When Sunny Gets Blue—Remembering Harold Shapero (1920-2013)

Stacy Garrop: With a Story to Tell

Sounds Heard: Luke Cissell—Cosmography

The Mush Race of Boston: The SICPP 2013 Iditarod

April 2013 Composer Assistance Program Awardees Announced

What Do You Sound Like, and Where Are You Going?–Thoughts from the 2013 June in Buffalo Festival

Austin Summer Festivals: Business as Unusual

Back on the Road

Winners and Losers

Harbison Receives BSO’s Horblit Award

On the Road with Mischa Zupko

Sounds Heard: Christine Southworth—String Quartets

Wearing Two Hats: Stewart Copeland on Playing and Composing

Derivative Works

Manufactured Innocence

Acknowledging the Rhino: Talking Art In a Capitalist World

End of the Road

Words of Encouragement

Submission, Discomfort, and Transcendence

Mark Adamo’s The Gospel of Mary Magdalene

Sounds Heard: Rzewski, Tenney, Parkins—Music for String Quartet and Percussion

Paula Matthusen: Attention to Light

New England’s Prospect: Babylon Revisited

Five Lessons American Musicians Can Learn From Guildhall’s Music Leadership Program

Cable Comparisons

Back in the Apple

Join The Chorus

Sounds Heard: Daniel Wohl—Corps Exquis

Newly Launched Composer Subscription Service Offers Alternative Publishing Model

Shape Notes, Billings, and American Modernisms

New England’s Prospect: Arlene Sierra at Yellow Barn

Austin Chamber Music Center Summer Festival: Victoire and Pride

A Hot Time in the Old Town

Big Picture

Laterna Magica

I’m a Trans Composer. What the Hell Does That Mean?

Wanted: Local Bay Area Musicians

A Wholly Factual Account of a Failed Attempt to Transcend Gender Through Electroacoustic Musical Theatre

Sounds Heard: Jacqueline Humbert and David Rosenboom—Daytime Viewing

Carman Moore: Curiosity Is the Strongest Engine

Up Against the Ceiling

It’s Not Carved in Stone

No Place Like This—The 2013 Mizzou International Composers’ Festival

New England’s Prospect: All-Lou Harrison Concert At Monadnock Music

Sounds Heard: Brooklyn Rider—A Walking Fire

The Second Performance and Beyond

In the Bay Area: Cahill at the Piano and Music@Menlo

Forest for the Trees

Delay Is Denial

The Numbers Game

Sounds Heard: Rebekah Heller—100 names

Listening to the Unknown

Caleb Burhans: Inner Voices

Bang on a Can Summer Music Festival: A Sandbox of Sounds

A Category of Our Own

Copy Rites

It’s Always Now

Grant Enables Major Expansion of American Lyric Theater’s Composer Librettist Development Program

New England’s Prospect: The Manicured Lawns (Tanglewood’s Festival of Contemporary Music)

Sounds Heard: In the Mood for a Melody (Piano Person Edition)

New Music USA Announces More Than $1.2M in New Grants

Your 2013-14 Attitude Guide: Four to Cop, Four to Drop for an Amazing Season

Music is Music: The 2013 PARMA Music Festival

Turn Out the Stars

Composing and Responsibility

Wellesley Composers Conference and Chamber Music Center

NewMusicBox Mix: The Jazz Edition

Judged By Its Cover

On Repetition

Preparing for Takeoff

Narong Prangcharoen Wins $15K 2013 Barlow Prize

Lest We Forget


Derek Bermel: Context is Key

Sound Heard: Mark Gustavson— Dissolving Images

Two Strains

The Smithsonian Institute Blues

Solidarity Revisited

For Even the “Most Stupid Persons”

Sounds Heard: The Disquiet

Junto Food Opera: Merging Taste and Sound in Real Time

Stockhausen and Terror

The Travis Weller Instrumentarium

9/11 – Jazz

Never the Same Twice

Sounds Heard: Blowing In The Wind (Flute Edition)

Iron Composer 2013

Kenneth Kirschner: Pirate This Music

Space Age Synths

Perceptions of Success

Thoughts of Mainstream

Inviting Possibilities for New Music and Music Education

How We Learn Now: Education Week

Andrew Norman Joins Opera Philadelphia as Third Composer in Residence

Notes From the Other Side of the Desk

Sounds Heard (Historical Edition): Henry Brant—Young People’s Records

Vijay Iyer and Jeremy Denk Among 2013 MacArthur Fellows

Music, MOOCs, and Copyright: Digital Dilemmas for Schools of Music


Speaking of Which: Musical Expression in a Foreign Language

Reflections on Liberal Arts and Late Bloomers

Austin Soundwaves: A Challenge Like Nothing Else

On Lying To My Students

Hail to Thee, and Sing Out!

Jazz in Education

The World Beyond the Classroom: SFCM Nurtures Community Creativity and Optimism

Standards and Creativity

Learn How To Learn How To Learn: On Being a Self- Taught and a Non-Self-Taught Composer

Kernis Resigns from Minnesota Orchestra

Morton Subotnick: The Mad Scientist in the Laboratory of the Ecstatic Moment

The Medium

Controlling the Catalogue

Culture Counter Culture

It Isn’t Over Because “the Fat Lady Wasn’t Singing”

Diligence is to Magic as Progress is to Flight

Sounds Heard: Noah Creshevsky—The Four Seasons

New Music USA’s Project Grants Are Now Open

Copland House Announces 2013 Residency Awards

You Used to Like Terrible Music

Culture Counter Culture, Pt. 2
Can We Move Past Post-Race, Already?

Ostrava 2013

Sounds Heard: Erik Friedlander—Claws and Wings

After Einstein

Morton Subotnick’s Sidewinder

From the Shed to the Stars: Reflections on the Boston University Tanglewood Institute

Culture Counter Culture, Pt. 3

Wonder and Magic

Music is the Gateway Drug to Listening

Sounds Heard: Make It Big (Large Ensemble Edition)

Van-Anh Vanessa Vo: Old Sounds / New Music

Double Trio: line upon line and Konk Pack

Revise THIS!

Culture Counter Culture, Pt. 4

Competitive Nature

Making It Matter

Gloriously Messy Lodging:Zappa’s 200 Motels

Sounds Heard: Florestan Recital Project—Early Songs of Samuel Barber

Alone At The Top: What Conductor Susanna Malkki’s Success Means—and What It Doesn’t

Stayin’ Alive: Preserving Electroacoustic Music Culture

Laura Kaminsky: Every Place Has a Story

Creative Partners in the Work of Life

Every Place is a Musical Capital

SoundSpace: Graphic Notation

Sounds Heard: Taylor Ho Bynum—Navigation

#Yeezus: Lessons in Contemporary Performance from the Stadium Set

Lou Reed Got Married and He Didn’t Invite Me

Cage’s (More Than) Ten Thousand Things

Finally, Movement on the Notation Front

Culture Counter Culture Pt. 5

Guided By Sound: Crissy Broadcast Debuts in San Francisco

New England’s Prospect: Celebrating Ned Rorem @90 in Boston

Sounds Heard: Alvin Lucier—Orchestra Works

Jamie Baum: Jazz Diplomacy

In Memoriam: Arnold Rosner (1945-2013)

Mixed Media: Collaborative Music and Visual Art Making for Ten x Ten: 2013


A Chance to %@#$! Around

New England’s Prospect: Anniversary Waltzes—Kronos @ 40 in Providence

Fear of Simplicity

Audience Cultivation In American New Music

It Takes a Village: Daron Hagen’s A Woman in Morocco

Cultured, Part 2

A View Behind the Curtain

New England’s Prospect: The Second Hand Unwinds—A 45th Season for Boston Musica Viva

Sounds Heard: Computer-Assisted

From Darmstadt to the Shopping Mall

Other Guitars

Invisible Cities: Choose Your Own Opera

University of Louisville Announces 2014 $100K Grawemeyer Music Prize

Dan Trueman: Man Out of Time

In and Out of Jetlag

Sounds Heard: Spektral Quartet—Chambers

100 Guitars Rock West Coast Premiere of Rhys Chatham’s A Secret Rose Music for Angelenos, by

If Elton John Sings But Everyone Else Does Too, Does It Make a Sound?

Culture, The End.

Common Ground

Some Additional 2014 Grammy Nominations

Fair and Balanced

Sounds Heard: Alvin Lucier—Still and Moving Lines

Digital Audio Workstations: Notation and Engagement Reconsidered

Competition Fees: How Much is Too Much?

A Point of Culture

2013 ASCAP Foundation Awards Announced

To Jury or Not to Jury

All Venues Great and Small

Rhythm and Restlessness

Remembering Jim Hall (1930-2013)

NewMusicBox Mix: 2013 Staff Picks

Sweeter Music and High Art

New Music Boxes: Another Year’s Gone By

Carolyn O’Brien: Making Music as Tactile as Possible

Paul Rudy: Life Improvisations

Happy Holidays

Out of Network

Jingle Those Bells

New England’s Prospect: May All Your Christmases Be Weird

Lisa Bielawa: Fire Starter

A Drone Too Long

The Audience is the Most Important Instrument

Three Words for 2014: Chicago Musicians Reflect and Aspire in the New Year

Noise Reduction

The Mutual Benefit Balance

Sounds Heard: Zevious—Passing Through the Wall

The Entertainer

What Counts as Borrowed Material?

Evolving the Old, Inviting the New

Making New (New) Music

Henri Lazarof (1932-2013), Who Dominated My Life for Six Years

Sounds Heard: Some American Albums

Eric Nathan: Making It as Clear as Possible

Always Something New—Remembering Yusef Lateef(1920-2013)

How To Be Culturally Relevant

Creative Thinking Biases

An Expanding Paradigm

Sounds Heard: Ingram Marshall and Jim Bengston—Alcatraz and Eberbach

The Shame Of Poverty And Investing In The Future

Finalists in 2014 American Composers Forum National Composition Contest Announced

The Appropriation Problem

Finding the Right Balance

New England’s Prospect: Fellow Travelers “Sometimes” Music

New England’s Prospect: Three World Premieres in Wildly Disparate Styles

Sounds Heard: Duo Scordatura, The Act of Loving You, and Ritual

A Master Communicator: Remembering H. Owen Reed (1910-2014)

History Of The World

What Would Grammys Look Like in a Genre-Less World?

Andrew Norman: Empowering Performance

Soul of the Nation

Aperio: Indie-A-Go-Go

Sounds Heard: Chris Wild–Abhanden

Framing Your Voice, Part 1

Send Chutes and Ladders


Steve Reich Wins 400K Euro BBVA Foundation Frontiers of Knowledge Award

Sounds Heard: Keeril Makan–Afterglow

Fair Trade for Sheet Music

Framing Your Voice, Part 2

Big Data Only Gets You So Far, or Why Social Science Is Really Hard

Very Modern Love Songs: Your Weird, Steamy Playlist for V-Day

Art in the Age: Going for (more than) a Song

New England’s Prospect: Boston Symphony Chamber Players Celebrate 50 Years

Sounds Heard: Big Robot

Kamala Sankaram: Being One with the Performance

Rethinking How We Teach Composition, Part 1

Putting Artists in the Limelight

Great Expectations: The Composer’s Progress

Sounds Heard: Things You Already Know

Keep Dallas Wired: The Dallas Opera Plugs Into Death and the Powers

You’re Doing Targeted Marketing Wrong

Rethinking How We Teach Composition, Part 2

Music for Difficult Days

Marc Neikrug: An Outlet for Emotional Experience

New England’s Prospect: The Agnosticism of Boston’s Equilibrium Concert Series

Three Strikes Against Success

Sixteen Composers Receive AAAL Awards Totaling $175,000

Sounds Heard: Janice Misurell-Mitchell—Vanishing Points

Skirts or Pants? How About Both

Towards a More Visceral Living

Challenging Tradition: Why Classical Musicians Should Learn Folk Music

Esa-Pekka Salonen Wins $100,000 2014 Nemmers Composition Prize

Unsung Heroes

Sounds Heard:The Quiet Ones

Is Contemporary Music Ready for a Baby Boom?

Tilting the Frame: Notes on an Alternative Education

Inspired Collaboration: No Idea Festival 2014

Broken Notions of Why Art Matters

Remembering Robert Ashley (1930-2014)

Marin Alsop, Frances Richard and Steven Schick to Receive ACF Champion of New Music Awards

Vicki Ray Reflects on 20 Years of Piano Spheres But Can She Play?

Sounds Heard: Zwerm—Underwater Princess Waltz

Joel Puckett: Real Life Inspiration

On the Purpose of Art in 700 Words or Less

Getting Out of the Box

David Lang and Alvin Singleton to be Inducted into the American Academy of Arts and Letters

SXNY – The Big Apple heads to Austin

1, 2, 3… Action

Sounds Heard: These Just Out

Jazz Audience Development: The Gender Factor

Goofing off, Perfected: Lessons from Fluxus

Phill Niblock and Elodie Lauten Receive Top FCA Awards

New England’s Prospect: The Gift of Sound and Vision

2014 ASCAP Morton Gould Young Composer Awards Announced

Juan Orrego-Salas: I’ve Written All I Have to Write

Sarah Kirkland Snider Awarded DSO’s 7th Annual Elaine Lebenbom Memorial Award for Female Composers

OPERA America Awards $100K to 8 Female Opera Composers

Brooklyn in Austin’s House

Buddhist music-making: how meditation could transform the way you work

Cataloging the Fail: A Cathartic Scrapbook

Let’s Get Critical

Ted Hearne Named Third Annual New Voices Composer

Matana Roberts Named Among 2014 Herb Alpert Award Winners

New Music’s Quality Problem

Sounds Heard: Douglas Detrick—The Bright and Rushing World

New England’s Prospect: Beyond the Sea

Austin: Conspirare’s Moving Light

The Artist’s Dictionary: Redefining Success

When Life Throws You Cincinnati, Redefine Chili

Composers, Meet Identity-Protective Cognition

John Luther Adams Wins 2014 Pulitzer Prize in Music

Rome Prize Winners Announced

All the Colors of Life: A Celebration of Fred Ho (1957-2014)

Guggenheim Fellowship Awards in the US and Canada Announced

New Music is Academic Music

Sounds Heard: Adventures Far and Wide

Boston: Practice Sessions

Aaron Parks: Make Me Believe a Melody

LA: A Spring 2014 Concertgoer’s Journal, Part 1

Chicago: Relearning to Listen–New Piano Music for Children

So You Want To Write An Opera….

Austin: Fast Fo(u)rward

Performing Quality

Doris Duke Artist and First-Ever Impact Awards Announced

Sounds Heard: 17 More Takes on those 88 Keys

Lapsed Composer and Curmudgeonly Critic Reveals All About the Reviewing Racket!

13 Emerging Composers Selected for June 2014 Readings and Performances by NY Philharmonic and American
Composers Orchestra

So You Want To Start An Opera Company…
Austin: Mozart Requiem–Undead Defining Musical Quality

Sounds Heard: Thomas DeLio—Selected Compositions (1991-2013)

Chicago: For Practically Everyone—New Label Finds Our Musical Soft Spots

NewMusicBox @ 15: Reflections on Change, Challenge, and Music in the 21st Century

Dave Malloy: Singing for His Soul (Not His Supper)

Partyin’ Like It’s 1999

Music and Place

The 2000 Man—What Century Was This Anyway?

Games Played: FRACT OSC

The Odyssey of 2001

Leo Kraft (1922-2014): Spiky, Tart, and Fierce but also Sweet and Gentle

Trying to Put On Those 2002 Glasses

Trite and True

Peter Sellars and Chuck Berry Win 2014 Polar Prize

2003: Difficult Memories

Viewing Party: An Artist Profile Highlight Reel

2004: Keys to the Kingdom

Music and The Body

2005: The Friends and Family Plan

Sounds Heard: Meredith Monk—Piano Songs

2006: Walk Right In, Sit Right Down

2007: Big Ideas In a 140-Character World

Should I Start a New Music Ensemble?

2008: NewMusicBox Snapshots—Nine Images for Nine Years

You Don’t Say! Quotable Quotes from NewMusicBox

David T. Little Named 4th Composer in Residence at Opera Philadelphia

2009: Just Add A Dollop Of Salsa

Music and The Heart

2014 BMI Student Composer Awards Announced

2010: Favorite Things And Inspirations

Twelve Tidbits from 2011

2012: A Baker’s Dozen

Boston: Caroline Shaw’s Common Cause

The Class of 2013

20 Composers Honored at American Academy Ceremonial

Performers as Co-Creators

2014: Remembering The Year That Isn’t Over Yet

2014 ASCAP Concert Music Awards

Houston: River Oaks Chamber Orchestra

Sounds Heard: Jefferson Friedman and Craig Wedren—On In Love

Music and The Number Four

Profiling the Jazz Police

What’s In a Festival?

NY Phil Biennial Pre-Game

Making the Numbers Work

Chicago: The ancient futuremusic of Sam Scranton

Miya Masaoka: Social and Sonic Relationships

Pavillons en l’air—Bell’s Up on the NYPhil Biennial

Classical Music in the Era of ESPN

Sounds Heard: Azure Carter and Alan Sondheim—Avatar Woman

Composing on the Pacific Crest Trail

27 Orchestras Honored with 2013-14 ASCAP Awards For Adventurous Programming

San Antonio: SOLI chamber ensemble—20 years of new music

January: Wyoming and the Open

2014 Paul Revere Awards Announced at Music Publishers Association Annual Meeting

NY Phil Biennial: Scads, Oodles, and Heaps of Composers

Get ‘Em While They’re Young: New Music as a Gateway to Classical Music

Sounds Heard: Andy Biskin Ibid—Act Necessary

ASCAP Honors 5 Jazz Legends and 36 Emerging Talents

Kevin Puts Appointed Director of Minnesota Orchestra Composer Institute

Elodie Lauten (1950-2014): Channeling Cosmic Forces

Let’s Get American About Our Music

February: New Mexico and the Holes

Ciao Manhattan: A Remembrance of Lee Hyla (1952-2014)

On the Good and the Great—Wrapping up the NY Phil Biennial

Boston: Bromp Treb Busts the Matrix

Lessons from the Central Valley

Metropolitan Opera Cancels Death of Klinghoffer Live HD Transmission

Sounds Heard: Akropolis Reed Quintet—Unraveled

Readers Respond to Death of Klinghoffer Simulcast Cancellation

Jim (J.K.) Randall (1929-2014)—Out of View of Anything Resembling the Mainstream

Bora Yoon: The Weight of Magic

March: Virginia and the Dancers

Listening to the Journey:Hypersensitive Hearing on the Trail

Nerd Composer

Sounds Heard: Robert Erickson Complete String Quartets

Chicago: The deafening silence of the Beethoven Festival musicians

The Score Has Got You By the Short Hairs

NEA Names 2014 National Heritage Fellowships and 2015 Jazz Masters

Boston: SICPP’s Love and Geometry

April: Texas, New York, and the Oppositions

Pew Announces 2014 Grants for Philadelphia Artists and Organizations

D.J. Spooky Wins National Geographic Society Emerging Explorer Award

Memories of Horace Silver (1928-2014)

The Roar of the Crowd: Freelance Musicians Speak Out on Non-Payment


Armando Bayolo
Emily Bookwalter
Jordan Borg
David Brensilver
Sidney Chen
Kevin Clark
Collaborators of Robert Ashley
Andy Costello
Grant Chu Covell
Kealy Cozens
Rob Deemer
Andy Doe
Nat Evans
Daniel Felsenfeld
David First
Kenneth D. Froelich
Alexandra Gardner
Aaron Gervais
Mara Gibson
Bob Gluck
Jennie Gottschalk
Kurt Gottschalk
Matthew Guerrieri
Luke Gullickson
Joseph Hallman
Kenneth Hamrick
Ratzo B. Harris
Zach Herchen
Monika Herzig
Caio Higginson
Sam Hillmer
Eugene Holley, Jr.
Colin Holter
Ben Houge
Marie Incontrera
Willard Jenkins
Jennifer Jolley
Ethan Joseph
Chris Kallmyer
Zoe Kemmerling
Aaron Jay Kernis
Daniel Kessner
Daniel J. Kushner
Kristin Kuster
Steven Mackey
John McNeil
Ellen McSweeney
Dom Minasi
Clint Needham
Osnat Netzer
Frank J. Oteri
Marek Poliks
Will Robin
Mathew Rosenblum
Adam Rudolph
Charles Ruggiero
Mischa Salkind-Pearl
Isaac Schankler
Sean Shepherd
Molly Sheridan
Daniel Siepmann
Andrew Sigler
Walter Simmons
Greg Simon
Sara Sitzer
Adam Sliwinski
Edward Smaldone
Alex Temple
Dennis Tobenski
Evan Tobias
Dale Trumbore
Sugar Vendil
Dan Visconti