{"id":798,"date":"2021-02-09T18:22:29","date_gmt":"2021-02-09T18:22:29","guid":{"rendered":"https:\/\/newmusic.bfcsite.com\/?page_id=798"},"modified":"2022-11-18T12:27:11","modified_gmt":"2022-11-18T17:27:11","slug":"articles","status":"publish","type":"page","link":"https:\/\/newmusicusa.org\/newmusicbox\/articles\/","title":{"rendered":"NewMusicBox"},"content":{"rendered":"<form data-sf-form-id='801' data-is-rtl='0' data-maintain-state='' data-results-url='https:\/\/newmusicusa.org\/newmusicbox\/articles' data-ajax-form-url='https:\/\/newmusicusa.org\/?sfid=801&amp;sf_action=get_data&amp;sf_data=form' data-display-result-method='shortcode' data-use-history-api='1' data-template-loaded='0' data-lang-code='en' data-ajax='0' data-init-paged='1' data-auto-update='1' action='https:\/\/newmusicusa.org\/newmusicbox\/articles' method='post' class='searchandfilter' id='search-filter-form-801' autocomplete='off' data-instance-count='1'><ul><li class=\"sf-field-taxonomy-nmb_categories\" 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class='wp-pagenavi' role='navigation'>\n<span class='pages'>Page 1 of 304<\/span><span aria-current='page' class='current'>1<\/span><a class=\"page larger\" title=\"Page 2\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=2\">2<\/a><a class=\"page larger\" title=\"Page 3\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=3\">3<\/a><a class=\"page larger\" title=\"Page 4\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=4\">4<\/a><a class=\"page larger\" title=\"Page 5\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=5\">5<\/a><span class='extend'>...<\/span><a class=\"larger page\" title=\"Page 10\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=10\">10<\/a><a class=\"larger page\" title=\"Page 20\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=20\">20<\/a><a class=\"larger page\" title=\"Page 30\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=30\">30<\/a><span class='extend'>...<\/span><a class=\"nextpostslink\" rel=\"next\" aria-label=\"Next Page\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=2\">&raquo;<\/a><a class=\"last\" aria-label=\"Last Page\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=304\">Last &raquo;<\/a>\n<\/div>\t<\/div> -->\n\t\n\t<div class=\"search-filter-results\">\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/how-music-can-make-a-city-the-louisville-example\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/how-music-can-make-a-city-the-louisville-example\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2024\/12\/LO-2024115-Ray-Chen-n-LOCC-67-L-400x200.jpg\" alt=\"Valerie Coleman and Teddy Abrams. Photo Credit: O'Neil Arnold.\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Vanessa Reed<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/how-music-can-make-a-city-the-louisville-example\/\">How Music Can Make a City: The Louisville Example<\/a><\/h4>\n\t<p>Last month, I took a trip to Louisville, Kentucky to hear the Louisville Orchestra perform a new piece by Valerie Coleman, and to meet with some of the local creatives driving the city\u2019s vibrant music scene. I was blown away by the orchestra\u2019s impact and the energy of the local music community. Here are just<a class=\"excerpt-read-more\" href=\"https:\/\/newmusicusa.org\/nmbx\/how-music-can-make-a-city-the-louisville-example\/\" title=\"ReadHow Music Can Make a City: The Louisville Example\">&#8230; Read more &raquo;<\/a><\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/five-years-five-reflections\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/five-years-five-reflections\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2024\/10\/Vanessa-Reed-by-Ruth-Kilpatrick-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Vanessa Reed<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/five-years-five-reflections\/\">Five Years, Five Reflections<\/a><\/h4>\n\t<p>I recently reached the fifth anniversary of my move from London to New York to become the President &amp; CEO of New Music USA. Time has flown! This milestone has inspired me to reflect on what we have learned as an organization since I arrived in 2019; a transformative period that included seven months of<a class=\"excerpt-read-more\" href=\"https:\/\/newmusicusa.org\/nmbx\/five-years-five-reflections\/\" title=\"ReadFive Years, Five Reflections\">&#8230; Read more &raquo;<\/a><\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/fran-richard-an-appreciation\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/fran-richard-an-appreciation\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/07\/NewMusicBox-Placeholder-image-jpeg.jpeg\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Eve Beglarian<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/fran-richard-an-appreciation\/\">Fran Richard: An Appreciation<\/a><\/h4>\n\t<p>Eve Beglarian pays tribute to Fran Richard, Honorary Board member at New Music USA, Founding Director, Vice President of Meet the Composer, and former Vice President and head of ASCAP&#8217;s Concert Music department, who passed away on February 8 at the age of 87.\u00a0 Fran is sorely missed by Board and staff, past and present,<a class=\"excerpt-read-more\" href=\"https:\/\/newmusicusa.org\/nmbx\/fran-richard-an-appreciation\/\" title=\"ReadFran Richard: An Appreciation\">&#8230; Read more &raquo;<\/a><\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/other-minds-archives-goes-live-january-26-2024\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/other-minds-archives-goes-live-january-26-2024\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2024\/01\/ctc-telluride-1990-02_crp-scaled-e1706112980990-400x200.jpg\" alt=\"Composers of the 1990 Composer-to-Composer Festival working on their manifesto on censorship. Telluride, CO.\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Joseph Bohigian<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/other-minds-archives-goes-live-january-26-2024\/\">Other Minds Archives Goes Live January 26, 2024<\/a><\/h4>\n\t<p>The Other Minds Archives hosts thousands of audio and video recordings, rare photographs, and ephemera documenting the history of 20th and 21st century experimental music, including interviews and musical recordings by such new music luminaries as George Antheil, Anahid Ajemian, John Cage, Henry Cowell, Laurie Anderson, Anthony Braxton, Conlon Nancarrow, Morton Feldman, Pauline Oliveros, Nicolas<a class=\"excerpt-read-more\" href=\"https:\/\/newmusicusa.org\/nmbx\/other-minds-archives-goes-live-january-26-2024\/\" title=\"ReadOther Minds Archives Goes Live January 26, 2024\">&#8230; Read more &raquo;<\/a><\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/different-cities-different-voices-pittsburgh\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/different-cities-different-voices-pittsburgh\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/09\/Pittsburgh-DCDV-Web-Header-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Different Cities Different Voices<\/div>\t\t<div class=\"meta\">Multiple Authors<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/different-cities-different-voices-pittsburgh\/\">Different Cities Different Voices - Pittsburgh<\/a><\/h4>\n\t<p>The descendants of the Polish, Irish, and Czech immigrants who were murdered at the Homestead Massacre, the black Pittsburghers that were displaced from the jazz mecca that once was Hill District, and the immigrants who happen upon this beautiful city to pursue some version of the American dream\u2014this is the canvas upon which this city\u2019s artists create.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/even-sweeter-the-second-time-around\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/even-sweeter-the-second-time-around\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/08\/MonsterBoyLives-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Veronica Wirges<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/even-sweeter-the-second-time-around\/\">Even Sweeter the Second Time Around<\/a><\/h4>\n\t<p>Life can be unpredictable at times, and that is how I came back to playing baritone saxophone after twenty years of the horn collecting dust in my attic. It was the most unlikely course of events, but I am a firm believer that those are the times to make adventurous choices. <\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/waking-up-from-the-dream-job\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/waking-up-from-the-dream-job\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/08\/Tesseract-400x200.jpg\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Frank J. Oteri<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/waking-up-from-the-dream-job\/\">Waking Up From The Dream Job<\/a><\/h4>\n\t<p>After nearly a quarter century of continuous work as the Editor of NewMusicBox and also eventually as Composer Advocate for what was originally the American Music Center and which in 2011 became New Music USA, I am resigning from full time work for this organization to devote more of my energies to being an educator.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/releasing-the-composer-within\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/releasing-the-composer-within\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/08\/Scott-Flavin-1-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Scott Flavin<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/releasing-the-composer-within\/\">Releasing the Composer Within<\/a><\/h4>\n\t<p>No matter how little training or \u201ctalent\u201d we have, something speaks to us to foster the need to create. The big question is how to find the inspiration and courage to compose music.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/zibuokle-martinaityte-unexplainable-places\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/zibuokle-martinaityte-unexplainable-places\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/08\/Zibuokle-Martinaityte-horizontal-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Interviews<\/div>\t\t<div class=\"meta\">Frank J. Oteri<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/zibuokle-martinaityte-unexplainable-places\/\">\u017dibuokl\u0117 Martinaityt\u0117: Unexplainable Places<\/a><\/h4>\n\t<p>Growing up in Soviet-era Lithuania where people were often afraid to express their real feelings, \u017dibuokl\u0117 Martinaityt\u0117 discovered early on that music was safer than language and a realm where she could express her innermost feelings unedited. Now an international-acclaimed composer who spends a great deal of her time in the United States, she understands that music &#8220;surpasses words; it surpasses the meaning of words because it can go to unknown places and unexplainable places.&#8221;<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/your-music-an-open-letter-to-my-child\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/your-music-an-open-letter-to-my-child\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/08\/bastien-jaillot-eJwSOguD1rE-unsplash-400x200.jpg\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Shi-An Costello (\u4e16 \u5b89)<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/your-music-an-open-letter-to-my-child\/\">Your Music, An Open Letter to My Child<\/a><\/h4>\n\t<p>I understand that you are only 16 months old, and so your ability to fully comprehend this letter may take some time. Writing about you is as hard as writing about music. What if you yourself were music? What would you be? You would be a formless soundscape of abrupt shifts and prolonged repetition, never truly starting or ending.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/rhapsody-in-discomfort\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/rhapsody-in-discomfort\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/07\/Lyme-Disease-web-header-4-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Dan Flanagan<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/rhapsody-in-discomfort\/\">Rhapsody in Discomfort<\/a><\/h4>\n\t<p>I\u2019ve been a violinist for forty years and I have made a living from it since completing school twenty years ago. I\u2019ve also been afflicted with chronic neurological Lyme Disease and co-infections for thirty-three years, and boy oh boy, does it get in the way. So, how do I deal with it, you ask?\u00a0 Well, write a trio about it, of course.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-rain-unreal-and-biblical\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-rain-unreal-and-biblical\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/07\/Gabriela-Lena-Frank-7_26-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Gabriela Lena Frank<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-rain-unreal-and-biblical\/\">GLFCAM -- Rain, unreal and biblical<\/a><\/h4>\n\t<p>Formerly pretty solitary when I was still a Bay Area urbanite, the reality of the climate crisis has had me creating more local community than I have ever done. That&#8217;s not necessarily comfortable for me but I think the crisis will only be effectively addressed en masse.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/inti-figgis-vizueta-the-ability-to-grow\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/inti-figgis-vizueta-the-ability-to-grow\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/07\/inti-figgis-vizueta-horizontal-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">SoundLives<\/div>\t\t<div class=\"meta\">Frank J. Oteri<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/inti-figgis-vizueta-the-ability-to-grow\/\">inti figgis-vizueta: the ability to grow<\/a><\/h4>\n\t<p>inti figgis-vizueta likens her compositions to plants and creates music that carefully balances experimentation and practicality.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-nomowmay\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-nomowmay\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/07\/Iman-Habibi-7_19-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Iman Habibi<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-nomowmay\/\">GLFCAM -- NoMowMay<\/a><\/h4>\n\t<p>Those with a lawn are encouraged to mow less, and to not mow at all in the month of May, a critical time especially for butterflies, bees and other bugs to feast on wild flowers. Sadly, we seem to be the only people participating in our neighborhood. Next year, I hope we can have a #NoMowMay sign put in our yard, both to let the neighbors know why our house looks like a meadow, and to spread the word and hopefully encourage others to consider doing the same.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-sustainable-practices-the-discipline-of-rest\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-sustainable-practices-the-discipline-of-rest\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/07\/Dustin-Carlson-1-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Dustin Carlson<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-sustainable-practices-the-discipline-of-rest\/\">GLFCAM -- Sustainable practices: the discipline of rest<\/a><\/h4>\n\t<p>As a musician I feel that I have been cultured to believe in hard work, achievement, etc. &#8220;Become an excellent musician so that you can receive attention, money, respect, or even more dire so that you can survive, make a living, not have to work a side hustle that (potentially) crushes your soul.&#8221; The artistic purpose of &#8220;personal-achievement&#8221; seems divisive and destructive to me.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-finding-purpose\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-finding-purpose\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/07\/Michael-Thomas-Foumai-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Guest Editor series<\/div>\t\t<div class=\"meta\">Michael-Thomas Foumai<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-finding-purpose\/\">GLFCAM -- Finding Purpose<\/a><\/h4>\n\t<p>Writing music gave me great joy, but I questioned if there was a purpose for it that was equally wholesome. The question lingered, could composing music enact change as a doctor treating a patient, an attorney representing a client, or a senator voting for public policy?<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-wrong-i-would-love-to-be-that\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-wrong-i-would-love-to-be-that\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/06\/Gabriela-Lena-Frank-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Guest Editor series<\/div>\t\t<div class=\"meta\">Gabriela Lena Frank<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-wrong-i-would-love-to-be-that\/\">GLFCAM -- Wrong. I would love to be that<\/a><\/h4>\n\t<p>I\u2019ve been compiling a list of questions that I\u2019ve received over these past 18 months in various interviews, panels, etc., since I began publicly communicating my environmental alarm in earnest, not just casually.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/life-as-a-mixing-board\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/life-as-a-mixing-board\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/06\/Catherine-Joy-1-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">How-Tos<\/div>\t\t<div class=\"meta\">Catherine Joy<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/life-as-a-mixing-board\/\">Life as a Mixing Board: The Diversification of Roles as a Composer<\/a><\/h4>\n\t<p>I have come to think of my life as a mixing board. There are a number of different channels. Mine are labeled composing, score producing, entrepreneur, teaching, community work. But the levels on those different channels are constantly changing as I move through my life.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-the-tale-of-hillman-estates\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-the-tale-of-hillman-estates\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/06\/Matthew-Evan-Taylor-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Guest Editor series<\/div>\t\t<div class=\"meta\">Matthew Evan Taylor<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-the-tale-of-hillman-estates\/\">GLFCAM -- The Tale of Hillman Estates<\/a><\/h4>\n\t<p>My earliest memory is December 1982, my second birthday, which we celebrated at the Dandridge Road home. Hillman Estates was a come-home-before-the-street-lights-come-on type of neighborhood.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/naming-the-future\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/naming-the-future\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/06\/chuttersnap-JChRnikx0tM-unsplash-400x200.jpg\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Donna Lee Davidson<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/naming-the-future\/\">Naming The Future<\/a><\/h4>\n\t<p>I had a hard time accepting my name when I was younger because it felt so White and so old on my young, Black frame. Amongst my classmates\u2014Brittney, Takeisha, Kimberly, Latoya, Michelle\u2014I felt like an oddball. I\u2019d only met old White women named Donna. The day I met a young Black Donna at an IHOP was the day I met with a major symphony orchestra timpanist to talk about an unfair situation that affected my career as a percussionist.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/different-cities-different-voices-louisville\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/different-cities-different-voices-louisville\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/06\/Louisville-DCDV-Web-Header-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Different Cities Different Voices<\/div>\t\t<div class=\"meta\">Multiple Authors<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/different-cities-different-voices-louisville\/\">Different Cities Different Voices - Louisville<\/a><\/h4>\n\t<p>Louisville\u2019s exceptional and dynamic music scene has always flown a bit under the radar from a national perspective. This is a microcosm of life in Louisville generally; we are deeply proud of the talent in our own backyard but somewhat baffled by the lack of positive attention to our city from outside media.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-following-the-interspecies-gaze-in-shaun-tans-illustrated-stories\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-following-the-interspecies-gaze-in-shaun-tans-illustrated-stories\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/06\/Timothy-Peterson-web-header-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Timothy Peterson<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-following-the-interspecies-gaze-in-shaun-tans-illustrated-stories\/\">GLFCAM -- Following the Interspecies Gaze in Shaun Tan\u2019s Illustrated Stories<\/a><\/h4>\n\t<p>I think the idea of telling a story with images alone reminded me of the challenge that composers face when writing instrumental music: how can we weave a narrative without words?<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/orchestrating-ellington\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/orchestrating-ellington\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/06\/Arrangement-400x200.jpg\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Articles<\/div>\t\t<div class=\"meta\">Ethan Iverson<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/orchestrating-ellington\/\">Orchestrating Ellington<\/a><\/h4>\n\t<p>Until now, everything that has gotten performed under the rubric \u201csymphonic Ellington\u201d was overseen by relatively conservative orchestrators. It was all more practical than anything else. Working with a full symphonic orchestra may have been a good way to remain \u201cbeyond category,\u201d but there is little to suggest that Ellington treated the submitted orchestrations as more than an easy way to fulfill commission requirements.<\/p>\n<\/div>\t\t\n\t\t\t\t\n<div class=\"grid-item\" data-link=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-new-day\/\">\n\t\t\t<a href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-new-day\/\"><img decoding=\"async\" class=\"filter-img\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2023\/06\/Iman-Habibi-400x200.png\" alt=\"\" \/><\/a>\n\t\t<div class=\"meta-wrapper\">\n\t\t<div class=\"meta blue\">Guest Editor series<\/div>\t\t<div class=\"meta\">Iman Habibi<\/div>\n\t<\/div>\n\t<h4><a class=\"underline-link\" href=\"https:\/\/newmusicusa.org\/nmbx\/glfcam-new-day\/\">GLFCAM -- New Day<\/a><\/h4>\n\t<p>If you use your time well on the first day of the year, that may just give you the momentum you need to make it through the rest of the year.<\/p>\n<\/div>\t\t\n\t\t<\/div>\n\t\n\t<!-- Page 1 of 304<br \/> -->\n\t\n\t<div class=\"pagination\">\n\t\t\n\t\t<div class=\"nav-previous\"><a href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=2\" >Older posts<\/a><\/div>\n\t\t<div class=\"nav-next\"><\/div>\n\t\t<br \/><div class='wp-pagenavi' role='navigation'>\n<span class='pages'>Page 1 of 304<\/span><span aria-current='page' class='current'>1<\/span><a class=\"page larger\" title=\"Page 2\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=2\">2<\/a><a class=\"page larger\" title=\"Page 3\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=3\">3<\/a><a class=\"page larger\" title=\"Page 4\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=4\">4<\/a><a class=\"page larger\" title=\"Page 5\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=5\">5<\/a><span class='extend'>...<\/span><a class=\"larger page\" title=\"Page 10\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=10\">10<\/a><a class=\"larger page\" title=\"Page 20\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=20\">20<\/a><a class=\"larger page\" title=\"Page 30\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=30\">30<\/a><span class='extend'>...<\/span><a class=\"nextpostslink\" rel=\"next\" aria-label=\"Next Page\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=2\">&raquo;<\/a><a class=\"last\" aria-label=\"Last Page\" href=\"https:\/\/newmusicusa.org\/newmusicbox\/articles?sf_paged=304\">Last &raquo;<\/a>\n<\/div>\t<\/div>\n\t\n<section id=\"flex-content\" class=\"page-nmbox\">\n\t<div class=\"flexible-content-fields\">\n\t\t<div class=\"flexible-content-field advertisement\">\n\t\t\t\t<\/div>\n\t<\/div>\n<\/section><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":25,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"class_list":["post-798","page","type-page","status-publish","hentry"],"acf":[],"aioseo_notices":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>NewMusicBox - New Music USA<\/title>\n<meta name=\"description\" content=\"Explore the NewMusicBox index of articles, interviews, how-tos, podcast episodes, and more. 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