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Alphabetical List of Composers ; Foreword by Leonard Slatkin (Music Director, National Symphony Orchestra) ; Introduction ; 1. Eric Stokes (b. 1930) ; 2. Steve Reich (b. 1936) ; 3. William Bolcom (b. 1938) ; 4. John Corigliano (b. 1938) ; 5. John Harbison (b. 1938) ; 6. Joan Tower (b. 1938) ; 7. John Adams (b. 1947) ; 8. Claude Baker (b. 1948) ; 9. Dan Welcher (b. 1948) ; 10. Daniel S. Godfrey (b. 1949) ; 11. Fred Lerdahl (b. 1949) ; 12. Shulamit Ran (b. 1949) ; 13. Christopher Rouse (b. 1949) ; 14. Steven Stucky (b. 1949) ; 15. Libby Larsen (b. 1950) ; 16. Lois V Vierk (b. 1951) ; 17. John Zorn (b. 1953) ; 18. Michael Daugherty (b. 1954) ; 19. James Mobberley (b. 1954) ; 20. Bruce Adolphe (b. 1955) ; 21. Bright Sheng (b. 1955) ; 22. Richard Danielpour (b. 1956) ; 23. David Lang (b. 1957) ; 24. Sebastian Currier (b. 1959) ; 25. Aaron Jay Kernis (b. 1960)
ABOUT THE AUTHOR Award-winning fine arts writer Ann McCutchan is also the author of Marcel Moyse: Voice of the Flute (1994). She is a Lecturer in the School of Music at the University of Texas.
These interviews with 25 composers are distilled to short, informal yet highly focused discussions in which almost all of the composers refer in some way to the academic serialist movement that has been scaring off audiences for 50 years. McCutchan (Marcel Moyse: Voice of the Flute), who conducted the interviews between 1995 and 1998, allows the voices of the composersÄmost of whom live and work in the U.S. and were born between 1930 and 1960Äto come through with candor. John Corigliano explains that he composed his opera Ghosts of Versailles in colored crayons because he "wanted the color of the sound to change as a single line moved." On the relative importance of self-doubt, Bruce Adolphe, education adviser to New York's Chamber Music Society of Lincoln Center, says, "Doubt is a waste of energy when you're trying to be creative, but it's useful when you're editing the piece." About his work habits, Steve Reich says, "What happens in 95 percent of the pieces is that I work a lot, I trash a lot, I revise a lot"; and John Zorn, who has influenced the downtown avant-garde music scene, explains, "The sensibility of the generation that I belong to, which is interested in world music, jazz, funk, hard-core punk, classical music... is the same one Mozart had. He made use of everything around him." Rounding out each interview is a selected list of the composer's work. These intimate snapshots of creative artists contemplating their role and function at the end of the 20th century succeed not only in shedding light on the creative process, but in dispelling many of the negative stereotypes attached to contemporary music. (Oct.) Copyright 1999 Cahners Business Information.
These interviews with 25 composers are distilled to short, informal yet highly focused discussions ... [McCutchan] allows the voices of the composers-most of whom live and work in the U.S. and were born between 1930 and 1960-to come through with candor ... These intimate snapshots of creative artists contemplating their role and function at the end of the 20th century succeed not only in shedding light on the creative process, but in dispelling many of the negative stereotypes attached to contemporary music." -Publishers Weekly The Must That Sings [is] a book which will prove fascinating to those with an interest in contemporary musical composition, and in the creative process in general ... Every decade needs a book like this, for ideas and tastes will always change and it will always require the work of scholars to document how the creative minds of an age think about their art. Ann McCutchan has provided such a work. * The Ithaca Times * Engaging and inspirinig. * Chamber Music Magazine * The effect on the reader is astonishing as one after another of these composers is revealed, warts and all, to be desperately and wonderfully human. * David McGowan, American Music Teacher *