Podcast appearances and mentions of Ben Johnston

James Jarvie, co-owner of The Fight Centre alongside his best mate Ben Johnston, is celebrating 10 years in the combat sports industry. Jarvie opens up about the ups and downs of operating a combat sports gym, finding a work life balance and some of his amazing experiences he's had and the people he's met along the way. You can find Jarvie on the floor or on the phone at The Fight Centre in Meadowbrook, Logan or online at tfcgym.com.au

On our 500th episode, we're joined by Biffy Clyro. Simon Neil & James and Ben Johnston take us through early gigs with Hundred Reasons, Hell is for Heroes and Reuben, getting a call to open for Weezer during a bar shift, and how they've managed to keep the fun in the band for 30 years. Their new album Futique - their fourth number one album - is out now. Photo: Eve Pentel Get yourself some top class Shure microphone gear: https://shu.re/3YhV7p2 DistroKid makes music distribution fun and easy with unlimited uploads and artists keeping the ENTIRETY of their revenue. Get 30% off the first year of their service by signing up at https://distrokid.com/vip/101pod Learn more about your ad choices. Visit megaphone.fm/adchoices

Fremantle Church Live 12/10/2025 Sermon: Mercy Sermon Series: Scripture: Luke 10:25-36 Pastor: Ben Johnston Our Sermons can be found on Apple Podcasts, Spotify, and Podbean. © Fremantle Church 2025

Simon Neil, James and Ben Johnston of Biffy Clyro talk about their new album Futique, working with twins, and the bands that shaped their youth. Simon also discusses his tour with Sleep Token as part of his other band project, Empire State Bastards. Want to know more? Then tune in to the podcast!

Professional MMA Fighter Nathaniel Law -is fighting out of The Fight Centre, under Ben Johnston and also trains at CKB regularly. After a good fight and win against Mario logo in March on beatdown promotions, he is looking for his next one at Eternal MMA 95 against Sam marles. Full interview details below:

A lo largo de la historia de la música el sistema de afinación no siempre ha sido el mismo. En la música occidental la escala actual divide la octava en 12 partes o semitonos iguales. Sin embargo, existen otras realidades de sistematización sonora._____Has escuchadoHyperchromatica. Orbital Resonance (2015) / Kyle Gann. Tres pianos Disklaviers. Other Minds (2018)Just Constellations. I. The Opening Constellation: Summer (2016) / Michael Harrison. Roomful of Teeth. New Amsterdam Records (2020)“Ombak Atarung”. PADMA (Ako and Shiroshima). YouTube Vídeo. Publicado por Padma Balinese Gender Wayang, 24 de marzo de 2017: https://www.youtube.com/watch?v=lqoh4ELiKoQPrisma Interius VIII (2018) / Catherine Lamb. Harmonic Space Orchestra. Sacred Realism (2020)“Superposición de ondas. 2 (batidos o pulsaciones)”. YouTube Vídeo. Publicado por Física-No me salen, 5 de noviembre de 2020: https://www.youtube.com/watch?v=gvlp7Fv9NkMTres danzas para dos pianos preparados. Primera danza / John Cage. Atlantic Piano Duo (Sophia Hase y Eduardo Ponce). Grabación sonora realizada en directo en el tercer concierto del ciclo Matemática Musical en la Fundación Juan March, el 30 de noviembre de 2011_____Selección bibliográficaBOSANQUET, Robert H. M., An Elementary Treatise on Musical Intervals and Temperament. Hansebooks GmbH, 2020FONVILLE, John, “Ben Johnston's Extended Just Intonation: A Guide for Interpreters”. Perspectives of New Music, vol. 29, n.º 2 (1991), pp. 106-137*GANN, Kyle, The Arithmetic of Listening: Tuning Theory and History for the Impractical Musician. University of Illinois Press, 2019*GILMORE, Bob, “Changing the Metaphor: Ratio Models of Musical Pitch in the Work of Harry Partch, Ben Johnston, and James Tenney”. Perspectives of New Music, vol. 33, n.º 1-2 (1995), pp. 458-503*GOLDÁRAZ, J. Javier, Afinación y temperamento en la música occidental. Alianza Editorial, 1992*GRIBENSKI, Fanny, Tuning the World: The Rise of 440 Hertz in Music Science & Politics 1859-1955. University of Chicago Press, 2023JOHNSTON, Ben, “Maximum Clarity” and Other Writings on Music. University of Illinois Press, 2007*KEISLAR, Douglas, “Six American Composers on Nonstandard Tunings”. Perspectives of New Music, vol. 29, n.º 1 (1991), pp. 176-211*NARUSHIMA, Terumi, Microtonality and the Tuning Systems of Erv Wilson. Routledge, 2019*PARTCH, Harry, Genesis of a Music: An Account of a Creative Work Its Roots and Its Fulfillments. Da Capo Press, 1979*SABAT, Marc, “Pantonality Generalised: Ben Johnston's Artistic Researches in Extended Just Intonation”. Tempo, vol. 69, n.º 272 (2015), pp. 24-37*WANNAMAKER, Rob, The Music of James Tenney. University of Illinois Press, 2001*WERNTZ, Julia, “Adding Pitches: Some New Thoughts, Ten Years after Perspectives of New Music's Forum: Microtonality Today”. Perspectives of New Music, vol. 39, n.º 2 (2001), pp. 159-210*WOOD, James, “Microtonality: Aesthetics and Practicality”. The Musical Times, vol. 127, n.º 1719 (1986), pp. 328-330*YOUNG, Gayle, “The Pitch Organization of Harmonium for James Tenney”. Perspectives of New Music, vol. 26, n.º 2 (1988), pp. 204-212* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Independents for Canberra is the Community Independendent's Movement's focus in Canberra. We welcome candidates Thomas Emerson, Ben Johnston and Tenzin Mayne from the electorate of Kurrajong to the show to have a yarn about the upcoming Local elections.

In this week's episode, Barry welcomes back Ben Johnston for a powerful prophetic insight into the wisdom required for this critical hour. As we step into our best days, we must be equipped and strengthened to fulfill our assignments with purpose. Don't miss this impactful discussion filled with revelation and encouragement!----------------------------------------------------To sow a seed or become a monthly partner with Barry and Tammy Maracle, please click here: https://www.barrymaracle.ca/partner----------------------------------------------------Main site: https://www.barrymaracle.ca/Podcast: https://podcasts.apple.com/ca/podcast...Facebook: / barry.maracle Instagram: / barrymaracle Twitter: / barrymaracle Event Calendar: https://www.barrymaracle.ca/calendar-1#KingdomLife #FaithJourney #SpiritualGrowth #GodsPresence #VictoriousLiving #trending #hope #gospel #faith #leaders #transformationaltalks #revival #podcast

In this week's episode, Barry welcomes Ben Johnston for a powerful discussion on what God is speaking in this season. The church is being called out of spiritual slumber and into a time of activation. It's time to eliminate distractions and reignite our intimacy with Jesus. Don't miss this inspiring conversation on how we can respond to God's call and step into deeper relationship and purpose.-------------------------------------------------To sow a seed or become a monthly partner with Barry and Tammy Maracle, please click here: https://www.barrymaracle.ca/partner-------------------------------------------------Main site: https://www.barrymaracle.ca/Podcast: https://podcasts.apple.com/ca/podcast...Facebook: / barry.maracle Instagram: / barrymaracle Twitter: / barrymaracle Event Calendar: https://www.barrymaracle.ca/calendar-1#KingdomLife #FaithJourney #SpiritualGrowth #GodsPresence #VictoriousLiving #trending #hope #gospel #faith #leaders #transformationaltalks #revival #podcast

In this episode of Assembly Audible, host Jennifer Pierce sits down with Ben Johnston, COO of Kapitus, to explore critical financial challenges manufacturers are facing today. From the effects of inflation and high interest rates to the influence of the upcoming 2024 presidential election, Ben shares insights on how manufacturers can navigate financing in a volatile economy. Tune in to learn about the options available for manufacturers seeking funding and how the evolving political landscape might reshape the future of American manufacturing.Sponsored By:

How does a string quartet help build community from Chinese immigrant poetry carved into detention-center walls on Angel Island? Let their words sing out after 100 years of silence. Season 1 of Sounds Current with the Del Sol Quartet follows the quest to shine light on San Francisco's Angel Island, a site of detention and dehumanization for Chinese immigrants in the 1900s. We travel with the creatives behind The Angel Island Project, including composer Huang Ruo, poet Genny Lim, educator Andi Wong and more. Sounds Current: Angel Island explores how we make compassionate art that builds community. *** San Francisco's Del Sol Quartet believes that music can, and should, happen anywhere - screaming out Aeryn Santillan's “Makeshift Memorials” from a Mission District sidewalk or a rural high school, bouncing Ben Johnston's microtonal “Americana” off the canyon walls of the Yampa River or the hallowed walls of Library of Congress, bringing Huang Ruo's “Angel Island Oratorio” home to the island detention barracks or across the Pacific to the Singapore International Arts Festival.  Since 1992, Del Sol has commissioned or premiered hundreds of works from diverse composers. Their performances provide the possibility for unexpected discovery, sparking dialogue and bringing people together. CREDITS Hosted by Charlton Lee Produced by Andrea Klunder, The Creative Impostor Studios, Charlton Lee, Kathryn Bates, Hyeyung Sol Yoon, Ben Kreith Story Editor: Andrea Klunder Sound Design: Andrea Klunder Technical Director & Post Production Audio: Edwin R. Ruiz Field Producer & Recording Engineer: Kathryn Bates Field Producer: Verena Lee Podcast Manager: Alex Riegler Show Notes: Lisa Widder Cover Art: Felicia Lee Theme Music: composed by Charlton Lee, performed by Del Sol Quartet Executive Producers: Andrea Fellows Fineberg, Don Fineberg   LEARN MORE https://www.delsolquartet.com/podcast Del Sol Quartet on Spotify Facebook Instagram YouTube   Featured music from The Angel Island Oratorio composed by Huang Ruo. Performed by Del Sol Quartet & United States Air Force Band's Singing Sergeants / National Museum of Asian Art, Smithsonian Institution, recording and edited by Suraya Mohamed.

TEENS WANT TO START BUSINESSES And I think this is so incredibly cool. I've got Ben Johnston, COO of Kapitus, leaders in small business financing can share 5 invaluable tips to guide and inspire the next generation of teenpreneurs. He joins me at 1pm to chat about how to support your teen on their first business venture. Find out more about small business funding by clicking here.

in deze uitzending vier geheel verschillende Amerikaanse kwartetten uit de jaren zestig, het Negende kwartet van David Diamond, het Eerste strijkkwartet van Philip Glass, het Derde kwartet van Ben Johnston en Modes voor strijkkwartet van Dorothy Rudd Moore. Diamond was een traditionalist in de trant van Walter Piston en William Schuman. Glass was in zijn […]

Steve Rosenberg of The GSD Group talks with Vahan Janjigian, CIO of Greenwich Wealth Management about oil prices and EV ideas. Later they interview Ben Johnston, COO of KAPITUS about business loans and what area of businesses are booming. The post Money Matters TV 23-38 Johnston appeared first on Money Matters TV.

Art-pop duo Water From Your Eyes specializes in a hazy blend of beats, bites, luxe melodies and wry lyrics. Nate Amos discusses how music by Scott Walker, Jute Gyte and Ben Johnston shaped the group's sound. Essential Tremors is produced by Matt Byars and Lee Gardner and distributed by Your Public Studios.See omnystudio.com/listener for privacy information.

Episode 99 Crosscurrents in Electronic Tape Music in the United States Playlist Louis and Bebe Barron, “Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin, who also appeared in the film. The Barrons were credited with “Electronic Music.” The Barrons scored three of Ian Hugo's short experimental films and this is the earliest, marking an early start for tape music in the United States. Bebe told me some years ago about a work called “Heavenly Menagerie” that they produced in 1950. I have written before that I think this work was most likely the first electronic music made for magnetic tape in the United States, although I have never been able to find a recording of the work. Bells of Atlantis will stand as an example of what they could produce in their Greenwich Village studio at the time. They were also engaged helping John Cage produce “Williams Mix” at the time, being recordists of outdoor sounds around New York that Cage would use during the process of editing the composition, which is described below. The Forbidden Planet soundtrack, their most famous work, was created in 1956. 8:59 John Cage, “Williams Mix” (1952) from The 25-Year Retrospective Concert Of The Music Of John Cage (1959 Avakian). Composed in 1952, the tape was played at this Town Hall concert a few years later. Premiered in Urbana, Ill., March 22, 1953. From the Cage database of compositions: “This is a work for eight tracks of 1/4” magnetic tape. The score is a pattern for the cutting and splicing of sounds recorded on tape. Its rhythmic structure is 5-6-16-3-11-5. Sounds fall into 6 categories: A (city sounds), B (country sounds), C (electronic sounds), D (manually produced sounds), E (wind produced sounds), and F ("small" sounds, requiring amplification). Pitch, timbre, and loudness are notated as well. Approximately 600 recordings are necessary to make a version of this piece. The compositional means were I Ching chance operations. Cage made a realization of the work in 1952/53 (starting in May 1952) with the assistance of Earle Brown, Louis and Bebe Barron, David Tudor, Ben Johnston, and others, but it also possible to create other versions.” This was a kind of landmark work for John as he explored the possibilities of working with the tape medium. It is the only work from this period, created in the United States, for which there is an original recording of a Cage realization. He also composed “Imaginary Landscape No. 5” in 1952 for 42-disc recordings as a collage of fragments from long-playing records recorded on tape (he preferred to use jazz records as the source), put together with the assistance of David Tudor. Though some modern interpretations exist, there is no recording from the 1950s of a Cage/Tudor realization so I am unable to represent what it would have been like at that time. 5:42 Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:54 Otto Luening, “Fantasy in Space” (1952) from Tape Music An Historic Concert (1968 Desto). Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:51 Otto Luening and Vladimir Ussachevsky, “Incantation” (1953) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:34 Henry Jacobs, “Sonata for Loudspeakers” (1953-54) from Sounds of New Music (1958 Folkways). “Experiments with synthetic rhythm” produced by Henry Jacobs who worked at radio station KPFA-FM in Berkeley. Jacobs narrates the track to explain his use of tape loops and recorded sound. 9:29 Jim Fassett, track “B2” (Untitled) from Strange To Your Ears - The Fabulous World of Sound With Jim Fassett (1955 Columbia Masterworks). “The fabulous world of sound,” narrated with tape effects, by Jim Fassett. Fassett, a CBS Radio musical director, was fascinated with the possibilities of tape composition. With this recording, done during the formative years of tape music in the middle 1950s, he took a somewhat less daring approach than his experimental counterparts, but a bold step nonetheless for a national radio audience. He hosted a weekend program called Strange to Your Ears to showcase these experiments and this album collected some of his best bits. 8:15 Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach) and “Nola” (Arndt) and “Home, Sweet Home” from The Sounds and Music of the RCA Electronic Music Synthesizer (1955 RCA). These “experimental” tracks were intended to demonstrate the range of sound that could be created with RCA Music Synthesizer. This was the Mark I model, equipped with a disc lathe instead of a tape recorder. When it was upgraded and called the Mark II in the late 1950s, it became the showpiece of the Columbia-Princeton Electronic Music Center. Here we listen to three tunes created by Harry F. Olsen, one of the inventors, in the style of a harpsichord, a piano, and “an engineer's conception of the music.” 5:26 Milton Babbitt, “Composition For Synthesizer” (1960-61) (1968 Columbia). Babbitt was one of the only composers at the Columbia-Princeton Electronic Music Center who composed and produced works based solely on using the RCA Music Synthesizer. Most others took advantage of other tape processing techniques found in the studio and not controlled by the RCA Mark II. It took him quite a long time to work out all of the details using the synthesizer and his meticulous rules for composing serially. On the other hand, the programmability of the instrument made it much more possible to control all the parameters of the sound being created electronically rather than by human musicians. This work is a prime example of this kind of work. 10:41 Tod Dockstader, “Drone” (1962) from Drone; Two Fragments From Apocalypse; Water Music (1966 Owl Records). Self-produced album by independent American composer Dockstader. This came along at an interesting period for American elecgtronic music, sandwiched between the institutional studio work being done at various universities and the era of the independent musician working with a synthesizer. Dockstader used his own studio and his own devices to make this imaginative music. This was one of a series of four albums featuring Dockstader's music that were released on Owl in the 1966-67 timeframe. They have all been reissued in one form or another. Here is what Dockstader himself wrote about this piece: “Drone, like many of my other works, began life as a single sound; in this case, the sound of racing cars. But, unlike the others, the germinal sound is no longer in the piece. It's been replaced by another a guitar. I found in composing the work that the cars didn't go anywhere, except, seemingly, in circles. The sound of them that had interested me originally was a high to low glissando the Doppler effect. In making equivalents of this sound, I found guitar glissandos could be bent into figures the cars couldn't. . . . After the guitar had established itself as the base line of the piece, I began matching its sound with a muted sawtooth oscillator (again, concrete and electronic music: the guitar being a mechanical source of sound, the oscillator an electronic source). This instrument had a timbre similar to the guitar, with the addition of soft attack, sustained tones, and frequencies beyond the range of the guitar. . . . The effect of the guitar and the oscillator, working together, was to produce a kind of drone, with variations something like the procedure of classical Japanese music, but with more violence. Alternating violence with loneliness, hectic motion with static stillness, was the aim of the original piece; and this is still in Drone, but in the process, the means changed so much that, of all my pieces, it is the only one I can't remember all the sounds of, so it continues to surprise me when I play it.” (From the original liner notes by Dockstader). 13:24 Wendy Carlos, “Dialogs for Piano and Two Loudspeakers” (1963) from Electronic Music (1965 Turnabout). This is an early recording of Wendy, pre-Switched-on Bach, from her days as a composer and technician. In this work, Carlos tackles the task of combining synthesized sounds with those of acoustic instruments, in this case the piano. It's funny that after you listen to this you could swear that there were instruments other than the piano used, so deft was her blending of electronic sounds with even just a single instrument. 4:00 Gordon Mumma, “Music from the Venezia Space Theater” (1963-64) (1966 Advance). Mono recording from the original release on Advance. Composed at the Cooperative Studio for Electronic Music in Ann Arbor, Michigan. This was the studio created by Mumma and fellow composer Robert Ashley to produce their electronic tape works for Milton Cohen's Space Theater on Ann Arbor, which this piece tries to reproduce. The original was a quad magnetic tape. It was premiered at the 27th Venezia Bianale, Venice, Italy on September 11, 1964 and comprised the ONCE group with dancers. 11:58 Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Realized at the Electronic Music Studio of Brandeis University. This work was produced in the Brandeis University Electronic Music Studio and was her first work of electroacoustic music. In 1964 she began a Doctor of Musical Arts program in composition, including studies in electronic music, at the University of Toronto and completed the degree in 1972. Ivey founded the Peabody Electronic Music Studio in 1967 and taught composition and electronic music at the Peabody Conservatory of Music until her retirement in 1997. Ivey was a respected composer who also sought more recognition for women in the field. In 1968, she was the only woman composer represented at the Eastman-Rochester American Music Festival. Her work in electronic music and other music was characteristic of her general attitude about modern composing, “I consider all the musical resources of the past and present as being at the composer's disposal, but always in the service of the effective communication of humanistic ideas and intuitive emotion.” 6:12 Pauline Oliveros, “Bye Bye Butterfly” (1965) from New Music for Electronic and Recorded Media (1977 1750 Arch Records). This was composed at the San Francisco Tape Music Center where so many west coast composers first found their footing: Terry Riley, Steve Reich, Jon Gibson, Pauline Oliveros, Stuart Dempster, Morton Subotnick, Ramon Sender all did work there around this time. Oliveros was experimenting with the use of tape delay in a number of works, of which “Bye Bye Butterfly” is a great example. 8:05 Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965) from Dresden / Venezia / Megaton (1979 Lovely Music). Composed at the Cooperative Studio for Electronic Music (Ann Arbor, Michigan). Remixed at The Center for Contemporary Music, Mills College (Oakland, California). This tape piece was premiered at the sixth annual ONCE Festival in Ann Arbor where Mumma configured an array of sixteen “mini speakers” to surround the audience and project the 4-channel mix. The middle section of the piece contains the “harrowing roar of live, alcohol-burning model airplane engines.” (Mumma) This anti-war piece was presented in the 20th anniversary of the Allied fire-bombing of Dresden near the end of World War II. 12:14 Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965) from Electronic Music from the University of Illinois (1967 Heliodor). From Gaburo: “Lemon Drops” is one of a group of five tape compositions made during 1964-5 referencing the work of Harry Partch. All are concerned with aspects of timbre (e.g., mixing concrete and electronically generated sound); with nuance (e.g., extending the expressive range of concrete sound through machine manipulation, and reducing machine rigidity through flexible compositional techniques); and with counterpoint (e.g., stereo as a contrapuntal system).”(see). 2:52 Steve Reich, “Melodica” (1966) from Music From Mills (1986 Mills College). This is one of Reich's lesser-known phased loop compositions from the 1960s. It is “composed of one tape loop gradually going out of phase with itself, first in two voices and then in four.” This was Reich's last work for tape before he transitioned to writing instrumental music. 10:43 Pril Smiley, “Eclipse” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Pril Smiley was 1st finalist and realized “Eclipse” at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work: “Eclipse” was originally composed for four separate tracks, the composer having worked with a specifically-structured antiphonal distribution of compositional material to be heard from four corners of a room or other appropriate space. Some sections of “Eclipse” are semi-improvisatory; by and large, the piece was worked out via many sketches and preliminary experiments on tape: all elements such as rhythm, timbre, loudness, and duration of each note were very precisely determined and controlled. In many ways, the structure of “Eclipse” is related to the composer's use of timbre. There are basically two kinds of sounds in the piece: the low, sustained gong-like sounds (always either increasing or decreasing in loudness) and the short more percussive sounds, which can be thought of as metallic, glassy, or wooden in character. These different kinds of timbres are usually used in contrast to one another, sometimes being set end to end so that one kind of sound interrupts another, and sometimes being dovetailed so that one timbre appears to emerge out of or from beneath another. Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” (From the original liner notes by Smiley.) 7:56 Olly W. Wilson, “Cetus” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Olly W. Wilson was the competition Winner with “Cetus.” It was realized in the studio for Experimental Music of the University of Illinois. Olly Wilson wrote about the work: “the compositional process characteristic of the “classical tape studio” (the mutation of a few basic electronic signals by means of filters, signal modifiers, and recording processes) was employed in the realization of this work and was enhanced by means of certain instruments which permit improvisation by synthesized sound. Cetus contains passages which were improvised by the composer as well as sections realized by classical tape studio procedures. The master of this work was prepared on a two channel tape. Under the ideal circumstances it should be performed with multiple speakers surrounding the auditor.” (Olly Wilson. The Avant Garde Project at UBUWEB, AGP129 – US Electronic Music VIII | Dartmouth College Competition (1968-70). 9:18 Alice Shields, “The Transformation of Ani” (1970) from Columbia-Princeton Electronic Music Center Tenth Anniversary Celebration (1971 CRI). Composed at the Columbia-Princeton Electronic Music Center. Alice Shields explained, “The text of “The Transformation of Ani” is taken from the Egyptian Book of the Dead, as translated into English by E. A. Budge. Most sounds in the piece were made from my own voice, speaking and singing the words of the text. Each letter of the English translation was assigned a pitch, and each hieroglyph of the Egyptian was given a particular sound or short phrase, of mostly indefinite pitch. Each series, the one derived from the English translation, and the one derived from the original hieroglyphs, was then improvised upon to create material I thought appropriate to the way in which I wanted to develop the meaning of the text, which I divided into three sections.” (see). 8:59 Opening background music: John Cage, Fontana Mix (1958) (1966 Turnabout). This tape work was composed in 1958 and I believe this is the only recorded version by Cage himself as well as the only Cage version presented as a work not in accompaniment of another work. An earlier recording, from the Time label in 1962, feature the tape piece combined with another Cage work, “Aria.” This version for 2 tapes was prepared b Cage in February 1959 at the Studio di Fonologia in Milan, with technical assistance from Mario Zuccheri. From the Cage Database website. “This is a composition indeterminate of its performance, and was derived from notation CC from Cage's Concert for Piano and Orchestra. The score consists of 10 sheets of paper and 12 transparencies. The sheets of paper contain drawings of 6 differentiated (as to thickness and texture) curved lines. 10 of these transparencies have randomly distributed points (the number of points on the transparencies being 7, 12, 13, 17, 18, 19, 22, 26, 29, and 30). Another transparency has a grid, measuring 2 x 10 inches, and the last one contains a straight line (10 3/4 inch). By superimposing these transparencies, the player creates a structure from which a performance score can be made: one of the transparencies with dots is placed over one of the sheets with curved lines. Over this one places the grid. A point enclosed in the grid is connected with a point outside, using the straight line transparency. Horizontal and vertical measurements of intersections of the straight line with the grid and the curved line create a time-bracket along with actions to be made.” Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Synopsis The thick historical novels of the 19th century French writer Alexandre Dumas, Sr. are packed with some fact and a lot of fiction. Chapter 22 of "The Three Musketeers," for example, set during the 17th century reign of King Louis XIII, begins as follows: "Nothing was talked of in Paris but the ball which the aldermen were to give to the king and queen in which their Majesties were to dance the famous 'La Merlaison' — the favorite ballet of the king. Eight days had been spent preparing for the important evening. The city carpenters erected risers for the guests; the hall would be lit by two hundred huge candles of white wax, a luxury unheard of; and twenty violins were ordered, the price for them double the usual rate, since they would be playing all night." In this case, Dumas was referencing a real event. On today's date in 1635, at Chantilly castle, a gala ballet premiered. It depicted in stylized dance the Louis's favorite activity: hunting the blackbird ("la merlaison" in French). The choreography, the costumes, and music were all created by the King himself—who also danced several of the lead roles. It got a rave review in the press of the day. If there were any critics, we suspect Cardinal Richelieu, the dreaded power behind the throne in Dumas's novel—and in real life—had them hauled off and "dealt with." Ah yes, it's good to be King. Music Played in Today's Program Louis XIII Roi de France (1601 - 1643) Ballet de la Merlaison Ancient Instrument Ensemble of Paris; Jacques Chailley, conductor. Nonesuch LP H-71130 On This Day Births 1835 - Austrian composer and conductor Eduard Strauss, in Vienna; He was the youngest son of Johann Strauss, Sr.; 1864 - Norwegian composer, conductor and violinist Johan Halvorsen, in Drammen; 1901 - American composer Colin McPhee, in Montréal, Canada; 1926 - American composer Ben Johnston, in Macon, Ga.; 1928 - American composer Nicolas Flagello, in New York City; Deaths 1842 - Italian composer Luigi Cherubini, age 81, in Paris; 1918 - French composer Lili Boulanger, age 24, in Mezy; 1942 - Austrian composer Alexander von Zemlinsky, age 70, in Larchmont, N.Y.; Premieres 1807 - Beethoven: Symphony No. 4 (first public performance), in Vienna, at a benefit concert conducted by the composer; 1885 - Franck: symphonic poem "Les Dijinns" (The Genies), in Paris; 1897 - Rachmaninoff: Symphony No. 1 (Gregorian date: Mar. 27); 1908 - Ravel: "Rapsodie espagnole" (Spanish Rhapsody), in Paris; 1911 - Scriabin: Symphony No. 5 ("Prometheus: Poem of Fire"), in Moscow, conducted by Serge Koussevitzky and with the composer performing the solo piano part (Julian date: Mar. 2); 1981 - Stockhausen: opera "Donnerstag, aus Licht" (Thursday, from Light), in Milan at the Teatro alla Scala; This is one of a projected cycle of seven operas, each named after a day of the week; 1994 - Peter Maxwell Davies: "Chat Moss" (the name of a quagmire in Lancashire) for orchestra, in Liverpool by the orchestra of St. Edward's College, John Moseley conducting; 2000 - Corigliano: "Mr. Tambourine Man: Seven Poems of Bob Dylan," at Carnegie Hall, by soprano Sylvia McNair and pianist Martin Katz; An orchestrated version of this song-cycle premiered in Minneapolis on October 23, 2003, with soprano Hila Plitmann and the Minnesota Orchestra conducted by Robert Spano; Others 1895 - Italian tenor Enrico Caruso, age 22, makes his operatic debut at the Teatro Nuovo in Naples, singing the lead tenor role in Domenico Morelli's comic opera "L'Amico Francesco." Links and Resources On Louis XIII

Please join us as we interview executives, Ben Johnston, Eric Gardner, and Chris Johnston, from Pittsburg Tank & Tower Group headquartered in Henderson, KY. PTTG designs, builds, and maintains tanks, communications towers, and support systems for our nation's infrastructure. PTTG plays an integral role, not only in our nation's infrastructure but also in 67 other countries around the world. PTTG is okay with being old school with many facets of their company except for one, their employees. In 2021, the Johnston family graciously created an ESOP (Employee Stock Ownership Plan), transferring ownership to their employees and impacting their lives in an incredibly huge way. This is just one example of many that makes PTTG great. Great for their employees, their community, and great for Kentucky. If you would like more information about PTTG, visit https://www.pttg.com/. Here you can find out how to work with PTTG, work for PTTG, or just read their awesome story. We want to take a moment to thank our partner – the Kentucky Association of Manufacturers. For over 100 years, KAM has served our state's manufacturing industry through advocacy, workforce development, education, and training, as well as cost-saving benefits for members. Fighting for manufacturers is what KAM does best, representing the industry in both Frankfort and Washington, D.C. Whether it's advocacy, offering shipping discounts, or group health insurance, KAM has its members covered. Learn more and become a member by visiting www.kam.us.com

I had the pleasure of being the guest of author (Buddha on Board) and podcaster Ben Johnson in the UK to discuss my the economy of well-being and my favourite topic: money. In his conversation with Ben, we discuss: The difficulty we all have in understanding where money actually comes from How money is created ex nihilo (”out of nothing”), and why this is a problem The history of our relationship with money A question around the translation of the Lord's Prayer that relates to debt Learn more about Ben, his book and ideas at https://www.tenpercentbetter.co/ --- Send in a voice message: https://anchor.fm/mark-anielski/message

Biffy Clyro have emerged from their independent beginnings to become Britain's premier rock band. They most recently unveiled their latest project The Myth of the Happily Ever After, the follow-up to their internationally acclaimed albums A Celebration of Endings(2020),Ellipsis(2016) and Opposites(2013) , which shot straight to #1 in the U.K. charts with millions of copies sold, and the band boasts more than 950 million streams worldwide to date. In the U.S. they've toured arenas with the likes of Foo Fighters and Muse, in addition to sold-out headline runs, while overseas they've headlined leading festivals including Reading and Leeds, Download, TRNSMT, and Radio 1's Big Weekend. Biffy Clyro's drummer Ben Johnston sat down to talk to Mistress Carrie about their upcoming US tour, dealing with Covid, being in a band with his twin brother, filming the bands documentary, running, coffee, and much more!Episode NotesCheck out the custom playlist for Episode #97See Biffy Clyro at Big Night Live on 4/20Find Biffy Clyro online:youtubeinstagramfacebooktwitterwebsiteDocumentary detailsFind Mistress Carrie online:Official WebsiteThe Mistress Carrie Backstage Pass on PatreonTwitterFacebookInstagramYouTubeCameoTikTok

Biffy Clyro have emerged from their independent beginnings to become Britain's premier rock band. They most recently unveiled their latest project The Myth of the Happily Ever After, the follow-up to their internationally acclaimed albums A Celebration of Endings(2020),Ellipsis(2016) and Opposites(2013) , which shot straight to #1 in the U.K. charts with millions of copies sold, and the band boasts more than 950 million streams worldwide to date. In the U.S. they've toured arenas with the likes of Foo Fighters and Muse, in addition to sold-out headline runs, while overseas they've headlined leading festivals including Reading and Leeds, Download, TRNSMT, and Radio 1's Big Weekend. Biffy Clyro's drummer Ben Johnston sat down to talk to Mistress Carrie about their upcoming US tour, dealing with Covid, being in a band with his twin brother, filming the bands documentary, running, coffee, and much more! Episode Notes Check out the custom playlist for Episode #97 See Biffy Clyro at Big Night Live on 4/20 Find Biffy Clyro online: youtube instagram facebook twitter website Documentary details Find Mistress Carrie online: Official Website The Mistress Carrie Backstage Pass on Patreon Twitter Facebook Instagram YouTube Cameo TikTok Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode SummaryBiffy Clyro have emerged from their independent beginnings to become Britain's premier rock band. They most recently unveiled their latest project The Myth of the Happily Ever After, the follow-up to their internationally acclaimed albums A Celebration of Endings(2020),Ellipsis(2016) and Opposites(2013) , which shot straight to #1 in the U.K. charts with millions of copies sold, and the band boasts more than 950 million streams worldwide to date. In the U.S. they've toured arenas with the likes of Foo Fighters and Muse, in addition to sold-out headline runs, while overseas they've headlined leading festivals including Reading and Leeds, Download, TRNSMT, and Radio 1's Big Weekend. Biffy Clyro's drummer Ben Johnston sat down to talk to Mistress Carrie about their upcoming US tour, dealing with Covid, being in a band with his twin brother, filming the bands documentary, running, coffee, and much more!Episode NotesCheck out the custom playlist for Episode #97See Biffy Clyro at Big Night Live on 4/20Find Biffy Clyro online:youtubeinstagramfacebooktwitterwebsiteDocumentary detailsFind Mistress Carrie online:Official WebsiteThe Mistress Carrie Backstage Pass on PatreonTwitterFacebookInstagramYouTubeCameoTikTok

Episode Summary Biffy Clyro have emerged from their independent beginnings to become Britain's premier rock band. They most recently unveiled their latest project The Myth of the Happily Ever After, the follow-up to their internationally acclaimed albums A Celebration of Endings(2020),Ellipsis(2016) and Opposites(2013) , which shot straight to #1 in the U.K. charts with millions of copies sold, and the band boasts more than 950 million streams worldwide to date. In the U.S. they've toured arenas with the likes of Foo Fighters and Muse, in addition to sold-out headline runs, while overseas they've headlined leading festivals including Reading and Leeds, Download, TRNSMT, and Radio 1's Big Weekend. Biffy Clyro's drummer Ben Johnston sat down to talk to Mistress Carrie about their upcoming US tour, dealing with Covid, being in a band with his twin brother, filming the bands documentary, running, coffee, and much more! Episode Notes Check out the custom playlist for Episode #97 See Biffy Clyro at Big Night Live on 4/20 Find Biffy Clyro online: youtube instagram facebook twitter website Documentary details Find Mistress Carrie online: Official Website The Mistress Carrie Backstage Pass on Patreon Twitter Facebook Instagram YouTube Cameo TikTok Learn more about your ad choices. Visit megaphone.fm/adchoices

Synopsis For their February 2013 cover story, the editors of BBC Music Magazine, came up with a list of the 50 most influential people in the history of music.  Bach was on it, as you might expect – but so was Shakespeare. Any music lover can see the logic in that, and cite pieces like Mendelssohn's music for “A Midsummer Night's Dream” or Tchaikovsky's Overture-Fantasy entitled “Romeo and Juliet,” or all the great operas based on Shakespeare's plays, ranging from Verdi's “Falstaff” to a recent setting of “The Tempest” by Thomas Adès. And speaking of “The Tempest,” in New York on today's date in 1981, Sharon Robinson premiered a new solo cello suite she commissioned from the American composer Ned Rorem,  a work titled “After Reading Shakespeare.” “Yes,” says Rorem,  “I was re-reading Shakespeare the month the piece was accomplished… Yet the experience did not so much inspire the music itself as provide a cohesive program upon which the music be might formalized, and thus intellectually grasped by the listener.” Rorem even confessed that some of the titles were added AFTER the fact, “as when parents christen their children.“   After all, as Shakespeare's Juliet might put it, “What's in a name?” Music Played in Today's Program Ned Rorem (b. 1923) — After Reading Shakespeare (Sharon Robinson, cello) Naxos 8.559316 On This Day Births 1835 - Austrian composer and conductor Eduard Strauss, in Vienna; He was the youngest son of Johann Strauss, Sr.; 1864 - Norwegian composer, conductor and violinist Johan Halvorsen, in Drammen; 1901 - American composer Colin McPhee, in Montréal, Canada; 1926 - American composer Ben Johnston, in Macon, Ga.; 1928 - American composer Nicolas Flagello, in New York City; Deaths 1842 - Italian composer Luigi Cherubini, age 81, in Paris; 1918 - French composer Lili Boulanger, age 24, in Mezy; 1942 - Austrian composer Alexander von Zemlinsky, age 70, in Larchmont, N.Y.; Premieres 1807 - Beethoven: Symphony No. 4 (first public performance), in Vienna, at a benefit concert conducted by the composer; 1885 - Franck: symphonic poem "Les Dijinns" (The Genies), in Paris; 1897 - Rachmaninoff: Symphony No. 1 (Gregorian date: Mar. 27); 1908 - Ravel: "Rapsodie espagnole" (Spanish Rhapsody), in Paris; 1911 - Scriabin: Symphony No. 5 ("Prometheus: Poem of Fire"), in Moscow, conducted by Serge Koussevitzky and with the composer performing the solo piano part (Julian date: Mar. 2); 1981 - Stockhausen: opera "Donnerstag, aus Licht" (Thursday, from Light), in Milan at the Teatro alla Scala; This is one of a projected cycle of seven operas, each named after a day of the week; 1994 - Peter Maxwell Davies: "Chat Moss" (the name of a quagmire in Lancashire) for orchestra, in Liverpool by the orchestra of St. Edward's College, John Moseley conducting; 2000 - Corigliano: "Mr. Tambourine Man: Seven Poems of Bob Dylan," at Carnegie Hall, by soprano Sylvia McNair and pianist Martin Katz; An orchestrated version of this song-cycle premiered in Minneapolis on October 23, 2003, with soprano Hila Plitmann and the Minnesota Orchestra conducted by Robert Spano; Others 1895 - Italian tenor Enrico Caruso, age 22, makes his operatic debut at the Teatro Nuovo in Naples, singing the lead tenor role in Domenico Morelli's comic opera "L'Amico Francesco." Links and Resources On Ned Rorem An essay on "Shakespeare and Music"

In this weeks Remarkable Conversation we speak with Ben Johnston from Evocative. Ben and I look at the importance of doing a yearly performance review on your brand to ensure it is still telling the right story. Evocative is a brand design company based in Brisbane, Australia that work organisations to invent or reinvent brands to not only allow their clients to think and act more deliberately but also inspire a sense of forward progression that can drive growth and attract more of the right type of clients. In this episode we cover:- Why it is important to complete a performance review on your brand yearly. - The three questions you should ask of your business. - How consistency is key to the delivery of your brand and how that can wane over time. - How brand is about the graphics as well as behaviours of the company and how they connect.Get in touch with Ben & Evocative:www.evocative.cchttps://www.linkedin.com/in/inbenjohnston/

Executive Director Mark Ramsey speaks with the Rev. Ben Johnston-Krase (Farm Church) about moving past superficial gratitude, disentangling it from material abundance, and its revolutionary character.

Executive Director Mark Ramsey speaks with Ben Johnston-Krase, co-planter of Farm Church, about whether COVID-19 really has "changed everything", or if it's just revealing things we have had the privilege to ignore until now.