William Robin is an assistant professor of musicology at the University of Maryland's School of Music. His research explores how institutions structure the creation\, dissemination\, and rec eption of contemporary classical music in the United States. As a public m usicologist\, Robin contributes to The New York Times and tweets avidly as @seatedovation.
\nAbout "Industry"
\nAmidst the heated fray o f the Culture Wars emerged a scrappy festival in downtown New York City ca lled Bang on a Can. Presenting eclectic\, irreverent marathons of experime ntal music in crumbling venues on the Lower East Side\, Bang on a Can sold out concerts for a genre that had been long considered box office poison. Through the 1980s and 1990s\, three young\, visionary composers--David La ng\, Michael Gordon\, and Julia Wolfe--nurtured Bang on a Can into a multi faceted organization with a major record deal\, a virtuosic in-house ensem ble\, and a seat at the table at Lincoln Center\, and in the process chang ed the landscape of avant-garde music in the United States. Bang on a Can captured a new public for new music. But they did not do so alone. As the twentieth century came to a close\, the world of American composition pivo ted away from the insular academy and towards the broader marketplace. In the wake of the unexpected popularity of Steve Reich and Philip Glass\, cl assical presenters looked to contemporary music for relevance and record l abels scrambled to reap its potential profits\, all while government fundi ng was imperiled by the evangelical right. Other institutions faltered ami dst the vagaries of late capitalism\, but the renegade Bang on a Can survi ved--and thrived--in a tumultuous and idealistic moment that made new musi c what it is today.
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