{"id":429272,"date":"2022-01-05T14:02:28","date_gmt":"2022-01-05T19:02:28","guid":{"rendered":"https:\/\/newmusicusa.wpengine.com\/?p=429272"},"modified":"2022-02-08T13:07:44","modified_gmt":"2022-02-08T18:07:44","slug":"out-of-the-box-plus-cest-la-meme-chose","status":"publish","type":"post","link":"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/","title":{"rendered":"Out of the Box: Plus C\u2019est La M\u00eame Chose"},"content":{"rendered":"<p><small>[Ed. note: Last November, New Music USA marked its 10th anniversary. While we are continuing to celebrate all of the remarkable new music that has been created over the last ten years and our relationship to it throughout the coming months, we also want to start our second decade by imagining what the landscape for new music will be ten years from now. To that end, we are asking a group of deep musical thinkers to ponder this question. We aim for this series to spark important discussions in our community as well as to raise important journalistic voices from all around the country. Our first contributor is University of Florida-based musicologist and bassoonist <a href=\"http:\/\/www.imanimosley.com\/\" target=\"_blank\" rel=\"noopener\">Dr. Imani Mosley<\/a>.-FJO]<\/small><\/p>\n<p>Anthony Tommasini, in <a href=\"https:\/\/www.nytimes.com\/2021\/12\/17\/arts\/music\/classical-music-tommasini.html?searchResultPosition=3\">his final article<\/a> as chief classical music critic for <em>The New York Times<\/em>, asks \u201cso what things about classical music <em>shouldn\u2019t<\/em> change?\u201d It\u2019s an interesting thought exercise that he unfurls throughout the article, reminding readers of things possibly slipping away: the sound of live acoustics, the exhilaration of risky playing, the generational work of artists and institutions. I don\u2019t particularly have a qualm with the exercise or its examples \u2014 it\u2019s a way, in a sense, of grounding classical music in a space and time that currently feels so unhinged, unembodied, unpracticed. But I am struck by the binary presented (even if it is to take apart a particular \u201cproblem\u201d): that we in classical music-land are either asking what should change or what should remain the same. In approaching an essay such as this one that I was tasked with writing \u2014 what will new music look like ten years from now \u2014 I find myself running into that same binary. It is the idea that in order to assess or predict the new music landscape, one must be forced to face the conflict of change and stasis; not that things <em>will<\/em> change as most things inevitably do, but that change is not definite; stasis is.<\/p>\n<p>This binary becomes murky both in theory and practice. One could say that art music throughout the twentieth century was based on change and the refutation of past practices. But as composers and performers shifted from style to style, medium to medium, our institutions became museumified, creating a dichotomy of either\/or. The urge to be static rose concurrently with the urge to change. And so, in the twenty-first century, we\u2019re presented with a choice: to look ahead or to look down. Not back or backwards, not into the past (because pastness cannot be and is not always equated with stasis), but down: down at our idle hands, down and away from our communities, down and buried in the sand. Had I been approached with discussing the future of new music two years ago, I probably would have answered differently; that our desire to look ahead would always be countered with our desire to look down. But as we enter the third year of a global pandemic, my view has shifted ever so slightly. Looking down is no longer a feasible or viable business model. It has become \u201clook ahead or cease to exist.\u201d And while I do not want to tie this piece so explicitly to current events, I don\u2019t think it is possible for me to talk about the future without acknowledging what is happening in the here and now.<\/p>\n<div class=\"owl-carousel owl-theme\">\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>As composers and performers shifted from style to style, medium to medium, our institutions became museumified, creating a dichotomy of either\/or.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/01\/ImaniMosleyHeadshot-200x200.jpg\" alt=\"Dr. Imani Mosley\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Dr. Imani Mosley<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>Looking down is no longer a feasible or viable business model.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/01\/ImaniMosleyHeadshot-200x200.jpg\" alt=\"Dr. Imani Mosley\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Dr. Imani Mosley<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>It has only been until very recently that the idea of space and place has been limited to the tangible.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/01\/ImaniMosleyHeadshot-200x200.jpg\" alt=\"Dr. Imani Mosley\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Dr. Imani Mosley<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>That shift away from liveness (something that I believe was on its way) is a huge step in the future of new music.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/01\/ImaniMosleyHeadshot-200x200.jpg\" alt=\"Dr. Imani Mosley\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Dr. Imani Mosley<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>As someone who is ensconced within the world of living composers, never have I felt as much access to them and their works as I have in the last few years.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/01\/ImaniMosleyHeadshot-200x200.jpg\" alt=\"Dr. Imani Mosley\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Dr. Imani Mosley<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>Looking ahead may be the only feasible way forward, the only way we will have created for ourselves. <\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/01\/ImaniMosleyHeadshot-200x200.jpg\" alt=\"Dr. Imani Mosley\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Dr. Imani Mosley<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div><\/div><script>\n\t\t\t\t\t\tjQuery(document).ready(function(){\n\t\t\t\t\t\t\tjQuery(\".owl-carousel\").owlCarousel({\n\t\t\t\t\t\t\t\titems:1,\n\t\t\t\t\t\t\t\tmargin:10,\n\t\t\t\t\t\t\t\tautoHeight:true\n\t\t\t\t\t\t\t});\n\t\t\t\t\t\t});\n\t\t\t\t\t<\/script>\n<p>Music is indelibly linked to space and place. Those elements can shape, structure, and define our listening and performance practices. The rigid acoustics of a European concert hall, the grand solemnity of a cathedral, the vast possibilities of a soundwalk\u2014these are all ways in which music moves from the theoretical to the experiential. Music thrives on the performance of the experiential, on the <em>real<\/em>. The real, dependent upon physical space and presence, has been valorized above other kinds of performance often by listeners and performers. Whereas other types of music and performing media may thrive within recordings, art music relies upon the live. This is not disputing the long history of classical music recording, but rather positioning it within a synchronous history of live performance practice. Recording obfuscates <em>authenticity<\/em> because it has to be imbued in order to be believed, <a href=\"https:\/\/www.routledge.com\/Liveness-Performance-in-a-Mediatized-Culture\/Auslander-Auslander\/p\/book\/9780415773539\">as explained by Philip Auslander<\/a>: \u201c[T]he music industry speci\ufb01cally sets out to endow its products with the necessary signs of authenticity.\u201d Even Pierre Boulez expressed concern about the fidelity of recording, where \u201cthe so-called techniques of reproduction are acquiring an irrepressible tendency to become autonomous and to impress their own image of existing music, and less and less concerned to reproduce as faithfully as possible the conditions of direct audition.\u201d For a genre that existed before recording technology, its authenticity lay within the visage of liveness (one only has to look to arguments around amplification to see this concept at work); liveness becomes <em>the real<\/em>. It has only been until very recently that the idea of space and place has been limited to the tangible. Philip Auslander and Jonathan Sterne discuss a shift that occurred in the 1990s, but the advance of the internet has accelerated that shift. Space and place could become virtual, mediated, otherworldly. The late 2000s saw Eric Whitacre\u2019s Virtual Choir as well as the YouTube Symphony Orchestra, emphasizing that a virtual space could still be experiential, authentic, <em>real<\/em>.<\/p>\n<p>So, what happens when physical space and place are no longer available to you? The COVID-19 pandemic posed this question to musicians, composers, and institutions. What about your precious real now? Many organizations opted to make already filmed material available to a wider public, following the already existing models created by the Berlin Philharmonic, Metropolitan Opera, and Glyndebourne. But others saw this as an untapped creative space: Opera Philadelphia created a streaming channel with new works by composers such as Caroline Shaw, Ang\u00e9lica Negr\u00f3n, Tyshawn Sorey, and Melissa Dunphy. These composers created works within a virtual space, decidedly unreal in a sense, to make a multifaceted multimedia object, one that uses all available tools to build something unique. Like the television opera\/opera on television divide, these works exist in this mediated way <em>first<\/em>, much like Benjamin Britten\u2019s <em>Owen Wingrave<\/em> or Gian Carlo Menotti\u2019s <em>Amahl and the Night Visitors<\/em>. Their authenticity is not predicated on some kind of prescribed and imagined liveness; they are not meant to be experienced in that way. And more than anything, that shift away from liveness (something that I believe was on its way) is a huge step in the future of new music. This is more than just using media, electronics, and technology as tools; this is about restructuring foundational elements of art music.<\/p>\n<p>I am loathe to cite this pandemic as a breaking open of anything. Music\u2019s relationship to this moment is varied and I find the \u201cNewton\u2019s Annus mirabilis\u201d approach to these last few years as demoralizing and unapt. But decisions will be made and I wonder if in ten years hence, we\u2019ll look back at now and see those decisions as being tectonic for new music. There is an immediacy that exists in a way that has seldom been seen and with that immediacy comes freedom: freedom to create new music without the shackles of place, space, and institution. The freedom that signifies the taking back of creative power and control. As someone who is ensconced within the world of living composers, never have I felt as much access to them and their works as I have in the last few years. And I cannot imagine anyone wanting to give that up. With the virtuality of space and place comes a kind of equalizing; yes, there will always be funders, donors, money, connection, and privilege. But virtual space is limitless. I\u2019m reminded of composer Garrett Schumann\u2019s \u201cI\u2019m a composer and I wrote this music\u201d TikToks, maximizing the medium\u2019s penchant for virality, its visibility and algorithmic pervasiveness to introduce his music, <em>new music<\/em> to the world. And as we\u2019re forced to turn to those virtual spaces to have as close to real musical experiences as we can get, the more we reify that aforementioned power. I do not foresee a looking down after this moment ends.<\/p>\n<p>So, what does that mean for the future of new music? What happens in that next decade? I personally can\u2019t speak to musical and stylistic changes, that\u2019s anyone\u2019s guess. But as a musicologist and historian who specializes in how people have reacted to music in specific cultural moments, I can guess as to how the moment will be presented to us. In schools, in our major institutions, and with individuals, we will have assessed what to let go, what will change, and what will remain static. Looking ahead may be the only feasible way forward, the only way we will have created for ourselves. Tommasini ends his article noting that he wants to \u201cprotect it [classical music], as well as shake it up.\u201d This reads as that forced binary appearing once again and this moment now suggests that that binary may no longer be viable. We may experience another moment when we will have to let things go because they have been taken from us. And instead of approaching that moment as a deficiency, let us approach it as an abundance, as so many composers and performers are doing now. Creation not in spite of but out of a desire to. A future where change is definite.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Music is indelibly linked to space and place. It has only been until very recently that the idea of space and place has been limited to the tangible. That shift away from liveness (something that I believe was on its way) is a huge step in the future of new music.<\/p>\n","protected":false},"author":529,"featured_media":431429,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[63,3,38,1],"tags":[2624],"nmb_categories":[6,2633],"how_to_category":[],"nmb_tags":[],"internal_taxonomy":[2622,2621,2623],"class_list":["post-429272","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analysis","category-articles","category-nmbx","category-uncategorized","tag-out-of-the-box","nmb_categories-articles","nmb_categories-out-of-the-box","internal_taxonomy-digital-music","internal_taxonomy-out-of-the-box","internal_taxonomy-virtual-music"],"acf":[],"aioseo_notices":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Out of the Box: Plus C\u2019est La M\u00eame Chose - New Music USA<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Out of the Box: Plus C\u2019est La M\u00eame Chose - New Music USA\" \/>\n<meta property=\"og:description\" content=\"Music is indelibly linked to space and place. It has only been until very recently that the idea of space and place has been limited to the tangible. That shift away from liveness (something that I believe was on its way) is a huge step in the future of new music.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/\" \/>\n<meta property=\"og:site_name\" content=\"New Music USA\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/NewMusicUSA\/\" \/>\n<meta property=\"article:published_time\" content=\"2022-01-05T19:02:28+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-02-08T18:07:44+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/01\/Vanessa-Ague-Out-of-the-Box-Web-Header-1200-x-500-px-2.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"500\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Imani Mosley\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@newmusicusa\" \/>\n<meta name=\"twitter:site\" content=\"@newmusicusa\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Imani Mosley\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/\"},\"author\":{\"name\":\"Imani Mosley\",\"@id\":\"https:\/\/newmusicusa.org\/#\/schema\/person\/4d6d7d4d519f915319438b16cddde6fd\"},\"headline\":\"Out of the Box: Plus C\u2019est La M\u00eame Chose\",\"datePublished\":\"2022-01-05T19:02:28+00:00\",\"dateModified\":\"2022-02-08T18:07:44+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/\"},\"wordCount\":1596,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/newmusicusa.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/01\/Vanessa-Ague-Out-of-the-Box-Web-Header-1200-x-500-px-2.png\",\"keywords\":[\"Out of the Box\"],\"articleSection\":[\"Analysis\",\"Articles\",\"NewMusicBox\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/\",\"url\":\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/\",\"name\":\"Out of the Box: Plus C\u2019est La M\u00eame Chose - New Music USA\",\"isPartOf\":{\"@id\":\"https:\/\/newmusicusa.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/01\/Vanessa-Ague-Out-of-the-Box-Web-Header-1200-x-500-px-2.png\",\"datePublished\":\"2022-01-05T19:02:28+00:00\",\"dateModified\":\"2022-02-08T18:07:44+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/#primaryimage\",\"url\":\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/01\/Vanessa-Ague-Out-of-the-Box-Web-Header-1200-x-500-px-2.png\",\"contentUrl\":\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/01\/Vanessa-Ague-Out-of-the-Box-Web-Header-1200-x-500-px-2.png\",\"width\":1200,\"height\":500,\"caption\":\"Imani Mosley Out of the Box\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/newmusicusa.org\/nmbx\/out-of-the-box-plus-cest-la-meme-chose\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/newmusicusa.org\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Out of the Box: Plus C\u2019est La M\u00eame Chose\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/newmusicusa.org\/#website\",\"url\":\"https:\/\/newmusicusa.org\/\",\"name\":\"New Music USA\",\"description\":\"Supporting the sounds of tomorrow. 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