The underlying premise of organizations like the CMC is that New Music is a worthwhile cultural enterprise. One rarely, however, encounters justifications for why New Music ought to be treated differently than contemporary pop music. Indeed, uninitiated audiences may wonder why some people make a fuss about preserving, distributing, collecting and promoting New Music. Admittedly, the genre is often avant-garde and experimental, perhaps even unaccessible.
Spent the day yesterday listening to and taking notes from a recording I made a few weeks ago with Ros Morley, a fellow Canadian and a member of Parthenia, a consort of viols based in New York City for whom I'm writing my next composition. Our meeting was an afternoon of pure delight; Ros and another gamba player, Terry Hare (who is commissioning the piece) performed music by Thomas Morley and we explored extended techniques on the instruments (including striking the tailpiece of a G violone with a soft mallet. Best. Sound. Ever.).