78:, but growing into one of the largest new music festivals ever held in North America, all in an attempt to try to bring out of the popular shadows the breadth and history of 20th Century composition and creation, as well as current trends. From 1979 to 1990, each New Music America (officially bilingualized into Montréal Musiques Actuelles in 1990) had a wealth of local, regional, national and world premieres, adding to its scope some music from around the world by the time of the Miami festival.
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Though it was always a 10-day festival more or less, the price for full admittance at
Hartford was $ 20 and housing was provided on campus. By New York 1989, prices had grown to around $ 350 for full pass and at this point, only hotel accommodations were available. This wasn't always a bad thing as
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in
Minneapolis wanted to replicate the experience and held a similar festival a year later, this time named New Music America. Most likely it was at this time that a loose coalition of national administrators and musicians became the New Music Alliance with the task of recreating New Music America
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Perhaps its greatest accomplishment was connecting large audiences (sometimes in the thousands) with works which critics, music industry reps and radio people all considered too serious, complex, weird or difficult. In addition, audience members were placed in a unique position of being among the
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Money was the prime driver for its dissolution, as the
Hartford festival was within a $ 300,000 - $ 400,000 range while the Montreal festival had projected over a million (Canadian) in costs. All festivals were considered great successes but took so much effort of coordination (and in some cases
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The festival always had workshop components and provided many points of contact between often a curious public and new musical creation. But as a self-propelled machine, it kept growing to try to "represent" the vastly growing varieties of expression taking birth with new technologies and
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The 12 years of the festival's existence was marked by over 750 performances, exhibits, workshops, installations, and artistic inventions, each festival supplanting the previous in size, expanding its diversity and many bringing "new" music to everywhere conceivable in the United States.
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San
Francisco followed in 1981, Chicago in 1982, Washington, D.C., in 1983, Hartford, Connecticut in 1984, Los Angeles in 1985, Houston in 1986, Philadelphia in 1987, Miami in 1988, returning to New York in 1989 and ending in Montreal in 1990.
376:
Wilcox, Brent, "New Music
America 1985 suite: An all-around look at the events of this year's festival, featuring an interview with Carla Bley and other perspectives", Option Magazine July-Aug 1988, No.
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in a different city every year, allowing for composers and performers to be seen in their own region while giving a greater exposure to music creators ignored both nationally and historically, such as
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Treitler, Leo, ed., Oliver Strunk, ed. "Source
Readings in music history", W.W. Norton & Company Inc. 1978, p. 1305 from "High Fidelity" vol. 8, no. 2 February 1958 pp. 38-40.
146:, the composer whose 1958 essay "Who Cares if you Listen?" created a cold war between the public's desire for new sounds and the modernist composer's desire to sound new.
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Rich, Alan, "Modern Music on Parade", Newsweek, 1983.10.24; Sandow, Gregory and Greg Tate, "Dispatches from the Audio-Response Zone", Village Voice, , 1983.11.01.
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Johnson, Tom, 1979/11, Village Voice, "Impressions of New Music" - "It suddenly became clear that the genre has accumulated quite a bit of support and momentum."
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Uncredited, "Soundscaping L.A.: Sculptures and
Installations; Bright Moments: (New Music America 1985); Festival Highlights; Options Magazine, Number F2, 1985.1
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in 1979. One of the themes there was to break down barriers created by the segregation of genres, and breaking music journalist/critic-driven
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Bream, John, "New Music in the Key of Fun: Acceptance sets the tone for festival of experiment", Minneapolis Star, 1980.06.16.
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Uncredited, "New Music Mid West: The Twin Cities' Second
Festival at the Walker Arts Centre" Ear Volume 5 Number 5 1980.4/5.
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treaty-building between opposing music factions) that it acquired the
Olympics paradox of being unable to reduce itself in size.
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Gordon, Coco, "Images in Sound: A performance retrospective of graphic scores (1952-1982)", Ear
Magazine Vol. 9, No. 2 1984.7/8
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Brandl, M. Staff and Thomas Emil Homerin, "New Music in Chicago '82: Report from Middle Ear", Ear Magazine, Volume 7 Number 5.
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Proposal to the New Music Alliance from Montreal Musiques Actuelles, submitted November 1989 in New York City
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The original conference, named New Music New York, with concordant (and demonstrative) concerts was held at
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Webster, Daniel "New Music America Festival opens on the riverfront Philadelphia Inquirer," October 3, 1987
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Uncredited, "Toronto to be host city for world-wide festival", RPM Weekly, Sept. 19, 1992, Vol. 56, No. 12
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musician's peers as the week-long length permitted performers to attend each other's concerts or events.
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Uncredited, "New Music America 1990: Sound in Motion"; Canadian Composer, Sept. 21, 1990; vol. 133
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Cunningham, Carl,"New Music America brings innovation to Houston", Houston Chronicle, 1986.03.31.
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reassessments of the general music culture, and to do so it had to grow financially as well.
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Laskin, David L.L., "New (Music) Canada", editorial, Ear Magazine Nov. 1990, Vol. 15, No. 7.
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Tsumagari, Barbara, "Living in a Hyphenated Situation", Ear Magazine Vol. 9, No. 2, 1984.07.
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it coaxed many musicians to bunk with others who had similar tastes for new creation.
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In 1992, the attempts to revive NMA resulted in New Music Across America, sort of an
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74:(held in Montreal during its last year) showcasing at its origins New York City's
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Uncredited, "Interview with Pauline Oliveros", San Francisco Examiner, 1981.06a
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Rockwell, John, "New Music America Still Won't Be Pigeonholed" Nov. 5, 1989
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Uncredited, "Interview with Lou Harrison," San Francisco Examiner 1981.06a
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Uncredited, "New Music America 1981", San Francisco Examiner,1981.06a
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Impressed by the breadth (and probably fun) of the NMNY, the
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Festival International de Musique Actuelle de Victoriaville
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Uncredited, "Hartford Fling", New York Times, 1984.06.10.
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Author's own experience, Georges Dupuis, Hartford, 1984
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Sandow, Gregory, interviewed on CBC Radio 2, June 1984
238:"MUSIC; New Music America Still Won't Be Pigeonholed"
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191:List of contemporary classical music festivals
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422:Dupuis, Georges, author's own experience
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18:List of New Music America performances
542:New Interfaces for Musical Expression
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527:How to Destroy the Universe festival
186:List of experimental music festivals
577:Olympia Experimental Music Festival
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633:Music festivals in New York City
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236:Rockwell, John (1989-11-05).
638:Experimental music festivals
486:Experimental music festivals
38:contemporary classical music
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70:was a nomadic American
497:Bang on a Can Festival
532:Music Biennale Zagreb
242:The New York Times
107:Walker Arts Center
34:Experimental music
628:New Music America
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547:New Music America
68:New Music America
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25:New Music America
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602:Unsound Festival
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116:Morton Feldman
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76:Downtown Music
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507:CTM Festival
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253:. Retrieved
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136:Rhys Chatham
132:Philip Glass
120:Lou Harrison
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96:pigeonholing
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61:1979 to 1990
58:Years active
587:Other Minds
582:OM Festival
171:Avant-Garde
140:Earle Brown
128:Terry Riley
88:The Kitchen
44:Location(s)
622:Categories
592:Psych Tent
552:Noise Fest
255:2023-01-31
197:References
142:, but not
16:See also:
597:TodaysArt
557:Noisefest
522:High Zero
250:0362-4331
112:John Cage
180:See also
72:festival
52:Montreal
82:History
567:NWEAMO
517:GOGBOT
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138:, and
537:MUTEK
30:Genre
246:ISSN
90:in
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