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Articles
Yotam Haber

La Dolce Vita

How do I begin translating musical research into a new piece?

Mark N. Grant

West Side Story at 50: Why is it Still Heirless?

Clearly Bernstein still matters, but does West Side Story, in today’s musical theater world?

Articles
Randy Nordschow

NewMusicBoxOffice: Turducken

There are plenty of reasons to leave the house in November, so let’s expend some energy before that end-of-the-month collective spike in tryptophan-levels that will likely leaves us passed-out on the sofa all night.

Articles
Molly Sheridan

The Friday Informer: The Composer's Life, a.k.a. Is that George Clooney in Your Backyard?

Trembling hotel maids, a French bulldog, and an errant email? Guilty pleasures, xoxo.

Articles
NewMusicBox Staff

New Music News Wire

The National Endowment for the Arts announces its 2008 Jazz Masters; Bang on a Can announces the recipients of the 2008 People’s Commissions; Marian McPartland will be elected to the National Radio Hall of Fame; Boosey & Hawkes is now representing the music of Charles Mingus; and the musicFIRST Coalition has officially rejected the National Association of Broadcasters’ request for additional congressional hearings on the relationship between artists and labels.

Articles
Randy Nordschow

Free Fallin'

Is all publicity, good publicity?

Articles
Carl Stone

Is that a mic in your pocket, or are you just glad to see me?

I’ve been thinking about creative uses of microphones and unorthodox recording techniques in general, and was wondering if any of you have any that you’d like to tell us about.

Articles
Colin Holter

Come Here Often?

Whenever I meet non-musicians in a social context and the nature of my job (i.e. “composer”) is made public, there are a few questions I can almost always expect to be asked.

Articles
Alex Ross

The Rest Is Noise: The Outtakes

Excerpts cut from Ross’s new book on listening to the 20th century.

Articles
Trevor Hunter

Alex Ross—The Rest Is Noise: Listening to the 20th Century

Alex Ross, critic for the New Yorker and author of The Rest Is Noise: Listening to the 20th Century discusses the challenges of writing about recent musical history, especially when your intended audience ranges from expert musicologists to interested non-specialists.

Articles
Frank J. Oteri

Who Are You?

How service organizations define what a composer is and what new music is both have significant implications in how they promote our constituency.

Articles
Molly Sheridan

The Friday Informer: One Thing Led To Another

A Dr. Seussian look at the industry this week.

Articles
Carl Stone

Brian Eno's Recording Studio as Sackbutt

Examining the gap between a teacher who somehow still likes to pick up and hold his music, and his students, to whom a song, a track, a tune, a composition, is as ephemeral as an infrared signal from a game controller.

Articles
Randy Nordschow

Beauty is Where You Find It

You can always find what you are looking for in randomness.

Articles
NewMusicBox Staff

New Music News Wire

Sheila Silver wins $20K Sackler Music Competition Prize; Bevia wins BMI Foundation Charlie Parker Jazz Prize; Justin Dello Joio named Classical Recording Foundation Composer of the Year; ArkivMusic completes “on demand” agreements with major labels for out-of-print recordings; XM Satellite Radio announces expanded jazz programming; WFMT begins international distribution of American Encores; AFM authorizes one-off agreements for videogame market; Coltrane Home receives national historic designation.

Articles
Colin Holter

Livin' tha Modern Music Life

The Grand Valley State University New Music Ensemble has set a new bar for interpretation and performance standards by “living” Reich’s Music for 18 Musicians.

Articles
Frank J. Oteri

The Easiest Job in the World

New music is an unqualifiable entity, or at least it should be, as far as genre distinctions go.

Articles
Mark N. Grant

"Seryozha, we hardly knew ye"

It’s one thing to say that the vast majority of history’s composers remain unknown. But how many of history’s known (and even “great”) composers are, effectively, “mis-known”-either through insufficient performance of the bulk of their output, or through actual suppression of significant chunks of their oeuvres?

Interviews
Frank J. Oteri

Ornette Coleman: Freedom of Expression

Freedom guides how Ornette Coleman has been making his music for over a half a century, and it’s also how he leads his life.

Articles
Molly Sheridan

The Friday Informer: Hey, I'm Walkin' Here

Brokeback Mountain: The Opera—who would you commission?

Articles
Randy Nordschow

Big Time Sensuality

I wish the uncontrollable excitement of a rock concert could be bottled and sprinkled over a decidedly more restrained Carnegie Hall affair.

Articles
Carl Stone

Koto of Arms

Often costumed and tattooed in ways that might evoke a dominatrix as much as a musician, it is clear when Yagi plays the koto who is the slave and who is the master.

Articles
Colin Holter

Here a Theorist, There a Theorist

I’ve come to a startling realization since moving out here to Minneapolis and starting doctoral study: It’s nice to have theorists around.

Articles
Alexandra Gardner

Turn the Radio Up

Notes on music recordings for broadcast media.

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.