…the language we use when describing our past experience impacts both the character of our memories and our ability to recall them. By giving the audience language with which they can describe their time in the concert hall, we shape stories they tell, thus their very memories….
Read More…someone must take responsibility for building a complete experience that is imbued with cultural, emotional, and visceral power. It will not happen by accident.
Somewhere deep inside every work of art is a capacity to imprint itself on the very being of the beholder. If you understand that latent power, then you can begin. Consider your story carefully. Be truthful. And tell it with every tool you’ve got.
Read More…when we recall an experience from our memory, we also experience the feelings attached to the it. Why does this matter for arts audiences? A person’s memory of experiencing a work of art is a portal to their feelings from that very moment.
Read More…live concerts are not the only medium by which we can transmit musical ideas that carry experiential power. What if we questioned the fundamental assumption that musical organizations exist to give concerts and substituted it with the deeper truth that musical organizations exist to share musical experiences?
Read More…the question I’m asking in “Why Art?” is much more specific than that. One could drill down in the particular by asking the question in longform: “Why are we sharing this art, with this group of people, at this time and place?”
Read MoreMy name is Jacob Schnitzer and I am a conductor, composer, curator, and producer. This is my blog/newsletter in which I will publicly grapple for a Reimagination of the cultural output we create as as performing artists, curators, and producers of classical music; in other words, What Happens Next?
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