Composer Tony Manfredonia returns to talk about his bifurcated career of writing concert music and music for video games.
Composer Griffin Candey talks about the importance securing performances of new, large-scale works before you start writing them.
Dennis is joined this week by Jamie Leigh Sampson and Andrew Martin Smith to talk about their compose collective ADJ*ective New Music.
Mezzo-soprano Megan Ihnen and composer Alex Shapiro return to MPP to talk about the ins and outs of commissioning new music from the perspective of the composer and the commissioner.
Composer Garrett Schumann talks about building a local music scene, investing in yourself, and the nuts and bolts of economical live streaming.
MPP celebrates one year of episodes with reflection on the past year, a look ahead to the coming months, and a drink with return guest Jay Venute.
Dennis is joined by composers Tony Manfredonia and Ed Windels to share even more reactions to the third New Music Gathering, held in Bowling Green, OH.
Dennis is joined by soprano Elisabeth Halliday and composer Spencer Arias to talk about their reactions to the third New Music Gathering, held in Bowling Green, OH.
Entertainment lawyer Marc Ostrow returns to MPP to talk about recent legal and legislative developments in copyright and licensing.
Composer/violist Martha Mooke talks about improvisation, following your passions, and finding balance.
Composer/bassist Brian Coughlin talks about non-linear career paths, meaningful collaborations, being open to a variety of experiences, and learning from your mistakes.
Composer Robert Paterson talks about running composition competitions, believing in yourself, dealing with rejection, and having support systems in place.
Dennis talks with composer Reg Unterseher about the benefits of curation, the future of electronic scores, and different models of distribution and publication.
After ten months of doing this show, I finally managed to get my husband, Darien Shulman, on the podcast! Darien is a composer who started his musical career as a concert music composer, and has made the transition to writing for TV and film.
In this week's episode, we talk about different philosophies of music education, writing for commercials, and what it takes to kill your darlings.
Composer Alexandra Gardner (Ep. 9) returns to talk about what should and shouldn’t go into your composer website.
Kevin Clark is a philanthropy consultant, product manager, and composer working to help artists thrive. He is the brains behind the New Music USA project platform, and speaks and writes about arts economics, technology in the arts and non-profit worlds, and philanthropy.
During the course of our conversation, we talked about some of the interesting up-and-coming organizations that he consults for, making art sustainable, Baumol's cost disease, and fundraising with Kickstarter.
In addition to his work as a composer, Jonathan Newman is the Director of Composition & Coordinator of New Music at the Shenandoah Conservatory; he was also a founding member of the composer consortium BCM International.
During the course of our conversation, we talked about writing for educational ensembles, the history and impact of BCM International, and being “pigeonholed”.
Anne Lanzilotti is a violist, composer, and fierce advocate of contemporary music. She is a member of The Rhythm Method string quartet, co-founder for Kalikolehua — El Sistema Hawai‘i, and a member of the string faculty at NYU Steinhardt, and she created “Shaken Not Stuttered”, an online resource of extended techniques for strings used in Andrew Norman’s orchestral and chamber works.
During the course of our conversation, she and I talked about collaboration, the joys and challenges of commissioning, and new music advocacy.
For this week's episode, I sat down to chat with David and Matthew Maslanka. David is a renowned composer, often known for his extensive catalog of works for wind ensemble; and Matthew, David's son, is a euphonist and engraver, and handles the operations for publishing David's music.
During the course of the conversation, we talked about the trajectory of David's career and the important changes he made and risks he took along the way, how Matthew handles publishing David's works, and the importance of being true to your music and yourself.
In her first appearance on the show, exactly 30 episodes ago, Dale Trumbore mentioned How to Go On, her secular requiem commissioned by Choral Arts Initiative. She explained the plan to premiere and record the piece with the ensemble, and promised to be back to talk about the process.
So this week, she and CAI Artistic Director Brandon Elliott join me to talk about the process of the preparation and recording of the album: from the project's genesis through fundraising, marketing recording, and post-production, up to the impending release this month.
Joshua Gersen is, in addition to being a composer, the Musical Director of the New York Youth Symphony and Assistant Conductor of the New York Philharmonic. An advocate for new music, he helps to oversee the NYYS’s annual composer competition, which awards commissions to three composers under 30.
During the course of our conversation,w e talked about the role of youth orchestras, the nature of orchestral writing, and the annual NYYS composition competition.
Scott Tegge, tubist for the Gaudete Brass, knows how to hustle, and he's genuinely an awesome guy. We met at the "composer hang" coordinated by Frank J. Oteri during the Midwest Clinic, and I knew right away that he had to be a guest on the show. In addition to all the work he does for the quintet, he also teaches an insane amount, and is in the process of creating a new non-profit to help generate more opportunities for brass players.
During the course of our conversation, a few of the things we talked about were: collaborations (both good and bad), having diversified revenue, and knowing how to fundraise effectively.
William J. Lackey is one of the many cool people I met at the Midwest Clinic. In addition to his work as a composer, Billy has been the Administrative Director at the Mizzou New Music Initiative, and served on the Boards of the newEar Contemporary Chamber Ensemble, the Odyssey Chamber Music Series, and the Kansas City Electronic Music and Arts Alliance. He’s currently a Vice President of Programs at the American Composers Forum, and he brings all of the skills he learned in these various positions to bear in his composing career.
During the course of our conversation, we chatted about transformative teachers, learning administrative skills, and a host of opportunities available for composers through the American Composers Forum.