Molly speaks
I've been meaning to link to Molly Sheridan's new ArtsJournal blog...there, I've done it. I've known Molly for years, always enjoyed her, always learned from her. And now she's flying. I hate to limit her, by quoting something that doesn't give you her nuance or range, or her flavor, something so merely factual...so follow the link above and read the full Molly...but still here's something she knows more about than I do, something that fits right in with the conversation we've been having here about the new audience, and the blend of new classical music and alternative rock they're so easy with. (Here and here.) It's from Molly's first post, "I'll Take One of Everything, Please":
...a funny thing happened during a panel discussion over at Peabody a few weeks ago: Someone asked me where new music was going and for the first time since I started covering the field in 2001, I realized a big change that I had personally witnessed had finally come to pass.Ellipses at the end, not because I cut off in the middle of a sentence, but because I cut off in the middle of a thought. By which I mean that Molly's thoughts are worth reading (and that it's hard to fit their full flavor into any one headline). It's great to have her here.
Picture it: The year is 1999. Where I am living in Brooklyn, many bands are rehearsing in cheap studio spaces. Many of them come from indie rock backgrounds and liberal arts educations, but they are seeking to put their own experimental twist on the genre.
Meanwhile...
Across the river and quite a few blocks uptown--or okay, fine, just as likely right next door--other musicians in other studios are finishing up pieces for their composition degrees at the city's prestigious conservatories. They've got a piece scored for Pierrot ensemble, but they are seeking to put their own experimental twist on the genre.
Sadly, except for the occasional happy anomaly, in 1999 Camp A and Camp B seemed to exist in largely separate worlds, sharing neither common dive bars nor common practices. And this always seemed a shame, because to me it felt like each side had information the other side needed and wanted. I'm not speaking in terms of music (though some wanted to travel that way, too) but more in terms of trading recording technique for orchestration technique. But that was then. These days when I look out, it's striking to see how close these two camps have come, and it looks and sounds great...
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the blog of the National Performing Arts Convention
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the blog of the National Performing Arts Convention
About Last Night
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Terry Teachout on the arts in New York City
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Andrew Taylor on the business of arts & culture
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rock culture approximately
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Rebuilding Gulf Culture after Katrina
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Douglas McLennan's blog
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Art from the American Outback
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For immediate release: the arts are marketable
For immediate release: the arts are marketable
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No genre is the new genre
No genre is the new genre
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John Rockwell on the arts
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Jan Herman - arts, media & culture with 'tude
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Apollinaire Scherr talks about dance
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Tobi Tobias on dance et al...
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Howard Mandel's freelance Urban Improvisation
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Focus on New Orleans. Jazz and Other Sounds
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Doug Ramsey on Jazz and other matters...
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Jeff Weinstein's Cultural Mixology
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Martha Bayles on Film...
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Greg Sandow performs a book-in-progress
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Exploring Orchestras w/ Henry Fogel
Overflow
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Harvey Sachs on music, and various digressions
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Kyle Gann on music after the fact
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Greg Sandow on the future of Classical Music
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Norman Lebrecht on Shifting Sound Worlds
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Jerome Weeks on Books
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Scott McLemee on books, ideas & trash-culture ephemera
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Wendy Rosenfield: covering drama, onstage and off
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Chloe Veltman on how culture will save the world
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Elizabeth Zimmer on time-based art forms
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Public Art, Public Space
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John Perreault's art diary
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Lee Rosenbaum's Cultural Commentary
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Tyler Green's modern & contemporary art blog

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