Comments: 0 Edit
NMB reply Mark N. Grant
By: Philip Fried Date: Aug 13, 2007 - 05:52 PM
Mark, my question is whether institutions and their gate keepers are leading the trends or merely following them. Many of things you mention have been going on for years. For example, the singers fach and great singing being sacrificed for visuality and the singers "personality" is not a recent occurrence in Opera. Mr. Gelb is one of many. As for publishing, I wonder how long (and how many) Colleges and Universities have featured courses where such books on popular music are required? Perhaps these trends started with European literary theory which does not accept artistic distinctions. The unquestioned acceptance of everyone's musical biases leads to the enshrinement of the entertainment status quo. All things being equal, which they are not, the big money wins.
Unlike visual arts, where it is understood that there are commercial arts as well as "high" arts, music must find its own moorings as every music sub-genre has its own avant-garde. For those untouched, or unaware of art music these sub-genres have filled a vacuum. At one time it was a marketing joke-- If Mozart was alive to day he would be in the Dave Clark Five. No longer. Popular music, I mean the stuff that sells and sells big (or not so big), has co-opted the classical music/new music scene. It is no surprise then that institutions and gate keepers turn to these composers for new works. If the "Doors" were a band today they too would be "avant-garde" and probably compose an opera as well.
American operatic institutions from their inception have had a very poor record of commissioning American works that enter the repertoire. They continue to commission the inexperienced (read "hot") composer, and after that work is premiered as a "big event" they commission someone else just as inexperienced for another "big event". In contrast; Verdi composed a lot of opera before he caught on, and he was not insulated from helpful practical criticism that gate kept composers are. For example; the two most famous composers of American Opera living today chose not to, or are unable to, write for the operatic voice. Hardly a high standard for success. Are you going to tell them? Don't look at me!
Anyway, since we have no real American Opera Repertory theater we as composers we can't learn from our past successes or our failures.
<a href="http://members.aol.com/_ht_a/PHILJANET/phil_home.html" target="http://members.aol.com/_ht_a/PHILJANET/phil_home.html">Phil's Page </a>
Comments: 1 Edit
new music and sponsorrship
By: Philip Fried Date: Aug 4, 2007 - 04:30 PM
Colin Holter has a "rant" on NMB where he questions the point of new music groups having corporate sponsors. Why this is a problem Colin does not say. One could be worried about censorship or undue influence of money on repertoire or the need to "crowd please".
Actually I am unaware of any new music performing group that is not sponsored by someone or by some institution public or private. Whether said performing groups "owe" their allegiance to their respective sponsors, is another question.
Fear of the public creates a bunker mentality. This can only lead to a provincialism that one does not typical find in Minnesota.
Comments: 0 Edit
new music and sponsorrship
By: Philip Fried Date: Aug 4, 2007 - 04:30 PM
Colin Holter has a "rant" on NMB where he questions the point of new music groups having corporate sponsors. Why this is a problem Colin does not say. One could be worried about censorship or undue influence of money on repertoire or the need to "crowd please".
Actually I am unaware of any new music performing group that is not sponsored by someone or by some institution public or private. Whether said performing groups "owe" their allegiance to their respective sponsors, is another question.
Comments: 0 Edit
new music box reply
By: Philip Fried Date: Jul 19, 2007 - 01:41 PM
http://newmusicbox.org/chatter/chatter.nmbx?id=5161
a letter from Saint Paul
By philmusic -
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another rhyme response to colin
By: Philip Fried Date: Sep 29, 2007 - 09:33 PM
By Colin Holter - cholter2@uiuc.edu
In response to Grant's response to "In response to Grant:" I understand that you consider this particular unnamed piece emblematic of a widespread problem in contemporary music. However, I don't live in New York, I don't have access to a library of recent concert programs, and I am not interested in batting around (ha!) baseball metaphors, Adorno quotes, and broad generalizations unless we can look at a score together and be absolutely certain that we are discussing the same phenomena. Even if the piece you heard sucked, and indeed it may have, your effigy of a "baby boomer or Gen-Alphabetter" hack who can't harmonize a chorale is an indictment–not only unconvincing but also grossly unfair–of several generations of American composers, and although I've met a few who meet your description, it's a blanket statement that doesn't hold water. I just won't stand for it. I am excusing myself from further debate until you or somebody else presents some genuine data.
Saturday, September 29, 2007,
By philmusic - philmusic@aol.com
In response to Grant's response to "In response to Grant:"
one must learn to tell the difference between a blog and a silly rant.
In response to Grant's response to "In response to Grant:"
one must know what one can comment on and what one can't.
In response to Grant's response to "In response to Grant:"
if we do not know the work how can we sing or chant?
In response to Grant's response to "In response to Grant:"
There is no "good" or "bad"-- no reason to be sad
In response to Grant's response to "In response to Grant:"
Phil Fried
Comments: -1 Edit
more NMB stuff
By: Philip Fried Date: Sep 28, 2007 - 03:01 PM
Why I love theorists:
By philmusic -philmusic@aol.com
Here a Theorist, There a Theorist
With them there’s know doubt
When you have a theorist You know what your about
With a Theorist, and a Theorist
It is always Spring
When you know a theorist You always want to sing
Put a Bennie on your Urlinie
A figured bass, will always know its place,
not in outer space!
Here a Theorist, There a Theorist
What is there to say?
When you have a theorist You always find the way!
Here a Theorist, There a Theorist
With them there’s know doubt
When you have a theorist
You know what your about You know what your about!
sometime I just gatta rhyme all rights (and wrongs) reserved by Phil Fried 2007
________________________________________________________________
Ryan quotes this article to object to the avante-garde's claims of universalism:
here http://quasar.lib.uoguelph.ca/index.php/csieci/article/view/6/14
lets talk politics then
By philmusic -philmusic@aol.com
I'm not so sure that Mr. Lewis's objections are so much to universality--but rather to the theft and appropriation of culture and musical style, and history and the power that can be achieved over the originators by such theft. I've heard such works myself. I think we are talking about authenticity here. On the other hand it seems reasonable that people working independently and from different musical backgrounds can come up with very similar results. Whether these results are in conflict or in confluence is a political question.
I think this get us back to our Kenny G. rants.
Phil Fried
Comments: 0 Edit
more NMB stuff
By: Philip Fried Date: Sep 28, 2007 - 03:01 PM
Why I love theorists:
By philmusic -philmusic@aol.com
Here a Theorist, There a Theorist
With them there’s know doubt
When you have a theorist You know what your about
With a Theorist, and a Theorist
It is always Spring
When you know a theorist You always want to sing
Put a Bennie on your Urlinie
A figured bass, will always know its place,
not in outer space!
Here a Theorist, There a Theorist
What is there to say?
When you have a theorist You always find the way!
Here a Theorist, There a Theorist
With them there’s know doubt
When you have a theorist
You know what your about You know what your about!
sometime I just gatta rhyme all rights (and wrongs) reserved by Phil Fried 2007
________________________________________________________________
Ryan quotes this article to object to the avante-garde's claims of universalism:
here http://quasar.lib.uoguelph.ca/index.php/csieci/article/view/6/14
lets talk politics then
By philmusic -philmusic@aol.com
I'm not so sure that Mr. Lewis's objections are so much to universality--but rather to the theft and appropriation of culture and musical style and the power that can be achieved over the originators by such theft. I've heard such works myself. I think we are talking about authenticity here. On the other hand it seems reasonable that people working independently and from different musical backgrounds can come up with very similar results. Whether these results are in conflict or in confluence is a political question.
I think this get us back to our Kenny G. rants.
Phil Fried
Comments: 0 Edit
more NMB replys
By: Philip Fried Date: Sep 27, 2007 - 06:53 AM
Â
Mark claims to have heard a bady orchestrated work and reasons that "ugly" is in? This is my take on critism of others musical works.
 http://newmusicbox.org/chatter/chatter.nmbx?id=5251Â
loyalty oath
By philmusic -philmusic@aol.com
The fact that music deemed "flawed," is performed in concert halls or Manhattan venues prestigious or not, is nothing new. There is a long tradition of "bad" music making and "bad" composition going back centuries. Some of these compositions have been rediscovered and vindicated over time, and some of these works well, not now or ever.
As Schoenberg pointed out; some academic positions lead to all kinds of performance opportunities. Anyway, our profession allows works to be judged solely by there own sub group of composition, so naturally some of the other sub groups tend to object.
Why is there no criticism from within then? The problem is that our profession requires loyalty-and I've talked about the sports "team" mentality here before. Since loyalty trumps personal feelings there is no real way to know if people actually like the music they profess to love. Or dislike it for that matter. Careers so depend on the good will of others.
inspiration at last!
By philmusic -philmusic@aol.com
I dispute with Ryan:
just a thought
By philmusic -philmusic@aol.com
"Music has surprisingly little power in swaying the outcome of political or social changes (all the anti-Bush musics in the world did not stop him from getting re-elected)"
Actually it could be argued that all the anti Bush music--GOT HIM ELECTED! Since his campaign was based on the polarization of America.
Dr. Phil
http://newmusicbox.org/chatter/chatter.nmbx?id=5253
This is about why people hate recent arts
John Waters did a film on this very subject "Pecker."
The disconnect can come in the visual arts when those who understand and admire the visual techniques of the old masters don't understand how the recent techniques of conceptual artists relate back to them. But Frank, you don't give enough detail to know what kind of art is being objected to.
Anyway the only cure for the unfamiliar is experience, and at an early age before "group think" sets in.
Phil Fried. Phil’s Page
at a prestigious Manhattan venue
I heard music performed on kazoo
It wasn't particularly new
at a prestigious Manhattan venue
at a prestigious Manhattan venue
the conductor wore a tutu
the soloist perhaps had the flu
at a prestigious Manhattan venue
at a prestigious Manhattan venue
My date wore a mini skirt too
she knew what exactly to do
we left a prestigious Manhattan venue
at a prestigious Manhattan venue the composer decided to sue
the performance wasn't exactly true
at a prestigious Manhattan venue
at a prestigious Manhattan venue
we can find better things for to do
but how could we know if we knew?
at a prestigious Manhattan venue
all rights reserved by me Dr. Philip Fried 2007
Comments: 0 Edit
b
By: Philip Fried Date: Sep 27, 2007 - 06:53 AM
Comments: 0 Edit
OK, So What Is
By: Philip Fried Date: Sep 13, 2007 - 05:56 AM
By philmusic -philmusic@aol.com
As I have mentioned before I have used the term NMT for some time, I got it from Ben Krywosz, My wife Janet has been involved with many such performances. Salzman is well respected and obviously creating an excellent study.
I prefer to write about Opera, which is my interest-I think there is quite a lot of exploration to be done in so-called "traditional Opera." Anyway excuse the shameless self promotion.
My point of view here: Phil's Page http://members.aol.com/_ht_a/PHILJANET/phil_home.html
As too New music theater I think there is a huge range of music from traditional narritive types to the "incomprehenseable" -meaning works where you need editorial to understand them.
In pointed responce to W.O. that there is no training available for opera composers
what is the sound of one hand clapping?
By philmusic -philmusic@aol.com
I believe that both NYU and Yale have music theater programs which include composing--I have heard a performance of NYU composers. Ben Kryosz has a composer/libretto instutite here in the twin cities --where we live--and I'm sure that there are many others.
Oh, If you had bothered to read my page you might have noticed that I also point out that stuff about Wagner etc etc.
One could also study with an experianced Opera composer, but the main problem with composing Opera today is not training -but opportunity. Who gets it and why? From my point of view training has very little to do with it.
A reply to Frank--but I don't think the comments were for me!
Ya got me there Frank!
By philmusic -philmusic@aol.com
On the other hand it could still be argued that the theatrical gift does not always translate back or forth into absolute music or vocal music for that matter.
Frank, are you saying that all of a composers compositions and activities are of equal importance to their understanding? I love Rossini's string quintets and also base my composition teaching techniques on his--but he will always be an Opera composer to me, and to many, many, many, many, many, other folks.
And for Rossini it would never be a pigeon--it would be a squab! LOL
Phil
P.S. No study of New Music theater would be complete without the work of H. Wesley Balk.
Tuesday, September 11, 2007, 1:18:31 PM
Comments: 0 Edit
OK, So What Is "New Music Theater"? reply to Mark Gran NMBt
By: Philip Fried Date: Sep 13, 2007 - 05:56 AM
By philmusic -philmusic@aol.com
As I have mentioned before I have used the term NMT for some time, I got it from Ben Krywosz, My wife Janet has been involved with many such performances. Salzman is well respected and obviously creating an excellent study.
I prefer to write about Opera, which is my interest-I think there is quite a lot of exploration to be done in so-called "traditional Opera." Anyway excuse the shameless self promotion.
My point of view here: Phil's Page http://members.aol.com/_ht_a/PHILJANET/phil_home.html
As too New music theater I think there is a huge range of music from traditional narritive types to the "incomprehenseable" -meaning works where you need editorial to understand them.
In pointed responce to W.O. that there is no training available for opera composers
what is the sound of one hand clapping?
By philmusic -philmusic@aol.com
I believe that both NYU and Yale have music theater programs which include composing--I have heard a performance of NYU composers. Ben Kryosz has a composer/libretto instutite here in the twin cities --where we live--and I'm sure that there are many others.
Oh, If you had bothered to read my page you might have noticed that I also point out that stuff about Wagner etc etc.
One could also study with an experianced Opera composer, but the main problem with composing Opera today is not training -but opportunity. Who gets it and why? From my point of view training has very little to do with it.
A reply to Frank--but I don't think the comments were for me!
Ya got me there Frank!
By philmusic -philmusic@aol.com
On the other hand it could still be argued that the theatrical gift does not always translate back or forth into absolute music or vocal music for that matter.
Frank, are you saying that all of a composers compositions and activities are of equal importance to their understanding? I love Rossini's string quintets and also base my composition teaching techniques on his--but he will always be an Opera composer to me, and to many, many, many, many, many, other folks.
And for Rossini it would never be a pigeon--it would be a squab! LOL
Phil
Tuesday, September 11, 2007, 1:18:31 PM
Comments: 0 Edit
nmb reply Mark N. Grant-performance art
By: Philip Fried Date: Sep 3, 2007 - 06:16 PM
"..he was more performance artist than monologuist, because he was not a skilled actor. My point was that Vachel Lindsay is actually closer in style to our postmodern performance "
I know that this is a late comment but I am not convinced that performance artists are not skilled at what they do, and that you can't be one if you are skilled. Dividing performers in this manner seems arbitrary. Gypsy Rose Lee was quite skilled at stripping and adding intellectual subtexts to her performances.
I know many performance art people in the twin cities who are skilled. --Shawn McConnlough and her Orchestra for example---Even if I accept that some performance artists are "unskilled," perhaps these "unskilled" performers you allude to are very skilled at getting themselves well known -- isn't that also a skill?
Besides I thought there were no bad performers only unsuccessful one.
Phil
Comments: 0 Edit
"History is written by the winners."
By: Philip Fried Date: Aug 31, 2007 - 11:46 AM
Its been said, "History is written by the winners." Is this true when it comes to music history? So much of what I read seems to be motivated not by reporting certain musical ideas but by the obvious delight over those who in their opinion seem to have missed the boat. In the battleground of recent music we find that past historical conclusions are wrong again and again. Is it that commentators tend to reflect majority opinions so to cater to and claim leadership among them?
Comments: 0 Edit
new music box reply--Kenny G.
By: Philip Fried Date: Aug 25, 2007 - 11:19 PM
I think the reason why there is so much spewing of hate towards Kenny G. its this:
He is very, very successful and for the many, and for the uninformed listeners --he is jazz--period.
Some of us know better, but I can see that his success and the success of others like him force niche musicians into the mass market in order to compete and earn a living. No one like to be reminded that the rules of the game are not in their own control.
It can be very galling to have ones art form represented by someone you don't respect!
___________________________________________________________
Reply to Frank Oteri
"But you lose me when you use the word "merit." Who determines that merit and can it be determined in a contemporary music sound world that has successfully emancipated itself from isms? And if indeed it can, that means that certain gestures are still taboo."
I'm not sure I agree with you on this. Let's say this--its not the "gesture" itself that is the problem -- its the implementation of that gesture that can be a variable.
Otherwise all gestures would be alike, and there would be no difference between an experienced composer and a student.
As for who determines merit?--well, we all do.
________________________________________________________
I myself admire people who do not dismiss what they don't like. We can all be wrong--I know I have. One can always find something about music that is interesting and worthy of study-even if the point of that study is --what not to do!!!
To me all theories and ideas about music spring from like and dislike.
Phil's Page
Comments: 0 Edit
NMB reply Mark N. Grant
By: Philip Fried Date: Aug 13, 2007 - 05:52 PM
Mark, my question is whether institutions and their gate keepers are leading the trends or merely following them. Many of things you mention have been going on for years. For example, the singers fach and great singing being sacrificed for visuality and the singers "personality" is not a recent occurrence in Opera. Mr. Gelb is one of many. As for publishing, I wonder how long (and how many) Colleges and Universities have featured courses where such books on popular music are required? Perhaps these trends started with European literary theory which does not accept artistic distinctions. The unquestioned acceptance of everyone's musical biases leads to the enshrinement of the entertainment status quo. All things being equal, which they are not, the big money wins.
Unlike visual arts, where it is understood that there are commercial arts as well as "high" arts, music must find its own moorings as every music sub-genre has its own avant-garde. For those untouched, or unaware of art music these sub-genres have filled a vacuum. At one time it was a marketing joke-- If Mozart was alive to day he would be in the Dave Clark Five. No longer. Popular music, I mean the stuff that sells and sells big (or not so big), has co-opted the classical music/new music scene. It is no surprise then that institutions and gate keepers turn to these composers for new works. If the "Doors" were a band today they too would be "avant-garde" and probably compose an opera as well.
American operatic institutions from their inception have had a very poor record of commissioning American works that enter the repertoire. They continue to commission the inexperienced (read "hot") composer, and after that work is premiered as a "big event" they commission someone else just as inexperienced for another "big event". In contrast; Verdi composed a lot of opera before he caught on, and he was not insulated from helpful practical criticism that gate kept composers are. For example; the two most famous composers of American Opera living today chose not to, or are unable to, write for the operatic voice. Hardly a high standard for success. Are you going to tell them? Don't look at me!
Anyway, since we have no real American Opera Repertory theater we as composers we can't learn from our past successes or our failures.
<a href="http://members.aol.com/_ht_a/PHILJANET/phil_home.html" target="http://members.aol.com/_ht_a/PHILJANET/phil_home.html">Phil's Page </a>
Comments: 1 Edit
new music and sponsorrship
By: Philip Fried Date: Aug 4, 2007 - 04:30 PM
Colin Holter has a "rant" on NMB where he questions the point of new music groups having corporate sponsors. Why this is a problem Colin does not say. One could be worried about censorship or undue influence of money on repertoire or the need to "crowd please".
Actually I am unaware of any new music performing group that is not sponsored by someone or by some institution public or private. Whether said performing groups "owe" their allegiance to their respective sponsors, is another question.
Fear of the public creates a bunker mentality. This can only lead to a provincialism that one does not typical find in Minnesota.
Comments: 0 Edit
new music and sponsorrship
By: Philip Fried Date: Aug 4, 2007 - 04:30 PM
Colin Holter has a "rant" on NMB where he questions the point of new music groups having corporate sponsors. Why this is a problem Colin does not say. One could be worried about censorship or undue influence of money on repertoire or the need to "crowd please".
Actually I am unaware of any new music performing group that is not sponsored by someone or by some institution public or private. Whether said performing groups "owe" their allegiance to their respective sponsors, is another question.
Comments: 0 Edit
new music box reply
By: Philip Fried Date: Jul 19, 2007 - 01:41 PM
http://newmusicbox.org/chatter/chatter.nmbx?id=5161
a letter from Saint Paul
By philmusic - philmusic@aol.com
As a composer, I'm more interested in results rather than in methods. The results of the work in question does not sound particularly new to me, so in this case I must agree with Dennis. That said, Peter Ablinger's techniques may have many more facets and many more sonic possibilities.
Phil's Page
Friday, July 13, 2007, 12:25:10 AM
look under the rug!
By philmusic - philmusic@aol.com
"I'm still wondering why this whole conceptual bent is so un-American right now."
The Conceptual bent is extremely American right now-but not in the music world, --in the Art world!
Randy? Don't you read Art News? Conceptual art is main stream.
Comments: 0 Edit
reply NMB
By: Philip Fried Date: Jul 12, 2007 - 09:27 AM
Make Me an Instrument of Your Piece
By Frank J. Oteri
http://newmusicbox.org/chatter/chatter.nmbx?id=5153
is geography destiny?
By philmusic -coll@berkeley.edu
i've written a couple times on NMB a flippant comment, basically that it all just comes down to money- this is definitely connected to advertising. Spending time now in paris, and seeing in other cities here in europe the much bigger budget for advertising, i think it helps generate this curiousity that you mention....studies have probably shown that it really doesn't make a difference, and that no one will go to the concert anyway...
Wednesday, June 06, 2007, 6:38:54 AM
By Daniel Wolf - djwolf@online.dedjwolf@online.de
I don't quite get it: a musical "urban renewal" is to take the form of exporting a group of composers associated with East Coast urban centers (your list: Steven Mackey, Joan Tower, John Corigliano, Chen Yi, Ornette Coleman)? It strikes me that the more urgent task is recognizing and giving adequate support to local activity than seeking validation and gentrification through an establishment seal of approval. The life of music is in its diversity, and the life of our cities is likewise found in their distinctive identities, which is a natural pairing of common interests.
Wednesday, June 06, 2007, 7:23:03 AM
By Colin Holter - cholter2@uiuc.educholter2@uiuc.edu
I agree with Frank 110% (although I too am a little skeptical of his list of composers to "push").
Wednesday, June 06, 2007, 8:30:41 AM
Poster Children
By Frank J. Oteri - editor@newmusicbox.orgeditor@newmusicbox.org
I knew I was heading toward deep murky waters when I compiled what to me was a somewhat random list of names which I spelled out in the essay above mostly to make a larger point.
Please remember that I ended this brief ethnically and genderally diverse group with the caviat "and countless other folks." The five I chose are all folks whose music has been getting a lot of circulation nationally as of late which is why I thought mentioning them was not inappropriate.
To claim the list is East Coast-centric is also a bit disingenuous. Indeed Mackey is currently based in Princeton but he was born in Germany and grew up in California. Chen Yi spent time in New York but was born in China and is now based in Kansas City. Etc. Etc.
But, once again, I never said that these are the five folks we should be toting at the expense of everyone else. Why is it that whenever a composer in our community starts reaching a larger audience there's a backlash? Are we that self-centered? I've often said anyone's success in this racket is success for all of us and I really believe that to this day. So, let's starting putting up those posters already!
By philmusic - philmusic@aol.comphilmusic@aol.com
“Why is it that whenever a composer in our community starts reaching a larger audience there's a backlash? Are we that self-centered?”
Dear Frank:
True, some of us composers are self-centered, but that is not all of it. Colleges and Universities are by their very nature competitive. So, some of this has to do with our “professional” allegiances which are not unlike the way we support sports teams. Of course we root for “our” team and want the other teams to lose and their players to mess up. When another team is successful, even if we like some of the players, our team is not happy. Even if our team always “loses” and another team always “wins” that just makes our support for our team even stronger as well as dislike for the winners. That their doesn’t seem to be any referees in the game, only gatekeepers, does not help. This may not be rational or true of course. If true, it certainly doesn’t create the best environment for new music but for many it’s just the way it is. Also on another issue many suspect that “the larger audience” has nothing to do with audience acceptance at all but rather with “gatekeeper” acceptance.
Being a disinterested independent thinker is harder than it looks.
Dr. Phil
Phil’s Page
Comments: 0 Edit
culture war(s)
By: Philip Fried Date: May 27, 2007 - 06:20 PM
Sometime back G.H. Brown misunderstood a posting of mine about the "culture wars." What he thought I was talking about was the war between high and low culture rather than the social political war over the so called "good" and the "evil".
At the time I was a little surprised at his remarks as I knew of no such war. Anyway, if there was or is a war between high and low culture in the arts it is only in Mr. Brown's mind as a war implies a struggle and popular culture overwhelmed everything in its path years ago. Also, a war has allies and enemies and I don't see this occurring. Rather everyone is lining up to cross over and to work with pop stars or to be pop stars if they can, The, lets call them the "classical fringe," who might constitute an enemy to the current trends are so marginalized that they don't exist (if they actual exist at all).
Most professionals can read the writing on the wall and if they don't need the current arena of public life for themselves they want their students to succeed so they play ball too. Of course the trends will change again as they always do. For now popular culture is king. By the way, I love it too only I don't do cross-over--well I did it once--please don't tell!
Comments: 0 Edit
grandstanding and intimidation
By: Philip Fried Date: May 12, 2007 - 10:05 AM
The reason why I am reprinting this nasty "flame attack" on myself is this; is seems that my post was not carefully read nor was it understood (or perhaps it was understood too well) rather I was flamed for questioning a self appointed new music authority. Instead of addressing my points, the subject is changed to attack the "straw man" who would be left out in the cold if NMB becomes merely a commercial promotional site. The main point remains; is NMB a non profit advocate or is it a commercial music promoter?
By the way if this is what is meant by "Expressing an honest negative criticism" we could all do without it.
Eight is Not Enough
By Frank J. Oteri
Tuesday, May 01, 2007, 1:26:23 PM
Today is a special day here at NewMusicBox: We're celebrating our eighth anniversary on line. It's hard to believe that we've been doing this for 96 months, 416 weeks, or 2,922 days, depending on how you're counting. But there's so much more to do.
Over the years, friends have said to me things like: How much longer can you keep this going? Aren't you going to run out of people to talk with? Aren't you going to have to start recycling ideas at some point? But no matter how long we've been doing this, it seems like we've still only scratched the surface. That's how much is going on out there. I know that for me, every month is still a process of discovery. And I hope that anyone reading this site feels the same way.
At the end of this week, the staff of NewMusicBox will burrow itself away for a day-long retreat to project site content for the coming year. But we'd also like to hear from you. What topics would you be interested in us developing further? Who should we focus on whom we have not spoken to yet? What other components would you be interested in seeing on this site? All suggestions are welcome.
Congrats!
By curioman - darren@curiomusic.com
Congratulations on eight years. Thank you so much for all you've done and brought to the the composer community. I can say for myself that some of the interviews you've done have changed my entire outlook on music. There are too many to mention, but I particularly liked the James Tenney interview and his ideas on form/sound vs. theme. I cannot say enough how invaluable your impact has been for me. I am so grateful for NewMusicBox. And I wish you another 8(0) or more incredible years!
As far as what I'd like to see... more Radar coverage (especially of Atlanta where a lot's going on! -- see AtlantaComposers.com :), more information on things like Creative Commons and how it can be used to our promotional advantage, more coverage of electronic distribution (how we can sell on eMusic, iTunes, etc.), new trends like crowdsourcing and online collaboration, oh, and how about off the wall things like contemporary music in Second Life?
A composer I'd like to see profiled is Patricia Van Ness. Thanks.
Tuesday, May 01, 2007, 2:36:07 PM
I'll Play You Mine if You'll Play Me Yours
By coreydargel - corey@automaticheartbreak.com
Happy birthday, NMBx!
Since you asked...
First, a couple of small things: Make the feature interviews available as video podcasts. Also, as a supplement to Counterstream Radio, create a weekly audio podcast or mp3-blog highlighting one or two pieces of music that composers have made available as free downloadable mp3s, along with commentary by NMBx contributors. Feature a variety of rotating curators who select the mp3s and comment on them.
Second, a bigger thing: Publish reviews!* Album and concert reviews could be written by composers and performers who serve on a rotating basis for a period of, say, three to four months every two years. Some readers may balk at the notion of composers and performers being “reviewed” by their peers, but this is common in other media; it’s more fun than reading a review by a detached “critic;” and it allows readers the context to understand more fully how individual composers/performers (and how composers/performers in general) think about music and respond to each other's music.
*I know, I know, there are worries that our community is too small and fragile to risk alienating anyone with a potentially critical review. On the other hand, passionate feelings and passionate points of view are lamentably rare in this magazine. A group of people with similar goals and experiences who are wary of, or discouraged from, expressing critical opinions about their peers’ work results in strained and ultimately insincere relationships. Expressing an honest negative criticism may, in fact, enhance and affirm the genuineness of a positive response. There are plenty of composers and performers out there who I think would be pleased to participate in such a project, as reviewers and reviewees.
Tuesday, May 01, 2007, 3:20:09 PM
Lurking for Seven
By mryan - mryan@choirworks.com
I'm really very grateful for NMB. I've been lurking here, reading posts for seven of those eight years and it is such a blessing to be able to hear so many different perspectives on the state of the art of music.
As far as subjects for the future of NMB, I have enjoyed and would love to read more features on the business side of the reality of living as a composer: building relationships, publishing, the commissioning process, starting a new music ensemble, marketing new music concerts, etc.
Here's to another 8 years (and more). All the best, M. Ryan Taylor
Tuesday, May 01, 2007, 3:26:12 PM
Interview request
By Chris Becker - beckermusic@yahoo.com
I'd love to see an interview with Greg Tate on this website.
Tuesday, May 01, 2007, 3:49:46 PM
NewMusicBox Birthday
By bob schneider - abschnei@aol.com
Happy birthday to you.i always enjoy visiting your site and learning from it. Keep up the great work! P.S. Reqest you consider interviews with Dan Asia,Duo46 ,Karl Korte and Jorge Liderman.
Tuesday, May 01, 2007, 4:14:34 PM
I'd like...
By dalgas - dalgas@speakeasy.net
A few more cover interviews with composers in slightly more out-of-the-way locales. Work's getting done every day in Jacksonville, Dubuque, Lexington, Flagstaff, Boise, Eugene, etc... It shouldn't all be terra incognita. Each of these places has composers with a story, one that I think would give a aspiring composers a lot of insight into possibilities for a life in music no matter where they are in the country, and not just in two or three of the largest metropolitan areas.
Steve Layton
Tuesday, May 01, 2007, 4:54:49 PM
Congratulations
By toddtarantino - todd@toddtarantino.com
Congratulations on your birthday. I second Corey's recommendation about reviews. I seem to recall NMBX reviewing new recordings a while back. Also wasn't there talk about the calendar returning at some point?
Tuesday, May 01, 2007, 7:35:56 PM
Peer Review
By Chris Becker - beckermusic@yahoo.com
One of the reasons I keep coming back to NMBx is because there are no reviews. Most musicians, dancers and artists I know don't read reviews or if they do don't treat them all that seriously. I'm all for more coverage of concerts, recordings and other composer related projects. But I personally don't want to see reviews on the site.
I think the passion the staff of NMBx has for music comes across in the quality of the writing, photos and coverage we've seen over the past several years. The Diamanda Galas interview really moved me (and moved me to explore my own Armenian roots) as did the archived interview with Leroy Jenkins.
I would ask for less chatter actually and more straightforward coverage. I'm not slagging critics - honestly, my own relationship to music criticism has changed dramatically over the past five years (i.e. I've actually gotten reviewed and seen both good and bad results of it). But I am not missing it on this website.
Wednesday, May 02, 2007, 12:24:11 PM
maybe not reviews...
By mmcginn - martin_mcginn@hotmail.com
but possibly a "round-up" or list of current releases, future releases, or releases we might have missed, etc. would be a nice addition to the site.
Congrats on 8 years.
Marty's Page
Wednesday, May 02, 2007, 12:55:23 PM
Sorry...one more...
By Chris Becker - beckermusic@yahoo.com
Yes. A round up sounds good. Especially if it focuses on members of the AMC.
And I like Corey's suggestion insofar as it opens the door to exposing the AMC's composer members to each others work via this website, NewMusicJukebox and Counterstream radio. Right now, these three sites sort of float along in their own bubbles - and a lot of the musicians being touted on these respective sites aren't necessarily (correct me if I'm wrong) AMC members. That's a weird disconnect - but thanks to the net, there are many creative ways to address this. And again, Corey offers some provocative suggestions in this regard.
Wednesday, May 02, 2007, 1:06:37 PM
Congratulations New Music Box!
By philmusic - philmusic@aol.com
Personally I love the music box's open forum for ideas the best, so perhaps a guest blogger or two to take the discussions in different directions might be interesting. Unfortunately many composers of my generation and later are not net savvy, or commercially recorded for that matter, so I think that too much focus on the “net life” would box out a lot of interesting artists. Anyway, the last thing that I would want is for the NMB to become a publicity machine for the new music powers that be.
Again congratulations.
Phil’s Page
Wednesday, May 02, 2007, 1:47:00 PM
Not-so-distant neighbors
By siconesis - ivan.sparrow@gmail.com
Congrats to all NMB staff and other people who have been involved in the making, sustaining and development of this beast (in a good way!).
I'm a composer from Mexico. I've noticed that generally when musicians here and in the U.S. look for what's going on abroad, there's a tendency to reach to the other side of the ocean and fail to hear to our north or south (depending where you are). There's plenty of interesting and important music and events going on both places, but there's no real communication.
I know NMB is a space intended for U.S. music, but I think we can now be beyond the notion of isolating musical communities. We are close neighbors and there's a lot we can share. I hope NMB will be interested in broadening its reach so it can enrich its own environment (that of north american music), and the same for us folks over here in Mexico. Maybe some beneficial ties can be established.
Greetings to all and happy birthday.
Ivan Sparrow (ivan.sparrow@gmail.com)
Friday, May 04, 2007, 1:52:32 PM
Net Savvy
By coreydargel - corey@automaticheartbreak.com
Unfortunately many composers of my generation and later are not net savvy... so I think that too much focus on the “net life” would box out a lot of interesting artists.
I wonder how these "many" composers were able to log on to the internet in the first place. Or perhaps they read print-outs of NMBx at their local library?
God forbid an internet magazine would actually take advantage of internet technology!
Perhaps you were joking.
Saturday, May 05, 2007, 10:51:49 AM
Nemesis adjunct...
By JKG - dialhead@mail.com
Yes, I like NewMusicBox, even if some of the diatribe in here gets a bit stuffy for my taste. I have been exposed to much interesting music, even if after listening to some pieces I found them dull and uninspiring. As a tonalist, I can certainly say however, that the struggle between holding fast to the past and that of rejecting the past in favor of the nihilistic present remains intact. Fortunately for some contributors, I owe much less to their composition teachers than they do (whether they appreciate that or not, or in any event feel reviled by my stance). There is much going on lately about how to reach audiences with serious music, and how the practitioners of serious music have so alienated them. This will continue to remain a genuine problem for the untalented, as most folks just aren't interested in hearing a glob of sounds for the sake of hearing a glob of sounds - no matter how many dissertations are written about the matter. NewMusicBox will continue to prove an invaluable source of getting past those hurdles, even if it means rightfully damning some "modern" music to abject obscurity.
Saturday, May 05, 2007, 2:13:20 PM
OUCH!
By philmusic - philmusic@aol.com
"I wonder how these "many" composers were able to log on to the Internet in the first place. Or perhaps they read print-outs of NMBx at their local library? God forbid an Internet magazine would actually take advantage of Internet technology! Perhaps you were joking."
Corey, so the race then, is only for the swift?
Many of the composers mentioned on this and other blog spaces actually have no real presence on the web and I also think they don't pay much attention to it either. Anyway, they don't seem to take part in the blogs. Rather it is their students and professional admirers as well as music industry folks (including publicists) and Universities who create and maintain a web presence for them. If you don't have that support then you don't have a presence --unless you are net savvy or hire someone.
As for the rest of us I think we are on the net, aren't we? :)
Phil's page
Monday, May 07, 2007, 5:43:32 PM
USPS to Online Magazines: Stop Promoting the Internet
By coreydargel - corey@automaticheartbreak.com
There are plenty of composers who make at least one of their pieces available as an mp3 download or streaming audio file on their websites. It is possible to do this without spending money, and with minimal knowledge of HTML, web design, etc. These audio files are then available to anyone with an internet connection and the know-how to click on a hyperlink, and it would be an extremely fun and educational project for NMBx to present a sort-of "curated" compilation of the millions of mp3s out there.
You argue that such a project discriminates against less web-savvy composers. Are you suggesting that composers who take the time to disseminate their music on the web should be punished because other composers choose not to take advantage of this technology? That seems a bit ridiculous, like arguing that we shouldn't listen to the radio because it discriminates against composers whose music has not been recorded.
Monday, May 07, 2007, 7:57:26 PM
By Colin Holter - cholter2@uiuc.edu
I'm with Dargel. The year is 2007. Get with it.
Monday, May 07, 2007, 11:38:51 PM
on topic
By philmusic - philmusic@aol.com
As the net rapidly becomes just another mainstream media outlet (as it seems the most strident here want) these folks are afraid that sites like this that might chose to remain independent and not subsumed into that comercial mainstream. Such sites would risk becoming relegated to the status of cable access TV that is; irrelevant to the big picture, not a "player". Then again, by choosing not to become just another cog in the wheel they might become something far more important. There is a difference between advocacy and promotion.
Wednesday, May 09, 2007, 5:15:06 PM
Comments: 0 Edit
Mr. Bell plays the violin
By: Philip Fried Date: Apr 13, 2007 - 11:02 AM
? By philmusic - philmusic@aol.com
“In fact, the whole thing was a publicity stunt concocted by the folks at the Washington Post.”
As a publicity stunt this is simply an artificial situation created to create “buzz” so the less said about it the better. If they want publicity from me they can pay me for it just like they paid Mr. Bell. I so dislike being taken advantage of. Phil’s Page
Comments: 1 Edit
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philip fried
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Your blog can be viewed at http://classicallounge.com/Philmusic/blogs
NMB reply Mark N. Grant
By: Philip Fried Date: Aug 13, 2007 - 05:52 PM
Mark, my question is whether institutions and their gate keepers are leading the trends or merely following them. Many of things you mention have been going on for years. For example, the singers fach and great singing being sacrificed for visuality and the singers "personality" is not a recent occurrence in Opera. Mr. Gelb is one of many. As for publishing, I wonder how long (and how many) Colleges and Universities have featured courses where such books on popular music are required? Perhaps these trends started with European literary theory which does not accept artistic distinctions. The unquestioned acceptance of everyone's musical biases leads to the enshrinement of the entertainment status quo. All things being equal, which they are not, the big money wins.
Unlike visual arts, where it is understood that there are commercial arts as well as "high" arts, music must find its own moorings as every music sub-genre has its own avant-garde. For those untouched, or unaware of art music these sub-genres have filled a vacuum. At one time it was a marketing joke-- If Mozart was alive to day he would be in the Dave Clark Five. No longer. Popular music, I mean the stuff that sells and sells big (or not so big), has co-opted the classical music/new music scene. It is no surprise then that institutions and gate keepers turn to these composers for new works. If the "Doors" were a band today they too would be "avant-garde" and probably compose an opera as well.
American operatic institutions from their inception have had a very poor record of commissioning American works that enter the repertoire. They continue to commission the inexperienced (read "hot") composer, and after that work is premiered as a "big event" they commission someone else just as inexperienced for another "big event". In contrast; Verdi composed a lot of opera before he caught on, and he was not insulated from helpful practical criticism that gate kept composers are. For example; the two most famous composers of American Opera living today chose not to, or are unable to, write for the operatic voice. Hardly a high standard for success. Are you going to tell them? Don't look at me!
Anyway, since we have no real American Opera Repertory theater we as composers we can't learn from our past successes or our failures.
<a href="http://members.aol.com/_ht_a/PHILJANET/phil_home.html" target="http://members.aol.com/_ht_a/PHILJANET/phil_home.html">Phil's Page </a>
Comments: -1 Edit
new music and sponsorrship
By: Philip Fried Date: Aug 4, 2007 - 04:30 PM
Colin Holter has a "rant" on NMB where he questions the point of new music groups having corporate sponsors. Why this is a problem Colin does not say. One could be worried about censorship or undue influence of money on repertoire or the need to "crowd please".
Actually I am unaware of any new music performing group that is not sponsored by someone or by some institution public or private. Whether said performing groups "owe" their allegiance to their respective sponsors, is another question.
Fear of the public creates a bunker mentality. This can only lead to a provincialism that one does not typical find in Minnesota.
Comments: 0 Edit
new music and sponsorrship
By: Philip Fried Date: Aug 4, 2007 - 04:30 PM
Colin Holter has a "rant" on NMB where he questions the point of new music groups having corporate sponsors. Why this is a problem Colin does not say. One could be worried about censorship or undue influence of money on repertoire or the need to "crowd please".
Actually I am unaware of any new music performing group that is not sponsored by someone or by some institution public or private. Whether said performing groups "owe" their allegiance to their respective sponsors, is another question.
Comments: 0 Edit
new music box reply
By: Philip Fried Date: Jul 19, 2007 - 01:41 PM
http://newmusicbox.org/chatter/chatter.nmbx?id=5161
a letter from Saint Paul
By philmusic - philmusic@aol.com
As a composer, I'm more interested in results rather than in methods. The results of the work in question does not sound particularly new to me, so in this case I must agree with Dennis. That said, Peter Ablinger's techniques may have many more facets and many more sonic possibilities.
Phil's Page
Friday, July 13, 2007, 12:25:10 AM
look under the rug!
By philmusic - philmusic@aol.com
"I'm still wondering why this whole conceptual bent is so un-American right now."
The Conceptual bent is extremely American right now-but not in the music world, --in the Art world!
Randy? Don't you read Art News? Conceptual art is main stream.
Comments: 0 Edit
reply NMB
By: Philip Fried Date: Jul 12, 2007 - 09:27 AM
Make Me an Instrument of Your Piece
By Frank J. Oteri
http://newmusicbox.org/chatter/chatter.nmbx?id=5153
is geography destiny?
By philmusic -coll@berkeley.edu
i've written a couple times on NMB a flippant comment, basically that it all just comes down to money- this is definitely connected to advertising. Spending time now in paris, and seeing in other cities here in europe the much bigger budget for advertising, i think it helps generate this curiousity that you mention....studies have probably shown that it really doesn't make a difference, and that no one will go to the concert anyway...
Wednesday, June 06, 2007, 6:38:54 AM
By Daniel Wolf - djwolf@online.dedjwolf@online.de
I don't quite get it: a musical "urban renewal" is to take the form of exporting a group of composers associated with East Coast urban centers (your list: Steven Mackey, Joan Tower, John Corigliano, Chen Yi, Ornette Coleman)? It strikes me that the more urgent task is recognizing and giving adequate support to local activity than seeking validation and gentrification through an establishment seal of approval. The life of music is in its diversity, and the life of our cities is likewise found in their distinctive identities, which is a natural pairing of common interests.
Wednesday, June 06, 2007, 7:23:03 AM
By Colin Holter - cholter2@uiuc.educholter2@uiuc.edu
I agree with Frank 110% (although I too am a little skeptical of his list of composers to "push").
Wednesday, June 06, 2007, 8:30:41 AM
Poster Children
By Frank J. Oteri - editor@newmusicbox.orgeditor@newmusicbox.org
I knew I was heading toward deep murky waters when I compiled what to me was a somewhat random list of names which I spelled out in the essay above mostly to make a larger point.
Please remember that I ended this brief ethnically and genderally diverse group with the caviat "and countless other folks." The five I chose are all folks whose music has been getting a lot of circulation nationally as of late which is why I thought mentioning them was not inappropriate.
To claim the list is East Coast-centric is also a bit disingenuous. Indeed Mackey is currently based in Princeton but he was born in Germany and grew up in California. Chen Yi spent time in New York but was born in China and is now based in Kansas City. Etc. Etc.
But, once again, I never said that these are the five folks we should be toting at the expense of everyone else. Why is it that whenever a composer in our community starts reaching a larger audience there's a backlash? Are we that self-centered? I've often said anyone's success in this racket is success for all of us and I really believe that to this day. So, let's starting putting up those posters already!
By philmusic - philmusic@aol.comphilmusic@aol.com
“Why is it that whenever a composer in our community starts reaching a larger audience there's a backlash? Are we that self-centered?”
Dear Frank:
True, some of us composers are self-centered, but that is not all of it. Colleges and Universities are by their very nature competitive. So, some of this has to do with our “professional” allegiances which are not unlike the way we support sports teams. Of course we root for “our” team and want the other teams to lose and their players to mess up. When another team is successful, even if we like some of the players, our team is not happy. Even if our team always “loses” and another team always “wins” that just makes our support for our team even stronger as well as dislike for the winners. That their doesn’t seem to be any referees in the game, only gatekeepers, does not help. This may not be rational or true of course. If true, it certainly doesn’t create the best environment for new music but for many it’s just the way it is. Also on another issue many suspect that “the larger audience” has nothing to do with audience acceptance at all but rather with “gatekeeper” acceptance.
Being a disinterested independent thinker is harder than it looks.
Dr. Phil
Phil’s Page
Comments: 0 Edit
culture war(s)
By: Philip Fried Date: May 27, 2007 - 06:20 PM
Sometime back G.H. Brown misunderstood a posting of mine about the "culture wars." What he thought I was talking about was the war between high and low culture rather than the social political war over the so called "good" and the "evil".
At the time I was a little surprised at his remarks as I knew of no such war. Anyway, if there was or is a war between high and low culture in the arts it is only in Mr. Brown's mind as a war implies a struggle and popular culture overwhelmed everything in its path years ago. Also, a war has allies and enemies and I don't see this occurring. Rather everyone is lining up to cross over and to work with pop stars or to be pop stars if they can, The, lets call them the "classical fringe," who might constitute an enemy to the current trends are so marginalized that they don't exist (if they actual exist at all).
Most professionals can read the writing on the wall and if they don't need the current arena of public life for themselves they want their students to succeed so they play ball too. Of course the trends will change again as they always do. For now popular culture is king. By the way, I love it too only I don't do cross-over--well I did it once--please don't tell!
Comments: 0 Edit
grandstanding and intimidation
By: Philip Fried Date: May 12, 2007 - 10:05 AM
The reason why I am reprinting this nasty "flame attack" on myself is this; is seems that my post was not carefully read nor was it understood (or perhaps it was understood too well) rather I was flamed for questioning a self appointed new music authority. Instead of addressing my points, the subject is changed to attack the "straw man" who would be left out in the cold if NMB becomes merely a commercial promotional site. The main point remains; is NMB a non profit advocate or is it a commercial music promoter?
By the way if this is what is meant by "Expressing an honest negative criticism" we could all do without it.
Eight is Not Enough
By Frank J. Oteri
Tuesday, May 01, 2007, 1:26:23 PM
Today is a special day here at NewMusicBox: We're celebrating our eighth anniversary on line. It's hard to believe that we've been doing this for 96 months, 416 weeks, or 2,922 days, depending on how you're counting. But there's so much more to do.
Over the years, friends have said to me things like: How much longer can you keep this going? Aren't you going to run out of people to talk with? Aren't you going to have to start recycling ideas at some point? But no matter how long we've been doing this, it seems like we've still only scratched the surface. That's how much is going on out there. I know that for me, every month is still a process of discovery. And I hope that anyone reading this site feels the same way.
At the end of this week, the staff of NewMusicBox will burrow itself away for a day-long retreat to project site content for the coming year. But we'd also like to hear from you. What topics would you be interested in us developing further? Who should we focus on whom we have not spoken to yet? What other components would you be interested in seeing on this site? All suggestions are welcome.
Congrats!
By curioman - darren@curiomusic.com
Congratulations on eight years. Thank you so much for all you've done and brought to the the composer community. I can say for myself that some of the interviews you've done have changed my entire outlook on music. There are too many to mention, but I particularly liked the James Tenney interview and his ideas on form/sound vs. theme. I cannot say enough how invaluable your impact has been for me. I am so grateful for NewMusicBox. And I wish you another 8(0) or more incredible years!
As far as what I'd like to see... more Radar coverage (especially of Atlanta where a lot's going on! -- see AtlantaComposers.com :), more information on things like Creative Commons and how it can be used to our promotional advantage, more coverage of electronic distribution (how we can sell on eMusic, iTunes, etc.), new trends like crowdsourcing and online collaboration, oh, and how about off the wall things like contemporary music in Second Life?
A composer I'd like to see profiled is Patricia Van Ness. Thanks.
Tuesday, May 01, 2007, 2:36:07 PM
I'll Play You Mine if You'll Play Me Yours
By coreydargel - corey@automaticheartbreak.com
Happy birthday, NMBx!
Since you asked...
First, a couple of small things: Make the feature interviews available as video podcasts. Also, as a supplement to Counterstream Radio, create a weekly audio podcast or mp3-blog highlighting one or two pieces of music that composers have made available as free downloadable mp3s, along with commentary by NMBx contributors. Feature a variety of rotating curators who select the mp3s and comment on them.
Second, a bigger thing: Publish reviews!* Album and concert reviews could be written by composers and performers who serve on a rotating basis for a period of, say, three to four months every two years. Some readers may balk at the notion of composers and performers being “reviewed” by their peers, but this is common in other media; it’s more fun than reading a review by a detached “critic;” and it allows readers the context to understand more fully how individual composers/performers (and how composers/performers in general) think about music and respond to each other's music.
*I know, I know, there are worries that our community is too small and fragile to risk alienating anyone with a potentially critical review. On the other hand, passionate feelings and passionate points of view are lamentably rare in this magazine. A group of people with similar goals and experiences who are wary of, or discouraged from, expressing critical opinions about their peers’ work results in strained and ultimately insincere relationships. Expressing an honest negative criticism may, in fact, enhance and affirm the genuineness of a positive response. There are plenty of composers and performers out there who I think would be pleased to participate in such a project, as reviewers and reviewees.
Tuesday, May 01, 2007, 3:20:09 PM
Lurking for Seven
By mryan - mryan@choirworks.com
I'm really very grateful for NMB. I've been lurking here, reading posts for seven of those eight years and it is such a blessing to be able to hear so many different perspectives on the state of the art of music.
As far as subjects for the future of NMB, I have enjoyed and would love to read more features on the business side of the reality of living as a composer: building relationships, publishing, the commissioning process, starting a new music ensemble, marketing new music concerts, etc.
Here's to another 8 years (and more). All the best, M. Ryan Taylor
Tuesday, May 01, 2007, 3:26:12 PM
Interview request
By Chris Becker - beckermusic@yahoo.com
I'd love to see an interview with Greg Tate on this website.
Tuesday, May 01, 2007, 3:49:46 PM
NewMusicBox Birthday
By bob schneider - abschnei@aol.com
Happy birthday to you.i always enjoy visiting your site and learning from it. Keep up the great work! P.S. Reqest you consider interviews with Dan Asia,Duo46 ,Karl Korte and Jorge Liderman.
Tuesday, May 01, 2007, 4:14:34 PM
I'd like...
By dalgas - dalgas@speakeasy.net
A few more cover interviews with composers in slightly more out-of-the-way locales. Work's getting done every day in Jacksonville, Dubuque, Lexington, Flagstaff, Boise, Eugene, etc... It shouldn't all be terra incognita. Each of these places has composers with a story, one that I think would give a aspiring composers a lot of insight into possibilities for a life in music no matter where they are in the country, and not just in two or three of the largest metropolitan areas.
Steve Layton
Tuesday, May 01, 2007, 4:54:49 PM
Congratulations
By toddtarantino - todd@toddtarantino.com
Congratulations on your birthday. I second Corey's recommendation about reviews. I seem to recall NMBX reviewing new recordings a while back. Also wasn't there talk about the calendar returning at some point?
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