Composers Forum is a daily web log that allows invited contemporary composers to share their thoughts and ideas on any topic that interests them--from the ethereal, like how new music gets created, music history, theory, performance, other composers, alive or dead, to the mundane, like getting works played and recorded and the joys of teaching. If you're a professional composer and would like to participate, send us an e-mail.


Regular Contributors


Adrienne Albert
Beth Anderson
Larry Bell
Galen H. Brown
Cary Boyce
Roger Bourland
Corey Dargel
Lawrence Dillon
Daniel Gilliam
Peter Gordon
Rodney Lister
Ian Moss
Tom Myron
Frank J. Oteri
Carlos R. Rivera
David Salvage
Stefano Savi Scarponi
Alex Shapiro
Naomi Stephan
David Toub
Judith Lang Zaimont

Composer Blogs@ Sequenza21.com

Lawrence Dillon
Elodie Lauten
Anthony Cornicello
Everette Minchew
Tom Myron

Alan Theisen
Corey Dargel



Latest Posts


Is American High Culture Dead and Should We Care?
Jerry Bowles

self-promotion etc.
Ian Moss

Is 1984 the Future of Opera?
Jerry Bowles

Something really beautiful
Beth Anderson

depends how one defines plagiarism...
David Toub

Plagarism
Jerry Bowles

Elitism, Birthdays, Concerts
Jerry Bowles

Elitism
Lawrence Dillon

21 Years Too Late
Galen H. Brown

E-mail, We Get E-mail
Jerry Bowles


Beepsnort Lisa Hirsch


Record companies, artists and publicists are invited to submit CDs to be considered for review. Send to: Jerry Bowles, Editor, Sequenza 21, 340 W. 57th Street, 12B, New York, NY 10019


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Wednesday, May 18, 2005
Mikey likes it!

Recently, I had the chance to speak with three very different audience members after a concert of new music. None of them make a habit out of listening to classical music and never listen to new music yet all three thoroughly enjoyed the concert.

Since that concert I have been posing a few questions to my musician friends.

Could it be that when presented with something new and different audiences may actually enjoy it?

Why do so many performers or ensembles refuse to program new music?

Are these ensembles and performers really catering to a conservative audience, or is it a refusal by performers to accept the demands put on them by the composers of new music?

 



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