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25 Years of Looking to the Future: Critics Panel

25 Years of Looking to the Future: Critics Panel

7:00pm Friedberg Hall

“Music and Technology: The Future of Music”

  • Earl Arnett, Moderator, Peabody Conservatory of Music Criticism Faculty
  • James Pritchett, Musicologist
  • Stephen Wigler, Baltimore Sun
  • Kyle Gann, Village Voice
  • Robert Haskins, Columbia Flier

With the approach of the millennium, questions about the future of music seem to be on the minds of critics, academicians, and musicians. At the beginning of the year, New York Times music critic, Edward Rothstein, observed that “we are entering a different era, an odd, uncertain fin-de-siècle.”Adding to this uncertainty is the rise of digital technology in the 1980s and with it the question of how technology will fit in with the concert music of the next century. We live in a world where electronic instruments, home computers, and other technological aids are being assimilated by a large population. How will this impact concert music? Will these technologies affect how music is presented?

The critics assembled for this event are from diverse backgrounds so as to provide several different points of view on the future of music. Some of the questions to be asked of the panelists include:

  • What is your vision of the nature and role of music in the Twenty-first century?
  • Do you think that the terms “art music” and “serious music” will have meaning in the future, or will such current distinctions disappear?
  • With the development of home theaters, multi-media technologies, and holographic presentations, how do you see the future significance of live performances? Orchestras?
  • As computers make it increasingly easy for all of us to manipulate sounds and make music, how do you see the role of musical training and education in the 21st century? Will computers make us all musicians? What opportunities will there be for professional. composers and players in the next century?
  • In a world of many musics from diverse cultures around the planet, how are we to choose between good and bad music? Does anything go, or can we establish useful criteria for judging music? Should we judge music?
  • Does the development of the music video mean that we will listen to music, always accompanied by visual images, or will there be interest in the twenty-first century for unadorned sounds, significant in themselves?

 

The First Sydney M. Friedberg Lecture in Music and Psychology: Roger Reynolds

rogerreynolds93MUSIC AT RISK…
…in a preoccupied world

Roger Reynolds

Tuesday, February 9 1993

The relationship between art music and society is changing radically. Beginning with observations from three perspectives — creation (the composer), dissemination, reception (the listener) — a picture of the current situation can be sketched. Two futures might be imagined: a proliferation of specialist musics (more of the same), a deepening and focusing of those facets which are not culture-bound (something new). There are aspects of human physiology and psychology (e.g., spatial perception, organizational principles) that offer potential as yet only tentatively addressed in music. An argument can be made for an activist alliance of musicians and scientists that might enable art to regain a say in shaping its future.

Roger Reynolds was born 19 July 1934, and was educated at the University of Michigan in both Physics and Music. He has been active since the ’60s as a composer, organizer, author, lecturer and teacher. In Ann Arbor, he co-founded the notorious ONCE festivals and, in 1971, he founded the Center for Music Experimentation at the University of California, San Diego. Published works include A Searcher’s Path, A Composer’s Ways (book), MIND MODELS (book), Whispers Out of Time (for string orchestra), Archipelago (for chamber orchestra and computer generated sound), Visions (for string quartet), and Symphony[Myths] (for orchestra). Reynolds won the Pulitzer Prize in 1989, and has been honored by the National Institute of Arts and Letters, the Koussevitzky and Suntory foundations, and the Library of Congress. His music is published exclusively by C.F. Peters Corp., and is available on New World, Wergo, Lovely, and Gramavision CD’s.