Earlier this month, I discussed the necessity for classical music to diversify its performance repertoire to include composers from all over the world, with specific focus on Latin America. I also hinted that, given the tumultuous and unpredictable year that is 2020, classical music and its associated institutions (concert halls, opera houses and --unfortunately-- some areas of academia) have faced backlash for cultural exclusivity. While these aspects still hold true to some degree, the contemporary classical music scene is trying to change that perception by becoming more inclusive and self-aware about modern global issues. Contemporary classical music today demonstrates the diversity of styles that apply both acoustic and electronic elements: sometimes with visual media to accompany performances. It also does not have to conform to one subgenre. Based on what I have encountered, composers today can apply tonality, atonality, and avante garde extended performance techniques how they see fit.
It is understood that classical music has a bad historical reputation for espousing ethnocentrism. However, most contemporary composers are also keenly aware of the pressing and dire events that have transpired over the past few years: COVID-19, climate change and social justice through anti-racism to name a few. Issues like these have served as inspiration for new works and important thematic materials that engage the audience by addressing current situations. These materials also provide important programmatic contexts for listeners and viewers because that helps them to understand the music. I also consider some of my works from 2020 as part of this important moment ofof creativity. When the COVID-19 pandemic began infecting the United States in March, for example, I started using that time to write acoustic and electronic works from home: pieces that candidly explored the fear and isolation associated with the effects of the virus and living in self-quarantine.
That last point brings me to other key questions, which I will address in a later post. How have contemporary composers managed their workflow by creating new pieces in these uncertain times of crises? Given the restrictions imposed by COVID-19 and Social Distancing, how do composers and performers maintain contact in a virtual setting through advancements in technology? How can composers today maintain productivity and engage their audiences if physical concert venues (for the most part) have been closed for months?
It is understood that classical music has a bad historical reputation for espousing ethnocentrism. However, most contemporary composers are also keenly aware of the pressing and dire events that have transpired over the past few years: COVID-19, climate change and social justice through anti-racism to name a few. Issues like these have served as inspiration for new works and important thematic materials that engage the audience by addressing current situations. These materials also provide important programmatic contexts for listeners and viewers because that helps them to understand the music. I also consider some of my works from 2020 as part of this important moment ofof creativity. When the COVID-19 pandemic began infecting the United States in March, for example, I started using that time to write acoustic and electronic works from home: pieces that candidly explored the fear and isolation associated with the effects of the virus and living in self-quarantine.
That last point brings me to other key questions, which I will address in a later post. How have contemporary composers managed their workflow by creating new pieces in these uncertain times of crises? Given the restrictions imposed by COVID-19 and Social Distancing, how do composers and performers maintain contact in a virtual setting through advancements in technology? How can composers today maintain productivity and engage their audiences if physical concert venues (for the most part) have been closed for months?
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