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How Bang on a Can Survived the 90s - The New York Times

Bang on a Can, a contemporary music organization, fought government cuts with an innovative crowdfunding program. From left: David Lang, Michael Gordon and Julia Wolfe in 1987, when they founded the contemporary-music organization Bang on a Can amid a long decline in public arts funding.Credit.Robert Lewis By William Robin Feb. 18, 2021 “When things are tough all around us, we dream,” the composers Michael Gordon, David Lang and Julia Wolfe wrote in a letter to potential donors in 1996. Bang on a Can, the contemporary music organization they had founded a decade before, had recently lost about a fifth of its budget because of massive cuts to the National Endowment for the Arts. But Gordon, Lang and Wolfe were undeterred.

How a scrappy arts group survived the 90s

How a scrappy arts group survived the 90s Bang on a Can, a contemporary music organization, fought government cuts with an innovative crowdfunding program. by William Robin (NYT NEWS SERVICE) .- “When things are tough all around us, we dream,” composers Michael Gordon, David Lang and Julia Wolfe wrote in a letter to potential donors in 1996. Bang on a Can, the contemporary music organization they had founded a decade before, had recently lost about a fifth of its budget because of massive cuts to the National Endowment for the Arts. But Gordon, Lang and Wolfe were undeterred. “It’s a Bang on a Can thing,” they added in the letter. “Just as arts funding is collapsing, we’re mounting new projects to build a new audience for a new kind of music.” Within a year, the group had started one such project: the People’s Commissioning Fund, an innovative program which pooled small donations in order to commission composers to write works for a house ensemble, the Bang on a C

Felt Instruments Blisko Collection

Felt Instruments Blisko Collection Felt Instruments’ Blisko Collection offers a unique blend of sound and motion. There is a particularly austere and engaging aesthetic to Felt Instruments products, which seemingly emerges straight from the soil of Polish culture. Trapped for years behind the Iron Curtain, the country managed to maintain a unique cultural and international profile instead of just melting into a larger Soviet soup. Despite strict censorship (or perhaps in spite of it), great composers emerged and with them entirely new ways of creating music. The film scores of Kilar and Preisner, the sonoristic experiments of Penderecki, and the new tonality of Henryk Gorecki are good examples. Through this time and into the new independence beginning in the 1990’s, Poland had robust community music programs as well as excellent education in maths and later computer science. In recent years her growing international creative profile has given rise to a revolution in video

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