Sometimes radical new art needs an institutional network of support to be fully realized. Attributing Philip Glass’s success entirely to his creative iconoclasm ignores the substantial community of impresarios and patrons who have influenced his work and reception history.
The Pew Center for Arts & Heritage has announced their 2016 grants in support of the Philadelphia region’s cultural organizations and artists. Fifty three grants totaling more than $10 million will provide funding.
Opera Philadelphia, in collaboration with Music-Theatre Group in New York, has announced that composer Rene Orth has been selected as its sixth composer in residence. Funded by The Andrew W. Mellon Foundation, the position combines an individualized plan of study with a living stipend and health benefits.
New Music is at its core an artistic project based on critique: this is its link to modernity—what fundamentally defines its nature. It questions past, dysfunctional normative models as a means to generate newer, more appropriate aesthetic fields through which another future may be built.
The 2016 Paul Revere Awards for Graphic Excellence were announced during the luncheon of the annual meeting of the Music Publishers Association at the Redbury Hotel in New York City on Friday, June 10. Among the award-winning publications were scores by Steven Mackey, William Kraft, John Harbison, Augusta Read Thomas, and Daniel Dorff.
I’ve composed works using electroacoustic technologies since 1963, and I want to share with you over the next several weeks some of my thoughts about the current state of the medium. Since I am trained as a Western classical composer, my comments will be from that perspective. 1. Structural Issues in Current Electroacoustic Music The… Read more »
Thirteen emerging composers will participate in the 2016 ACO Underwood New Music Readings and the 2017 Minnesota Orchestra Composer Institute.
The cultivation of community is fundamental to new music. Philip Glass’s first commissioned opera, Satyagraha, was the product of this collaborative ideal. But how does this communal ethos actually translate into music?
As long as music is supplied in exchange for economic capital, musicians participate in the logic of capitalism. The question is whether this is perceived as an issue that needs to be addressed or, on the contrary, if it is an inevitable consequence that cannot be tackled through the music itself.
While the music of Mary Ellen Childs has a distinctive and recognizable sound, she has long been interested in engaging the other senses as well–whether it’s presenting live music for string quartet along with an immersive video projection, creating extremely tactile percussion works that are as much about choreography as they are about rhythm, or finding ways to merge listening and olfactory perception.
I get a rush when I perform, especially premiering a new piece in front of an audience, or when the musicians that I’m playing with sound exceptionally good—when we are all gelling, the stars align and we’re breathing together, and that exact moment is the only moment and it is perfect. It’s a different feeling than when I’m in the audience, listening to others play the music I write down on paper. My heart races. Time slows down and I hold my breath. I am merely a witness to the music.
The six composers selected to participate in CULTIVATE, Copland House’s annual all-scholarship intensive creative workshop and mentoring program for emerging composers, were chosen out of nearly of 93 applicants from 26 states and 3 countries
Ever since I decided to become a composer, I’ve longed for the opportunity to spend a year abroad and immerse myself in a different culture. So after regularly travelling to Taiwan and learning about the new music scene there, I decided to apply for a Fulbright to spend a full year there.
As a group dedicated to exploring “perceptible wave energies” through light and sound, Pulsa created art and music that not only made group collaborations audible and palpable, but they also reminded their audiences and participants—through light and sound—that actions have effects.
I met Ursula Mamlok when she was in her early 70s, and initially I didn’t know how to define her. Who was she? Coming from Colombia, where I had only heard about one other woman composer of classical music before me, I didn’t realize—in all its dimensions—what it would mean for me to study with her. It took me a long time to realize the levels of her strength.
Creation is messy. Artistic inspiration without the mess (and an incredible amount of work and planning) will never see the light of day. Our finished work is only as good as it is because of the untidy part. Art needs us to bravely embrace our inner slob, even though most of us prefer a little primping before going outside.
If you think hard enough about new music and how it makes its way in our present society, there are striking similarities to the fictional wizarding community that J. K. Rowling has so elaborately depicted in her Harry Potter narratives.
Daniel Spreadbury talks about his work in open source and web standards, some of Dorico’s most exciting features for composers, and how Dorico users will benefit from the larger Steinberg ecosystem.
In my opinion, the most exciting new music being composed and performed in East Asia is for traditional Asian instruments. I’m particularly intrigued by the new music people are writing for Chinese instruments. The best works engage with these instruments’ cultural associations as well as contemporary thinking.
Community is not one of the words typically included in descriptions of minimalism. Indeed, more often than community, minimalism had to do with conflict. But eventual authorial disputes were the result of a long series of close collaborative engagements.
The winning works by nine young composers, ages 15 to 27, include music for orchestra and wind ensemble as well as solo and chamber pieces plus compositions involving electronics.
Professionally, I identify as both composer and songwriter. I don’t have to choose, do I? I can have both, yes? What is the difference between songwriting and composing anyway? When does a songwriter call herself a composer, or the other way around?
From ancient stone idiophones to singing kites, Cambodian traditional music offers tons of fascinating possibilities for contemporary composers. But the music is no longer developing and now more closely resembles a museum rather than a living art. Chinary Ung hopes to change that through several initiatives he has organized there.
For those who missed the May 3, 2016 event at Roulette Intermedium in Brooklyn, full clips are available now.
