Supporting Composers
Sy Brandon
Professor at the University of Texas at Commerce, who had a
requirement that all his students giving recitals needed to contribute
in some way to expanding the repertoire of their instrument. They
needed to do an arrangement of something currently not available for
that instrumentation or have a composer write a new piece. He was
trying to instill in all his students the idea that performers have a
responsibility to expand the repertoire for their instrument and to
support the contemporary creators of music. As a performer, conductor,
educator and composer, I wholeheartedly agree with his philosophy and
throughout my career have embraced this practice.
I was exposed to the value of commissioning projects during my
undergraduate years at Ithaca College where Kappa Gamma Psi, the music
fraternity to which I belonged, annually commissioned a composer to
write a piece to be performed by some of the students at its spring
recital. It was a very exciting time for us, knowing that we were
contributing to the growth of the literature and working directly with
the creator of the music.
When I began teaching public school in Bath, N.Y., I wanted to
experiment with the idea of commissioning as applied to elementary
band. In 1967, I decided to approach Elie Siegmeister, whom I met at
Ithaca College when he was commissioned by Kappa Gamma Psi and with
whom I later studied. When I first approached him with the idea of
writing for elementary band, he was intrigued, as he had never before
been commissioned to write for young performers. We requested a five-
minute piece for which he would supply score and parts and attend a
rehearsal and the concert. This meant driving 500 miles round trip
plus the cost of motel rooms, all for a fee of $250! The resulting
piece, "Ballad for Band", was an excellent addition to the
intermediate level band repertoire. The students were inspired to
perform at an increased level of musicianship and developed a sense of
understanding for a more modern musical language.
When I began my career as a university professor, I created a unique
project as part of my twentieth century music class. Each member of
the class contributed $10 to a fund used to commission a composer to
write a piece for the instrumentation of the class. The class was
involved in selecting the composer, contacting him or her, writing
grants for additional funds, writing a letter of agreement, and
rehearsing and performing the piece. My wife and I also commissioned
and premiered about a dozen works written for us to perform at the
close of our faculty recitals.
Today I am mostly involved from the composer and arranger end. How
many times as performers or conductors have we wished we could contact
the composer and as him/her what they intended? We can’t do that with
composers who are no longer living, but we can do that with composers
who are alive! The process of working closely with composers enables
us to understand the composer’s intentions and grow in our ability to
interpret music. In addition, having a composer attend a rehearsal and
performance and talk to the performers and audience gives everyone
involved a further understanding of the cycle of music, from creator
to interpreter to listener.
Hopefully by now I have interested you in working closely with a
composer whether by commissioning a new piece, or by giving and
existing piece its premiere or additional performances. The next
question you may have is “How to I go about finding a composer to work
with?” One of the places to start is with composer organizations such
as:
American Composers Forum http://www.composersforum.org/
National Association of Composers, USA http://www.music-usa.org/nacusa/
Center for Promotion of Contemporary Composers http://www.under.org/cpcc/
American Music Center http://www.amc.net/
Society of Composers http://www.societyofcomposers.org/
These organizations have links to where you can sample the composer’s
works and find contact information.
Another way of having performers and composers come in contact with
each other is for news groups and list serves to fully embrace
composers as part of their membership. The orchestralist for example
has this as part of their description, “ORCHESTRALIST is an
international forum for conductors, composers, players, and their
colleagues in the orchestra business. Discussion on Orchestralist
ranges over a variety of topics of interest to orchestra
professionals. Those encouraged to participate include: (1) conductors
of professional, college or community orchestras that perform standard
repertory (including choral-orchestral music and opera); (2) musicians
who play in such orchestras; (3) composers who write music for such
orchestras. Also invited to participate are publishers,
administrators, board members, scholars, patrons, and artists-in-
training.” Too many lists have a policy of no commercial advertising
or self-promotion. With the state of the publishing industry
concentrating only on items that sell well, many composers are making
their music available via the internet. The prices they charge are
just trying to cover their expenses and they cannot afford commercial
advertising rates. Often, news groups serve as the only means of
informing performers of the availability of their music. It would be
nice if all news groups welcomed composers in the manner that the
orchestralist does so that performers and composers can easily
communicate with each other.
Lastly, many performers are concerned about the finances of working
with composers and commissioning works. In an ideal world, all artists
would be paid what they are worth. But in the real world, composers
are often more anxious to get a performance of their music than to
earn a lot of money. To help with linking performers with composers,
there are several grants available:
Meet The Composer Met Life Creative Connections Grants
http://www.meetthecomposer.org/node/10
American Composer’s Forum Encore Grants
http://www.composersforum.org/programs_detail.cfm?oid=10956§ion=performances
Co-op Press Fund Grants for Performers http://www.cooppress.hostrack.net/grants.html
I apologize for the length of this post, but I hope that I have
convinced the performer and conductor members of this group, no matter
your level of accomplishment, to seek out and work with a composer of
your choice. You will be creating an invaluable educational experience
and adding to the repertoire. It is a win-win situation for all
involved.
Dr. Sy Brandon
Professor Emeritus
Millersville University of PA
Bill Graham
"Sy Brandon" <sybr...@gmail.com> wrote in message
news:2e30411e-6ad3-46ee...@f20g2000prn.googlegroups.com...
the composer and as him/her what they intended? We can�t do that with
composers who are no longer living, but we can do that with composers
who are alive! The process of working closely with composers enables
us to understand the composer�s intentions and grow in our ability to
interpret music. In addition, having a composer attend a rehearsal and
performance and talk to the performers and audience gives everyone
involved a further understanding of the cycle of music, from creator
to interpreter to listener.
Hopefully by now I have interested you in working closely with a
composer whether by commissioning a new piece, or by giving and
existing piece its premiere or additional performances. The next
question you may have is �How to I go about finding a composer to work
with?� One of the places to start is with composer organizations such
as:
American Composers Forum http://www.composersforum.org/
National Association of Composers, USA http://www.music-usa.org/nacusa/
Center for Promotion of Contemporary Composers http://www.under.org/cpcc/
American Music Center http://www.amc.net/
Society of Composers http://www.societyofcomposers.org/
These organizations have links to where you can sample the composer�s
works and find contact information.
Another way of having performers and composers come in contact with
each other is for news groups and list serves to fully embrace
composers as part of their membership. The orchestralist for example
has this as part of their description, �ORCHESTRALIST is an
international forum for conductors, composers, players, and their
colleagues in the orchestra business. Discussion on Orchestralist
ranges over a variety of topics of interest to orchestra
professionals. Those encouraged to participate include: (1) conductors
of professional, college or community orchestras that perform standard
repertory (including choral-orchestral music and opera); (2) musicians
who play in such orchestras; (3) composers who write music for such
orchestras. Also invited to participate are publishers,
administrators, board members, scholars, patrons, and artists-in-
training.� Too many lists have a policy of no commercial advertising
or self-promotion. With the state of the publishing industry
concentrating only on items that sell well, many composers are making
their music available via the internet. The prices they charge are
just trying to cover their expenses and they cannot afford commercial
advertising rates. Often, news groups serve as the only means of
informing performers of the availability of their music. It would be
nice if all news groups welcomed composers in the manner that the
orchestralist does so that performers and composers can easily
communicate with each other.
Lastly, many performers are concerned about the finances of working
with composers and commissioning works. In an ideal world, all artists
would be paid what they are worth. But in the real world, composers
are often more anxious to get a performance of their music than to
earn a lot of money. To help with linking performers with composers,
there are several grants available:
Meet The Composer Met Life Creative Connections Grants
http://www.meetthecomposer.org/node/10
American Composer�s Forum Encore Grants
http://www.composersforum.org/programs_detail.cfm?oid=10956§ion=performances
Co-op Press Fund Grants for Performers
http://www.cooppress.hostrack.net/grants.html
I apologize for the length of this post, but I hope that I have
convinced the performer and conductor members of this group, no matter
your level of accomplishment, to seek out and work with a composer of
your choice. You will be creating an invaluable educational experience
and adding to the repertoire. It is a win-win situation for all
involved.
Dr. Sy Brandon
Professor Emeritus
Millersville University of PA
I hear what you are sayin', and I agree with it intellectually, but as a 74
year old lover of popular music of the 20's thru 60's, I just can't stand
95% of all the pop stuff written in the last 50 years, so I have little
choice but to believe that the ears of the modern human being are
congenitally defective. The question is, why should I support this crap? Is
there any hope for the musical future of the human race? If so, then where
can I find some proof of it?
Bill Graham, Salem, Oregon
Jeff
>
> I hear what you are sayin', and I agree with it intellectually, but as a 74
> year old lover of popular music of the 20's thru 60's, I just can't stand
> 95% of all the pop stuff written in the last 50 years, so I have little
> choice but to believe that the ears of the modern human being are
> congenitally defective. The question is, why should I support this crap? Is
> there any hope for the musical future of the human race? If so, then where
> can I find some proof of it?
> Bill Graham, Salem, Oregon
Generally, he's addressing professional musicians, not amateurs.
Hope that clears things up.
Bill Graham
"Jeff" <jeff.h...@gmail.com> wrote in message
news:541d16f0-96c1-4851...@m33g2000vbi.googlegroups.com...
If he's depending on support from professionals, he's not going to get very
much support. That is one of the sad facts about music. About the arts in
general, I would have to say......You have to go where the money is.
Jeff
>
> If he's depending on support from professionals, he's not going to get very
> much support. That is one of the sad facts about music. About the arts in
> general, I would have to say......You have to go where the money is.
That's when it stops being art.
Doc
> I hear what you are sayin', and I agree with it intellectually, but as a 74
> year old lover of popular music of the 20's thru 60's, I just can't stand
> 95% of all the pop stuff written in the last 50 years,
Doing some math here, going back 50 years takes us to 1958. So going
by your statement the stuff in late 50's & 60's you like came from
that 5%?
The thing about the 60's & 70's is the sheer variety of what made it
onto the radio. I don't remember which one but one of the Beatles
albums lost out on a Grammy to the New Christy Minstrels. Talk about
two different ends of the musical universe.
It's a pet peeve of mine that instrumentals have been totally wiped
from the top-40 map.
Think of all the great pop stuff in that era - The Carpenters, James
Taylor, John Denver, BS&T, Chicago, The Beatles, Tom Jones, Aretha,
etc. etc..
What about the jazz world? There was certainly great stuff being done,
and there continues to be.
> Is
> there any hope for the musical future of the human race? If so, then where
> can I find some proof of it?
Norah Jones, Colbie Caillat - listen to "Bubbly" and tell me you don't
like it, Michael Buble - I assume you'll like his retro style, Shakira
- smokin' hot, she's also a heck of a vocalist - check out "Hips Don't
Lie".
Your musical tastes and mine might differ but I hear stuff in the
Country world that I like. Lot's of talent there. Taylor Swift has
some nice material - and she writes her own songs. Sugarland's
Jennifer Nettles is one of the finest vocalists ever IMO and they're
certainly a quality act. Brad Paisley, Brooks & Dunn, Shania Twain,
Reba, Dolly Parton is an amazing songwriter and has been at it for a
long time.
Ever heard Alison Krauss & Union Station? You won't find a finer bunch
of musicians.
There *is* other music besides what makes it onto top-40. I just got
an indie album by a young lady named Jordyn Shellhart that's
excellent. At 15 she's a professional songwriter.
http://www.myspace.com/jordynshellhart
In the YouTube realm, a young lady named Julia Nunes - a college
student who posted some videos and now has a growing music career. One
of her early originals "Into The Sunshine"
http://www.youtube.com/watch?v=Jk5L0-SIceg
Canadian Lisa Lavie - Incredibly athletic vocalist, this is one of her
originals, she's also got some super covers up. If her style does it
for you, be sure to check out her versions of "Halo", "The Climb" - in
a different universe than Miley Cyrus, "Battlefield". I usually like
her version better than the "big name" version.
There's good stuff out there, you just have to look.
Oh, and who's this hoser?
Doc
> Doing some math here, going back 50 years takes us to 1958.
Redoing the math, it takes us to '59
;-)
Randall Replogle
>
> Oh, and who's this hoser?
>
> http://www.youtube.com/watch?v=fioOFoEQlOM
Hey! I saw that dude once in Lafayette, IN. :)
RR
Bill Graham
"Doc" <docsa...@yahoo.com> wrote in message
news:90417d9d-b4fb-43d4...@a21g2000yqc.googlegroups.com...
You are right Doc, there is good stuff out there, and I just have to find
it.....but there's the rub.....Finding it. I bought an iPod last year.....I
figured I could listen to the stuff I like and play along with by ear. (I
happen to be good at that) But I can't find the songs I like on the web
sites that are supposed to sell me the downloads.....I would have to listen
to a ton of crap before I found the songs I like to hear, and I just don't
have the time for that. For one thing, the teenagers are so good at cheating
the system that the webmasters make it impossible to hear enough of the song
to be able to identify it.....Instead of giving you a sample in the middle
somewhere, they just give you the first 10 or 15 seconds, and that's
frequently not enough to catch the melody......It's just the introduction,
and I can't identify the song from that. So the stupid thing is useless to
me. - I paid $150 for it and it just sits here on my computer desk as a
reminder that I am too old to cope with the new digital world...:^)
But you are right on the basic premise. There is good music out there if you
can find it, and if I had the time to look for it, I would/should be able to
find it and collect it. But if I think the popular stuff is bad, I ain't
heard nothin' yet.....The stuff that passes for classical nowadays is
ghastly! It is tuneless crap that seems to just be a collection of random
noises with absolutely no redeeming virtue about it at all. And this
(apparently) is what that professor wants me and others to support. If I
find someone that can tell the difference between a tune and a bunch of
random noises, maybe I will offer him/her some support, but I ain't holding
my breath......
Bill Graham
;-)
Well, here is a list of the stuff we are going to be playing next Friday
morning for the seniors to dance to:
KSAS FRIDAY 11/27/09
SOMEWHERE MY LOVE G
COULD I HAVE THIS DANCE F GLEN
UNDECIDED NOW C CATHERINE
BIRTH OF THE BLUES C FRED
BEGINNING TO SEE THE LIGHT G GLEN
COCQUETTE C FRED
PEG OF MY HEART Bb
DARKNESS ON THE DELTA Eb
LATIN
CHERRY PINK F
YELLOW BIRD F
IS IT TRUE WHAT THEY SAY ABOUT DIXIE F GLEN
HAVE I TOLD YOU LATELY F FRED
STROLL
SHEIK OF ARABY Bb GLEN
MUSIC MUSIC MUSIC C CATHERINE
FIVE FOOT TWO C FRED
BREAK
HOT TODDY C
SOUTH F
I DON'T KNOW WHY C CATHERINE
RED ROSES FOR A BLUE LADY C FRED
POLKAS
PENNSYLVANIA F
BEER BARREL C
ALLEGHENY MOON F
NOW IS THE HOUR G GLEN
I will really enjoy playing these tunes.....In fact it will make my entire
week for me........
Bill Graham
> It's a pet peeve of mine that instrumentals have been totally wiped
> from the top-40 map.
Tell me about it. I took music lessons from a Canadian woman and her
daughter back in the 60's and they told me that, "Singers weren't considered
to be musicians". (I was taking classical guitar lessons from them at the
time) Today, the only, "Musicians" that make any money are singers, and most
of them can't read music at all, much less be musicians. I call these people
entertainers, but not musicians. Most jugglers spend more time practicing
their art than singers do. (People like Beverly Sills excepted, of course) I
used to love the top 40 back in the 40's and 50's. Today, I couldn't whistle
anything on the top 40, and certainly couldn't name even one song there. As
far as playing anything there on my horn......Why wear out my lip repeating
the same phrase over and over for ten minutes? It would be more fun (and a
lot more musical) playing Arban exercises.
Bill Graham
"Doc" <docsa...@yahoo.com> wrote in message
news:90417d9d-b4fb-43d4...@a21g2000yqc.googlegroups.com...
>
>> 74
>> year old lover of popular music of the 20's thru 60's, I just can't stand
>> 95% of all the pop stuff written in the last 50 years,
>
>
> Doing some math here, going back 50 years takes us to 1958. So going
> by your statement the stuff in late 50's & 60's you like came from
> that 5%?
>
> The thing about the 60's & 70's is the sheer variety of what made it
> onto the radio. I don't remember which one but one of the Beatles
> albums lost out on a Grammy to the New Christy Minstrels. Talk about
> two different ends of the musical universe.
>
> It's a pet peeve of mine that instrumentals have been totally wiped
> from the top-40 map.
>
> Think of all the great pop stuff in that era - The Carpenters, James
> Taylor, John Denver, BS&T, Chicago, The Beatles, Tom Jones, Aretha,
> etc. etc..
>
> What about the jazz world? There was certainly great stuff being done,
> and there continues to be.
>
Yes, but I am still turned on by stuff like:
http://www.youtube.com/watch?v=B1IINaDPvlI It gives me the incentive I need
to practice.......
Jeff
>
> Oh, and who's this hoser?
>
> http://www.youtube.com/watch?v=fioOFoEQlOM
Oh, my...
That was two horns ago...