Amidst the heated fray of the Culture Wars emerged a scrappy festival in downtown New York City called Bang on a Can. Presenting eclectic, irreverent marathons of experimental music in crumbling venues on the Lower East Side, Bang on a Can sold out concerts for a genre that had been long considered box office poison. Through the 1980s and 1990s, three young, visionary composers--David Lang, Michael Gordon, and Julia Wolfe--nurtured Bang on a Can into a multifaceted organization with a major record deal, a virtuosic in-house ensemble, and a seat at the table at Lincoln Center, and in the process changed the landscape of avant-garde music in the United States. Bang on a Can captured a new public for new music. But they did not do so alone. As the twentieth century came to a close, the world of American composition pivoted away from the insular academy and towards the broader marketplace. In the wake of the unexpected popularity of Steve Reich and Philip Glass, classical presenters looked to contemporary music for relevance and record labels scrambled to reap its potential profits, all while government funding was imperilled by the evangelical right. Other institutions faltered amidst the vagaries of late capitalism, but the renegade Bang on a Can survived--and thrived--in a tumultuous and idealistic moment that made new music what it is today.

With a wide array of descriptions of more than 11,500 newsletters, this comprehensive resource acts as an invaluable tool for business and personal interest. Descriptive listings provide full contact and bibliographic information, target audience, editorial policies, price, online accessibility and much more.

This is a comprehensive guide to research on the American composer Elliott Carter (b. 1908), widely acknowledged as one of the greatest composers of the twentieth century. It contains a chronology, complete list of works, detailed discography, and fully annotated bibliography of over 1,000 books, articles, interviews, video recordings, and Carter's own writings. This essential reference book covers the most significant works in English, French, German, and Italian, from the 1940s-when Carter's music first began to attract attention-to the 1990s.

First Published in 1998.The purpose of this volume is to list as completely as possible Chávez’s compositions, which number close to two hundred works, and to present a digest of selected literature germane to his multi-faceted professional activity. This literature, which began in the 1920s and continues to grow, is almost entirely in Spanish and English, reflecting the main arenas in which he worked—Mexico, other Hispanic language countries, the United States, and England. Each research guide offers a selective, annotated list of writings, in all European languages, about one or more composers. There are also lists of works by the composer, unless these are available elsewhere. Biographical sketches and guides to library resources, organizations, and specialists are presented. As appropriate to the individual composer, there are maps, photographs, or other illustrative matter, glossaries, and indexes.

Reports for 1980-19 also include the Annual report of the National Council on the Arts.