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Articles
Yotam Haber

The Ties That Bind

Can a private institution control its artistic agenda in a way that a public one cannot?

Jacob Cooper

Day 7: Rooting for the Underdog

New music has been experiencing a surge of popularity over the past couple decades, but, at least in the orchestral world, it still plays the role of underdog. But even if new music does become standard in orchestral concerts across the nation, the music will always be of its time and by definition will always be new; and so it will always be fun to root for.

Articles
Mark N. Grant

Methuselah Musical Prodigies Change the Paradigm

Remarkable as Elliott Carter’s productive longevity is, he is far from the only composer who has given the lie to the Mozartean mythology that composing genius traces an early trajectory.

Articles
NewMusicBox Staff

Arnold Broido, Chairman of Theodore Presser Company, Dies At 87

Arnold Broido, Chairman of the Theodore Presser Company, a leading publisher of symphonic and concert music, and Treasurer of the ASCAP Board of Directors, died on October 25 at the Quadrangle retirement community skilled nursing center in Haverford, Pennsylvania.

Articles
Jacob Cooper

Day 6: It All Comes Down To This

A rundown of the 2007 Minnesota Orchestra’s Composer Institute.

Articles
Molly Sheridan

The Friday Informer: Pssst, Did You Hear?

Overheard on 57th St.: I just played Carnegie Hall; I’m going to take a cab!

Articles
Carl Stone

Why I Love Japan, pt. 317

Does “unuseless” culture have any musical implications?

Articles
Randy Nordschow

Mark It Up and Sell It On

Would we musical outcasts turn to some other form of unpopular music if modern composition went mainstream?

Articles
Jacob Cooper

Days 4 and 5: Revolving Doors

More music and seminar action from the Minnesota Orchestra’s Composer Institute.

Articles
Colin Holter

Whose Groupies in the Profs' Lounge?

Johnny Marr, the most influential rock guitar player of the past twenty years, has taken a gig teaching composition and popular music at a major university in Great Britain.

Articles
Yotam Haber

Venetian Fried Fish, Italian Music, and the Art of Page Turning

The state of Italian new music is a bit troubling, from what I’ve seen and heard thus far.

Articles
Frank J. Oteri

All Heated Up

Music, it seems to me, resides in a strange middle ground somewhere between a painting and a meal.

Articles
Jacob Cooper

Day 3: Osmosis

Osmo Vänskä’s focused questions made me think about my piece at a deeper level than I ever had. “What does ‘With Bite’ mean? That can be interpreted in so many different ways. Do you think that figure there will be heard? What effect are you going for here exactly?”

Articles
Teresa McCollough

Pre-Birth (Recital) Anxiety

It’s bad enough to have some pop song you heard on the radio playing in your brain all day, but to have the twists and turns of Prokofiev, or the changing rhythms of Adams (did that section actually start on the downbeat?), or the haunting sounds of George Crumb…it’s quite distracting.

Articles
Jacob Cooper

Live From Minnesota (Days 1 and 2): On Target

Simply walking into the hall and seeing the orchestra on stage got us keyed up, picturing them six nights later about to play our music.

Articles
Molly Sheridan

Inside Anna Clyne's Sonic Paint Box

A chat with British-born, New York-based composer Anna Clyne about musical life on both sides of the pond, the unique places she finds her electronic sounds, and how writing for the orchestra is not so different from writing for the studio.

Articles
Mark N. Grant

Alex Ross: Pomo Pied Piper Saves the Western Canon!

In the 21st century it’s become almost impossible for a classical musician—let alone a critic—to achieve optimum product placement in the American marketplace, but Alex Ross has succeeded.

Articles
NewMusicBox Staff

New Music News Wire

Henry Fogel Steps Down as president and CEO of the American Symphony Orchestra League; Jesse Rosen is promoted. Operas by Robert Ward and Gershon Kingsley will be presented as part of an International Opera Festival and Competition in Hungary. Penguin withdraws a book by Norman Lebrecht and pays damages to Naxos founder Kaus Heyman. And Charles Ives is the subject of a new podcast from Yale’s Oral History American Music project.

Articles
Molly Sheridan

The Friday Informer: I'm Just a Girl On the Internet

Ross isn’t the only superstar putting time into introducing the general public to the joys of classical music.

Articles
Randy Nordschow

When You're Strange

I’m a huge believer in first instincts and happy mistakes, or maybe I’m just lazy.

Articles
Carl Stone

Use a Mic—Go To Jail?

There might be issues of inadvertent liability if you are trying to be particularly discrete when recording out in an urban setting and keeping your equipment under wraps.

Articles
Kenneth LaFave

IV: The Phantom Tonic

The subdominant is a mystery: no matter how high one goes in the harmonic series, a fundamental pitch will not produce a perfect fourth above the fundamental. Yet, every standard Western scale and church mode except the Lydian contains it.

Articles
Colin Holter

Play It Again, Oscar

I’m transcribing a recording that I’ve heard dozens of times before, but I’m finding that none of that listening has prepared me to overcome the elusiveness of Oscar Peterson’s hyper-mercurial playing.

Articles
Frank J. Oteri

The Rest is Up to You

Might the web be the most effective way to make a greater number of composers more visible?

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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.