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Tag Archives: programming
This week, we’re inspired by the always brilliant David Smooke’s NewMusicBox piece “Repeat Attendance.” How do we balance the value of newness and novelty with the seemingly inherent appeal of the familiar?
How do we write program notes? Who is the target audience of these notes? Do we really need them at all?
What does good (or bad, if you must) programming look like? What do you think of “theme” concerts? How can constructing a good program affect how the audience thinks about the music they are listening to?
Creativity. What does creativity even mean? When do you feel the most creative? How do you maintain that creativity? How do performers create?
Topics include Bachtrack’s report on programming in 2010, the New York Philharmonic’s omission of female composers in the coming season, NY Times columnist Max Frankel’s take on John Adams’s Nixon in China, and more.
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This week’s panel:
This week’s topics include:
- Yet another DSO update. The orchestra threatened to cancel the remaining four months of the season. The musicians called their bluff.
- Governer Sam Brownback (R) of Kansas has signed an executive order eliminating the Kansas Arts Commission, a state-level analog of the NEA.
- Bachtrack reported the most performed works and composers on orchestral concerts and operas in 2010. Some results were pleasantly surprising. Others were not.
- The hashtag #dwg (dead white guys) has blown up Twitter over the last week or so, stemming from the complete lack of female composers on the New York Philharmonic’s 2011-2012 season.
- The San Francisco Contemporary Music Players have a new artistic director, percussionist Steven Schick.
- Max Frankel thinks you should wait until the year 2111 to write that opera about Egypt’s recent revolution (and that John Adams should have waited a bit longer to write Nixon in China).