<p>An interesting article by Frank Oteri in the League of American Orchestra's magazine Symphony Now about orchestra and music publisher's attitude towards young composers. Symphony</a> - Winter 2013</p>
<p>There are also mentions of those avenues currently providing support to young composers - festivals, competitions, the odd ensemble etc.</p>
<p>Thank you!</p>
<p>I was relieved to read the ending, which mentions that young people can use composition to express things that words cannot express, or even work through difficulties in their lives.</p>
<p>After reading about all the awards and competitions and other aspects of the composition rat race, it was nice for the article to end with the most basic reason for writing music in the first place.</p>
<p>There were some encouraging reports in the article on youth development programs in Missouri and in Arizona focusing on elementary and high school composers. But when a composer tries to start his/her professional career, it’s also nice to know there are programs like YCA and the new “New Voices” collaboration between SF Symphony, New World Symphony & Boosey and Hawkes.</p>
<p>Personally I’m not a big fan of ASCAP’s Morton Gould or BMI’s Student Composer competition - but they have their place, I guess.</p>
<p>So much of this is tied to the marketplace, so inherently conservative. Big symphonies and publishing houses are going to support compositions that sell. But then again, when composition is tied to academia, it doesn’t appeal much to audiences. Bottom line for many may be entrepreneurial efforts, music for small ensembles, and a day job.</p>
<p>I get the feeling that composition has exploded in recent years, partly due to technology. I think it’s great when art is democratic, and wonderful that so many young people are getting into creating music. Perhaps it will take all the longer for the long-lasting talent to emerge: maybe 50 will become the new 40!</p>
<p>I understand Compmom’s concerns about the marketplace, and the inherent restrictions that might place on creativity. But that’s the fine line for all artists who wish to make a living with their art, rather than via a day job. I think that’s the challenge for any artist as they pursue their career.</p>
<p>I know my own son wants his day job to be as a composer. Yes, he also wants to perform music and be involved with an ensemble, which he is, and have that as part of his working life. But he wants his music performed globally by large professional orchestras and other smaller professional ensembles - that’s his dream, one he’s already started pursuing. And he doesn’t want to work a side job or even use teaching to support himself. He’s going to try to make his professional life work as a composer - which he knows is possible, even if a challenge. Will he make it? Who knows. But he’s off to a good start, and if more professional ensembles would trust composers under 30, he’d have an even better chance!</p>
<p>Many of the most innovative artists were scorned at the time they made their works. Some composers’ works caused riots. Nowadays, wonderful new compositions may occasionally make it into a festival, only to have the older (affluent, donating) patrons stomp out in a huff. It is discouraging. Lectures and preconcert speeches may help educate traditional patrons and eventually some of them may come along. In the meantime, it may be hard to make it unless the music is relatively safe.</p>
<p>Funding has not been great in the US in recent years: I think dance has it the worst. Some of the efforts described in the article would seem to indicate some improvements on that end.</p>
<p>Some artists have a lot of trouble working under deadlines and external pressures. The lucky ones have both inspiration and a daily habit of working at the craft. In an ideal world, an artist could work at his or her own pace and then share it when ready. Not a chance unless independently wealthy!</p>
<p>Just to add a positive note: just talked with my daughter who works with one of the few orchestras devoted to new music/new works. As result, she rubs shoulders with quite a few of the young composers who are “making it.” In conversations, she has heard, and agrees, that many young composers are now writing for small ensembles: it is hard to get played by an orchestra, and that in some ways determines the music that is written.</p>
<p>So just to clarify, when I mentioned small ensembles above, I wasn’t referring to playing in them, but to composing for them. </p>
<p>I asked her whether technology was a factor in composers (and other artists) being able to get work played (shown) and in so many ways, that is happening. It is also easier to build a following in more informal ways, using online resources, including publicity and soundcloud etc., outside of the publishing houses and large orchestra’s structure for doing so. This funkier way of getting work played may not make a living for a composer, at least not for quite awhile, but should be satisfying and can slowly become more remunerative.</p>
<p>We posted an article maybe a year ago about this new entrepreneurial spirit in music of all genres. Conservatories are now even including entrepreneurial studies in their programs.</p>
<p>Thanks, compmom, for rounding me up and pointing me to this discussion. And, thank you SpiritManager for sharing this article with us. I found the article interesting for a number of reasons.</p>
<p>First, I’m also grateful for the ending of the article. As compmom and I have discussed off-list, ultimately all composers compose because they cannot NOT compose. Because it is very much an inner process for them, their individual musical style will reflect their inner self. To that end, I’m not sure how important it should be as to whether it is commercially viable or not. For that composer, being able to produce music that speaks of their soul may be far more important than whether they make a living at it. That composer may be happiest working in smaller groups, teaching, and then hopefully building an audience and a following for their music.</p>
<p>For those who wish to make a living at their music, either their music will already speak to the greater community, or they will have to be willing to write something that does in the hope that their more commercial music will open the door to opportunity to introduce their preferred voice to their audience.</p>
<p>It’s a tough road to graduate with thousands of dollars of debt to have another 15 years to be taken seriously. The entire process is a LOT to wade through for a young musician, so I’m not entirely surprised that it takes things like mentors, publishing houses, competitions, and many years for these young musicians to be taken seriously. As the mom of an emerging composer who only began seriously writing in the last 8 months, I have been overwhelmed with the process (I realize I still have much to learn), so it’s no wonder that these young composers might be as well. Thankfully, he already has a mentor who has walked him through a lot of the business side of this and he’s beginning to make connections with others whose work he admires.</p>
<p>Thanks for posting the article. I am pleased that they had the nice discussion om Missouri’s program. Future composition students should check into Missouri’s two full tuition scholarships for comp. majors. </p>
<p>One point I would like to add is that for obvious reasons, the article focused only on American opportunities. The world of composition is truly the world. Many American composers are very active in Europe and Asia.</p>
<p>and Canada!</p>
<p>That is correct. A large oversight on my part.</p>
<p>Some of the young composers mentioned in the article are not American, either.</p>