Self-Published Composers Explain What They Do and Why Amy Rubin
Amy Rubin photo courtesy of Musicians Accord Self-publishing has permitted me to circulate my music to a wide variety of performers throughout the United States and Europe. I send perusal scores as quickly as possible to ensembles and soloists who express general interest in my work, and in addition I answer “calls for scores” listed… Read more »
Feb 01, 2000
Self-Published Composers Explain What They Do and Why Andrew Rudin
Andrew Rudin photo courtesy of Skåne Hill Music Somewhere in a warehouse in the Midwest, hundreds of copies of a work I wrote for flute & piano lie sequestered by a major American music publisher. After contracting to publish the work, three years elapsed before engraving was accomplished and 1st proofs offered. Another year and… Read more »
Feb 01, 2000
Self-Published Composers Explain What They Do and Why Theodore Wiprud
Theodore Wiprud photo courtesy of Allemar Music Self-publishing used to be a default position for me: no corporate publisher had brought out my music so I was the one copying scores and parts. Later I made a conscious decision to take my career into my own hands, to claim full responsibility for finding performers and… Read more »
Feb 01, 2000
Publishing, Self-Publishing, and the Internet
A panel held during the Women’s Philharmonic‘s “Composing A Career” Symposium The New School for Social Research, NYC Saturday, November 6, 1999—2:30-3:30 p.m. Fran Richard : Vice President of Concert Music, ASCAP Ralph Jackson : Assistant Vice President, Classical Music Administration, BMI Linda Golding : President, Boosey & Hawkes Jennifer Higdon : Self-Published Composer Frank… Read more »
Feb 01, 2000
How do you listen to music most of the time?
I am an incurable record collector. For me, the ability to hear something whenever I want it is more alluring than most live concert experiences. And there are so musicians I want to hear whom I would never be able to hear any other way than on a recording, due to both geographic and chronological… Read more »
Jan 04, 2000
Don Byron: Sitting on the Fence
Composer and Clarinetist Don Byron continues to defy expectations with every album and concert appearance he is associated with–whether his departure point is jazz, klezmer, hip-hop, contemporary classical music, or some strange hybrid that is somehow both all and none of the above.
Jan 01, 2000
How does the venue and the audience affect the music you play?
Kitty Brazelton Composer/Vocalist “…I may start with the same message but I don’t say it the same – to different people or in different environments…” Nick Didkovsky Composer/Guitarist “…It’s best when the audience is working as hard as we are to make the event happen…” Oliver Lake Composer/Saxophonist “…The main thing is that I play… Read more »
Jan 01, 2000
Does The Place Make The Space? Clubs, Recordings and Audiences and Their Impact on Jazz
Frank J. Oteri Photo by Melissa Richard On special occasions I take people on tours of historic bars in New York City. The rule is that we won’t go into a place unless it was open before Prohibition and remained open during Prohibition and ever since. In one evening, we are usually able to stop… Read more »
Jan 01, 2000
Soundtracks: January 2000
For our first compendium of new American music CDs of the millennium, of course, we’re continuing to feature discs that were recorded in the last millennium! But in the coming months we will soon find out that like so many other terms that need to be re-examined, the appellation “20th century music” no longer suffices… Read more »
Jan 01, 2000
America’s Most Fascinating Jazz Clubs
Lara Pellegrinelli Photo by Melissa Richard One minute, you’re just sitting around in some dark, dank, tiny, crowded, smoke-filled basement room with a drink in your hand; the next, you’re intently focused, completely absorbed, magically transported into the light of improvisation. That, in a nutshell, is the power of jazz, a power which moves listeners… Read more »
Jan 01, 2000
How does the venue and the audience affect the music you play? Kitty Brazelton
Kitty Brazelton Photo by Judy Schiller Performance is dialogue. So every performance must be different. I may start with the same message but I don’t say it the same – to different people or in different environments. And I expect the same skill in flexibility from my musicians. “Listen” to the room, its shape, its… Read more »
Jan 01, 2000
How does the venue and the audience affect the music you play? Nick Didkovsky
Nick Didkovsky Photo by Pamela Farland The venues I perform in do not affect the set list I put together for my band, Doctor Nerve. I usually do that on the train on the way to the venue. If we make last minute changes, it’s usually due to a management request like, “We’d prefer two… Read more »
Jan 01, 2000
How does the venue and the audience affect the music you play? Oliver Lake
Oliver Lake Photo by Chris Drukker It’s very difficult to describe the effect that different venues have on my performances. Certain audiences have different energies. Often the audience becomes a part of the performance and that can affect the performance in different ways. The more intimate, the better. I primarily play for myself and hope… Read more »
Jan 01, 2000
How does the venue and the audience affect the music you play? Mary LaRose
Mary LaRose Photo by Ron Schwerin Of course, I am affected by my listeners, but the band always depends on each other first for being it’s own audience, and then from there it goes out to involve. Different venues create unique situations in music. Performing in the studio is unnatural since music is meant to… Read more »
Jan 01, 2000
How does the venue and the audience affect the music you play? Fred Hersch
Fred Hersch Photo by Hollister Dru Breslin When I play solo, I prefer a concert hall (non sound system!). Since I don’t have other musicians to interact with (and since my programs are largely improvised), the three things that affect my performance the most are (in order of importance): the piano itself (the tone of… Read more »
Jan 01, 2000
How did your education shape your attitudes about music? Jonathan Sheffer, Composer; Founder, Conductor and Artistic Director of the Eos Orchestra
Jonathan Sheffer Photo by Stephanie Berger My musical education began at the Westport School of Music, where as a preschooler I was taught the basics of major and minor scales, and began piano lessons. I recall we were rewarded often with candy. The next most important influence in my musical education was the Bernstein Young… Read more »
Dec 01, 1999
An Arts Education Symposium
The legendary American educational philosopher Maxine Greene (b. 1917) met with Hollis Headrick (Executive Director, The Center for Arts Education), Polly Kahn (Director of Education, New York Philharmonic), Richard Kessler, and Frank J. Oteri to discuss the role new music could p[lay in arts education.
Dec 01, 1999
How did your education shape your attitudes about music?
Annie Gosfield Composer “I was taught the importance of creativity and individual expression early in life…” Jonathan Sheffer Composer Founder, Conductor and Artistic Director of the Eos Orchestra “My musical education began at the Westport School of Music, where as a preschooler I was taught the basics of major and minor scales…” Amy Rhodes Director… Read more »
Dec 01, 1999
Education and New American Music
Frank J. Oteri Photo by Melissa Richard Ten years ago I was a high school teacher in the New York City Public School System and since then, I have often described that experience as “my version of time in the peace corps.” It was simultaneously life affirming and extraordinarily frustrating. It was life affirming, because… Read more »
Dec 01, 1999
Soundtracks: December 1999
Traditionally, December is a slim month for new releases. Most record companies and distributors view December as a time to catch up and to make one valiant final effort for the entire year’s releases through holiday promotions. Still, however, a handful of exciting new releases have come our way that might even wind up in… Read more »
