Showing posts from August, 2015

Streaming royalties

Michael Price is a composer of television and film music and the chair of the New Media Executive Committee of the British Academy of Songwriters.  He is unhappy about the changes made by media companies in the way that composers are being paid for their music.

(The Independent)
Price said he was a supporter of licensed streaming services, but called for a new era of “transparency” in which tech giants and record companies disclose explicit details of the deals which set the rates on how much artists and songwriters receive. His comments follow the recent launches of the Amazon Prime Music and Apple Music streaming services, and come in the wake of claims by US musician David Byrne that record companies are siphoning off revenues from streaming and not paying royalties to artists and writers.
Price claimed that many of their employees didn’t recognise the value of music. “People working in these tech companies are often of a generation that has never paid for music in a conventional s…

Female composers and New Complexity.


This is a controversial one.  

I am reposting a discussion that Tim Rutherford-Johnson had with some of twitter followers about the lack of Female New Complexity composers. As far as I am concerned, there are two major issues here:

One is the lack of published female composers.

The other is the terminology "New Complexity" - what does it refer to and what does it mean?

Helmut Lachenmann

Helmut Lachenmann is relatively unknown outside of Germany.  Nevertheless, he is afigure who is growing in significance in modern music circles.  Despite his wide experience, his lack of broad appeal is, in my opinion, largely due to the individuality of his music.  He is not easy to categorise in an era which isdominated by trends and cliches.

A simple way of describing his music is... *"musique concrète instrumentale". The notion is the creation of a subtlety of transformation of timbre, a manipulation of a continuum from sound to noise, from pitched notes to pitchless textural exploration, and all that in the sphere of (mostly) purely instrumental music. That means that in Lachenmann's music, there's a world of sound that rivals and even surpasses what electronic and electro-acoustic composers can achieve.  -Guardian.

Essentially,  he is a acoustic composer writing electronic sounding music.  He is somewhere in-between the timbralist composers like Iannis Xenakis/Ja…

What is Stockhausen's legacy?

Karlheinz Stockhausen is one of the most important composers of the post war era. He is partially responsible for the creation of the post war modernist music.   But what is his true legacy? Was he the leading composer in his field?

Did he invent the 'timbralist' idea of generating music from a single sound? Well, he did accomplish that concept with "Stimmung'' (Voice) which is completely designed around the single chord of a B flat ninth. But he wasn't the first.  Giacinto Scelsi wrote "Quatro pezzi per orchestre" which is based a single note per movement and that work was written in 1959.

I seriously doubt whether Stockhausen knew about Scelsi's achievement when he wrote Stimmung in 1977.

Perhaps one of his greatest works  is "Gruppen'' (Groups) composed for three orchestras. Did it change the way we use the orchestra?  He was a pioneer, especially in the early stages of his profession career as a composer; writing for larger orchest…