam Haber

Composing By Committee

I’m struck by the long, fruitful partnerships that Osvaldo Golijov creates with performers, but my only reservation to his process comes when considering the fine line one crosses in such a close collaboration.

Articles
Colin Holter

Composer on K Street

I always jump at the chance to take part in faculty searches; it’s an opportunity to shape, in a tiny way, the future of the institution.

Articles
Frank J. Oteri

Tired and Old

The other day I heard the following proclamation on a radio station played at a local supermarket: “We don’t play the tired old songs.” What exactly makes a song tired or old? Can any song get tired if it’s played too frequently? Won’t all songs eventually get old?

Interviews
Frank J. Oteri

Gabriela Lena Frank: Identidad compuesta

La musica de Gabriela Lena Frank es una musica mestiza.

Interviews
Frank J. Oteri

Gabriela Lena Frank: Composite Identity

Gabriela Lena Frank’s compositions are a unique musical response to mestizaje, a state in which cultures can co-exist without one subjugating another.

Articles
Molly Sheridan

The Friday Informer: Once More, With Feeling

Those multitasking youngsters always mange to stay six steps ahead, so is it really such a shock that what they value most is an honest, quality presentation?

Articles
Ralph van Raat

New Destinations, New Identifications: A Dutch Pianist Setting Sail to the World of American Music

While openness has only lately started to trickle slowly through the creative minds of the European musical establishment, it seems to have been a characteristic element of American repertoire from the beginning.

Articles
Colin Holter

At the Risk of Repeating Myself

Having burned through a number of new forms, sound-worlds, and performance practices with decidedly mixed results, maybe I should just stick with the ones I really like for a while.

Articles
Yotam Haber

Wasting Time

Chris Rouse watches soap operas while composing. Kabalevsky would write during parties. How do you work…or avoid work?

Articles
Frank J. Oteri

The Temple of My Familiar

There’s a certain emotional state that familiar music triggers that the new just can’t because it is new.

Articles
Randy Nordschow

NewMusicBoxOffice: When It Rains, It Pours

Spring has sprung, and warmer weather is on its way…eventually. As mercury levels rise, so does the urge to leave the toasty comfort of home—destination: concert hall.

Articles
Trevor Hunter

Going Nowhere with Alex Mincek

Alex Mincek’s melting pot mentality creates something very American, but also distinctly individual.

Articles
NewMusicBox Staff

New Music News Wire

Boston Modern Orchestra Project launches new record label and plans to issue ten CDs in 2008, and six composers have been chosen to participate in the American Composers Orchestra/Underwood New Music Readings.

Articles
Molly Sheridan

The Friday Informer: Cheese, With a Side of Corn

Danger! Intrigue! Marching Band Music!

Articles
Carl Stone

Practice, Practice

Tight rehearsal time is nothing new, but what is your list of groomed-for-zoom strategies?

Articles
Robert Honstein

South by Southwest Points To New Directions

If there is a place for Jandek and Bud Melvin at SXSW, then surely there must also be a place for the patriarch of minimalism, right?

Articles
Colin Holter

The Foremost Authority in the World is You

Take heart, up-and-coming pianists (and violinists, and trumpeters, and harpists, et. al.): There’s plenty of music you could play better than anyone else in the world, if you were so inclined.

Articles
Frank J. Oteri

Watch Your Language

The use of language seems to be coming up more and more whenever I talk to someone about music, and even during on-stage conversations for which I’m only in the audience.

Articles
Rand Steiger

Dorothy Stone, a Remembrance

Dorothy Stone was a driving force behind the Ear Unit, along the way inspiring dozens of composers to write adventurously for flute, young composers as well as Andriessen, Babbitt, Carter, Powell, Riley, Rzewski, and Subotnick.

Articles
Counterstream Radio

Radical Connections: Elliott Carter and Phil Lesh

Curious how Elliott Carter, one of our most venerable composers of music for the concert hall, and Phil Lesh, best known as the bass player for the Grateful Dead, ever crossed paths? Though you might not ordinarily connect these two composers, there are some surprising musical links between them, supported by a friendship of many years.

Articles
Molly Sheridan

The Friday Informer: Low Rent Drama

If things seem a little quiet on your street, it might be because all the kids are banging their drums in Texas this week. Meanwhile…

Articles
Carl Stone

Twittering While Chattering

In Fort Worth, I saw—and heard—a gregarious and lively group of birds which produced some of my most enjoyable sonic moments in a long while.

Articles
Randy Nordschow

Don't Speak

Limiting all the speeches to pre-concert talks or separate events would spare those of us in the audience who came to hear the music.

Articles
Randy Nordschow

Broadcasting Messages From Party Central: A Sonic Guide to the 2008 Whitney Biennial

Neighborhood Public Radio is bringing something new to the table—something like guerrilla art verging on community service.

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.