I grew up playing classical music and longing to be in jazz band.
Granted, it didn’t take long for that to come to fruition—by eighth grade I was taking solos and groaning at lead parts like I’d done it all my life—but with jazz comes an often-stifling series of mistreatments. I don’t have to tell you that; I haven’t touched the art form in over a year, and while I still miss the music, I’m waiting for the opportunity to get back into it on my own terms with people who won’t shut me down at every turn. The thing I loved most about jazz, though, was simultaneously what I hated: the improvisation.
Continue reading Meet in the Middle: When You Want to Improvise, but it’s Not Entirely Jazz
Earlier this week I had the pleasure of reading a post from my friend and colleague, Nico Bejarano, on cultivating acceptance of new music in a professional world that can at times seem dead set on only playing the repertoire already elevated to the echelon of “the classics.” (A comment my mentor Jody Rockmaker once made on my counterpoint homework, here taken wildly out of context, comes to mind: “Get your ears out of the nineteenth century!”) I concur with many of Nico’s sentiments, and I encourage you to check out his post here. I also wanted to take a few moments to address many of those same ideas from the perspective of someone who’s spent a long time being a composer first and a performer second.
Nico talks at length in his article about how the availability and mass consumption of recorded music has diluted audiences’ tastes down to an aural experience that prizes the familiar over all else. It’s an apt correlation; however, I argue that the demographic most affected by this oversaturation of Beethoven, Brahms, and Mahler isn’t our concertgoing audience—it’s the armies of performers rising through the ranks of schools and orchestras that treat new music as an afterthought. These folks are used to cross-referencing recordings of the symphonies they’re performing that semester. They endlessly study their favorite soloists’ versions of their solo rep. And they lose the ability (or maybe the imagination) to look at a piece of unfamiliar music and bring it to life in their mind.
Continue reading New Music and the Performer Problem