Comments for Anthony Joseph Lanman

Comment on The Rag and Bone Shop (so far) by Anthony Joseph Lanman » Blog Archive » The Rag and Bone Shop (the rest)

Tue, 17 Aug 2010 15:20:02 +0000

[...] how I made it into a cycle of five. As I said in my previous blog, a cycle of four songs bothered me because I wanted the song Ritual to be the centerpiece of the [...]

Comment on The Rag and Bone Shop (so far) by Anthony Lanman

Anthony Lanman — Sat, 24 Jul 2010 20:56:10 +0000

They do have plans to do both, although I’m not sure when that’s going to be yet. But, I’ll let you know!

Comment on Palestrina and the Fundamental Difference Between Classical and Pop Music by Anthony Lanman

Anthony Lanman — Mon, 08 Feb 2010 21:22:04 +0000

I would totally agree with you about Glass and Adams being more harmonic, and Reich and Part more melodic. It’s interesting to see that the later we get in classical music, the more we can see these lines of separation blurring.

Comment on Palestrina and the Fundamental Difference Between Classical and Pop Music by Mark Erling

Mark Erling — Mon, 08 Feb 2010 21:14:00 +0000

Very interesting. I’m curious as to how you would classify minimalist composers like Glass, Adams, Reich, and Part, or ambient composers/producers like Brian Eno. Offhand, Glass and Adams strike me as “chordal,” Reich (especially in works like “Tehillim”) and Part “melodic.” What do you think?

Comment on Composer opportunity update blues by Anthony Lanman

Anthony Lanman — Mon, 18 Jan 2010 04:13:10 +0000

Jessica,

Thanks for your comments, and well put. I especially enjoyed your commentary about the women only competitions. You should totally write a blog about it and then point me to it - hehe. It’s a point of view that’s really interesting, and obviously one that I would never had had on my end.

Comment on Composer opportunity update blues by Jessica

Jessica — Mon, 18 Jan 2010 01:28:48 +0000

Funny, I am that under-30 student composer, and I look at that same list and see all sorts of competitions and calls for scores that I am eligible for, but so are 40+ year olds who have been doing this longer than I’ve been alive, and applying for them is pretty much a waste of my time. That’s not to say I’m so jaded I won’t apply for anything (although I never anticipate a win) but I’m a lot more picky about choosing the competitions for which I feel my chances are greater.

And I see those women/enthinic/religious things too, and I’m less inclined to apply, even though the pool is probably smaller. One I’ve seen up repeatedly is a women composers only one, but requires joining their group. Can’t I just write music without my gender being an issue? Already most recordings and performances I’ve had have been on women composer concerts, how seriously is anyone going to take me if the only competition I win is a women composers one as well?

I never even bother reading the entries with fees. It kind of goes back to the whole idea of proper compensation for composers.

Comment on Palestrina and the Fundamental Difference Between Classical and Pop Music by Kent

Kent — Mon, 11 Jan 2010 22:25:04 +0000

That’s cool man.Really explains it a little more in depth then we can get in class.

Comment on Palestrina and the Fundamental Difference Between Classical and Pop Music by loopzy

loopzy — Wed, 09 Dec 2009 14:49:55 +0000

I’d love to read more about this

Comment on Synaesthesiac by Anthony Joseph Lanman » Blog Archive » What makes a musical prodigy?

Anthony Joseph Lanman » Blog Archive » What makes a musical prodigy? — Fri, 07 Aug 2009 18:37:18 +0000

[...] was sitting around revising Synaesthesiac today, and my fiancee Jenn showed me this amazing video of a 4 year old drummer. We watched a bunch [...]

Comment on When do you stop writing music for free? by Elaine Fine

Elaine Fine — Mon, 03 Aug 2009 14:41:42 +0000

I have been thinking about this subject a lot lately, having made a decision a year ago to make all my newly-written music available for free rather than selling it through a publisher. I don’t think that this changes my status in the profession of music. We tend to use the term “professional” and “amateur” as signs of quality, when they are relatively meaningless terms, in the long run.

If my life changed significantly, and I had to rely on making money exclusively from writing music, the music that I would write would probably change significantly. I would also probably think differently about why I was writing in the first place. I would probably move to a metropolitan area and do my best to befriend people because of the influence they might have on my livelihood. I would probably draw upon everyone in the professional music world I know or knew when I was a student, and use those connections to try to get ahead in the world of commercial music.

These are things that I am just not willing to do. I live in a place where I can write, and I write what I want to write. People do commission music from me, but I couldn’t make any kind of a living from commissions. I very much appreciate the idea of third-party commissions: music paid for by organizations rather than from individual musicians. The hypothetical Williams-related example of having music rehearsed and played by a (paid professional) orchestra, recorded by (paid professional) sound engineers, and being incorporated into a film that is seen by millions of (paying) people, is, indeed, a scenario of exploitation.