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Reblogged from meg's new music blog:

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I always applaud music organizations that program concerts full of fresh pieces by young composers. Thus, though they may have overshot the mark a bit by programming no less than eleven pieces on Friday, I give due credit to NYC-based Quiet City for an ambitious, eclectic performance of new music.

The evening began with "No Hipster Hats" for trumpet and tape by…

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Meg Wilhoite, NY new music blogger, covered the Quiet City Presents show last Friday at the Secret Theatre, upon which I joined a bill of fellow sonic pioneers to present some of the stuff I've been up to recently. I'm happy to repost her writing, which is motivating; I often find it difficult to gauge an audience's interest while in the middle of performing, and so reading that there was visual interest in what I was doing comes as much appreciated feedback. Whereas my personal, internal criticisms are the fuel for seeking improvement, constructive review is a reassurance that I'm communicating with some level of effectiveness. I'll also take a moment to shout out Luke Schwartz and Vasu Panicker - they're doing something quite cool with the Quiet City music network, and I'm eagerly awaiting their future endeavours.

Reblogged from MARKETING THE ARTS TO DEATH:

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I mentioned two posts ago that good marketing is based on a logical formula that looks like this:

We know you want x

We offer x

Thus we can reasonably project that you will do y

The x is the product you sell, of course, and y is the behavior you expect from your customers, i. e. "We know you want a great night out featuring dining, socializing and high quality artful entertainment.

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I've been thinking a lot lately about my roles in publicity and record label sales and how what I have observed can positively affect what I can and should do as a composer. This is a lucidly clear outline of some of the dangerous routes I've observed.  It's a little daunting as a member of any organization to ask what it means should the aim be wrong, and as a composer desiring to compose for a living, would you willingly insert yourself into a route in which you can see the best possible outcome is that you have to encounter one of those inevitable roadblocks?  That also leads to the question of whether composers, or any artists, ought to be thinking about marketing in a way that would pinch the creative process towards a public preference (eg "selling out").
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