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A Pentalustral Interlude

A Pentalustral Interlude lmj at 25 A Pentalustral Interlude IN 1991, when we instantiated the Leonardo Music Jour- nal, I wrote a somewhat paradoxical editorial titled “17 Gloomy Sentences (and Commentary) at the turn of the millennium (in the form of an editorial)” [1]. One sentence was hopeful: 16. LMJ’s commitment to globalism, to experiment, to stylistic nonboundaries, to allowing musicians to articulate their own work, is a humble beginning. A quarter of a century later, I remain hopeful, made so by the extraordinary world of music, sound and ideas that the LMJ community and the artistic community at large continues to create. As a teacher, composer, performer and editor, I encounter daily something fascinating, new, intriguing and often wonderful that inspires me, most of all, to “get back to work.” LMJ, under the visionary and energetic stewardship of Nic Collins, for the past five lustra has remained new, essential to the artistic world, and an important resource. I’m still cautious, and sometimes a bit gloomy (maybe by nature)—but about different things. The composer Dirk Rodney said that in art, “All is novel, nothing is new.” In my 1991 editorial I decried musical conservatism, noninclusivity and arbitrarily inhibitive distinctions [2]. I’m http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Leonardo Music Journal MIT Press

A Pentalustral Interlude

Leonardo Music Journal , Volume December 2015 – Dec 1, 2015

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References (1)

Publisher
MIT Press
Copyright
©2015 ISAST
Subject
LMJ at 25
ISSN
0961-1215
eISSN
1531-4812
DOI
10.1162/LMJ_e_00923
Publisher site
See Article on Publisher Site

Abstract

lmj at 25 A Pentalustral Interlude IN 1991, when we instantiated the Leonardo Music Jour- nal, I wrote a somewhat paradoxical editorial titled “17 Gloomy Sentences (and Commentary) at the turn of the millennium (in the form of an editorial)” [1]. One sentence was hopeful: 16. LMJ’s commitment to globalism, to experiment, to stylistic nonboundaries, to allowing musicians to articulate their own work, is a humble beginning. A quarter of a century later, I remain hopeful, made so by the extraordinary world of music, sound and ideas that the LMJ community and the artistic community at large continues to create. As a teacher, composer, performer and editor, I encounter daily something fascinating, new, intriguing and often wonderful that inspires me, most of all, to “get back to work.” LMJ, under the visionary and energetic stewardship of Nic Collins, for the past five lustra has remained new, essential to the artistic world, and an important resource. I’m still cautious, and sometimes a bit gloomy (maybe by nature)—but about different things. The composer Dirk Rodney said that in art, “All is novel, nothing is new.” In my 1991 editorial I decried musical conservatism, noninclusivity and arbitrarily inhibitive distinctions [2]. I’m

Journal

Leonardo Music JournalMIT Press

Published: Dec 1, 2015

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