ASCAP’s Post

TL;DR League of American Orchestras is doing important work on many fronts, conference was great and intense, more people do good in this world than the few that behave terribly, I am a lucky duck. League conference was inspiring as always but this one hit differently. It was invigorating to connect with young intelligent feisty hopefuls, and connect/reconnect with those of us who are longer in the tooth and still advocating for meaningful positive change. It marked the official end of the year long Anne Parsons Leadership Program, from which I gained invaluable direct and indirect mentorship wisdom plus a ride or die crew of totally amazing cohort members I’m honored to call friends. This year’s conference also offered an opportunity to continue to shine a bright and unflinching light on the worst of our art form’s antiquated toxic hierarchical operating practices. I was a little terrified to serve as a panelist on Understanding and Addressing Sexual Misconduct in the Orchestral Field. It’s a very serious and very disturbing topic which can cast a pall over a celebratory call to action convening like the League conference but the League and its membership are taking this seriously, so when they came calling I said yes. For obvious reasons of sensitivity to the subject matter the panel session, facilitated by two representatives from RAINN and including the incoming League board chair and AFM head of symphonic services, was not recorded. I gave oxygen to some pretty harsh realities from my broader musician/administrator POV. I won’t be posting that statement anywhere but if anyone is interested in what I had to say I am happy to connect. I’m certain it’s incomplete and this work is just beginning so please school me. Thanks to colleagues near and far for input and raw conversations helping me prepare. HUGE thanks to Team APLP for the unwavering support all week leading up to, and during, that panel. Also huge thanks to everyone at the League for putting together so many wonderful sessions! Themes of inclusivity for lived experiences, divergent thinking, responsible fundraising, community first marketing, bold artistic visioning, and addressing systemic challenges resonated deeply for me. It’s great to be a classical music geek among geeks. Not tagging individuals in this post because it got so personal. Y’all know who y’all are and there’ll be a Tagging Festival in the next one. :)

Opening later this month. Installation runs April 23-May 3 with a live-streamed talk on April 25, and live performances on April 22, 25, and 30. By focusing on sensation as a necro-biop0l1t1cal technique, I aim to offer 1) big-picture analyses of how concert music is implicated in the (re)production of ongoing structural v10lence, even when it is seemingly apolitical, and 2) concrete proposals for how to dismantle that complicity. My analysis is grounded in reading historically influential writings about aesthetics and concert music through analytics of Black and Indigenous critical theory. The resulting analysis has implications for everyone involved in concert music, and in spectatorial "high arts" more broadly, especially those read as whyte and those in power in historically whyte institutions. Details in comments.

🎵 **How the Politics of the Gaza War Engulfed the Melbourne Symphony** 🎵 In a compelling intersection of culture and politics, recent events have spotlighted the Melbourne Symphony Orchestra (MSO) amid the ongoing Gaza conflict. The MSO has found itself at the center of a poignant debate, as an upcoming concert program featuring works by composers of diverse backgrounds has sparked significant controversy and discussion within the artistic community and beyond. The program, originally designed to celebrate musical diversity, includes pieces from both Israeli and Palestinian composers. This laudable intention, however, has collided with the highly charged political atmosphere surrounding the Gaza conflict. Critics argue that presenting both sides in this format could inadvertently equate the cultural products of an occupier and the occupied, potentially obfuscating the power dynamics and historical context of the conflict. This situation underscores the broader challenges faced by cultural institutions in navigating politically sensitive landscapes. The MSO's decision to proceed with the concert highlights their commitment to artistic expression and cultural dialogue, yet it also places them in a precarious position of balancing artistic integrity with political sensibilities. The orchestra has responded to the criticism by emphasizing their intent to foster understanding and empathy through music. For those in the arts and cultural management, this incident offers a profound case study on the intersection of art and politics. It raises essential questions about the role of cultural institutions in political discourse and the responsibilities they bear in representing complex and often contentious issues. The MSO's experience is a testament to the power of music as a universal language, capable of bridging divides, yet also reflecting the intricate and often painful realities of our world. 📌 *This summary is based on information from verified and reliable sources. We encourage you to explore the original article for a more comprehensive understanding of this intricate issue.* **Read more about it here:** [How the Politics of the Gaza War Engulfed the Melbourne Symphony](https://lnkd.in/gXaXqDYd)

We are excited to share our latest blog post exploring the profound meaning behind Joni Mitchell's iconic song "Blue," which serves as the title track to her influential 1971 album. Delve into the intense emotions that Joni Mitchell poured into this timeless piece of music and discover the musician it is dedicated to. Gain a deeper appreciation for the artistry and storytelling in Mitchell's work by reading the full post here: [Behind the Meaning of Joni Mitchell's Blue and the Musician It's Dedicated To](https://ift.tt/rIZmx0V)

🎼🌍 In this year marking the bicentenary of Beethoven's 9th Symphony, we are proud to share an inspiring initiative from the members of the pan-European network of Houses and Museums of European Musicians HMEM), initiated by the Centre Européen de Musique. This network, with Europa Nostra as a principal partner, launches a solemn call to all European citizens: "Use your vote for Peace! Use your vote for Solidarity! Use your vote for Europe!". Adopted by all the members of the HMEM network, this call highlights the crucial importance of participating in the European elections and supporting the fundamental values of peace, solidarity, and unity that lie at the heart of the European project. On May 8, 2024, during the annual meeting in Wuppertal, Germany, the HMEM members celebrated the bicentenary of the premiere of Beethoven's 9th Symphony together. The special concert on May 7, 2024, was a highlight of celebration and reflection, illustrating the unifying power of music. The HMEM network brings together prestigious institutions such as the Beethoven-Haus Bonn in Germany, the Amália Rodrigues Foundation in Portugal, the Franz Liszt Museum in Hungary, and many others. This diversity testifies to the richness and diversity of European musical heritage. We are also proud of our partnerships with prestigious projects like the European Heritage Hub an EU-funded pilot project led by Europa Nostra. The Centre Européen de Musique is the only organization representing the intangible heritage of music. These collaborations strengthen our efforts to promote music as a vector for social cohesion and intercultural dialogue. More info : https://lnkd.in/ehh6tTkX #EuropaNostra #MMME #VoteForPeace #VoteForSolidarity #VoteForEurope #EuropeanMusic #CohesionThroughMusic #InterculturalDialogue

As detailed in the NEW BOOK "Paving The Path for Peace Through Music" ~ Find our how THIS Jazz for Peace VOTE that ended the MidEast Conflict MUST BE IMPLEMENTED NOW at this NEW VIDEO: Rick DellaRatta: Fields of Gold and Uniting Our World: https://lnkd.in/ezgkAUdX 

If anyone is interested , please sign this petition to urge the Birmingham City Council to reverse the savage cuts to funding to the Arts in Birmingham. Some of Birmingham's best loved arts and cultural attractions face cuts to their grant funding from the city council. There will be a cut to ALL funding for culture projects and local arts development, including the support for 10 local arts forums. City of Birmingham Symphony Orchestra B'ham REP Theatre B'ham Royal Ballet IKON Gallery B'ham Opera Company FABRIC Sampad Ex Cathedra & Legacy Centre of Excellence B:Music Birmingham International Dance Festival will lose its £350,000 funding Funding to attract tourism will also be cut by £25,000. Many of my peers and friends work for the above list. Utterly devastated 💔 According to Arts Council England, arts and culture contribute more than £10.8 billion a year to the UK economy (source: Arts Council England). In addition, for every £1 invested in arts and culture, an additional £1.06 is generated in the economy (source: Centre for Economics Business Research). This clearly shows that investing in arts organisations is not just about preserving culture; it's also economically beneficial https://lnkd.in/eUcdtAY5

[This unRivalrous Perspective from Lyle Enright was featured in a recent issue of our biweekly newsletter, The Frame. Click here to subscribe: https://buff.ly/3vu0N4G] Beyoncé’s new album Cowboy Carter is making waves. After an “unwelcoming” reception from many country music fans, Beyoncé answered with a work of art. Historian Jamar Tisby celebrates not only Beyonce’s talent and courage, but also her non-rivalrous model: "Instead of letting the racists win and…claim ownership over an entire genre of music, Beyoncé 'did a deeper dive into the history of Country music.' In creating this album, and she took her time doing it, Beyoncé models the approach that more of us should take when dealing with racism in the world." What, exactly, is that approach? Beyoncé did not respond to prejudice by flaunting her own celebrity or her confidence as an artist. She didn’t fight one myth with a myth of her own. Instead, she carefully studied the history of country music. She brought a richer history to the surface, told a fuller story about American art to which everyone belongs, with symbols that cannot be contained by power or identity. The very existence of Cowboy Carter is humbling to me. It invites me to question my own impulses, my temptation to believe that America has no hope of ever being the beacon for freedom and justice it claims to be. Just because there are people who want to claim that vision for themselves, and exclude others from it, it doesn’t mean that vision should be abandoned. Cowboy Carter says as much in its proud display of American symbols and its celebration of American music. Again, we have much to learn from Beyoncé about how to engage power and prejudice nonrivalrously. As Tisby puts it, "[s]he did not accept the dominant narrative that was crafted by and for white people (and a certain type of white person at that). She interrogated the assumptions and did her own investigation of the source materials." Nonrivalrous resistance starts by taking its time, asking questions, and remembering that not everyone fits our assumptions–or even theirs! It looks for ways to turn rejection into celebration and art.

Beyond the New York Phil, it’s not a coincidence that the vast majority of these assaulted musicians are pre-tenure or subs. Because the perpetrators ARE PREDATORS, selecting and grooming their victims with pure, cold, calculation. In the orchestra, ranks are closed against outsiders all too often, and predators capitalize. The horrible details of the article—the difficult-to-trace rape drug, the tampon, and the dismissal or departure of the victim and/or their supporters while the rapist was allowed to keep their job—hit with a sickening blow of recognition: They are, in various combination, common among more than one friend, more than one family member, and more than one colleague. Many more. Artists exist at the forefront of change. So how are we so backward on this? Because we allow the organization with its bureaucratic so-called best practices to “handle it.” And handle it they do, with their closed-door executive sessions where optics, messaging, and fallout control reign supreme and justice is regarded as a liability. Every orchestra needs a musician committee of allies who demand to be involved in seeking due process and equity in these matters, because the current system is simply one of damage control, not justice. Demand it now. All of us have the duty to speak truth to power and close ranks against predators, not victims. https://lnkd.in/gweXqqc9

Age is nothing if you are full of enthusiasm! Talent has no age limits. If you love misic, music always gives you something back: better skills, more popularity, better opportunities! Just don't forget to be grateful to music: a composer, a pianist or a listener! Music makes this world sound different, sound awesome, just truely awesome!! #music #linkedinmusic #jazz #latinjazz #musictalent #marketingstrategy