My two years of high school Latin got me to Julius Caesar's account of his exploits in the Gallic war, written in a straightforward, rather simple style. Unfortunately, I never took third-year Latin, which would have got me to Cicero, whose style was more sophisticated, more complex, and thus more difficult. But I have read Cicero in English and his words of wisdom are eminently clear.
The Paramount merger and Broadway and non-profit theatre are strangely arguments circling the same idea. Paramount essentially argues that there's no such thing as the movie business anymore, only the attention business, and so its merger should not be considered in the context of other movie makers, but also to YouTube and TikTok and Netflix and Amazon. Theatre has ceased to be measured against other theatre (and even when it is, who really seems to care?) and competes inside an attention economy that lives at a scale it can't hope to be viable in.
https://youtube.com/watch?v=bbgkUcCbu3c&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent I’d like to draw attention to four of the public responses to my recent blog on the “Orchestra
https://youtube.com/watch?v=FhFxik97z08&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent The Metropolitan Opera Orchestra going through the motions of Wagner’s “Liebestod” – “diminished motivation: as if the music
For the second consecutive summer, Jacob’s Pillow invited choreographers, presenters, producers, academics, and funders to its inspiring home in the Berkshires to exchange ideas and inspirations around dance and emerging technologies. Future Figures, an evolving program of Jacob’s Pillow, is a convening of field leaders as well as a public symposium where work is shared,
Rachel Thompson, Program Manager at the Curb Center for Art, Enterprise & Public Policy at Vanderbilt, talks about building curricular ties between students and the arts and art institutions.
After a season of seeing Broadway spectacle and experimental theater, I’m asking a bigger question: if we want audiences to grow, can we stop judging how people experience the art itself?
Bianca d’Avila do Prado, Cellist, Teacher & Composer and Dion Morales, Composer, Teacher & Arranger share the joy and impact of composing for ASTA’s New Canon Project.
A few months ago I posted about a controversy in Australia, where a musician had a future appearance with the Melbourne Symphony Orchestra cancelled because he had, contrary to MSO policy, made political comments during a performance. He sued, and the New York Times today reports (gift link) that he lost in court:
The pianist, Jayson Gillham, claimed in a...
I had never really read him . . . a few tales here and there, the novel 'Enemies' . . . until I opened a volume of his 'Collected Short Stories' not long ago. It has kept me riveted.
Charlie Ortiz, Founder & Executive Director of the WHIN Music Community Charter School, shares the ethos and best practices of building sustainable partnerships.
https://youtube.com/watch?v=PocpiBx3hfk&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent The “New World” Symphony visual presentation created by Peter Bogdanoff for the Brooklyn Philharmonic’s 1994 Dvorak festival. Building on
