Podcast appearances and mentions of carlos ch

En Voces Universitarias, Eduardo López, Hichel Atilano, Mario Cortés y Carlos Chávez analizan los bloqueos que paralizan varias regiones del país, las amenazas y exposición indebida de jóvenes organizadores de manifestaciones, y la frágil relación bilateral entre México y Perú, cada vez más tensa y compleja. Hosted on Acast. See acast.com/privacy for more information.

En Voces Universitarias, Hichel Atilano, Mario Cortés, Carlos Chávez y Eduardo López analizan la marcha de la generación Z, la exposición de jóvenes en la mañanera, el uso de fuerza del gobierno, las encuestas de aprobación, la revocación de mandato y las polémicas declaraciones de Trump sobre México. Hosted on Acast. See acast.com/privacy for more information.

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

En Voces Universitarias, Hichel Atilano, Carlos Chávez, Mario Cortés y Eduardo López analizan la opacidad en los daños de Veracruz, los resultados de la Cuenta Pública 2024 y el polémico evento político de Ricardo Salinas Pliego. Un debate sobre corrupción, rendición de cuentas y poder mediático. Hosted on Acast. See acast.com/privacy for more information.

En Voces Universitarias, Hichel Atilano, Mario Cortés, Carlos Chávez y Eduardo López analizan tres temas clave: la Ley de Ingresos 2026, el supuesto éxito de la reforma judicial, y el acceso del SAT a plataformas digitales. Un debate directo sobre política, economía y libertades ciudadanas. Hosted on Acast. See acast.com/privacy for more information.

En esta emisión de Voces Universitarias, Hichel Atilano, Mario Cortés, Carlos Chávez y Eduardo López analizan la falta de respuesta del gobierno federal ante las lluvias e inundaciones que afectan al país, mientras los excesos, lujos e impunidad dentro de la 4T siguen creciendo. Hosted on Acast. See acast.com/privacy for more information.

Participan: Eduardo López Chávez, Mario Luis Cortés Mencía, Hichel Atilano Gorostiola y Carlos Chávez Paz.La política mexicana no se toma respiros, y en este episodio lo analizamos todo: La visita de Marco Rubio a nuestro país —más que cortesía diplomática, un movimiento con lecturas políticas y judiciales— ocurre justo cuando se detiene a un vicealmirante por vínculos con el huachicol. ¿Coincidencia?Discutimos también el relevo en la presidencia de la Suprema Corte. ¿Qué implicaciones tiene el nuevo liderazgo del máximo tribunal en tiempos de transformación política?Y para cerrar, nos metemos a fondo en el recién presentado Paquete Económico: prioridades, apuestas fiscales y el mensaje detrás de los números que propone Hacienda.Un episodio cargado de contexto, preguntas incómodas y voces universitarias que no se callan. Hosted on Acast. See acast.com/privacy for more information.

En este episodio, Eduardo López Chávez, Hichel Atilano y Carlos Chávez analizan lo que será el primer gran corte de caja del gobierno de la nueva presidenta: el primer informe de gobierno de Claudia Sheinbaum.¿Qué puede decir realmente la mandataria tras sus primeros meses al frente del país?¿Llega con logros o solo con la inercia del arrastre electoral?¿Su alta aprobación se sostiene en hechos… o en percepciones?Comentamos:El tono y narrativa que podría adoptar en el informeLas áreas donde no hay mucho que presumir (seguridad, salud, energía)El papel de la oposición y los medios ante este primer ejercicio de rendición de cuentasY lo más importante: ¿qué tan real es la popularidad que reflejan las encuestas?Un análisis sin concesiones, con datos, ironía y sentido crítico.Porque gobernar no es solo hablar… es transformar. Hosted on Acast. See acast.com/privacy for more information.

En este episodio de Voces Universitarias, Hichel Atilano, Mario Luis Cortés, Carlos Chávez y Eduardo López comentan los temas que han desatado polémica en la vida pública:La carta de Beatriz Gutiérrez Müller: un texto mal escrito, con tono irónico y sin aclaraciones reales sobre los rumores de su mudanza a España.Las cifras de reducción de pobreza que, aunque lucen bien en los informes, no coinciden con lo que se vive en las calles.Los nuevos “machuchones” de la 4T, cada vez más visibles y poderosos.La ASF y las cuentas públicas llenas de irregularidades… pero nunca de responsables.Un espacio para el análisis que no le teme a los matices incómodos. Hosted on Acast. See acast.com/privacy for more information.

Arranca una nueva temporada de Voces Universitarias y no podíamos empezar con medias tintas.En este episodio, Eduardo López, Hichel Atilano, Mario Luis Cortés y Carlos Chávez repasan los escándalos que han sacudido a Morena y a la 4T en el último mes: corrupción, contradicciones, omisiones… y un silencio oficial cada vez más ensordecedor.Porque si esto es la transformación, más de uno preferiría la reversa. Hosted on Acast. See acast.com/privacy for more information.

En el cierre de temporada de Voces Universitarias, Eduardo López, Hichel Atilano, Mario Luis Cortés y Carlos Chávez reflexionan sobre la libertad de expresión en México.Analizan la llamada “ley censura” y sus implicaciones para medios, periodistas, redes sociales y ciudadanía.¿Es protección contra la desinformación o un intento más por silenciar lo incómodo?Una despedida con crítica, reflexión y resistencia. Hosted on Acast. See acast.com/privacy for more information.

Esta noche en Voces Universitarias, Eduardo López, Hichel Atilano, Mario Luis Cortés y Carlos Chávez analizan la llamada “guerra de los 12 días” entre Israel e Irán. Un conflicto breve, pero cargado de mensajes geopolíticos, advertencias militares y riesgos globales.¿Fue un aviso, un ensayo… o el comienzo de algo más grande? Hosted on Acast. See acast.com/privacy for more information.

Esta noche en Voces Universitarias, Eduardo López, Hichel Atilano, Mario Luis Cortés y Carlos Chávez analizan los temas que están marcando la agenda postelectoral:las protestas de mexicanos en California, los comentarios de la presidenta electa sobre el informe de la OEA y la preocupante incursión de elementos de fuerzas policiacas mexicanas en territorio guatemalteco.Una mirada crítica a los excesos del poder… y a su conveniencia para no ver. Hosted on Acast. See acast.com/privacy for more information.

Esta noche en Voces Universitarias, Eduardo López, Hichel Atilano, Mario Luis Cortés y Carlos Chávez analizan los resultados de las elecciones en México:desde la farsa en la elección del Poder Judicial hasta los resultados en Veracruz y Durango.Además, comentan la reaparición del tabasqueño para exigir que el pueblo “elija” ministros, jueces y magistrados.Un repaso crítico a las urnas… y a quien todavía quiere moverlas desde Palenque. Hosted on Acast. See acast.com/privacy for more information.

Esta noche en Voces Universitarias, Eduardo López, Hichel Atilano, Mario Luis Cortés y Carlos Chávez analizan el pleito entre la CNTE y la pseudo emperatriz, las implicaciones de la elección del Poder Judicial, la visita de Marco Rubio a México, y el cabildeo para reducir el impuesto a las remesas del 5% al 3.5%. También hablamos de las posibles marchas que planea Claudia como respuesta política. Hosted on Acast. See acast.com/privacy for more information.

Esta noche en Voces Universitarias, Eduardo López, Hichel Atilano, Mario Luis Cortés y Carlos Chávez analizan el preocupante nivel de inseguridad en México.Comentan la llegada del nuevo embajador de Estados Unidos, el reciente golpe a la jefa de Gobierno de la CDMX y el silencio de la pseudo emperatriz ante una realidad que la rebasa. Hosted on Acast. See acast.com/privacy for more information.

En este episodio de Voces Universitarias, Eduardo López, Hichel Atilano, Mario Luis Cortés y Carlos Chávez abordan una agenda internacional y nacional tan diversa como urgente: la “pausa” en la guerra comercial entre Estados Unidos y China, los ecos de la Convención Bancaria, la elección del nuevo Papa, la cancelación de visa a la Gobernadora de Baja California, el huachicol fiscal, la amenaza del gusano barrenador y el cierre de la frontera. Hosted on Acast. See acast.com/privacy for more information.

Esta noche en Voces Universitarias, Hichel Atilano, Carlos Chávez, Mario Luis Cortés y Eduardo López repasan el caso del FOBAPROA, recordando lo que nos costó como país, y contrastan sus efectos con los del sexenio de AMLO y lo que podría venir con Sheinbaum. Además, comentan la declaración de Trump sobre que la moradora de palacio “le tiene miedo a los cárteles”. Hosted on Acast. See acast.com/privacy for more information.

En este episodio de Voces Universitarias, analizamos la respuesta del gobierno ante las desapariciones, el desarrollo de las campañas al poder judicial, los aranceles recíprocos que tensan la economía y la creciente presión sobre los medios críticos al régimen. Participan Hichel Atilano, Mario Luis Cortés, Carlos Chávez y Eduardo López. Hosted on Acast. See acast.com/privacy for more information.

En este episodio de Voces Universitarias, Hichel Atilano, Mario Luis Cortés, Carlos Chávez y Eduardo López analizan el hackeo al teléfono de Claudia Sheinbaum, su solicitud de no tocar a AMLO, las polémicas declaraciones de Fernández Noroña y la crisis de los desaparecidos en México. Hosted on Acast. See acast.com/privacy for more information.

Por FACEBOOK: https://www.facebook.com/Nemesis-Radio-1550831935166728/ Podcast de NEMESIS RADIO: http://www.ivoox.com/podcast-podcast-nemesis-radio_sq_f1133446_1.html CANAL MISTERIOS DE IVOOX: https://www.ivoox.com/escuchar-canal-misterios-ivoox_nq_2594_1.html Canal misterios de Ivoox: https://www.facebook.com/canalmisteriosdeIvoox/ YOU TUBE: https://www.youtube.com/channel/UC7PD6Knea7eWw88rLp0vR0w E-MAIL: nemesisradiomurcia@gmail.com Por Internet a través de nuestras webs: frecuenciamurcia.es -Esta noche tendremos con nosotros al investigador y divulgador Juan Carlos Chávez, con él hablaremos de una vida de investigación y divulgación. Y de su libro “Introducción a la Parapsicología” -En HISTORIAS, CUENTOS Y LEYENDAS, será nuestro compañero Antonio Pérez, quien nos cuente la historia o leyenda, titulada “El desdichado Peregilero de Verónicas” -En la sección de PEQUEÑO RELATOS QUE DEJARON HUELLA EN EL MUNDO DEL MISTERIO, esta noche será el maestro Fernando Jiménez del oso el que nos hable de, ¿Existen Los Fantasmas? -Y terminaremos con nuestro DEBATE, con nuestros contertulios Karmen Soriano, Ana Theysser , José Paredes, Antonio Pérez y José Antº Martínez debatiremos sobre un interesante tema, “¿Posesiones y Lugares Poseídos” “El camino es largo y está a punto de comenzar… Compinches de la noche, poneos cómodos, agudizad las orejas que empezamos…” (NEMESIS RADIO NO SE HACE RESPONSABLE DE LOS COMENTARIOS DE LOS CONTERTULIOS E INVITADOS QUE PARTICIPAN EN DICHO PROGRAMA) DIRIGEN Y PRESENTAN ANTONIO PÉREZ Y JOSÉ ANTº MARTÍNEZ

En este episodio de Voces Universitarias, Hichel Atilano, Mario Luis Cortés, Carlos Chávez y Eduardo López analizan el mitin de Claudia Sheinbaum, los desaires dentro de Morena, la fosa encontrada en Jalisco, el juego de Trump con los aranceles y el relevo en Hacienda. ¿Se avecinan turbulencias políticas? Hosted on Acast. See acast.com/privacy for more information.

En este episodio especial, conversamos con Carlos Chávez, quien cuenta con más de 35 años de experiencia transformando departamentos comerciales

En este episodio de Voces Universitarias, Hichel Atilano, Mario Luis Cortés, Carlos Chávez y Eduardo López analizan los tributos de Claudia Sheinbaum a Donald Trump, el inicio de los nuevos aranceles y su impacto en México, el combate al nepotismo extendido hasta 2030 y el mitin convocado por la presidenta para el domingo. ¿Estrategia política o distracción? Descúbrelo en este debate a fondo. Hosted on Acast. See acast.com/privacy for more information.

En este episodio de Voces Universitarias, Mario Luis Cortés, Carlos Chávez y Eduardo López analizan la creciente tensión en México con las amenazas y defensa del Mayo Zambada, las supuestas reformas constitucionales para "blindar" la soberanía nacional, el bajo crecimiento económico y las megamarchas por la seguridad. Además, exploramos las elecciones en Alemania y su impacto en la política de la UE frente a Trump. Un episodio cargado de análisis y debate sobre el futuro de México y el mundo. Hosted on Acast. See acast.com/privacy for more information.

En este episodio de Voces Universitarias, Hichel Atilano, Mario Luis Cortés, Carlos Chávez y Eduardo López analizan la aprobación de la reforma del INFONAVIT, los riesgos de corrupción en el gobierno con la posible reforma al nepotismo de la presidenta, y la polémica sobre las listas públicas del INE para la elección judicial. Un debate profundo sobre el rumbo político y económico de México. Hosted on Acast. See acast.com/privacy for more information.

En este episodio de Voces Universitarias, Hichel Atilano, Mario Luis Cortés, Carlos Chávez y Eduardo López analizan la situación de los gobernadores de Morena, los nuevos aranceles de Trump y el impacto en México. Además, abordamos los rumores sobre AMLO en Cuba y las acusaciones de vínculos del gobierno con el narcotráfico. Un análisis sin filtros de los temas más candentes del momento. Hosted on Acast. See acast.com/privacy for more information.

En este episodio de Voces Universitarias, Hichel Atilano, Mario Luis Cortés, Carlos Chávez y Eduardo López analizan el inicio de una nueva guerra comercial. Con EE.UU. endureciendo sus políticas contra México, Canadá y otros países, ¿qué impacto tendrá en la economía global? Descubre las implicaciones de este conflicto y cómo puede afectar a nuestro país. Hosted on Acast. See acast.com/privacy for more information.

En esta emisión en vivo de Voces Universitarias, Mario Luis Cortés, Carlos Chávez y Eduardo López analizan los primeros días del gobierno de Trump, el impacto de la nueva inteligencia artificial de China, la creciente inseguridad en México, y los avances en la reforma al INFONAVIT. No te pierdas este debate en tiempo real sobre los temas que definirán el panorama político, económico y social. Hosted on Acast. See acast.com/privacy for more information.

En el primer episodio de la nueva temporada de #VocesUniversitarias, Hichel Atilano, Mario Luis Cortés, Carlos Chávez y Eduardo López analizan los retos que trae 2025. Discuten cómo la Cuarta Transformación sigue redefiniendo a México, el regreso de Donald Trump y su impacto en la política internacional, y los escenarios políticos y económicos para el país. Un arranque de temporada lleno de reflexiones clave para entender el presente y futuro de México.--------------------------------------------Participan:- Eduardo López Chávez (@Lopez_Eduardo)- Carlos Chávez Paz (@etazul)- Mario Luis Cortés Mencia- Hichel Atilano Gorostiola--------------------------------------------REDES SOCIALES Y PLATAFORMAS DEL SITIO

nos acompañan los actores Casandra Sánchez Navarro y José Eduardo Derbez para platicar sobre su nueva película "Mesa de Regalos", que se estrena este 16 de enero. Nos cuentan anécdotas divertidas de la filmación, como pasar una noche encerrados en una tienda departamental, y reflexionan sobre las mesas de regalos más extravagantes. Además, en nuestra sección musical, exploramos el legado de los mejores compositores mexicanos: Juan Gabriel, Silvestre Revueltas y Carlos Chávez, y José Alfredo Jiménez. Cerramos con una dosis de misterio junto a Alain Luna, quien nos habla sobre teorías de gigantes en la historia y su posible relación con construcciones antiguas. También escuchamos impactantes historias de desamor del público, ¡con boletos para el concierto de Natalia Jiménez en juego! Un episodio lleno de cine, música, misterio y diversión. ¡Dale play y acompáñanos!See omnystudio.com/listener for privacy information.

Con María Fernández Dobao | En el programa de hoy cruzamos el charco para disfrutar de la música de compositores mexicanos de los siglos XIX y XX, algunos considerados nacionalistas y otros en cuya obra es clara la influencia de la música europea. El piano, el órgano, la flauta y el arpa son los instrumentos protagonistas de este programa dedicado a música de compositores mexicanos como Manuel Ponce, Ricardo Ortiz y Carlos Chávez, entre otros.

En el episodio de cierre de temporada de Voces Universitarias, Hichel Atilano, Mario Luis Cortés, Carlos Chávez y Eduardo López hacen un repaso de los temas más importantes que marcaron el año. Desde las reformas judiciales y políticas internas hasta los eventos internacionales que impactaron a México, este episodio ofrece un análisis profundo de los desafíos y logros que definieron el 2024.--------------------------------------------Participan:- Eduardo López Chávez (@Lopez_Eduardo)- Carlos Chávez Paz (@etazul)- Mario Luis Cortés Mencia- Hichel Atilano Gorostiola--------------------------------------------REDES SOCIALES Y PLATAFORMAS DEL SITIO

En el episodio de hoy de Voces Universitarias, Hichel Atilano, Mario Luis Cortés, Carlos Chávez y Eduardo López abordan los inscritos para la elección en el Poder Judicial, los errores de Morena en el proceso legislativo, el hackeo a la Consejería Jurídica de la Presidencia, y el debate sobre el pacto fiscal en México. Un análisis indispensable de los temas clave que moldean el panorama político del país.--------------------------------------------Participan:- Eduardo López Chávez (@Lopez_Eduardo)- Carlos Chávez Paz (@etazul)- Mario Luis Cortés Mencia- Hichel Atilano Gorostiola--------------------------------------------REDES SOCIALES Y PLATAFORMAS DEL SITIO

Hoy en el Tema del Día conversamos con salvadoreños residentes en Costa Rica desde La Pupusería Tazumal, Ernesto Peña, Julio Vargas, Carlos Ramírez, Celia y Herberth López, Carmen Bernal, Carlos Martínez, los acompañan Carlos Chávez y Mayu Ferrufino, Carlos Ramos Hinds y Carlos Martínez, asistentes al concierto de Paul McCartney.

En la transmisión en vivo de hoy, Voces Universitarias con Hichel Atilano, Mario Luis Cortés, Carlos Chávez y Eduardo López analiza las recientes renuncias en la Suprema Corte de México y el impacto de las próximas elecciones en Estados Unidos. Acompáñanos para un análisis de los cambios en la justicia y su influencia en la política.--------------------------------------------Participan:- Eduardo López Chávez (@Lopez_Eduardo)- Carlos Chávez Paz (@etazul)- Mario Luis Cortés Mencia- Hichel Atilano Gorostiola--------------------------------------------REDES SOCIALES Y PLATAFORMAS DEL SITIO

Estallido: Habrá paro en APEC; Ayacucho paralizada ayer; dos incidentes distintos contra Dina misma, y sobre todo, enfrentamientos graves en Virú, La Libertad. Desde Trujillo lo comenta Carlos Chávez, de Investiga.pe MIENTRAS TANTO: Empezó el juicio contra Vizcarra. ¿Cuántos años piden contra él y de qué se lo acusa? ADEMÁS: El Pacto ya eligió a su nueva Junta Nacional de Justicia. Y... ¡Poder Judicial disuelve a Movadef! Una buena noticia que tiene matices: cantante Walter Humala condenado a 15 años por terrorismo. **** ¿Te gustó este episodio? ¿Buscas las fuentes de los datos mencionados hoy? SUSCRÍBETE en http://patreon.com/ocram para acceder a nuestros GRUPOS EXCLUSIVOS de Telegram y WhatsApp. También puedes hacerte MIEMBRO de nuestro canal de YouTube aquí https://www.youtube.com/channel/UCP0AJJeNkFBYzegTTVbKhPg/join **** Únete a nuestro CANAL de WhatsApp aquí https://whatsapp.com/channel/0029VaAgBeN6RGJLubpqyw29 **** También estamos en TokyVideo https://www.tokyvideo.com/user/marcosifuentes/videos **** Para más información legal: http://laencerrona.pe

En este episodio de Voces Universitarias, Hichel Atilano, Mario Luis Cortés, Carlos Chávez y Eduardo López exploran la creciente violencia en México, el surgimiento de un nuevo régimen político, y cómo las próximas elecciones en Estados Unidos podrían impactar al país. Un análisis esencial de los retos internos y externos que enfrenta México.--------------------------------------------Participan:- Eduardo López Chávez (@Lopez_Eduardo)- Carlos Chávez Paz (@etazul)- Mario Luis Cortés Mencia- Hichel Atilano Gorostiola--------------------------------------------REDES SOCIALES Y PLATAFORMAS DEL SITIO

SynopsisToday's date in 1922 marks the birthday of Héctor Campos Parsi, one of Puerto Rico's finest composers.Campos Parsi originally planned to become a doctor, but after a meeting with the Mexican composer Carlos Chávez, ended up studying music at the New England Conservatory in 1949 and 1950 with the likes of Aaron Copland, Olivier Messiaen and Serge Koussevitzky, and between 1950 and 1954 with Paul Hindemith at Yale and with Nadia Boulanger in Paris.Returning to Puerto Rico, Campos Parsi pursued a dual career: as a writer, he contributed short stories, essays, poems to Puerto Rican magazines, and wrote music reviews and articles for island newspapers. As a composer, he wrote instrumental and vocal works for chamber, orchestral, and choral ensemble. Two of his best-known works are Divertimento del Sur, written for string orchestra with solo flute and clarinet, and a piano sonata dedicated to Puerto Rican pianist Jesús María Sanromá. As a musicologist, Campos Parsi wrote entries for music encyclopedias and served as the director of the IberoAmerican Center of Musical Documentation and as composer-in-residence at the University of Puerto Rico at Cayey, where died in 1998 at 75.Music Played in Today's ProgramHéctor Campos Parsi (1922-1998): Divertimento del Sur; Members of the Casals Festival Orchestra; Milton Katims, conductor; Smithsonian Folkways COOK-01061

La banda de Monterrey estuvo presentándose en Barcelona, Madrid y el Vive Latino España y se preparan para regresar a Colombia en esta oportunidad para hacer parte del Cartel del Festival Cordillera 2024. Tras la publicación de Nada Vale Más Que Tu en 2018 y Fierro en 2022, la banda integrada por Gil Cerezo (vocalista), Ulises Lozano “El Licenciado” (teclados/acordeón), Omar Góngora (percusión), Carlos Cháirez (guitarra) y César Pliego (bajo). Kinky está de regreso con un tributo a la música mexicana: A la cumbia, a la ranchera, al mariachi, al dolor, al amor y a la fiesta que los caracteriza desde sus inicios. A través del EP titulado 5 Disparos honran a 5 grandes y emblemáticos temas. Escucha la Radiografía especial con Ulises Lozano Teclista y director musical de Kinky, en la previa de su show en La Sala Sol de Madrid.

Uno de los artistas más importantes en la historia de la música mexicana, tanto en nuestro país como para el mundo, se llama Carlos Chávez. La música de concierto en América Latina no puede entenderse sin su obra y legado. En este episodio del podcast de la Fonoteca Nacional escucharemos un poco de la historia de Carlos Chávez en voz de Carlos Chávez.

Audiovisual ➡️ fanlink.tv/Y0UTUBE Tracklisting ➡️ https://bit.ly/tracklist_gomeron Get ready to experience Carlos Chávez's “Gomeron”. Hailing from the Canary Islands, Carlos brings the flavor of his homeland to the world. The Gomerón cocktail, a traditional gem, features the sweet, intense flavor of palm honey and vinegar brandy. Carlos Chávez is a celebrated DJ with over 13 years of experience and more than 18,000 monthly listeners on SoundCloud. As the resident DJ at Papagayo Beach Club, the premier club in Tenerife, Carlos has been setting the soundtrack for breathtaking sunsets on his native island for over a decade. His music is fresh, dynamic, and marked by catchy sounds, suggestive grooves, and elegant melodies, creating an unforgettable auditory journey. In 2020, Carlos founded his personal label, Soleá, and now hosts a radio show on Balearica Music. His recognition continues to grow both locally and internationally. Through his refined technique and vast experience, Carlos invites listeners to relax and enjoy the paradisiacal atmospheres he creates, filled with suggestive melodies and captivating sounds. Cheers! The bartenders Carlos Chávez @dj_carlos_chavez www.facebook.com/carlosxavez1 www.instagram.com/djcarloschavez_ Schirmchendrink @schirmchendrink www.facebook.com/schirmchendrink www.instagram.com/schirmchendrink

Músico de sillón, explorador de la mente y autor. En este episodio Alexis platica con Juan Carlos Chávez sobre la importancia de conectar cuerpo y mente, y sobre cómo ejercitar la creatividad y tomar decisiones más inteligentes. Síguenos en todas las redes como @sonoropodcast

Carlos fucks up another holiday?

In celebration of Hispanic Heritage Month (September 15th-October 15h), we'll be learning about Mexican trailblazer Carlos Chávez in our episode today. A composer, conductor and educator, Chávez had a busy and fulfilling life and career. I think you're very much going to enjoy learning about his musical contributions to the global stage as well as listening to his exciting and unique music that was so influenced by the indigenous peoples of his beloved home country. Links Mentioned in this Episode: Busy Kids Do Music History Course Episode 47: Folk Music of Brazil Episode 57: The Life and Music of Villa-Lobos Episode 51: Folk Music of Mexico Episode 73: Folk Music of Peru Musical Samples You'll Hear in this Episode: Carlos Chávez - Toccata for Percussion Instruments (Score video) Carlos Chávez: Sinfonia No.2, "Sinfonía India" (1935/1936) Martha Graham's 'Dark Meadow Suite' (excerpt) Xochipilli, An Imaginary Aztec Music: I. Allegro Animato Music Listening Schedule for Episode 106 The curated playlist for this episode is filled with an exciting collection of pieces by Carlos Chávez . Listen to the playlist here. Subscribe & Review in Apple Podcasts Are you subscribed to my podcast? If you're not, head on over to do that today so you don't miss an episode. Click here to subscribe in Apple Podcasts! If you're feeling extra magnanimous, I would be really grateful if you left a review over on Apple Podcasts, too. Those reviews help other families find my podcast learn more about music. Just click here to review, select “Ratings and Reviews” and “Write a Review” and let me know what you love about Busy Kids Love Music. Thanks!

Donald Macleod is joined by Odaline de la Martinez to explore the life and music of Carlos Chavez Carlos Chávez was both a rebel and an educator. Born in a Mexico on the brink of revolution, he would go on to single-handedly revolutionise Mexican music and culture, filling his compositions with indigenous Aztec stories and sounds. Many cite Aaron Copland as an influence on Chávez, but the truth may have been the reverse. While Copland was championing American music in the States, Chávez was fighting for it in Mexico, educating the next generation of Mexican composers. He may have shaped American music more than any other - yet his legacy is little known. Odaline de la Martinez joins Donald Macleod to explore his life and work. Music Featured: Three Pieces for Guitar Sexteto para Arcos y Piano: III. Andante & IV. Finale Los Cuatro Soles Chapultepec "Republican Overture" Poligonos Tres Exagonos Otros Tres Exagonos Energia Suite de Caballos de Vapor: I. Danza del hombre, II. El barco, III. El tropico Soli I Soli II Sinfonia India Xochipilli Toccata for Percussion Instruments Concerto for Violin and Orchestra Sinfonia Romantica: III. Finale Symphony No 5: I. Allegro molto moderato, molto lento Tambuco for Percussion Symphony No 6: III. Passacaglia con anima String Quartet No 2 Huapango Soli IV Presented by Donald Macleod Produced by Alice McKee for BBC Audio Wales and West For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Carlos Chávez (1899-1978) https://www.bbc.co.uk/programmes/m001q746 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Actualmente hay más conciencia de la salud física y de la salud mental, es decir, no solamente hay que estar bien físicamente para enfrentar una enfermedad como la COVID-19, sino que también se ha visto que la gente es más consciente de problemas mentales. Carlos Chávez Solís, profesor Decano del área de Dirección Financiera.

From the presidential state of the union to Independence Day, September in Mexico is a politically momentous time. This year, it saw President Andrés Manuel López Obrador usher through a deepening military control over public security just in time for independence celebrations. In this episode, political analyst Carlos Bravo Regidor talks with AS/COA Online's Carin Zissis about AMLO's military moves, the building of his legacy, and how it all relates to a 2024 presidential race that's already well underway. Listen to a prior episode with Bravo Regidor about AMLO's first 100 days in office: t.ly/BFOZ Hear other episodes and subscribe to Latin America in Focus at: www.as-coa.org/podcast The music in this episode is Cantos de México by Carlos Chávez performed by Orquesta Pasatono for Americas Society.

15th-20th CenturiesIn this episode we hear works by Jean Mouton, Luzzasco Luzzaschi, Giovanni Rigatti, Cristofaro Caresana, Johann Adolf Scheibe, Andreas Romberg, Édouard Lalo, Carlos Chávez, and Eric Whitacre.165 Minutes – Weeks of 2022 May 16 and 23