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Mass for the Endangered

Join Cappella Clausura and the Shift Orchestra Project for a multimedia musical experience! This September, immerse yourself in Sarah Kirkland Snider’s “Mass for the Endangered”, a moving composition for choir and orchestra. Vibrant images pair with breathtaking music to create a celebration of the natural world– and humanity’s place within it.

Mini-Global Mashup: Ukraine Meets Cuba

The Mini-Global Mashups continue through December 2022! Curated by acclaimed trumpeter and composer Frank London (The Klezmatics), the Mini-Global Mashup series is bringing together two amazing global music artists along with accompanists for an afternoon of music, conversation and exploration. Post-show Q&A.

Mini-Global Mashup: Ukraine Meets Cuba presents Ukrainian bandura (Ukrainian lute/harp) master Julian Kytasty and Havana based singer Danae Blanco, accompanied by Grammy-nominated Cuban guitarist Juan Carlos Formell.

Julian Kytasty is one of the world’s premier players of the bandura (Ukrainian lute-harp), and the instrument’s leading North American exponent. A singer, multi-instrumentalist and third-generation bandurist, he has concertized and taught instrumental and choral music throughout the Americas and Europe. Born in Detroit, he has a BFA in Theory and Composition from Concordia University in Montreal. Mr. Kytasty is especially recognized for his expertise in epic songs and early bandura repertoire. In 1989-1990 Kytasty was one of the first North American-born bandurists to tour Ukraine, performing over one hundred concerts. He has often returned to tour in Ukraine and in the summer of 2014 he traveled to sites associated with Taras Shevchenko’s life and poetry at the invitation of the Ministry of Culture of Ukraine’s Shevchenko Bicentennial Project. He played both formal concerts and on-site performances which were filmed for an upcoming documentary Slidamy Shevchenka (In Shevchenko’s Footsteps)

With her feisty delivery and immediate lyrics, Danae Blanco provides a counterpoint to typically male boy and timba musics of Cuba and it has been attributed with getting salsa romantica in to the twenty-first hundred years. Although she released her debut single recording, Pido, in 2003, Danae continues to be singing for near 2 decades. In her youngsters, Blanco participated in regional organizations and choirs within the central Cuban province of Sancti Spiritus. Relocating to the administrative centre Havana in 1985 to review music in the Ignacio Cervantes College, Danae became a member of the Alfredo Rodriguez Group. In 1993, Blanco became vocalist with 5U4, the long-standing Cuban group celebrated for his or her underground undertake rock ‘n’ move through the 60s and later on dubbed the Beatles from the Americas. Danae documented the recording U-Turn using the group, ahead of recording her personal debut. Pido – the name means ‘I Request You’ – was documented over an interval of 2 yrs alongside the revered Argentinean arranger Diego Rivas and Jaquin Betancourt and presented renowned musicians such as for example Antonio Pérez González, Roberto Riverón Mederos, and Tomas Ramos Ortiz.

Grammy-nominated singer-songwriter Juan-Carlos Formell is in the vanguard of a new generation of musicians from Cuba who are redefining the parameters of Cuban music. A classically trained bassist and virtuoso guitarist gifted with a groundbreaking and powerful writing style, Formell has been hailed as a successor to the iconic singer/songwriters Caetano Veloso, Joao Gilberto, Jackson Browne, and Nick Drake. Internationally recognized as an innovative troubadour, gifted composer, and an inspired multi-instrumentalist, his discography and list of collaborations sets him apart as one of the most accomplished cosmopolitan artists on the scene today. Raised in Cuba in one of the most prominent families in Cuban music, he represents the fourth generation of musicians in the Formell family. His father, bassist Juan Formell, is the founder and leader of the seminal Cuban group Los Van Van, an ensemble that has been instrumental in defining the sound of Cuban music for the past forty years.

Songs + Poems from the Village CompCord Chamber Orchestra featuring Suzanne Vega

Listing Information

Songs & Poems from the Village
CompCord Chamber Orchestra featuring Suzanne Vega
Wednesday, September 14
7pm ET

The Players Theatre
115 MacDougal St.
New York, NY 10012

TICKETS
Premium – $62.00, Tier 1 – $52.00, Tier 2 – $42.00
Facebook
Live Stream

Composers:
William Anderson, Seth Boustead, Dan Cooper, Peter Jarvis, Debra Kaye, Mark Kostabi, Arkady Leytush, Milica Paranosic, Gene Pritsker, Suzanne Vega.

Poets:
Robert C. Ford, Erik T. Johnson, Jim Kempner, Cheri Magid, Imelda O’Reilly, Poez.

Performers:
CompCord Chamber Orchestra conducted by Arkady Leytush

CompCord Chamber Orchestra
Featuring Suzanne Vega

– Songs & Poems from the Village –

Wednesday, September 14
Part of The Village Trip Festival

With Music by NYC Composers Including the Legendary
Suzanne Vega – Singing Some of Her Classic Songs in
New Orchestral Arrangements by
Gene Pritsker, William Anderson & Jonathan Dawe;
Poetry Recitations Pay Tribute to Greenwich Village

For Immediate Release – New York, NY –

Composers Concordance and Marsyas Productions present The CompCord Chamber Orchestra in a program inspired by songs and poems from the Village. The concert will feature Suzanne Vega, widely regarded as one of the foremost songwriters of her generation and a leading figure in the folk revival of the early 1980s, performing her songs with the orchestra in brand new, modern arrangements by Gene Pritsker, William Anderson and Jonathan Dawe. The event, to be held on September 14th at 7pm at The Players Theatre, will also include new chamber orchestra music by composers William Anderson, Seth Boustead, Dan Cooper, Peter Jarvis, Debra Kaye, Mark Kostabi, Arkady Leytush, Milica Paranosic, and Gene Pritsker. Contemporary poets on the program include Robert C. Ford, Erik T. Johnson, Jim Kempner, Cheri Magid, Imelda O’Reilly and Poez. Conductor Arkady Leytush will lead the 20-piece chamber orchestra in this eclectic tribute to one of the world’s most inspiring cultural neighborhoods.

The event is part of the The Village Trip, a two-week-long festival celebrating arts and activism in Greenwich Village.

Victoria Shen (a.k.a. Evicshen): The Landfill of Meaning

Victoria Shen NMBx SoundLives Banner

 

Beyoncé’s latest album Renaissance made international headlines last week when Australian disability advocate Hannah Diviney called out one of the album’s songs, “Heated,” for using an ableist slur in the lyrics and Beyoncé subsequently agreed to re-record the song without that word and replace the track. Earlier this summer, the electronic music community was up in arms when an advance promotional video for that album made for British Vogue showed the pop icon scratching an LP with her fingernails. It turns out that it is a performance technique created by San Francisco-based experimental artist Victoria Shen, who performs under the moniker Evicshen, and she was not credited. But soon after the outcry, the appropriation was acknowledged and Shen was offered an apology. Both of these stories show that even if Beyoncé’s creative team is not always completely careful choosing all the details, they are paying very close attention to how people are reacting to her work on social media. And in Shen’s case, it actually gave her a new level of notoriety.

Victoria Shen's needle nails

Victoria Shen (a.k.a. Evicshen) and her needle nails. (Photo by Caroline Rose Moore, courtesy Victoria Shen.)

“The fact that my work was able to reach a much broader audience than I would have been ever able to have, even if it wasn’t credited at first, I think, is kind of amazing,” Shen said when I spoke with her over Zoom a few weeks ago during her residency at Wave Farm. She also pointed out that the concept, while visually startling and aurally fascinating, is perhaps not the most radical idea. “It’s just kind of like a natural thing. I also used to do nails, so this is a kind of thing where you think somebody would have done this already. It’s sort of low hanging fruit. But of course it takes both someone who used to do nails professionally and does electronics that had to make the bridge.”

As I would soon learn upon digging deeper into Shen’s creative output after she was first mentioned to me by my New Music USA colleague Ami Dang, who also creates electronic music and is a huge fan of Shen’s work, the needle nails technique is just one of many new approaches to making sounds that Shen has used in her performances and sound installations. After hearing and watching a segment of her extraordinary Zero Player Piano, in which disembodied piano strings and hammers are positioned along an ascending staircase and triggered remotely, I knew I had to talk with her.

“That was the gateway into more physical, electro-acoustic things I’m interested in now,” Shen explained. “To me, it was definitely a Modernist strategy … Something that’s self-reflexive. Something that is medium-specific. Like: what is a piano? How far can you push it to its logical conclusion while still maintaining we’re still arguing that it is within the medium of piano?”

Although some of her work can sound quite austere at times, Shen is ultimately suspicious of Modernist aesthetics. “I do like the Modernist kind of mission,” she admits, “but I know that it ultimately fails because all value divides contextually, arbitrarily. It could go in one eye and go out another, or it could be worth something based on some arbitrary factor which is like some institution assigns value to it. Or some kind of cultural capital gets ascribed to it. That’s bullshit. And we all know that, so how can we use things that are hyper, or super full of meaning, I call it the landfill of meaning. I use that in some recognized tactical way. I think I try and create this interface between non-meaning, that which is noise, and that which is over filled with meaning, and then take that interface, that line, and mine that for different conclusions as to how we derive our sense of value.”

Shen is also ambivalent about whether or not she is a composer, even though all the sounds she makes are completely her own, often including all the devices she uses to make them.

“I’m not a composer, I think mainly due to the fact that I don’t work with other people. I think composers really shine when they’re able to provide a set of instructions for other people to execute their work. … I think I’m much more of an improviser than a composer. I think part of composition, at least traditionally, is all about having a pre-packaged work being shipped out and executed, realized anywhere. And so for that, you want to control expression of your piece. You want to control the space in which it takes place. And it’s all about control, control, control. To me, it’s sort of the McDonald’s of sound.”

As for Beyoncé, Shen remains a fan though she doesn’t imagine that the two of them will ever collaborate.

I really doubt that she even knows I exist. I think her PR person knows I exist, but that’s as high as it goes. … I would just love to play at her mansion, to play a pool party or something with needle nails, it would be great.

Victoria Shen carefully scratching a home made record with audio playback styluses affixed to her fingernails during a performance.

Victoria Shen (a.k.a. Evicshen) during a performance on February 23, 2022. (Photo by Matt Miramontes, courtesy Victoria Shen.)

  • I just like being able to put in different sounds together at the same time. So Chinese opera, ltalian opera, swing music.

    Victoria Shen (Evicshen)
    Victoria Shen (a.k.a. Evicshen)
  • I’m a very technical person, but everything I do is by feel and not by the interest in pure math or manipulation in numbers or anything like that.

    Victoria Shen (Evicshen)
    Victoria Shen (a.k.a. Evicshen)
  • My identity is something that is completely inescapable. I do like the Modernist kind of mission, but I know that it ultimately fails because all value divides contextually, arbitrarily. It could go in one eye and go out another, or it could be worth something based on some arbitrary factor which is like some institution assigns value to it. Or some kind of cultural capital gets ascribed to it. That’s bullshit. And we all know that.

    Victoria Shen (Evicshen)
    Victoria Shen (a.k.a. Evicshen)
  • I think I try and create this interface between non-meaning, that which is noise, and that which is over filled with meaning, and then take that interface, that line, and mine that for different conclusions as to how we derive our sense of value.

    Victoria Shen (Evicshen)
    Victoria Shen (a.k.a. Evicshen)
  • The rules of music are also arbitrary. So anything that exists outside of these rules is considered experimental or noise. But that’s the freeing thing; there are no rules here.

    Victoria Shen (Evicshen)
    Victoria Shen (a.k.a. Evicshen)
  • In anything that I’ve released on vinyl, on tape, on Bandcamp, digital, I think I’m playing the role of composer with those pieces. But otherwise, I’m not a composer, I think mainly due to the fact that I don’t work with other people.

    Victoria Shen (Evicshen)
    Victoria Shen (a.k.a. Evicshen)
  • Part of composition, at least traditionally, is all about having a pre-packaged work being shipped out and executed, realized anywhere. And so for that, you want to control expression of your piece. You want to control the space in which it takes place. And it’s all about control, control, control. To me, it’s sort of the McDonald’s of sound.

    Victoria Shen (Evicshen)
    Victoria Shen (a.k.a. Evicshen)
  • I always loved experimental music. I was listening to a lot of noise rock and IDM and even psych-folk stuff in high school. But harsh noise was something that was cracked open for me by Jessica Rylan.

    Victoria Shen (Evicshen)
    Victoria Shen (a.k.a. Evicshen)
  • I like to dance a lot. I don’t necessarily consider what I do in my performances as dance, but it could be considered movement.

    Victoria Shen (Evicshen)
    Victoria Shen (a.k.a. Evicshen)
  • For me there has to be some kind of grounded-ness, some kind of gold standard. And the gold standard I think for us is always going to be the human body.

    Victoria Shen (Evicshen)
    Victoria Shen (a.k.a. Evicshen)
  • This is why I think improvisation is so good. It’s because you’re risking it all. With composition you can feel really safe because you have an expectation and that expectation is met. If it’s not met, if it’s underwhelming, then oh well who cares, right? But risk and the position of possible failure I think is very important. ... Failure happens all the time! I’m like, oh I have an idea, it’s spur of the moment improvisation. Let me try this out. Uh, will it fail? Sometimes. Is it embarrassing? Maybe. Move on. You know, but I think that is a point that is compelling for people.

    Victoria Shen (Evicshen)
    Victoria Shen (a.k.a. Evicshen)
  • I did not grow up with records. My earliest memory is listening to Peking Opera on a cassette tape with my mom and we were splitting the ear buds. I wasn’t around records. I had some records, but never really messed with them.

    Victoria Shen (Evicshen)
    Victoria Shen (a.k.a. Evicshen)
  • I would just love to play at her [Beyoncé's] mansion, to play a pool party or something with needle nails, it would be great.

    Victoria Shen (Evicshen)
    Victoria Shen (a.k.a. Evicshen)

TAKE ROOT

TAKE ROOT
University of Houston
Gerald D. Hines College of Architecture and Design – Main Lobby
Thursday August 25, 6:30pm
Friday August 26, 6:30pm
Saturday August 27, 7:30pm
FREE ADMISSION

Dance ensemble PDC Works, in collaboration with UH faculty member Rob Smith, presents TAKE ROOT, a view underneath the forest floor through live music and dance. This free program features choreography by PDC Works director Sophia Torres, music by Rob Smith, performances by local musicians and dancers, and a root sculpture by set designer Keith Epperson that will hang above the performance space, the main lobby of the Gerald D. Hines College of Architecture and Design. The audience is encouraged take advantage of this unique venue by walking around the lobby during the performance to experience the program from a variety of vantage points.

Protecting, nurturing, and advocating for green spaces is in mankind’s best interest. TAKE ROOT, through its investigation into the rich world underneath trees, reveals the living network through which trees communicate, collaborate, share resources, and alert one another. Audience members are invited to delve further into the subject of trees via pre-show talks with local environmental and conservation leaders on Thursday and Friday at 6pm.

PDC Works dancers – Lindsay Cortner, Keeley Dunnam, Lindsay Cortner, Melissa Juneau, Mia Pham, Tory Pierce, and Arielle Tesia Rojas – will perform TAKE ROOT with musicians Nina Bledsoe-Knight (viola), Roberto de Guzman (clarinet) and Bing Wei (cello). This program is funded in part by the Cynthia Wood Mitchell Center for the Arts and the New Music USA Organizational Development Fund.

Jazz Habitat presents VEER Quartet and Juanma Trujillo Trio

Jazz Habitat presents:

VEER Quartet
and
Juanma Trujillo Trio
at
El Barrio’s Artspace PS109
215 East 99th St, NYC

Thursday Aug 4 at 7 pm

outdoor concert in the courtyard
indoors in case of rain

admission: $20 for one, $30 for two

VEER QUARTET (7 pm set)
Sarah Bernstein, violin/compositions
Sana Nagano, violin
Leonor Falcon, viola
Nick Jozwiak, cello

JUANMA TRUJILLO TRIO (8 pm set)
Juanma Trujillo, guitar
Walter Stinson, bass
Matt Honor, drums

New Music USA Announces 100 More Awardees in its 10th Anniversary Year 

New Music USA is pleased to announce the selection of 100 organizational awardees as part of the 2022 Organizational Development Fund, with a total of $678,000 in funding being allocated to outstanding organizations across the nation that work regularly with, and support the development of, music creators and artists, offering a crucial resource to their community. This follows our announcement of $335,000 in funds to 112 creator awardees this spring through our Creator Development Fund. Both programs are part of New Music USA’s commitment to supporting at least 100 creators and 100 organizations – more than ever before – in honor of our 10th anniversary year.

Our grants for organizations aim to support and represent a broad range of applicants across different US cities and music genres. All 100 awardees meet the main criteria of artistry, impact, need, equity and inclusion. Grantees represent 27 states and receive an average award of $6,780. Twenty-eight more organizations are being supported this year than last year, as part of our 10th anniversary celebration.

New Music USA is committed to making all of our grant programs equitable by removing barriers in the application process and by consistently elevating and building connectivity between the artists and organizations who receive our support. Organizational Development Fund applicants were given straightforward guidelines, and awardees receive unrestricted funds that can be used for general operating costs supporting the organization’s regular programming of, and collaboration with, creators and artists based in the U.S. and U.S. territories. Awardees for 2021 were not eligible to apply for an award in 2022, ensuring that New Music USA funding could reach as many organizations as possible.

New Music USA’s peer review process for these grant applications reflects ongoing efforts to dismantle bias. For this round, which attracted 392 applications, New Music USA engaged a panel of 21 artists, creators, musicians, and administrators working from locations around the country, with 76% of panelists identifying as women and 38% identifying as BIPOC.

Vanessa Reed, President and CEO of New Music USA, says,

“We are proud to support these 100 impressive organizations, all of which have a deep and consistent impact on their communities of artists and music lovers. We can’t wait to see the exciting new music projects that these organizations will soon bring to life across so many different US states. We are also grateful for the work being done by of all of the organizations who applied this year, and their inspiring commitment to creating a future for new music.”

 

Congrats to the 2022 Organizational Development Fund Recipients! 
Learn more about the awardees and the program here.

  • ABREPASO flamenco — Rocky River, OH
  • Akropolis Reed Quintet — Northville, MI
  • Alarm Will Sound — Brooklyn, NY
  • Alphabet Rockers — Oakland, CA
  • American Lyric Theater — New York, NY
  • Americas Society — New York, NY
  • andPlay — New York, NY
  • Angel City Arts — Claremont, CA
  • Arts for Art — New York, NY
  • Arx Music Association — Seattle, WA
  • Audium — San Francisco, CA
  • Axelrod Contemporary Ballet Theater — Deal, NJ
  • Black Mountain College Museum + Arts Center — Asheville, NC
  • BodyStories: Teresa Fellion Dance — New York, NY
  • Boise Phil — Boise, ID
  • Boulanger Initiative — Takoma Park, MD
  • Bowdoin International Music Festival — Brunswick, ME
  • Bowerbird — Philadelphia, PA
  • Brightwork newmusic — Pasadena, CA
  • Brooklyn Raga Massive — Brooklyn, NY
  • Castle of our Skins — Boston, MA
  • Chamber Dance Project — Washington D.C.
  • chatterbird — Nashville, TN
  • Classical Music Indy — Indianapolis, IN
  • Coalition for African Americans in the Performing Arts (CAAPA) — Fort Washington, MD
  • Copland House — Peekskill, NY
  • Creative Music Studio — Woodstock, NY
  • Crosstown Arts — Memphis, TN
  • Dance and Music Festival — Washington, D.C.
  • El Paso Jazz Girls — El Paso, TX
  • Ensemble Pi — New York, NY
  • Experimental Sound Studio — Chicago, IL
  • Girls Rock Des Moines — Des Moines, IA
  • Great Lakes Chamber Music Festival — Southfield, MI
  • Guerilla Opera — Haverhill, MA
  • Harvestworks — New York, NY
  • Hypercube — Astoria, NY
  • Impulse New Music Festival — North Hollywood, CA
  • Institute for Composer Diversity — Fredonia, NY
  • International Contemporary Ensemble — Brooklyn, NY
  • Intersection — Nashville, TN
  • JACK Quartet — New York, NY
  • Jazz Power Initiative — New York, NY
  • Jeremy McQueen’s Black Iris Project — New York, NY
  • Juventas New Music Ensemble — Boston, MA
  • Khemia Ensemble — Spanish Fork, UT
  • Kronos Quartet — San Francisco, CA
  • Lampo — Chicago, IL
  • LayeRhythm Productions, Inc. — New York, NY
  • Leela Institute — West Hills, CA
  • Life/Art Dance Ensemble — Northglenn, CO
  • Live the Spirit Residency — Chicago, IL
  • Los Angeles Chamber Orchestra — Los Angeles, CA
  • Michele Brangwen Dance Ensemble — New York, NY
  • Mivos Quartet — Brooklyn, NY
  • MIXTAPE — Saint Paul, MN
  • Music From The Sole — New York, NY
  • Musiqa — Houston, TX
  • Nai-Ni Chen Dance Company, Inc. — New York, NY
  • Nameless Sound — Houston, TX
  • New Mexico Contemporary Ensemble — Albuquerque, NM
  • New York Kathak Festival — Flushing, NY
  • NewEar Contemporary Chamber Ensemble — Kansas City, MO
  • nienteForte Contemporary Music — New Orleans, LA
  • Nimbus Arts Center / Nimbus Dance — Jersey City, NJ
  • Omaha Under the Radar — Omaha, NE
  • Opera on Tap — Brooklyn, NY
  • Orchestra 2001 — Philadelphia, PA
  • Orpheus Chamber Orchestra — New York, NY
  • Pathos Trio — Brooklyn, NY
  • PDC Works — Houston, TX
  • Periapsis Music and Dance — Brooklyn, NY
  • Piano Spheres — Los Angeles, CA
  • PRISM Quartet, Inc. — Philadelphia, PA
  • San Francisco Girls Chorus — San Francisco, CA
  • San José Chamber Orchestra — San José, CA
  • Sandbox Percussion — Brooklyn, NY
  • ShaLeigh Dance Works — Rougemont, NC
  • Sidra Bell Dance New York — White Plains, NY
  • Siudy Flamenco Dance Theater — North Miami, FL
  • Skaneateles Festival — Skaneateles, NY
  • Sō Percussion Summer Institute — Brooklyn, NY
  • staibdance, Inc. — Atlanta, GA
  • TAC Temescal Art Center — Oakland, CA
  • Talea Ensemble — New York, NY
  • The American Opera Project — Brooklyn, NY
  • The Dream Unfinished — Hollis, NY
  • The Fuse Factory Electronic and Digital Arts Lab — Columbus, OH
  • The Industry — Los Angeles, CA
  • The Lab — San Francisco, CA
  • The Philadelphia Jazz Tap Ensemble — Philadelphia, PA
  • The West Kortright Centre — East Meredith, NY
  • Third Coast Percussion — Chicago, IL
  • Traverse City Dance Project — Traverse City, MI
  • Unison Arts — New Paltz, NY
  • Wildflower Composers — Philadelphia, PA
  • World Arts West — San Francisco, CA
  • World Music Institute, Inc — Brooklyn, NY
  • Yaa Samar! Dance Theatre — Brooklyn, NY
  • Young Dancemakers Company — Bronx, NY

 

Partnership Grants 
New Music USA also awards a small number of Partnership Grants to complement funding available through open calls and fixed deadlines. Recipients represent exceptional artist-led initiatives that align with the priorities of our Creator and Organizational Development Funds by providing music creators and individual artists with unique opportunities for collaboration, mentorship, and peer learning. Congratulations to the organizations Luna Composition Lab and M³ (Mutual Mentorship for Musicians), which received awards to support their immersive and impactful work in the new music community. As was announced this spring with the 2022 Creator Development Fund recipients, creator Niloufar Nourbakhsh has also received a Partnership Grant to support her work with the ANIM Composition Residency.

Let’s Hear It for Our Panelists
We would like to extend our deep gratitude to the panelists who reviewed Organizational Development Fund applications: Rez Abbasi, Meghan Bennett, Susanna Bolle, Jennie Brown, Freddie Bryant, Danielle Buonaiuto, Tracy Fletcher, Lisa Giordano, Anne Hege, Susie Ibarra, Jennifer Jolley, Brooke Larimer, Laura Lentz, Jimmy López Bellido, Delaney Martin, Evis Sammoutis, Kamala Sankaram, Helen Simoneau, Nadia Sirota, Ciyadh Wells, and James Young.

Thank You to Our Funders  
New Music USA’s Organizational Development Fund is funded in part by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; with public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and with support from the Howard Gilman Foundation, the Geraldine R. Dodge Foundation, and the Cheswatyr Foundation. Support for the Organizational Development Fund is also provided by contributions from the New Music USA endowment, and support for New Music USA and its many programs and activities is provided by foundations, corporations, government agencies, and hundreds of individual contributors. Find out more here.

New Music USA also acknowledges and is grateful for the support of its Endowment Donors, including the Mellon Foundation, Mary Flagler Cary Charitable Trust, Helen F. Whitaker Fund, Baisley Powell Elebash Fund, Hewlett Foundation, Fidelity Foundation, Rockefeller Brothers Fund, Gladys Krieble Delmas Foundation, and Francis Goelet Charitable Lead Trusts.

Funding Transparency 
Both the New Music Creator Development Fund and the New Music Organizational Development Fund are made possible by the generous funders who either donated to our endowment or generously donate to New Music USA annually. Some of these funders had or have specific requests regarding the kinds of work we support because of their geographical location or particular genre areas, which includes around 50% of our funds going to New York-based artists or organizations. Please find more detailed breakdown info in our FAQs.

About New Music USA 
New Music USA supports and amplifies the sounds of tomorrow by nurturing the creation, performance, and appreciation of new music for adventurous listeners in the United States and beyond. We empower and connect US-based music makers, organizations, and audiences by providing funding through our grants; offering support and fostering new connections through our programs; deepening knowledge through our online magazine, NewMusicBox; and working as an advocate for the field. New Music USA envisions a thriving and equitable ecosystem for new music throughout the United States. Learn more at newmusicusa.org

Learn more about Organizational Development Fund here.

 

Top Image, L-R: Axelrod Contemporary Ballet Theater, credit Alana Roolart; Akropolis Reed Quintet, credit Jason Walker; Alphabet Rockers, credit Nino Fernandez. 

Electropixel 12 – Nature and Cities

For the Harvestworks Art and Technology Program on Governor’s Island Electropixel 12 proposes an evening of sound art and live cinema centered around the idea of Nature and Cities with performances that includes the sounds of nature (water, insects, stratosphere, trees…) and listening in different cities around the globe.

Live outdoor performances with Ben Owen, Solar Return, Jenny Pickett, Julien Ottavi and the Horspiel Machine.

A Festival of emerging digital cultures and free electronic practices, Electropixel is part of an international network of electronic arts festivals. The festival opens a singular space allowing the meeting of artists (audiovisual, musicians, visual artists, intermedia, performers, etc.), theorists, programmers, tinkerers, and inventors of all kinds and of the factories of the everyday.

For this new edition of the Electropixel festival, we plan to deepen the relationship to the collective and to shared creation through a network of international exchanges. The festival continues to imagine and think about the new modalities of artistic creation during the pandemic and in particular the disintegration of the idea of commonality and sharing. We need to find links in creation, new ways to explore new writing together rather than being isolated, confined, separated. How to build creations that represent multiple and delocalized collectives.