The National Music Centre‘s Nathan Schmidt interviewed me recently and put together an interesting profile. The discussion goes into depth on some my influences and philosophies about composition, as well as my thoughts on the role of classical music in today’s society and how it connects to other types of art. Check it out:
For decades now, classical music proponents have tried to make their organizations more accessible in order to attract audiences. This has always been a misguided and ineffective technique, and in fact I think it’s part of the reason we’ve seen shrinking interest in classical music even as other “high art” forms gain status and popularity.
The failure of classical music versus other art forms really hit home for me recently when I read this article: a young, cultured non-musician goes to hear an orchestral premiere of a composer he knows in another context and grapples to try to understand the music. He feels he “should” get it, but his lack of experience with classical music prevents him from enjoying the performance. If making music accessible were relevant this wouldn’t have happened Read on ››
Some friends of mine were having an interesting Facebook discussion around Ellen Cushing’s recent article in the East Bay Express, about crowdfunding, philanthropy, and what the young and well-to-do of Silicon Valley mean for the future of the arts. The issue was whether or not crowdfunding was replacing traditional arts philanthropy and what this means for the long-term viability of arts organizations. Kickstarter campaigns are great for early-stage artists, but they couldn’t reasonably sustain something like the San Francisco Symphony, or even smaller chamber organizations like SFCMP or SFSound. So if young people with a lot of money are eschewing the traditional philanthropic route in favor of crowdfunding, what does that mean for arts organizations?
Nothing. Crowdfunding is a new category of fundraising, and it draws a different set of people for reasons unrelated to traditional philanthropy—each addresses a separate “need” for the donor that the other doesn’t. The reduction in philanthropic support for the arts right now is not tied to crowdfunding, but rather to larger shifts in cultural priorities. Read on ››
Ta-Nehisi Coates had an interesting article recently in the Atlantic about being asked, as an emerging journalist, to write for free. He got his leg up in the industry that way, and he makes the argument that there’s no ethical problem with asking people to write without paying them (as in, for the exposure). Obviously, there are strong feelings on both sides of this issue, and I found myself pondering the question anew in relationship to composing, though really it holds true for any artistic endeavor.
The more I think about it, it seems you can make an ethical argument on either side of the debate depending on if you see yourself primarily as an entrepreneur or a professional. That’s because the arts are neither businesses nor professions in the true sense of either word, and neither model fits that well—whatever path you choose, it’s going to be a compromise. In my own case, I always try to get paid and I usually succeed, but if it’s a project I really care about, I don’t let a failed grant application stop me. Read on ››
This is the second in my installment of mini-composition lessons based on non-classical music, this time on the topic of how to write for voice. Today, I’m going to take a look at “Police Story” by the Dirty Projectors, which I think is a fantastic example of how to use timbre and word-music placement to great effect. “Police Story” is practically an instructional guide on how to fully and effectively use voice in composition. It’s also great in a lot of other ways, but we’ll focus on the vocal elements. Read on ››