The singer reached an impass with her recording label, which owns masters of the original songs. So Swift says she’ll simply re-record them all so she has control. Travis Andrews untangles the copyright implications. – Washington Post
Category: music
The Access Conundrum At The Heart Of Popular Music Journalism
There are more and more outlets, but they pay writers less and less; there are huge quantities of new music pouring out, but large bodies of readers are going to click on pieces about artists they’ve already heard of; those famous artists have less and less time to make themselves available to journalists, whom they no longer need to reach their fans. Jeremy Gordon looks at this conundrum and seeks a way beyond it. – Columbia Journalism Review
Alex Ross: Why “Salome” Is My Favorite Opera
“To say that Richard Strauss’s “Salome” is your favorite opera is a bit like saying that “The Shining” is your favorite film or that Edgar Allan Poe is your favorite author: it marks you as something of a freak.” – The New Yorker
Blackface Opera Controversy In Verona This Summer
Tamara Wilson: “Operas like Aïda and Turandot were written for and performed by white European singers in, what was at that time acceptable, theatrical makeup to make them appear African or Asian. In theatre history, the terms blackface and yellowface would be applied, but today, especially in the U.S., these terms also have historic racist connotations. It is more and more difficult for opera to navigate this line between depicting race versus negative stereotype because they are viewed differently depending on where you are in the world and the individuals in the audience.” – Forbes
Have We Stopped Opera From Evolving?
Imagine if Hollywood were to issue shot-for-shot remakes of D.W. Griffith’s gauzy history of the Ku Klux Klan, “The Birth of a Nation ,” every few years. Imagine Tom Hanks re-creating Mickey Rooney’s infamously slant-eyed Mr. Yunioshi in a new “Breakfast at Tiffany’s,” or Morgan Freeman cast in a live-action remake of Disney’s “Song of the South.” This is the reality of opera-house programming year after year. – Washington Post
Next Month, Baltimore Symphony Lockout Could Morph Into A Strike
The lockout began in May because there has been no musicians’ contract since January and management, which wants to end the orchestra’s year-round status and shut down during the summers, decided to cancel all this summer’s programming; the musicians wanted to play on and keep negotiating. But management’s stated intention has been to resume the orchestra’s activities with the start of the fall season — and now the musicians are saying they won’t play without a contract. – The Baltimore Sun
What The Music Presidential Candidates’ Play Says About Them
The music booms as people enter the rallies, and then candidates take the stage to a “walk-up” song that can become associated with their platforms. The New York Times analyzed playlists used by nine Democratic candidates and President Trump to see how they help set the tone for each campaign. – The New York Times
Study Of Violinists Debunks The 10,000-Hour-To-Mastery Rule
The work is the latest blow to the 10,000-hour rule, the idea promoted in Malcolm Gladwell’s 2008 book, Outliers, which has been taken to mean that enough practice will make an expert of anyone. In the book, Gladwell states that “ten thousand hours is the magic number of greatness”. – The Guardian
An Arts-Funded Online Survey Says 80% Of Australians Favor Publicly Funding Orchestras. Too Bad More Of Them Don’t Actually Go To Concerts …
A national online survey of 800 adults found that 83% of respondents believe that government funding of orchestras should be maintained or increased, 70% say orchestras are economically significant, and 48% consider classical music an important part of Australian culture. But 80% report not having attended a classical concert in the past 12 months. (Most said that cost is the primary reason for that.) – Limelight (Australia)
Pittsburgh Opera: Our Audience Is Growing, But…
“Here there’s a problem where even when the community values this, they think it’ll be supported by wealthy industrialists. But those days are over, and we need to say we’ve got a lot of wealth in this community. How can we get people to support the diversity of arts and communities? We need you to ante up.” – Pittsburgh Post-Gazette