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         The Future of Modern Music has been named a Finalist in the ForeWord Magazine's 2006 Book of the Year Awards-see more news......

 

 

 

 

        

 

With this brave new book, James McHard pulls away all the negativity shrouding the word "modern" in the realm of classical music. Through a skilled analysis of prominent composers from 1890 to the present, along with their musical styles, philosophies, and incentives, McHard reveals modern music as the "fully enriched and enriching listening experience" that it is.

". . . Both as a scholar and as a composer I want to thank you for the extraordinary work you have done on your book . . . Your research shows a very original attempt for the recovery of the notion "Modern" in music . . ." 

    --Julio Estrada, Professor of Advanced Composition at UNAM (Universidad Autonoma de Mexico) Member of the Institute of Aesthetics, Composer

Articles 

The State of Modern Music  

Unexpected Pathways in Experimental Music

Klangfarbenmelodie as a Special Case of Sound-Based Composition

Ten Works By Ten 20th Century Composers

 

        ! Featured Composer of the Month !

                           Pierre Barbaud

      
 

 

 

Mr. McHard has guest lectured several times on experimental music, and on mathematics in musical composition. He has lectured on modernism and it's future in music at UNAM (Universidad Nacional Autónoma de Mexico) for Dr. Julio Estrada’s class in experimental music composition  and at CCMIX (formerly Les Ateliers UPIC) in Paris.

 James McHard has been named Fellow in the American
 Biographical Institute - Great Minds of the 21st Century. He
 has also been recognized by Great Britain's, International
 Biographical Association's, Great Intellects of the 21st
 Century.

 

 

 

 

 

About the Author

 

James McHard is a freelance composer, lecturer, and author on music history. He was educated at the University of Michigan, where he completed his BS in mathematics. He lives with his wife in Livonia, Michigan, and is a French horn player for various local symphony orchestras and concert bands.

His original compositions include Tremors and Virtuals. The former is scored for ten specially positioned instruments, taped sound effects (including jet aircraft and bomb noises), and UPIC computer console output; the latter is scored for UPIC console output, alone. Both were performed and enthusiastically received at the Twice Festival of Experimental Music concerts in Ann Arbor, Michigan.

 

 

 

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