Re: Attendance Requirement

Subject: Re: Attendance Requirement
From: Kevin Austin (
Date: Fri Jan 28 2005 - 22:44:55 EST

There are a number of items here, among them as to the function of a

If the object is to have one's work heard, web posting and other
means of distribution may be more effective. At a conference, the
work is heard once, by those in attendance.

Doing a concert series can be a bit different as there is
(frequently) a reduced overhead. Conferences are often "bigger"
affairs and have costs which have to be covered, somehow, usually by
the attendees.

How many people would pay the registration fee to go to a conference
where few (or none) of the composers are present?

What are some of the options given the harsher economic realities.



At 10:10 -0500 2005/01/24, Dennis Bathory-Kitsz wrote:
>At 09:11 AM 1/24/05 -0500, David Mooney wrote:
>>And financial. While I do understand the value of having
> >composers in attendance, for those of us who are self-supporting and
> >not attached to an institution that may provide some assistance
>for attending these sort of work related/professional development
>events, the requirement to attend is severely limiting.
>I'll loudly second that, especially as I sit in -15 weather (-26C)
>in Vermont. I look with some measure of envy at all the conferences
>that seem so well-attended -- many by the same 'names' -- with
>professional development support funding from their institutions (or
>at least a continuing salary and time off to attend). Subsidized
>travel and accommodations set aside for independent,
>non-institutional artists would be most welcome.
>(And while we're on the topic, there's the bias toward presenting work only
>where one's own performers are provided for live+EA pieces. It's like
>having to buy a booth at trade shows!)

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