Women in Jazz: Blues and the Objectifying Truth

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Jazz journalist and scholar Lara Pellegrinelli addresses issues of harassment and abuse endured by women in jazz, the #MeToo groundswell, and why recent reports of improvement might be premature.

Classical Music, Abuse, and Harassment: Reckoning and Response

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It was only a matter of time before classical music found itself mired in the sexual harassment and abuse reckoning now sweeping through American industries, from Hollywood to news media, politics, and beyond.

Joel Fan: Making New Connections with Open Source Music Festival

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Pianist Joel Fan talks about his new Open Source Music Festival, a new cross-genre series aimed at exploration, collaboration, sharing and, ultimately, the reimagination of music.

So Percussion: David Lang, Music, Mentorship and Emotional Rescue

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Developing a career as an artist carries a certain pressure to project inevitability. So Percussion is in the fortunate position of now having a stable career and an established vision. Writing now, I can’t think of how any of this would have happened without David Lang.

#HearAllComposers: Straining Our Ears, Amplifying Our Voices

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I’ve been writing music criticism since I graduated college in 2012, but about a year ago I made the decision only to review concerts with at least one woman (or trans or nonbinary) composer on the program. I was tired of attending concerts featuring exclusively the music of white men, and tired of frantically sifting through concert season announcements that came in the mail, only to find a single token white woman amidst a sea of white men. People around me were perplexed.

Steven Schick: In Pursuit of an Externally Facing Artistic Practice

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Making music today must be about nothing less than asserting moral force. It must be about how we — we who have so much and who live so fully — can act responsibly in a world where so many have so little. It must be about the voices too faint to hear.

Calling for a New Soft Diplomacy

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The Wall Street Journal recently reported on a gala event held in New York, meant to raise funds to bring a Chinese panda to the city. Meanwhile, in The Guardian Vladimir Ashkenazy called upon British musicians to maintain artistic relationships with Europe, despite any potential barriers imposed by Brexit. Each case illustrates a different approach undertaken to dissolve borders. Both exemplify “soft power."

Sarah Cahill: What I Learned As a Music Critic, and Why It Still Matters

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Dave’s Coffee Shop on Broadway in Oakland was always the destination for me to meet a deadline. I started going there soon after becoming the classical music critic for the East Bay Express, an alternative weekly, in 1985. After a concert, I would take the bus to Dave’s, open all night, and sit at the counter and order fried eggs and corned beef hash – the kind that comes in a perfect oval patty, and looks and tastes like dog food – and endless refills of coffee. I would sit there and write out the whole review by hand, and then take it home and type it up on my ancient Royal typewriter. It could be five pages or eight pages – however long was necessary to go into great detail and depth.

A time for change.

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Springtime is here, and with it comes the implementation of the first major changes in this journal since we launched last October. We've worked hard during the first six months of producing The Log to establish a place and a precedent for vivid conversations with and among artists, strong and pertinent essays on topics of broad interest, timely news, and constructive criticism.

Kate Outterbridge: Fostering Creativity and Communal Presence Through Music

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“We will deepen the connection between music and mental health through a residency that offers musical performances and group exercises that inspire the creative process, fostering a safe space for openness and expression.” This ambitious statement reflects the mission of my string quartet as we aspire to design a residency program within a hospital setting this spring.