Luke Gullickson is a composer, pianist, and writer currently working on a Master’s in composition at UT in Austin, Texas. He keeps a blog, Sonatas and Interludes, where he recently pondered how “new age” can reach out and bleed into even the “avant-garde”:
There’s a problem in new pretty piano music. I call it the “new age” problem. The thing is, we’ve been Jim Brickman-d, David Lanz-d, Yanni-d, and now we can’t hear Keith Jarrett the same way anymore. We are all familiar with the warm sounds of new age piano music; it’s been a weird but persistent classification. On the surface, Jarrett’s Köln Concert, the albums of George Winston, and contemporary postminimal piano music by Peter Garland or William Duckworth sound similar, but the genre underpinnings, and their associated politics, are vastly different in each case. The worlds of jazz, pop, and classical, respectively, have merged together into this zone where superficial similarities are in danger of overriding the differences in intent between these disparate artists.
The argument goes a little farther in Luke’s original post, so take a little time to read it all if you’re thinking about commenting.
(Personally, the first-mentioned few make me groan and zone… But I defy anyone telling me Tim Story‘s 2001 Shadowplay isn’t at heart a Po-Mo masterpiece.)