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Molly Joyce: Strength in Vulnerabilty
February 1 2020 / Conversations
By Frank J. Oteri
One of the hallmarks of many different kinds of music performance—whether it’s a classical piano recital, a jazz combo in a club, or an arena rock show—is the demonstration of extraordinary physical feats on musical instruments. A cult of virtuosity has perpetuated the belief that the harder something is to play, and hence the fewer […]
Glass Half-Full, Mug Half-Empty
February 11 2020 / Articles
By Anthony Tidd
Are our venues and arts institutions (whether for profit or non-profit) free to do as they please, or do they bear some level of obligation/duty to the communities in which...

THE LATEST FROM NEWMUSICBOX AND AROUND THE WEB

In Praise of Unremarkable Music, Part 2
Many of us have feelings about what is true, beautiful, or good in music which match the fervor most people hold only for politics or religion. I know I have...
In Praise of Unremarkable Music: Part 1
Why did you start writing music? Now, what do you hope to accomplish? This year? This decade? By the end of your life? In response to these questions, you might...
2020 Chamber Music Conference Continues Focus on Equity and Inclusivity
In recent years, the annual Chamber Music America conference has placed a specific emphasis on equity, diversity, and inclusion in the music sector and has aimed to be a catalyst...
Promoting Equity: Developing an Antiracist Music Theory Classroom
We present strategies on how to begin disrupting the normalization of whiteness in the music theory classroom, starting with making it visible. We should think of this disruption as a...
Getting Your Hands Dirty (Performing Microtonal Choral Music, Part 2)
For amateur choirs, there is no guarantee that the singers will have the whole-score awareness that is a hallmark of elite ensembles; and for many, there is basically a guarantee...
The Journey In (Performing Microtonal Choral Music, Part 1)
Why would anyone expect a choir to be able to sing microtones? All the literature seems to be on their limitations. Everyone knows that choirs are devastatingly conservative, anyway. They,...
Together We Can
In 2010, I had more or less stopped making music. To anyone who would listen, I complained about other musicians, arts funding, and how much better the European cultural infrastructure...
Bonnie Jones: The Sounds of Not Belonging
If you are attending an event in Baltimore that includes improvised electronic music, experimental theater, or multimedia installation, the chances are good that you will cross paths with sound artist...
Omar Thomas Wins 2019 Revelli Award
Omar Thomas has been named the recipient of the 2019 William D. Revelli Award for his 2018 composition Come Sunday.
Hearing a Person—Remembering Ruth Anderson (1928-2019)
The last music Ruth Anderson heard before she died was Judith Blegen singing Kein Musik ist ja nicht auf erden …, with which Mahler’s Fourth Symphony ends, a song which...
Teaching Inequality: Consequences of Traditional Music Theory Pedagogy
Western art music is not a universal language. It does some things well, other things not as well, and many things not at all. What biases do we create in...
The Artful Toy: Toy Piano Influencers and The Making of an Album
I did not come to the toy piano deliberately. Instead, while doing research on John Cage, I went down a rather strange rabbit hole, where I stumbled across a wonderful...
TODAY'S COMPOSER BIRTHDAY
Beth Denisch

Born: Tuesday, February 25, 1958 Augusta, Georgia

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