Podcasts about century music

In this episode, Dave and Andrew explore a concerto featuring an instrument not often put into a concerto setting: the flute. But its title also promises a balance among three forces instead of a featured soloist. What will they think of this contradictory piece?   If you'd like more information about Melinda Wagner, we recommend: Frank Oteri's excellent interview with Melinda Wagner from 2015 Yujia Xia's dissertation "Melinda Wagner and Her Piano Concerto: Extremity of Sky" from 2021. Mark Alburger, "Winning the Pulitzer Can Brighten Your Whole Day: An Interview with Melinda Wagner," 20th-Century Music 6, no. 6 (1999): 1-7.

Front Row looks at how culture has changed in the first 25 years of this century, starting with Music. Samira is joined by Radio 4's Add to Playlist hosts Jeffrey Boakye and Anna Phoebe, music journalist Kitty Empire and former Spotify exec Will Page. They discuss how transformations in technology have impacted what we listen to and what music is being written, and what genres of music have come to the forefront in the last 25 years. Pete Waterman, one of the judges on the original Pop Idol, talks about the explosion of TV music competitions. And the Master of the Kings Music, composer Errollyn Wallen, explores how classical music has changed and evolved. Presenter: Samira Ahmed Producer: Corinna Jones

Carlo Gesualdo's madrigals are unique and captivating. But he was seen by many as a monster in his own time due to a double murder and associations with witchcraft.  Research: Burton-Hill, Clemency. “Gesualdo: Glorious music and grisly murder.” BBC. Oct. 21, 2014. https://www.bbc.com/culture/article/20130905-a-16th-century-musical-badass Caccese, Andrea. “Carlo Gesualdo: the ‘Madman' of the Italian Renaissance.” CMUSE. Sept. 20, 2014. https://www.cmuse.org/carlo-gesualdo-the-madman-of-the-italian-reinassance/ “Carlo Gesuald.” Philadelphia Chamber Music Society. DeVoto, Mark. "chromaticism". Encyclopedia Britannica, 30 Mar. 2023, https://www.britannica.com/art/chromaticism Gray, Cecil and Philip Heseltine. “Carlo Gesualdo, Prince of Venosa, Musician and Murderer.” Greenwood Press. Westport, Connecticut. 1971. Accessed online: https://archive.org/details/carlogesualdopri0000gray/page/n7/mode/1up Haar, James. “Classicism and Mannerism in 16th-Century Music.” International Review of Music Aesthetics and Sociology, vol. 1, no. 1, 1970, pp. 55–68. JSTOR, https://doi.org/10.2307/836396 LEVENBERG J. Was Carlo Gesualdo's Honour Killing Liturgical? Journal of the Royal Musical Association. Published online 2024:1-32. doi:10.1017/rma.2023.4 Ober, William B., M.D. “CARLO GESUALDO, PRINCE OF VENOSA: MURDER, MADRIGALS, AND MASOCHISM.” Bulletin of the New York Academy of Medicine. 1973 Jul;49(7):634-645. PMID: 4575970; PMCID: PMC1807043. Ross, Alex. “Prince of Darkness.' New Yorker. December 11, 2011. https://www.newyorker.com/magazine/2011/12/19/prince-of-darkness Stevens, Denis. “Carlo Gesualdo.” The Musical Times, vol. 131, no. 1770, 1990, pp. 410–11. JSTOR, https://doi.org/10.2307/966618 Turci-Escobar, John. “Softening the Edges: Cadential Attenuation in Gesualdo's Six Books of Madrigals.” Theory and Practice, vol. 32, 2007, pp. 101–35. JSTOR, http://www.jstor.org/stable/41054417 Watkins, Glenn. “The Gesualdo Hex.” W.W. Norton. 2010. See omnystudio.com/listener for privacy information.

Heartland's Tim Benson is joined by Stephen Walsh, Emeritus Professor of Music at Cardiff University, to discuss his book, The Beloved Vision: A History of Nineteenth Century Music. They chat about the music of the nineteenth century and the Romantic tradition and how it has moved generations of musicians and resonated with countless listeners. They also talk about the ideas that lay behind Romanticism and how Romantic music has become the mainstay of the twentieth and twenty-first century concert and operatic repertoire. Get the book here:  https://www.simonandschuster.com/books/The-Beloved-Vision/Stephen-Walsh/9781639362363Show Notes:Wall Street Journal: Barton Swaim – “‘The Beloved Vision' Review: The Age of Musical Amateurs”https://www.wsj.com/articles/the-beloved-vision-book-review-the-age-of-musical-amateurs-11673629786

Heartland's Tim Benson is joined by Stephen Walsh, Emeritus Professor of Music at Cardiff University, to discuss his book, The Beloved Vision: A History of Nineteenth Century Music. They chat about the music of the nineteenth century and the Romantic tradition and how it has moved generations of musicians and resonated with countless listeners. They also talk about the ideas that lay behind Romanticism and how Romantic music has become the mainstay of the twentieth and twenty-first century concert and operatic repertoire. Get the book here:  https://www.simonandschuster.com/books/The-Beloved-Vision/Stephen-Walsh/9781639362363Show Notes:Wall Street Journal: Barton Swaim – “‘The Beloved Vision' Review: The Age of Musical Amateurs”https://www.wsj.com/articles/the-beloved-vision-book-review-the-age-of-musical-amateurs-11673629786

Back in the day of publishers William Randolph Hearst  and Joseph Pulitzer, newsboys were essential players in the circulation pipeline, cheap labor that made the highly competitive industry profitable. The newsboy became an America cultural trope or archetype, a focus of rags-to-riches fiction, the target of pity and social welfare activism, a smiling stereotype, an exemplar of hard work, and an incarnation of urban poverty. "Please Buy My Last Paper, I Want to Go Home”: Portrayal of Newsboys and Newsgirls in 19th and 20th Century Music" is a talk given last Fall by Joshua Duchan from Wayne State University's Music Department and Eric Freedman from the Michigan State University School of Journalism. The talk was part of MSU's Our Daily Work/Our Daily Lives brown bag series, organized by John Beck. Today's show features highlights from that talk, and adds in a number of the songs they reference. On this week's Labor History in Two: renowned Illinois poet Carl Sandburg wrote about workers in Gary, Indiana and farmers around Omaha, Nebraska; he wrote about railroad workers and steel workers. Questions, comments, or suggestions are welcome, and to find out how you can be a part of Labor History Today, email us at LaborHistoryToday@gmail.com Labor History Today is produced by the Labor Heritage Foundation and the Kalmanovitz Initiative for Labor and the Working Poor. @michiganstateu #LaborRadioPod #History #WorkingClass #ClassStruggle @GeorgetownKILWP #LaborHistory @UMDMLA @ILLaborHistory @AFLCIO @StrikeHistory #LaborHistory @wrkclasshistory  

Hay una interesante y extensa historia de la música y las máquinas, desde los Wayangs del teatro religioso de Java y Balihasta las marionetas chinas de los teatros de sombras, desde el Reloj sirio de Gazahasta los robots de Kratfwerk y la música autogenerativa del siglo XXI._____Has escuchado“Athanasius Kircher, Antidotum Tarantulae - Tarantella”. Gabriele Giacomelli, órgano. YouTube Vídeo. Publicado por Associazione Prato per Zipoli, 13 de enero de 2020: [Vídeo]“David Roentgen's Automaton of Queen Marie Antoinette, The Dulcimer Player (La Joueuse de Tympanon)”. YouTube Vídeo. Publicado por The Met, 24 de octubre de 2012: [Vídeo]“‘Floutiste', Life-size Flute Player Automaton by A. Theroude, Paris, France, c. 1869-77”. YouTube Vídeo. Publicado por Morris Museum, 3 de diciembre de 2012: [Vídeo]“Jean Tinguely's Four Méta-Harmonie Music Machines at Museum Tinguely, Basel”. YouTube Vídeo. Publicado por VernissageTV, 20 de octubre de 2016: [Vídeo]“Luigi Russolo: Serenata per intonarumori e strumenti”. YouTube Vídeo. Publicado por TheWelleszCompany, 27 de enero de 2011: [Vídeo]“Poema sinfónico para 100 metrónomos de György Ligeti”. YouTube Vídeo. Publicado por Adolfo García Yagüe, 23 de enero de 2014: [Vídeo] _____ Selección bibliográficaARACIL, Alfredo, Música sobre máquinas y máquinas musicales. Desde Arquímedes a los medios electroacústicos. Fundación Juan March, 1984: [PDF]*BIJSTERVELD, Karin, Mechanical Sound: Technology Culture, and Public Problems of Noise in the Twentieth Century. The MIT Press, 2008BOWN, Ollie, Beyond the Creative Species: Making Machines That Make Art and Music. The MIT Press, 2021BROWN, Barclay, “The Noise Instruments of Luigi Russolo”. Perspectives of New Music, vol. 20, n.º 1-2 (1981), pp. 31-48*CHESSA, Luciano, Luigi Russolo Futurist: Noise Visual Arts and the Occult. University of California Press, 2012COLLINS, Nicolas y Simon Lonergan, Handmade Electronic Music: The Art of Hardware Hacking. Routledge, 2020GAVIN, Williams, “A Voice of the Crowd: Futurism and the Politics of Noise”. 19th-Century Music, vol. 37, n.º 2 (2013), pp. 113-129*HIRT, Katherine Maree, When Machines Play Chopin: Musical Spirit and Automation in Nineteenth-Century German Literature. Walter De Gruyter, 2010HOPKIN, Bart y Sudhu Tewari (eds.), Sound Inventions: Selected Articles from Experimental Musical Instruments. Routledge, 2021*KOSTELANETZ, Richard, “Artistic Machines”. Chicago Review, vol. 23, n.º 1 (1971), pp. 116-133*MOLINA ALARCÓN, Miguel, “De la ‘máquina de hablar' a la ‘máquina de dormir': máquinas sonoras y musicales pre-electroacústicas en España, 1860-1944”. En: ¡Chum, chum, pim, pam, pum, olé!: pioneros del arte sonoro en España, de Cervantes a las vanguardias. Editado por Miguel Molina Alarcón. Weekend Proms, 2017PARDO, Carmen, “La sensibilidad de la máquina: el circuito sonoro”. Acto: Revista de Pensamiento Artístico Contemporáneo, n.º 1 (2002), pp. 43-56*PATTESON, Thomas, Instruments for New Music: Sound, Technology, and Modernism. University of California Press, 2016*RICHARDS, Timothy, “Performing Objects: Technology without Purpose”. Leonardo, vol. 17, n.º 4 (1984), pp. 237-240*RUSSOLO, Luigi, “El arte de los ruidos”. Sin Título, n.º 3 (1996), pp. 5-50: [PDF]RUSSOLO, Luigi et al., Art of Noise Destruction of Music by Futurist Machines. Deicide, 2023SARMIENTO, José Antonio, “Los ‘ruideros' de Luigi Russolo y su impacto en la prensa española de la época, 1913-1933”. En: ¡Chum, chum, pim, pam, pum, olé!: pioneros del arte sonoro en España, de Cervantes a las vanguardias. Editado por Miguel Molina Alarcón. Weekend Proms, 2017TINGUELY, Jean et al., Méta-Harmonie: Music Machines and Machine Music in Jean Tinguely's Oeuvre. Museum Tinguely, 2016VENN, Edward, “Rethinking Russolo”. Tempo, vol. 64, n.º 251 (2010), pp. 8-16*ZARIPOV, R. Kh. y J. G. K. Russell, “Cybernetics and Music”. Perspectives of New Music, vol. 7, n.º 2 (1969), pp. 115-154* *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

SCRIPTURE 1 Samuel 29:1-31:13 John 11:55-12:19 Psalm 118:1-18 Proverbs 15:24-26 AFFIRMATION: God loves me. Period. APHORISM: Satan is inconsistent. He persuades a man to not go to church; yet when the man does go, he follows him into it. ~Adapted from The Koretser Rabbi (18th Century) Music by Tim D. Clinton --- Send in a voice message: https://podcasters.spotify.com/pod/show/jenniferwainwright/message

We start with a tragedy, then a cautionary tale of the world not ready for a band. We then find more positive inspiration from an artist who delivers a huge seller. We end with a legend.  Janis Joplin dies just before releasing her magnum opus, “Pearl.” A band called Fanny is ready to rock, but a culture poisoned by the patriarchy isn't yet ready to accept them. Carole King makes Tapestry, a sincere, modest, and deeply personal album that hits huge and becomes a milestone for women. We complete the story with a profile of one of the giants of 20th Century Music, Joni Mitchell. We discuss her artistic and commercial peak in the early 70s with “Blue,” “For the Roses,” and “Court and Spark.” We admire all of these women for kicking down the door, and we celebrate the progress we've made since them, but there is still a long way to go. Now for some general remarks about the research and writing.To the best of our ability, we tried to center women in this chapter. We'll leave it to the listener to decide how we did with that.There's a diversity of opinion about this, but we think it's fair to say the second wave of feminism hits the crest during the period we are covering, and it is not at all a coincidence that women really start to make big and important contributions to Rock Music right around this time too. Roe vs Wade was decided right around here, about fifty years ago. We are painfully aware of the US Supreme Court's recent decision to overturn Roe, stripping many millions of American women of their fundamental human rights to bodily autonomy and medical privacy.As we move forward with our chapters, we will document that half century of regressive backlash and how it got us here; it's part of the story. Like we often say, Rock N Roll reflects back on, interacts with, and affects the larger society. And vice versa. In the late Sixties and early Seventies, it seemed like the progress would be permanent, and that more progress was on the way. Some of us were naive enough to believe that. We would do well now to remember the words of the anti slavery activist Frederick Douglass, way back in 1857: This struggle may be a moral one, or it may be a physical one, and it may be both moral and physical, but it must be a struggle. Power concedes nothing without a demand. It never did and it never will. SongsJanis Joplin: “Move Over,” from Pearl, 1971Janis Joplin: “Mercedes Benz,” from Pearl, 1971Janis Joplin: “A Woman Left Lonely,” from Pearl, 1971Janis Joplin: “Buried Alive in the Blues,” from Pearl, 1971Janis Joplin: “Pearl,” from Pearl, 1971Janis Joplin: “Get it While You Can,” from Pearl, 1971Janis Joplin: “Me & Bobby McGee,” from Pearl, 1971Fanny: “Blind Alley,” from Fanny Hill, 1972Fanny: “Hey Bulldog,” from Fanny Hill, 1972Fanny: “Ain't That Peculiar,” from Fanny Hill, 1972Fanny: “Cat Fever,” from Charity Ball, 1971Fanny, “Butter Boy,” from Rock and Roll Survivors, 1974Collage of Carole King Songs:One Fine Day - ChiffonsWill You Love Me Tomorrow - The ShirellesThe Locomotion - Little EvaI'm Into Something Good - Herman's HermitsPleasant Valley Sunday - The MonkeesUp on the Roof - DriftersDon't Bring Me Down - The AnimalsTake Care Good Care of My Baby - Bobby VeeChains - BeatlesJust Once in My Life - Righteous Brothers.Go Away Little Girl - Steve LawrenceOh No Not My Baby - Dusty SpringfieldOne Fine Day - Carole KingCarole King: “You've Got a Friend,” from Tapestry, 1971Carole King: “I Feel the Earth Move, from Tapestry, 1971Carole King: “It's Too Late,” from Tapestry, 1971Carole King: “Beautiful,” from Tapestry, 1971Carole King: “So Far Away,” from Tapestry, 1971Carole King, “Tapestry,” from Tapestry, 1971Joni Mitchell, “California,” from Blue, 1971Joni Mitchell, “The Circle Game,” from Clouds, 1970Joni Mitchell, “All I Want,” from Blue, 1971Joni Mitchell, “You Turn Me on I'm a Radio, from For The Roses, 1972Joni Mitchell, “Free Man in Paris,” from Court and Spark, 1973Joni Mitchell, “Raised on Robbery,” from Miles of Aisles, 1974Joni Mitchell (with The Band), “Coyote,” from The Last Waltz, 1978Herbie Hancock (with Wayne Shorter, and Corrinne Bailey Rae), “River” from River: The Joni Letters, 2007Joni Mitchell: “Help Me,” from Court and Spark, 1973Voice TalentRichard Evans as L.A. County CoronerStephanie Pena as Alice EcholsStephanie Meyers as the voice of Creem MagazineAmanda Morck as Meredith OchsChristy Alexander Hallberg as the voice of the IMA mission statementCarole King as HerselfErin Alden as Tanya PearsonLynley Ehrlich as Carol HanischThessaly Lerner as Judy KutulasHolly Cantos as the voice of the New York TimesOnline ResourcesRock's Back PagesCoroner's Report, archived at janisjoplin.net ABC Nightly News Report, from October 4th, 1970Deeper Digs in Rock: 'Rock N Roll Woman: The Fifty Fiercest Female Rockers' with Meredith OchsThe Institute for the Musical Arts1416 N. La Brea Ave, Hollywood50 years ago, the Sylmar earthquake shook L.A., and nothing's been the same sinceWomen of Rock Oral History Project"That's the Way I've Always Heard It Should Be": Baby Boomers, 1970s Singer-Songwriters, and Romantic RelationshipsCarol Hanisch The Personal is PoliticalNew York Times “Albums as Mileposts in a Musical Century”Deeper Digs in Rock: Reckless Daughter - A Portrait of Joni MitchellJonimitchell.comJoni Mitchell, Woman of Heart and MindBooksJoan Didion, “Slouching Towards Bethlehem”Alice Echols: “Scars of Sweet Paradise”Carole King: “Natural Woman”Meredith Ochs: “Rock And Roll Woman: The Fifty Fiercest Women Rockers”Sheila Weller: “Girls Like Us”Jerry Wexler: “Rhythm and the Blues”David Yaffe: “Reckless Daughter”Documentaries and FilmsFanny: The Right to Rock

We start with a tragedy, then a cautionary tale of the world not ready for a band. We then find more positive inspiration from an artist who delivers a huge seller. We end with a legend.  Janis Joplin dies just before releasing her magnum opus, “Pearl.” A band called Fanny is ready to rock, but a culture poisoned by the patriarchy isn't yet ready to accept them. Carole King makes Tapestry, a sincere, modest, and deeply personal album that hits huge and becomes a milestone for women. We complete the story with a profile of one of the giants of 20th Century Music, Joni Mitchell. We discuss her artistic and commercial peak in the early 70s with “Blue,” “For the Roses,” and “Court and Spark.” We admire all of these women for kicking down the door, and we celebrate the progress we've made since them, but there is still a long way to go. Now for some general remarks about the research and writing.To the best of our ability, we tried to center women in this chapter. We'll leave it to the listener to decide how we did with that.There's a diversity of opinion about this, but we think it's fair to say the second wave of feminism hits the crest during the period we are covering, and it is not at all a coincidence that women really start to make big and important contributions to Rock Music right around this time too. Roe vs Wade was decided right around here, about fifty years ago. We are painfully aware of the US Supreme Court's recent decision to overturn Roe, stripping many millions of American women of their fundamental human rights to bodily autonomy and medical privacy.As we move forward with our chapters, we will document that half century of regressive backlash and how it got us here; it's part of the story. Like we often say, Rock N Roll reflects back on, interacts with, and affects the larger society. And vice versa. In the late Sixties and early Seventies, it seemed like the progress would be permanent, and that more progress was on the way. Some of us were naive enough to believe that. We would do well now to remember the words of the anti slavery activist Frederick Douglass, way back in 1857: This struggle may be a moral one, or it may be a physical one, and it may be both moral and physical, but it must be a struggle. Power concedes nothing without a demand. It never did and it never will. SongsJanis Joplin: “Move Over,” from Pearl, 1971Janis Joplin: “Mercedes Benz,” from Pearl, 1971Janis Joplin: “A Woman Left Lonely,” from Pearl, 1971Janis Joplin: “Buried Alive in the Blues,” from Pearl, 1971Janis Joplin: “Pearl,” from Pearl, 1971Janis Joplin: “Get it While You Can,” from Pearl, 1971Janis Joplin: “Me & Bobby McGee,” from Pearl, 1971Fanny: “Blind Alley,” from Fanny Hill, 1972Fanny: “Hey Bulldog,” from Fanny Hill, 1972Fanny: “Ain't That Peculiar,” from Fanny Hill, 1972Fanny: “Cat Fever,” from Charity Ball, 1971Fanny, “Butter Boy,” from Rock and Roll Survivors, 1974Collage of Carole King Songs: One Fine Day - ChiffonsWill You Love Me Tomorrow - The ShirellesThe Locomotion - Little EvaI'm Into Something Good - Herman's HermitsPleasant Valley Sunday - The MonkeesUp on the Roof - DriftersDon't Bring Me Down - The AnimalsTake Care Good Care of My Baby - Bobby VeeChains - BeatlesJust Once in My Life - Righteous Brothers. Go Away Little Girl - Steve LawrenceOh No Not My Baby - Dusty SpringfieldOne Fine Day - Carole KingCarole King: “You've Got a Friend,” from Tapestry, 1971Carole King: “I Feel the Earth Move, from Tapestry, 1971Carole King: “It's Too Late,” from Tapestry, 1971Carole King: “Beautiful,” from Tapestry, 1971Carole King: “So Far Away,” from Tapestry, 1971Carole King, “Tapestry,” from Tapestry, 1971Joni Mitchell, “California,” from Blue, 1971Joni Mitchell, “The Circle Game,” from Clouds, 1970Joni Mitchell, “All I Want,” from Blue, 1971Joni Mitchell, “You Turn Me on I'm a Radio, from For The Roses, 1972Joni Mitchell, “Free Man in Paris,” from Court and Spark, 1973Joni Mitchell, “Raised on Robbery,” from Miles of Aisles, 1974Joni Mitchell (with The Band), “Coyote,” from The Last Waltz, 1978Herbie Hancock (with Wayne Shorter, and Corrinne Bailey Rae), “River” from River: The Joni Letters, 2007Joni Mitchell: “Help Me,” from Court and Spark, 1973Voice TalentRichard Evans as L.A. County CoronerStephanie Pena as Alice EcholsStephanie Meyers as the voice of Creem MagazineAmanda Morck as Meredith OchsChristy Alexander Hallberg as the voice of the IMA mission statementCarole King as HerselfErin Alden as Tanya PearsonLynley Ehrlich as Carol HanischThessaly Lerner as Judy KutulasHolly Cantos as the voice of the New York TimesOnline ResourcesRock's Back PagesCoroner's Report, archived at janisjoplin.net ABC Nightly News Report, from October 4th, 1970Deeper Digs in Rock: 'Rock N Roll Woman: The Fifty Fiercest Female Rockers' with Meredith OchsThe Institute for the Musical Arts1416 N. La Brea Ave, Hollywood50 years ago, the Sylmar earthquake shook L.A., and nothing's been the same sinceWomen of Rock Oral History Project"That's the Way I've Always Heard It Should Be": Baby Boomers, 1970s Singer-Songwriters, and Romantic RelationshipsCarol Hanisch The Personal is PoliticalNew York Times “Albums as Mileposts in a Musical Century”Deeper Digs in Rock: Reckless Daughter - A Portrait of Joni MitchellJonimitchell.comJoni Mitchell, Woman of Heart and MindBooksJoan Didion, “Slouching Towards Bethlehem”Alice Echols: “Scars of Sweet Paradise” Carole King: “Natural Woman”Meredith Ochs: “Rock And Roll Woman: The Fifty Fiercest Women Rockers”Sheila Weller: “Girls Like Us”Jerry Wexler: “Rhythm and the Blues” David Yaffe: “Reckless Daughter”Documentaries and FilmsFanny: The Right to Rock

We start with a tragedy, then a cautionary tale of the world not ready for a band. We then find more positive inspiration from an artist who delivers a huge seller. We end with a legend.   Janis Joplin dies just before releasing her magnum opus, “Pearl.” A band called Fanny is ready to rock, but a culture poisoned by the patriarchy isn't yet ready to accept them. Carole King makes Tapestry, a sincere, modest, and deeply personal album that hits huge and becomes a milestone for women. We complete the story with a profile of one of the giants of 20th Century Music, Joni Mitchell. We discuss her artistic and commercial peak in the early 70s with “Blue,” “For the Roses,” and “Court and Spark.” We admire all of these women for kicking down the door, and we celebrate the progress we've made since them, but there is still a long way to go.  Now for some general remarks about the research and writing. To the best of our ability, we tried to center women in this chapter. We'll leave it to the listener to decide how we did with that. There's a diversity of opinion about this, but we think it's fair to say the second wave of feminism hits the crest during the period we are covering, and it is not at all a coincidence that women really start to make big and important contributions to Rock Music right around this time too.  Roe vs Wade was decided right around here, about fifty years ago. We are painfully aware of the US Supreme Court's recent decision to overturn Roe, stripping many millions of American women of their fundamental human rights to bodily autonomy and medical privacy. As we move forward with our chapters, we will document that half century of regressive backlash and how it got us here; it's part of the story. Like we often say, Rock N Roll reflects back on, interacts with, and affects the larger society. And vice versa. In the late Sixties and early Seventies, it seemed like the progress would be permanent, and that more progress was on the way. Some of us were naive enough to believe that. We would do well now to remember the words of the anti slavery activist Frederick Douglass, way back in 1857:  This struggle may be a moral one, or it may be a physical one, and it may be both moral and physical, but it must be a struggle. Power concedes nothing without a demand. It never did and it never will.  Voice Talent Richard Evans as L.A. County Coroner Stephanie Pena as Alice Echols Stephanie Meyers as the voice of Creem Magazine Amanda Morck as Meredith Ochs Christy Alexander Hallberg as the voice of the IMA mission statement Carole King as Herself Erin Alden as Tanya Pearson Lynley Ehrlich as Carol Hanisch Thessaly Lerner as Judy Kutulas Holly Cantos as the voice of the New York Times Online Resources Rock's Back Pages Coroner's Report, archived at janisjoplin.net  ABC Nightly News Report, from October 4th, 1970 Deeper Digs in Rock: 'Rock N Roll Woman: The Fifty Fiercest Female Rockers' with Meredith Ochs The Institute for the Musical Arts 1416 N. La Brea Ave, Hollywood 50 years ago, the Sylmar earthquake shook L.A., and nothing's been the same since Women of Rock Oral History Project "That's the Way I've Always Heard It Should Be": Baby Boomers, 1970s Singer-Songwriters, and Romantic Relationships Carol Hanisch The Personal is Political New York Times “Albums as Mileposts in a Musical Century” Deeper Digs in Rock: Reckless Daughter - A Portrait of Joni Mitchell Jonimitchell.com Joni Mitchell, Woman of Heart and Mind Books Joan Didion, “Slouching Towards Bethlehem” Alice Echols: “Scars of Sweet Paradise” Carole King: “Natural Woman” Meredith Ochs: “Rock And Roll Woman: The Fifty Fiercest Women Rockers” Sheila Weller: “Girls Like Us” Jerry Wexler: “Rhythm and the Blues” David Yaffe: “Reckless Daughter” Documentaries and Films Fanny: The Right to Rock

Megan Ihnen is a “new music force of nature.” The act of live performance is integral to Megan's work and her performances thrive on elaborate sound worlds and fully-developed dramatic interpretations. Through narrative and non-narrative musical storytelling, she explores the subjects of memory, nostalgia, the perception of time, and relationships. Whether through chamber music, staged recitals, opera, or large ensemble soloist work, she emphasizes the full range of vocal sounds, timbres, colors, and uses that characterize the 21st century voice. Megan is a prolific new music vocalist who has appeared with the International Contemporary Ensemble, Fifth House Ensemble, Latitude49, Great Noise Ensemble, Stone Mason Projects, Rhymes With Opera, SONAR new music, and more. She has sung with many outstanding performers including Nadia Shpachenko, Michael Hall, Gregory Oakes, Nick Zoulek, Hillary LaBonte as well as premiered the work of Mara Gibson, Griffin Candey, Garrett Schumann, Christian Carey, Alan Theisen, Anna Brake, D. Edward Davis, and more. A gifted narrative and non-narrative musical storyteller, Megan's performance work explores the depths of memory, nostalgia, the perception of time, and complex relationships. Ihnen's interpretations of modern and contemporary repertoire have garnered growing acclaim. She is particularly recognized as an excellent recitalist. Her This World of Yes program of contemporary music for voice and saxophone with Alan Theisen explores the themes of pathways, choices, and duality through the work of contemporary composers such as Jessica Rudman, Michael Young, and Michelle McQuade Dewhirst. This World of Yes has been performed across the United States including appearances in Kansas City, New Orleans, Atlanta, Washington D.C., Detroit, and Baltimore. With performances in Washington D.C., Baltimore, Colorado Springs, and Kansas City, Ms. Ihnen has worked with violinist Martha Morrison Muehleisen and Rome Prize winner video artist Karen Yasinsky to take audiences on a profound journey through György Kurtág's Kafka Fragments through video and sound. Finally, Ihnen's Single Words She Once Loved is a performance that centers around the ideas and effects of memory, dementia, and time. It is a deeply personal exploration of the dueling forces of ‘eternal sunshine of the spotless mind' and ‘God gave us memories so that we may have roses in winter'. Single Words She Once Loved features compositions by David Smooke, Ryan Keebaugh, Daniel Felsenfeld, Jeffrey Mumford, and more. Megan has enjoyed performing as part of Tuesdays @ Monk Space, Access Contemporary Music Thirsty Ears Festival, NEXTET, Ethos NewSound, 6:30 Concert Series, International U.S. Navy Saxophone Symposium, SPLICE Festival, Oh My Ears, Second Sunday Concert Series at Boston Sculptors Gallery, Winifred M. Kelley Music Series at Salisbury House, and more. She has appeared with Zeitgeist New Music, ÆPEX Contemporary Performance, Detroit New Music “Strange Beautiful Music Marathon”, Omaha Under the Radar Festival, Works and Process at the Guggenheim Series, Notes on Fiction Series at the Center for Fiction, New Music Gathering, Contemporary Undercurrent of Song Project, American Opera Theatre, Vivre Musicale, UCCS Music/Peak Frequency Creative Arts Collective, Harford Community College Sunday Afternoon Concert Series, and Silver Finch Arts Collective. In the spring of 2017, Megan undertook a fundraising project for her first album, “Sleep Songs: Wordless Lullabies for the Sleepless.” She commissioned over 25 diverse composers from the United States and abroad to write brief, wordless lullabies for mezzo-soprano. Megan has also had recordings on Navona Records, Hoot/Wisdom Recordings, I CARE IF YOU LISTEN Fall 2015 Mixtape, and the CarpeDM Seize Des Moines “Music Mix: Volume III” which was featured at the 2016 SXSW Festival. As a chamber musician, Megan is proud to have trained at the following summer festivals: impuls International Ensemble and Composers Academy for Contemporary Music, Summer Institute for Contemporary Performance Practice (SICPP), Fresh Inc Festival, Bang on a Can Summer Music Festival at MASS MoCA, and MusicX. Her devotion to the proliferation of new music extends beyond the commissioning and performing of music to teaching, workshopping, and mentoring of emerging artists in the field. She also works to increase the visibility and influence of new music through writing on the subject for multiple online and print publications. As a curator, she selected twenty songs for mezzo-soprano and piano for the NewMusicShelf Anthology of New Music. Mezzo-Soprano, Vol. 1 includes works by: Michael Betteridge, Mark Buller, Stephen DeCesare, Douglas Fisk, Matt Frey, Jodi Goble, Ricky Ian Gordon, Cara Haxo, Cameron Lam, Cecilia Livingston, Shona Mackay, Tony Manfredonia, Nicole Murphy, Eric Pazdziora, Frances Pollock, Julia Seeholzer, Alan Thiesen, Dennis Tobenski, Moe Touizrar, and Ed Windels. Megan was honored to receive a Phyllis Bryn-Julson Award for Commitment to and Performance of 20th/21st Century Music in 2009 and a Maryland State Arts Council Individual Artist Award in Classical Music: Solo Performance in 2014. She was an accomplished violist and drama student before pursuing degrees in music and vocal performance from Augustana University and the Peabody Institute of Johns Hopkins University. Ihnen has been a board member for Baltimore Concert Opera and HOWL performing arts ensemble. Megan is a devoted teacher who recently shepherded studios at Drake University Community School of Music, Southwestern Community College School for Music Vocations, and Graceland University before taking on communications roles at Nief-Norf, Live Music Project, and New Music USA. She has also been a resident faculty artist for the UMKC Summer Composition Workshop and the Mostly Modern Festival. In addition to UMKC, Megan has presented her popular masterclasses, workshops, and lectures a Bowling Green State University, Xavier University of Louisiana, New Music Gathering, Iowa Thespian Festival, UNCG Greensboro, and Florida Atlantic University. She was also a Visiting Artist for Louisiana State University for the 2018-2019 academic year. In addition to being an avid podcast listener, Ihnen enjoys drinking good coffee, joking around with her sisters, tweeting about contemporary poetry, and watching Law & Order. She has grand dreams that one day her dog, Hunter, will be the best dog in the neighborhood. She lives in New Orleans, LA and out of her suitcase equally.

Chris and Randall welcome guest Bill Gucwa to discuss the genre of music bio-pics.  *** We each pick three favorites: Bill 1. Ray (2004)  Ray Charles 2. La Vie En Rose (2007) Édith Piaf 3. Get On Up (2014) James Broawn Randall  1. The Runaways (2010) The Runaways 2. Behind The Candelabra (2013) Liberace 3. Bohemian Rhapsody (2018) Freddie Mercury and Queen   Chris 1. I'm Not There (2007) Bob Dylan 2. Love & Mercy  (2014) Brian Wilson and Beach Boys 3. Straight Out of Compton (2015) NWA *** recorded June 1, 2022 *** Visit us at https://chrisandrandall.com/

„Tragiczny i romantyczny”, pełen sprzeczności i wewnętrznych konfliktów. Kompozytor znany dziś głównie z baletów, choć jego dorobek artystyczny jest o wiele bogatszy. Nieśmiały introwertyk o rodzinnym usposobieniu, który jednak moralnym autorytetem nie był. Człowiek, który jednocześnie prowadząc otwarcie swoje queerowe życie i angażując się w kolejne homoerotyczne relacje, miłostki i romanse, sam padł ofiarą homofobii i cenzury trwającej w Rosji do dziś. Przed Wami odcinek o Piotrze Iljiczu Czajkowskim.Postać Piotra Czajkowskiego zainspirowała nas do stworzenia serii o queerowych kompozytor(k)ach już prawie na początku naszej podcastowej działalności. Odcinek ten nagraliśmy bardzo niefortunnie, jakiś czas przed atakiem Rosji na Ukrainę. Stwierdziliśmy jednak po dwóch miesiącach, że opublikujemy go, pomimo obecnej sytuacji — czekanie z nim do końca (miejmy nadzieję, że jak najszybszego) wojny byłoby pewną hipokryzją. W mediach toczy się dyskusja na temat bojkotu kultury rosyjskiej; my postanowiliśmy nie bojkotować Piotra Czajkowskiego, którego historia jest także historią rosyjskiej homofobii i życia w opresyjnej heteronormie. Niech ten odcinek będzie także zwróceniem uwagi na sytuację osób LGBTQ+ w Rosji również współcześnie.Bibliografia:Alberge, D., „Tchaikovsky and the secret gay loves censors tried to hide”, „The Guardian”, 2018. (https://www.theguardian.com/music/2018/jun/02/tchaikovsky-letters-saved-from-censors-reveal-secret-loves-homosexuality?fbclid=IwAR3e5EkKhFCE8Qt1n-AlKD8QadvtcAU37clf27aHysyJDnVePZ5GIpPugVM)Holden, A., „Piotr Czajkowski: tragiczny i romantyczny”, [1998], tłum. Nawrot, B., Wydawnictwo ALDA, Warszawa, 1999.Kostalevsky M., Pearl S.,Vaidman P. E. „The Tchaikovsky Papers. Unlocking the Family Archive”, Yale University Press, Londyn, 2018. Poznansky, A., „Tchaikovsky's Suicide: Myth and Reality”, „19th-Century Music”,Vol. 11, No. 3, University of California Press, 1988.Tchaikovsky, M. „The Life and Letters of Peter Ilich Tchaikovsky” [1904], tłum. Newmarch, R., University Press of the Pacific Honolulu, Hawaje, 2004.Walker, S., „Tchaikovsky was not gay, says Russian culture minister”, „The Guardian”, 2013. (https://www.theguardian.com/music/2013/sep/18/tchaikovsky-not-gay-russian-minister?fbclid=IwAR0bBE7FXfZ_Ieqfk9k9ZlEk1KnLPfXYMm4ky5fQ1YkWdNG_WXqTxkwSx0g)https://en.tchaikovsky-research.net/

Rochester, NY based cellist Sandra Halleran joins me to get into the weeds about teaching, learning, the music industry, and the books and podcasts she find interesting and helpful. She's also new faculty at Tamarack Arts! At the end, Benjamin Whitcomb plays a movement of Britten Suite for Cello No. 2 for unaccompanied cello from his new album. This one's for you, nerds! Links: Benjamin Whitcomb's new album: 20th Century Music for Cello is out now on Spotify: https://open.spotify.com/album/2Mqxrf0M2yeOaf1vxa2woG and will be available at his website shortly: https://www.benjaminwhitcomb.com/ Cello Sherpa Podcast: https://www.thecellosherpa.com/podcast.html Scaling the Tenor Clef Dragon: https://www.johnsonstring.com/cgi-bin/music/scripts/violin-viola-cello-music.cgi?itemno=CEVARISCALINGBOP Popper 15 Easy Studies: https://imslp.org/wiki/15_Leichte_Et%C3%BCden_in_der_ersten_Lage%2C_Op.76a_(Popper%2C_David)

Episode #49: German 19th Century Music: Beethoven, Liszt, and the Thomas boys Uploaded: January 29, 2022 Ludwig van Beethoven: Symphony No. 6 in F Major, Op. 68, “Pastoral”, transcribed for piano solo by Ferenc Liszt (S. 464, No. 6) I. Erwachen heiterer Empfindungen bei der Ankuff auf dem Lande. Allegro non troppo [14:06] II. Szene am Bach. Andante molto moto [16:12] III. Lustiges Zusammensein der Landleute. Allegro [6:35] IV. Gewitter, Sturm. Allegro [3:59] V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto [10:59] Ashley Wass, fortepiano ORCHID CLASSICS ORC100024 Heinrich von Herzogenberg: Motet, “Herr, du bist würdig zu nehmen Preis [1:57] Johannes Brahms: Drei Motetten, Op. 110 I. Ich aber bin elend [2:45] II. Ach, arme Welt [1:53] III. Wenn wir in höchsten Nöten sein [3:14] August Eberhard Müller: Christmas Cantata, “Siehe, ich verkündige euch” (“Durchdringe die Sphären in jauchzenden Chören”) [3:16] Johann Gottfried Schicht: Motet, “Lasst uns mit ehrfurchtsvollem Dank” [3:40] Christian Theodor Weinlig: Christmas Cantata, “Soweit der Sonne Herrlichkeit” (“Dir tönt der Himmel Harfenklang”) [3:26] Felix Mendelssohn: Motet, Op. 78, No. 2: “Der 43. Psalm: Richte mich, Gott” [3:26] Moritz Hauptmann: Motet, “Nimm von uns, Herr Gott” [4:05] Ernst Friedrich Richter: Motet, “Mein Gott, warum hast du mich verlassen” [9:00] Wilhelm Rust: Motet, “Aus der Tiefe ruf ich, Herr, zu dir” [4:00] Albert Becker: Vier geistliche Gesänge op. 55, No. 2: “Gib dich und sei stille” [3:18] Gustav Schreck: Motet, Op. 23, No. 3: “Tröste uns Gott, unser Heiland" [5:03] Motet, Op. 42: “Der Herr ist mein Hirte” [5:18] Arnold Mendelssohn: Sechs Chorsätze nach Spruchdichtungen des Angelus Silesius, Op. 14 I. Der Schnee in der Sonne [1:02] II. Die Rose [1:28] III. Das Allersüßeste [1:33] IV. Der Mensch ist eine Kohle [1:54] V. Die gelassene Schönheit [1:49] VI. Der Adler fliegt hoch [2:06] Thomanerchor Leipzig Thomaskantor Georg Christoph Biller, director RONDEAU PRODUCTION ROP4016

This week, we're talking to David Newman, son of acclaimed composer Alfred Newman and a proud member of a film music family that includes brother Thomas Newman and cousin Randy Newman. He's a prolific and legendary composer and conductor who's scored more than 100 feature films and television shows. You may know his work from films like Serenity, the live-action Scooby-Doo films, and most notably, his iconic score to Galaxy Quest.   But his latest project isn't to compose a new original score, but to play musical steward for Steven Spielberg and writer Tony Kushner's adaptation of one of the most celebrated musicals of all time -- Stephen Sondheim and Leonard Bernstein's West Side Story. Rather than reinterpret Bernstein's timeless score for Steven Spielberg and Tony Kushner's new adaptation of the film, Newman used his lifelong experience with the musical (and familiarity with the Bernstein estate) to craft something that fit Spielberg and Kushner's updates to the script, choreography, and story, while keeping the essential spirit of those classic tunes alive.   Today, Newman joins me to talk about his relationship to West Side Story, what they changed (and didn't change) in his new arrangement, and more.   You can find David Newman at their official website here.   West Side Story is currently playing in theaters; if you're vaxxed, boosted, masked, and feel comfortable going, please go for it. You can also listen to the soundtrack on your preferred music streaming service courtesy of 20th Century Music.

平安夜，也就是聖誕節的前一晚 cafi小鎮裡突然出現一個鬼鬼祟祟的身影 就讓我們一起來看看到底發生了什麼事情吧！ **************************************************************************************** music by赫書文化 music - French Christmas Carol from the 18th Century Music by JuliusH from Pixabay music - Winter & Christmas Swing Music Music by JuliusH from Pixabay music - Jingle bell jazz by JuliusH from Pixabay **************************************************************************************** 小額贊助支持本節目： https://pay.firstory.me/user/ckepnwpfq9ax108397d1xqfjh 留言告訴我你對這一集的想法： https://open.firstory.me/story/ckxfdw2jf08170827a58xjvbi?m=comment Powered by Firstory Hosting

In this episode of The Jersey Guys podcast we talk with special guest Adam Holland, the guitarist of the band Valentine. We talk about the band's early days on the Long Island (NY) scene as well as the band's whole career, which actually saw them signed to three major label deals along the way!We of course also talk about the brand new Valentine release "Demos from the Attic", an archival release on 20th Century Music and we discuss Adam's current gig as guitarist of the Steve Augeri Band and even touch on Adam's very own podcast venture titled "Band Forever", which is highly recommended!We hope everyone enjoys this one because Tom & Mark certainly did. Special thanks to Dave Tedder at Head First Entertainment.

This episode we discuss non-fiction books about Music! We talk about sea shanties, whether musical scores count as non-fiction, reading about music we're unfamiliar with, how we interpret lyrics, and more! Plus: We made a playlist of music for you to listen to based on the books we read! You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts, Stitcher, Google Podcasts, Spotify, or your favourite podcast delivery system. In this episode Anna Ferri | Meghan Whyte | Matthew Murray | RJ Edwards Things We Read (or tried to…) 808s & Otherworlds by Sean Avery Medlin 808s & Heartbreak (Wikipedia) Sailor Song: The Shanties and Ballads of the High Seas by Gerry Smyth Wellerman (Wikipedia) Uproot: Travels in 21st-Century Music and Digital Culture by Jace Clayton Girls to the Front: The True Story of the Riot Grrrl Revolution by Sara Marcus Disasterama!: Adventures in the Queer Underground 1977 to 1997 by Alvin Orloff  They Can't Kill Us Until They Kill Us by Hanif Abdurraqib You're History: The Twelve Strangest Women in Music by Lesley Chow Go Ahead in the Rain: Notes to A Tribe Called Quest by Hanif Abdurraqib Everybody's Doin' It: Sex, Music, and Dance in New York, 1840-1917 by Dale Cockrell Companion Playlist for this Episode Spotify YouTube Other Media We Mentioned Musicophilia: Tales of Music and the Brain by Oliver Sacks 33 ⅓ Series Master of Reality by John Darnielle Let's Talk About Love: A Journey to the End of Taste by Carl Wilson We Oughta Know (How Four Women Ruled the '90s and Changed Canadian Music) by Andrea Warner Hip Hop Family Tree, Vol. 1: 1970s-1981 by Ed Piskor Burning Down The Haus: Punk Rock, Revolution and the Fall of the Berlin Wall by Tim Mohr Fargo Rock City: A Heavy Metal Odyssey in Rural North Dakota by Chuck Klosterman Killing Yourself to Live: 85% of a True Story by Chuck Klosterman This Is Your Brain on Music: The Science of a Human Obsession by Daniel J. Levitin Todd in the Shadows One Hit Wonderland: "Scatman (Ski-Ba-Bop-Ba-Dop-Dop)" Billbuds I Only Listen to the Mountain Goats Punch Up the Jam Song Exploder All Songs Considered Brave New Faves BBC Radio 6 Pump Up the Volume (Wikipedia) The Boat That Rocked (Wikipedia) Iron and the Soul by Henry Rollins Vintage Sadness by Hanif Abdurraqib Hospice by The Antlers (Wikipedia) “Hospice tells the story of a relationship between a hospice worker and a female patient suffering from terminal bone cancer” Links, Articles, and Things Episode 008 - Christmas/Holiday Reads 22 Winter Holiday Books by BIPOC (Black, Indigenous, and People of Colour) Authors Manga in Libraries: Spooky & Scary Manga Anime Planet booklist Google Doc Episode 125 - Literary Theory & Literary Criticism Hark! Podcast Harvey Pekar (Wikipedia) Canadian Content - How the MAPL system works (Wikipedia) Riot grrrl (Wikipedia) Vote for which romance genre we'll discuss in our February episode! Amish Contemporary Fantasy/Fairy Tale Western 20 Non-Fiction Music books by BIPOC (Black, Indigenous, & People of Colour) Authors Every month Book Club for Masochists: A Readers' Advisory Podcasts chooses a genre at random and we read and discuss books from that genre. We also put together book lists for each episode/genre that feature works by BIPOC (Black, Indigenous, & People of Colour) authors. All of the lists can be found here. A Little Devil in America: Notes in Praise of Black Performance by Hanif Abdurraqib Rock Roll Jihad: A Muslim Rock Star's Revolution by Salman Ahmad Rebel Music: Race, Empire and the New Muslim Youth Culture by Hisham D. Aidi Boyz N the Void: A Mixtape to My Brother by G'Ra Asim Violence Girl: East LA Rage to Hollywood Stage, a Chicana Punk Story by Alice Bag Black Music by Amiri Baraka (published as Leroi Jones) Queen Bey: A Celebration of the Power and Creativity of Beyoncé Knowles-Carter edited by Veronica Chambers Can't Stop Won't Stop: A History of the Hip-Hop Generation by Jeff Chang Decoding Despacito: An Oral History of Latin Music by Leila Cobo Spitboy Rule: Tales of a Xicana in a Female Punk Band by Michelle Gonzales House of Music: Raising the Kanneh-Masons by Kadiatu Kanneh-Mason Gone: A Girl, A Violin, A Life Unstrung by Min Kym My Name Is Love: the Darlene Love Story by Darlene Love Black Lives Matter and Music: Protest, Intervention, Reflection by Portia K. Maultsby Soul Serenade: Rhythm, Blues & Coming of Age Through Vinyl by Rashod Ollison Approaching Fire by Michelle Porter Run As One: My Story by Errol Ranville Hungry Listening: Resonant Theory for Indigenous Sound Studies by Dylan Robinson Buffy Sainte-Marie: It's My Way by Blair Stonechild Musicians from a Different Shore: Asians and Asian Americans in Classical Music by Mari Yoshihara Give us feedback! Fill out the form to ask for a recommendation or suggest a genre or title for us to read! Check out our Tumblr, follow us on Twitter or Instagram, join our Facebook Group, or send us an email! Join us again on Tuesday, November 16th we'll be talking about Adaptations of Books into other media! Then on Tuesday, December 7th we'll be discussing the genre of Thrillers!

Saxophonist Idit Shner joins us to chat about moving between the classical and jazz worlds, her early love for baroque music as a young recorder player, and her thoughts on providing space for students to experience music-making across genres. Idit talks about the differences in the physical technique and the mental preparation for jazz vs. classical performance, and how this influences her approach to performing and recording. She shares her interest in exploring traditional Jewish and Zimbabwean musics, the internal grammar inherent in each piece, the role that her local musical community plays in inspiring her work, and how she hates the word fusion when blending the musics of multiple cultures. An active performer of both jazz and classical music, Idit has played in various distinguished venues in the United States and abroad, such as The Kennedy Center in Washington, D.C. and Lincoln Center in New York. Currently, Shner plays with her jazz quartet in Eugene and Portland, Oregon. Her latest release of jazz originals, 9 Short Stories, garnered a 4 star review in Downbeat Magazine. Her jazz debut, Tuesday's Blues, features nursery rhymes and ancient melodies from the Jewish liturgy performed in a jazz setting. Tuesday's Blues got great reviews from JazzTimes, All Music Guide, and Jazz Review. Jazz festival performances include the Diet Coke Woman in Jazz Festival (NY), Bellayre Festival (NY), and New-Trier Jazz Festival (IL). Idit appears on Music from SEAMUS Vol. 16, a compilation CD of music for instruments and electronic sounds by members of the Society for Electroacoustic Music in the United States. As a classical saxophonist Idit has commissioned and recorded new music and performed solo recitals in the US and Israel. MINERVA is her latest classical release. Her third CD, Le Merle Noir, featuring music by Messiaen, Bozza, Partos, and Glass, was released on Origin Classics in August 2013. Her previous classical recording, FISSURES: 20th Century Music for saxophone and Harp with renowned harpist Yumiko Schlaffer, received great acclaim and was played on NPR's All Things Considered. Idit has collaborated with Fireworks, Beta Collide and Third Angle (new music ensembles), and performed with the Oregon Symphony and the Eugene Symphony. Other appearances include the Northwest Percussion Festival, Electronic Music Midwest, the Oregon Bach Festival, and many North American Saxophone Alliance Conventions. During March 2006 she played in Israel as a featured soloist with a symphonic orchestra, and performed contemporary music at the national convention of the Society for Electro Acoustic Music in the US. Her last solo recital in Israel was broadcasted live on Voice of Music, a national public radio station. During 2005-2006 Idit played lead alto with Sherrie Maricle and the DIVA Jazz Orchestra. Performing her own compositions in a jazz combo setting, she was selected to participate in Betty Carter's Jazz Ahead. Idit holds a Bachelor of Music degree from Oklahoma City University, a Masters degree in Music Education from University of Central Oklahoma, and a Doctor of Musical Arts degree from University of North Texas. Idit now teaches at the University of Oregon, as professor of saxophone and jazz studies. She was awarded two prestigious teaching awards: The 2015 Thomas F. Herman Award for Excellent in Pedagogy in areas of saxophone technique and chamber music coaching; and the 2016 University of Oregon Faculty Excellence Award. The transcript for this episode can be found here. For more information about Chamber Music America, please visit her website and Instagram.

Paris, 1789: A young woman arrives in town at the invitation of her beloved, only to discover that he's missing and talk of revolution is swirling through the fashionable salons. In Ambition: A Minuet in Power, created by Joy Manufacturing Co., Yvette relies on her wiles to glean juicy gossip and use it to make connections to upgrade her social status. Composer John Robert Matz has created a pitch-perfect 18th Century soundtrack to accompany all the intrigue and tension of this remarkable era.

Paris, 1789: A young woman arrives in town at the invitation of her beloved, only to discover that he's missing and talk of revolution is swirling through the fashionable salons. In Ambition: A Minuet in Power, created by Joy Manufacturing Co., Yvette relies on her wiles to glean juicy gossip and use it to make connections to upgrade her social status. Composer John Robert Matz has created a pitch-perfect 18th Century soundtrack to accompany all the intrigue and tension of this remarkable era. John Robert approached writing this ambitious soundtrack by composing it in a traditional way, using an actual manuscript-based program so he could make sure all the parts were correct and the instrumention was period-perfect. He relied on his background as a classical musician, and all those years in the brass section of various orchestras. John Robert wrote the parts for many of his long-time friends, including the Videri String Quartet, oboist Kristin Naigus, Peter Bobinski, double bass, and

https://www.patreon.com/user?u=31723331   Cliff Eisen is a Professor of Music at King's College London, who specialises in Mozart and 18th Century Music, including history and biography, analysis, source studies, performance practice, Mozart's cultural context and Mozart historiography. He gives us a history of his own story, how he developed a love for Mozart, and how this has translated into his academic research. Eisen talks about how he has been trying to bridge the gap between academia and society at large through his research and discussions around it.   PLEASE SUBSCRIBE TO THE CHANNEL to get the latest and most fascinating research!!! Get the latest episodes and videos on: https://theknowshow.net/ The Know Show Podcast makes the most important research accessible to everyone. Join us today and be part of the research revolution. Follow Us on Social Media: Instagram: https://www.instagram.com/theknowshow... Twitter: https://www.instagram.com/theknowshow...    

By Clarisse F

Welcome to the Instant Trivia podcast episode 111, where we ask the best trivia on the Internet. Round 1. Category: I Don't Speak... 1: Je ne parle pas Francais. French. 2: Nie mowie po Polsku. Polish. 3: Ik spreek geen Nederlands. Dutch. 4: Nihongo ga Wakarimasen. Japanese. 5: Ich spreche kein Deutsch. German. Round 2. Category: Animated Films 1: 2009:Carl, 78, ties thousands of balloons to his house; Russell, 8, stows away on the flight to South America. Up. 2: 2009:In Jazz Age New Orleans, Princess Tiana has a fateful kiss. The Princess and the Frog. 3: This 1988 film told of an orphaned baby brontosaurus named Littlefoot. The Land Before Time. 4: One of the highlights of this film was Sebastian the Caribbean crab singing "Under The Sea". The Little Mermaid. 5: Cruella de Vil was the villainess who kidnapped this title brood. 101 Dalmatians. Round 3. Category: 21St Century Music 1: The nickname of this woman from the Black Eyed Peas is just a shortening of her last name. Fergie. 2: In July 2002 this group's "By the Way" CD debuted at No. 2 on Billboard's Top 200 album chart. Red Hot Chili Peppers. 3: In 2001 Alicia Keys won an MTV Award for Best New Artist in a Video with this song. "Fallin'". 4: Brothers Chad and Mike Kroeger make up half of this rock band. Nickelback. 5: The stage name of this R and B singer born Shaffer Smith is a play on the name of a character in "The Matrix". Ne-Yo. Round 4. Category: Oo, Sorry! 1: In the U.S. Army or Marine Corps, a platoon is normally commanded by this officer. a lieutenant. 2: In Spanish, it's dos. two. 3: In 1673 Marquette and Joliet explored in birchbark ones of these. canoes. 4: In U.S. harbors, these floating objects with red and white markings indicate the boundaries of safe water. buoys. 5: Throwing techniques in this martial art are called nagewaza. judo (jujitsu accepted). Round 5. Category: Please, Sir, I Want Samoa 1: The 5 stars of this constellation are featured on Samoa's national flag. the Southern Cross. 2: This "line", roughly equal to the 180th meridian zigzags, so the Wallis Islands are west of it and Samoa is east. the International Date Line. 3: It's the title of Margaret Mead's classic 1928 anthropological study of Samoan youth. Coming of Age in Samoa. 4: Eastern Samoa is "American Samoa"; Western Samoa won its independence from this island country in 1962. New Zealand. 5: The international airport code for this city of American Samoa is PPG. Pago Pago. Thanks for listening! Come back tomorrow for more exciting trivia!

In From Music to Sound: The Emergence of Sound in 20th and 21st-century Music (Routledge, 2019), Makis Solomos (Professor of Musicology, University of Vincennes in Saint-Denis “Paris 8”) argues that the 20th century bears witness to a kind of paradigm shift relating to the subject matter of music, a shift “from a musical culture centered on the note to a culture of sound” (5). Crucially, Solomos sets out to track this transformation as a change that is music-internal: that is, one that may be understood with reference to the new aesthetic and cultural forms of particular compositions that put sound at stake. Solomos draws on analysis, listening, and the aesthetic writings of composers themselves to argue for the “emergence” of sound-as-such as a topic of 20th- and 21st-century music, one consequence of the increasing complexity of music since 1900.  His first sole-author monograph in English, From Music to Sound is an accessible and engaging entry point into Solomos’s work for an Anglophone audience that draws not only on his long career as a musicologist with extensive experience of contemporary music but also as a specialist in the musical thought of Theodor Adorno and the music of Iannis Xenakis. The book's attention to the contingency of the six themes around which Solomos organises this history—timbre, noise, listening, immersion, the composition of sound as material, and “sound-space”—marks it out not only as a contribution to the history of contemporary music but also to its historiography. Composers and works likely familiar to listeners are marshaled to develop these themes: Russolo, Webern, Schaeffer, Xenakis, Tristan Murail. Its rich selection of music examples provides ample points of departure into the work of composers perhaps less well known to listeners: François-Bernard Mâche, Fausto Romitelli, and Dmitri Kourliandski, among others. Though the principal focus of the book rests squarely on the tradition of Western art music composition, Solomos is careful to acknowledge that this titular transition from “music to sound” is not the exclusive preserve of institutional music culture: examples from recorded rock, jazz, and post-rock help round out the picture by pointing to the role that sound-studio cultures—and, we might say, technique and technics in general—play in the objectification of sound across genre lines. Eamonn Bell (@_eamonnbell) is a postdoctoral Research Fellow at Trinity College Dublin in the Department of Music. His current research project examines the story of the compact disc from a viewpoint between musicology and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In From Music to Sound: The Emergence of Sound in 20th and 21st-century Music (Routledge, 2019), Makis Solomos (Professor of Musicology, University of Vincennes in Saint-Denis “Paris 8”) argues that the 20th century bears witness to a kind of paradigm shift relating to the subject matter of music, a shift “from a musical culture centered on the note to a culture of sound” (5). Crucially, Solomos sets out to track this transformation as a change that is music-internal: that is, one that may be understood with reference to the new aesthetic and cultural forms of particular compositions that put sound at stake. Solomos draws on analysis, listening, and the aesthetic writings of composers themselves to argue for the “emergence” of sound-as-such as a topic of 20th- and 21st-century music, one consequence of the increasing complexity of music since 1900.  His first sole-author monograph in English, From Music to Sound is an accessible and engaging entry point into Solomos’s work for an Anglophone audience that draws not only on his long career as a musicologist with extensive experience of contemporary music but also as a specialist in the musical thought of Theodor Adorno and the music of Iannis Xenakis. The book's attention to the contingency of the six themes around which Solomos organises this history—timbre, noise, listening, immersion, the composition of sound as material, and “sound-space”—marks it out not only as a contribution to the history of contemporary music but also to its historiography. Composers and works likely familiar to listeners are marshaled to develop these themes: Russolo, Webern, Schaeffer, Xenakis, Tristan Murail. Its rich selection of music examples provides ample points of departure into the work of composers perhaps less well known to listeners: François-Bernard Mâche, Fausto Romitelli, and Dmitri Kourliandski, among others. Though the principal focus of the book rests squarely on the tradition of Western art music composition, Solomos is careful to acknowledge that this titular transition from “music to sound” is not the exclusive preserve of institutional music culture: examples from recorded rock, jazz, and post-rock help round out the picture by pointing to the role that sound-studio cultures—and, we might say, technique and technics in general—play in the objectification of sound across genre lines. Eamonn Bell (@_eamonnbell) is a postdoctoral Research Fellow at Trinity College Dublin in the Department of Music. His current research project examines the story of the compact disc from a viewpoint between musicology and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

In From Music to Sound: The Emergence of Sound in 20th and 21st-century Music (Routledge, 2019), Makis Solomos (Professor of Musicology, University of Vincennes in Saint-Denis “Paris 8”) argues that the 20th century bears witness to a kind of paradigm shift relating to the subject matter of music, a shift “from a musical culture centered on the note to a culture of sound” (5). Crucially, Solomos sets out to track this transformation as a change that is music-internal: that is, one that may be understood with reference to the new aesthetic and cultural forms of particular compositions that put sound at stake. Solomos draws on analysis, listening, and the aesthetic writings of composers themselves to argue for the “emergence” of sound-as-such as a topic of 20th- and 21st-century music, one consequence of the increasing complexity of music since 1900.  His first sole-author monograph in English, From Music to Sound is an accessible and engaging entry point into Solomos’s work for an Anglophone audience that draws not only on his long career as a musicologist with extensive experience of contemporary music but also as a specialist in the musical thought of Theodor Adorno and the music of Iannis Xenakis. The book's attention to the contingency of the six themes around which Solomos organises this history—timbre, noise, listening, immersion, the composition of sound as material, and “sound-space”—marks it out not only as a contribution to the history of contemporary music but also to its historiography. Composers and works likely familiar to listeners are marshaled to develop these themes: Russolo, Webern, Schaeffer, Xenakis, Tristan Murail. Its rich selection of music examples provides ample points of departure into the work of composers perhaps less well known to listeners: François-Bernard Mâche, Fausto Romitelli, and Dmitri Kourliandski, among others. Though the principal focus of the book rests squarely on the tradition of Western art music composition, Solomos is careful to acknowledge that this titular transition from “music to sound” is not the exclusive preserve of institutional music culture: examples from recorded rock, jazz, and post-rock help round out the picture by pointing to the role that sound-studio cultures—and, we might say, technique and technics in general—play in the objectification of sound across genre lines. Eamonn Bell (@_eamonnbell) is a postdoctoral Research Fellow at Trinity College Dublin in the Department of Music. His current research project examines the story of the compact disc from a viewpoint between musicology and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

In From Music to Sound: The Emergence of Sound in 20th and 21st-century Music (Routledge, 2019), Makis Solomos (Professor of Musicology, University of Vincennes in Saint-Denis “Paris 8”) argues that the 20th century bears witness to a kind of paradigm shift relating to the subject matter of music, a shift “from a musical culture centered on the note to a culture of sound” (5). Crucially, Solomos sets out to track this transformation as a change that is music-internal: that is, one that may be understood with reference to the new aesthetic and cultural forms of particular compositions that put sound at stake. Solomos draws on analysis, listening, and the aesthetic writings of composers themselves to argue for the “emergence” of sound-as-such as a topic of 20th- and 21st-century music, one consequence of the increasing complexity of music since 1900.  His first sole-author monograph in English, From Music to Sound is an accessible and engaging entry point into Solomos’s work for an Anglophone audience that draws not only on his long career as a musicologist with extensive experience of contemporary music but also as a specialist in the musical thought of Theodor Adorno and the music of Iannis Xenakis. The book's attention to the contingency of the six themes around which Solomos organises this history—timbre, noise, listening, immersion, the composition of sound as material, and “sound-space”—marks it out not only as a contribution to the history of contemporary music but also to its historiography. Composers and works likely familiar to listeners are marshaled to develop these themes: Russolo, Webern, Schaeffer, Xenakis, Tristan Murail. Its rich selection of music examples provides ample points of departure into the work of composers perhaps less well known to listeners: François-Bernard Mâche, Fausto Romitelli, and Dmitri Kourliandski, among others. Though the principal focus of the book rests squarely on the tradition of Western art music composition, Solomos is careful to acknowledge that this titular transition from “music to sound” is not the exclusive preserve of institutional music culture: examples from recorded rock, jazz, and post-rock help round out the picture by pointing to the role that sound-studio cultures—and, we might say, technique and technics in general—play in the objectification of sound across genre lines. Eamonn Bell (@_eamonnbell) is a postdoctoral Research Fellow at Trinity College Dublin in the Department of Music. His current research project examines the story of the compact disc from a viewpoint between musicology and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In From Music to Sound: The Emergence of Sound in 20th and 21st-century Music (Routledge, 2019), Makis Solomos (Professor of Musicology, University of Vincennes in Saint-Denis “Paris 8”) argues that the 20th century bears witness to a kind of paradigm shift relating to the subject matter of music, a shift “from a musical culture centered on the note to a culture of sound” (5). Crucially, Solomos sets out to track this transformation as a change that is music-internal: that is, one that may be understood with reference to the new aesthetic and cultural forms of particular compositions that put sound at stake. Solomos draws on analysis, listening, and the aesthetic writings of composers themselves to argue for the “emergence” of sound-as-such as a topic of 20th- and 21st-century music, one consequence of the increasing complexity of music since 1900.  His first sole-author monograph in English, From Music to Sound is an accessible and engaging entry point into Solomos’s work for an Anglophone audience that draws not only on his long career as a musicologist with extensive experience of contemporary music but also as a specialist in the musical thought of Theodor Adorno and the music of Iannis Xenakis. The book's attention to the contingency of the six themes around which Solomos organises this history—timbre, noise, listening, immersion, the composition of sound as material, and “sound-space”—marks it out not only as a contribution to the history of contemporary music but also to its historiography. Composers and works likely familiar to listeners are marshaled to develop these themes: Russolo, Webern, Schaeffer, Xenakis, Tristan Murail. Its rich selection of music examples provides ample points of departure into the work of composers perhaps less well known to listeners: François-Bernard Mâche, Fausto Romitelli, and Dmitri Kourliandski, among others. Though the principal focus of the book rests squarely on the tradition of Western art music composition, Solomos is careful to acknowledge that this titular transition from “music to sound” is not the exclusive preserve of institutional music culture: examples from recorded rock, jazz, and post-rock help round out the picture by pointing to the role that sound-studio cultures—and, we might say, technique and technics in general—play in the objectification of sound across genre lines. Eamonn Bell (@_eamonnbell) is a postdoctoral Research Fellow at Trinity College Dublin in the Department of Music. His current research project examines the story of the compact disc from a viewpoint between musicology and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In From Music to Sound: The Emergence of Sound in 20th and 21st-century Music (Routledge, 2019), Makis Solomos (Professor of Musicology, University of Vincennes in Saint-Denis “Paris 8”) argues that the 20th century bears witness to a kind of paradigm shift relating to the subject matter of music, a shift “from a musical culture centered on the note to a culture of sound” (5). Crucially, Solomos sets out to track this transformation as a change that is music-internal: that is, one that may be understood with reference to the new aesthetic and cultural forms of particular compositions that put sound at stake. Solomos draws on analysis, listening, and the aesthetic writings of composers themselves to argue for the “emergence” of sound-as-such as a topic of 20th- and 21st-century music, one consequence of the increasing complexity of music since 1900.  His first sole-author monograph in English, From Music to Sound is an accessible and engaging entry point into Solomos’s work for an Anglophone audience that draws not only on his long career as a musicologist with extensive experience of contemporary music but also as a specialist in the musical thought of Theodor Adorno and the music of Iannis Xenakis. The book's attention to the contingency of the six themes around which Solomos organises this history—timbre, noise, listening, immersion, the composition of sound as material, and “sound-space”—marks it out not only as a contribution to the history of contemporary music but also to its historiography. Composers and works likely familiar to listeners are marshaled to develop these themes: Russolo, Webern, Schaeffer, Xenakis, Tristan Murail. Its rich selection of music examples provides ample points of departure into the work of composers perhaps less well known to listeners: François-Bernard Mâche, Fausto Romitelli, and Dmitri Kourliandski, among others. Though the principal focus of the book rests squarely on the tradition of Western art music composition, Solomos is careful to acknowledge that this titular transition from “music to sound” is not the exclusive preserve of institutional music culture: examples from recorded rock, jazz, and post-rock help round out the picture by pointing to the role that sound-studio cultures—and, we might say, technique and technics in general—play in the objectification of sound across genre lines. Eamonn Bell (@_eamonnbell) is a postdoctoral Research Fellow at Trinity College Dublin in the Department of Music. His current research project examines the story of the compact disc from a viewpoint between musicology and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Early American Brass Band Podcast Hosts Chris and Stephen are joined by the founder of Newberry's Victorian Cornet Band Michael O'Connor to discuss their newest album titled "The Gilded Age - Late 19th Century Music for American Wind Band, a truly fantastic recording of 19th century music performed on period instruments and mouthpieces.To purchase the album, visit: https://www.msrcd.com/catalog/cd/MS1726?fbclid=IwAR17-L9rmlA1DAOWNz4HaypJ5zzWOfBqvNTxokqL6qw2hfW2VNegy1BVdTUFor more information on Newberry's Victorian Cornet Band, visit: https://www.facebook.com/newberrybandMusic in this episode comes from "The Gilded Age"L'Estudiantina Waltz, Émile WaldteufelSalute to New York March, Patrick Sarsfield GilmoreFantasia “La Sonnambula”, Ernesto CavalliniSemper Fidelis, John Philip SousaSerenade “Good Night Beloved”, Ciro Pinsuti“I Am Up” Quickstep, Thomas CoatesThe Battle Cry of Freedom, Allesandro LiberatiThrough the Air, August DammYankee Tickle Medley, Edward BeyerYou can now support the show on Patreon (https://www.patreon.com/eabbpodcast) and Teespring (https://teespring.com/stores/eabbpodcast​)! No obligation, but we greatly appreciate any support you're willing to give.For show notes and resources, visit our website at www.eabbpodcast.com. You can get in touch with us on social media, and by emailing eabb.podcast@gmail.com

In this episode, Sam and guest Stephen Cox discuss music in the 21st century—-from albums, to representation in the music industry, to award shows, and everything in between. In light of the recent documentary, they discuss the #FreeBritney movement, providing both hot takes and informational discussion. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thescoopwsam/support

Jan Swafford is an author and composer. His musical works range from orchestral and chamber to film and theater music, including four pieces for orchestra, Midsummer Variations for piano quintet, They That Mourn for piano trio, and They Who Hunger for piano quartet. His music has been played around the U.S. and abroad by ensembles including the symphonies of Indianapolis, St. Louis, Harrisburg, Springfield, Jacksonville, Chattanooga, and the Dutch Radio. His degrees are from Harvard and the Yale School of Music. In 1989 he was a Mellon Faculty Fellow at Harvard. In 2018 he was awarded an honorary Harvard Phi Beta Kappa. In 2012 his online music journalism won a Deems Taylor Award.As a music journalist and scholar, Swafford has written for Slate, The Guardian, Gramophone, and 19th Century Music among others. He is a longtime program note writer for the Boston Symphony, and has written program and liner notes for the symphonies of Chicago, Cleveland, Los Angeles, Detroit, and San Francisco, for Chamber Music at Lincoln Center, Carnegie Hall, the Metropolitan Opera, and Deutsche Grammophon. Recently he has appeared in television documentaries in Germany and England. His books include the biographies Charles Ives: A Life with Music (nominated for a National Book Critics Circle award); Johannes Brahms: A Biography; and Beethoven: Anguish and Triumph. All these books were Critics’ Choices in the New York Times. HIs biography on Mozart was just published in December of 2020. His books have been widely translated in Europe and China.The Question of the Week is, "Do classical musicians really understand our own history?" Jan and I discuss the habit classical musicians have of deifying composers, assumptions and narratives he needed to unlearn, how the teaching of the history of Western classical music has changed, how his research and writing of composers has informed his own composition process, and why he believes talent does exist.

PULP-POURRI THEATRE, S3 E5: Contains explicit sexual content. For mature audiences only.   "The Medici Boots" is adapted from a story of the same name by Pearl Norton Swet, which appeared in an issue of the long-running Weird Tales pulp-fiction magazine. Adapted, directed and produced by Pete Lutz. Set in the year 1935, it's the story of John Delameter, his wife Suzanne, and his brother Eric -- it's also the story of a pair of beautifully styled boots, made in the 15th century and cursed in the same era. Weird things start happening to the Delameters once they inherit these boots from their historian uncle...     CAST: ANNOUNCER: Lisa Ayala NEWSCASTER: Derek Lutz UNCLE SILAS DICKERSON: Pete Lutz JOHN DELAMETER: Peter M. Howard SUZANNNE DELAMETER: Aileen Corpos ERIC DELAMETER: Pete Lutz ERSKINE: Gene Giggy MARIA MODENA and SERVANT: Alex Moore   SPECIAL FEATURES CAST: Kristy Glick, Pete Lutz, Nick Wommack, Austin Hanna, Kevin Schuster, Melody Gaines   SPECIAL 15th-CENTURY MUSIC (various composers) performed by Ernest Stoltz and Paul O'Dette   MUSIC FROM 1935 (and before) by the following: "Alone" by Arthur Freed and Nacio Herb Brown, sung by Kitty Carlisle "Easy To Remember" by Richard Rodgers and Lorenz Hart, sung by Bing Crosby "Isn't It A Lovely Day (To Be Caught In The Rain)" by Irving Berlin, sung by Fred Astaire "Rhapsody in Blue" by George Gershwin "Violin Concerto No. 2 - II Andante Assai" by Prokofiev   Additional Music by: Kevin MacLeod of incompetech dot com "Paperback Writer" by the Beatles, performed by Andrew Kesler "Lara's Theme (Somewhere My Love)" from Dr. Zhivago by Andre Rieu   Pulp-Pourri Theatre Theme composed and performed by Rich Wentworth   Opening announcers: Gene Lutz, Rich Wentworth

The Binghamton University Library has bought a rare manuscript of Gregorian Chant from 16th Century Florence. It will be on display at St. Patrick's Church in Binghamton, while the Southern Tier Singers Collective sin selections from it led by William Culverhouse.

Throw out your textbooks! Ariel Borujow stops by the SonicScoop Podcast to talk all about how the music business really works in the internet age, and offers some tested tips for improving your career whether you're a producer, artist or engineer. Thanks to Soundtoys Sonarworks and Gear Club for sponsoring this podcast. Find out more about Ariel at https://arielborujow.com

The Lied is one of the most important genres of nineteenth-century Romantic music, and one of the most intriguing. Balanced between public and private performance, an expression of both poetic and musical meaning, musicologists have tended to study Lieder by analyzing the connections between the music and text. In her new book Intimacy, Performance, and the Lied in the Early Nineteenth Century published by Indiana University Press in 2018, Dr. Jennifer Ronyak studies a set of Lieder with texts she identifies as “intimate lyric poetry” through the lens of performance using methodologies culled from literary studies, philosophy, and musicology. Delving deeply into German Romantic ideas about interiority and the self, Ronyak considers Lieder as an intimate expression of meaning for composer, lyricist, singer, and audience. She contextualizes this act of performance within the salon culture of several important German cities. By centering a philosophical inquiry into the paradox of the Lieder as the outward expression of inwardly facing ideas, Ronyak is able to de-emphasize the most famous Lieder composers of the period and bring in the voices and contributions of marginalized figures including women who functioned in a variety of roles: performers, intellectuals, salon hostesses, and writers. Jennifer Ronyak is currently Senior Scientist in Musicology at the Institute for Musical Aesthetics at the University for Music and Performing Arts Graz, Austria (Kunstuniversität Graz). Her work has been published in The Journal of the American Musicological Society, 19th-Century Music, Music & Letters, The Journal of Musicology, and the Jahrbuch Musik und Gender; additional research is forthcoming in collections from Boydell & Brewer and Oxford University Press. She has also explored the implications of her research into song for current performing practices as a guest faculty member of the Vancouver International Song Institute and at the Kunstuniversität Graz. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Lied is one of the most important genres of nineteenth-century Romantic music, and one of the most intriguing. Balanced between public and private performance, an expression of both poetic and musical meaning, musicologists have tended to study Lieder by analyzing the connections between the music and text. In her new book Intimacy, Performance, and the Lied in the Early Nineteenth Century published by Indiana University Press in 2018, Dr. Jennifer Ronyak studies a set of Lieder with texts she identifies as “intimate lyric poetry” through the lens of performance using methodologies culled from literary studies, philosophy, and musicology. Delving deeply into German Romantic ideas about interiority and the self, Ronyak considers Lieder as an intimate expression of meaning for composer, lyricist, singer, and audience. She contextualizes this act of performance within the salon culture of several important German cities. By centering a philosophical inquiry into the paradox of the Lieder as the outward expression of inwardly facing ideas, Ronyak is able to de-emphasize the most famous Lieder composers of the period and bring in the voices and contributions of marginalized figures including women who functioned in a variety of roles: performers, intellectuals, salon hostesses, and writers. Jennifer Ronyak is currently Senior Scientist in Musicology at the Institute for Musical Aesthetics at the University for Music and Performing Arts Graz, Austria (Kunstuniversität Graz). Her work has been published in The Journal of the American Musicological Society, 19th-Century Music, Music & Letters, The Journal of Musicology, and the Jahrbuch Musik und Gender; additional research is forthcoming in collections from Boydell & Brewer and Oxford University Press. She has also explored the implications of her research into song for current performing practices as a guest faculty member of the Vancouver International Song Institute and at the Kunstuniversität Graz. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Lied is one of the most important genres of nineteenth-century Romantic music, and one of the most intriguing. Balanced between public and private performance, an expression of both poetic and musical meaning, musicologists have tended to study Lieder by analyzing the connections between the music and text. In her new book Intimacy, Performance, and the Lied in the Early Nineteenth Century published by Indiana University Press in 2018, Dr. Jennifer Ronyak studies a set of Lieder with texts she identifies as “intimate lyric poetry” through the lens of performance using methodologies culled from literary studies, philosophy, and musicology. Delving deeply into German Romantic ideas about interiority and the self, Ronyak considers Lieder as an intimate expression of meaning for composer, lyricist, singer, and audience. She contextualizes this act of performance within the salon culture of several important German cities. By centering a philosophical inquiry into the paradox of the Lieder as the outward expression of inwardly facing ideas, Ronyak is able to de-emphasize the most famous Lieder composers of the period and bring in the voices and contributions of marginalized figures including women who functioned in a variety of roles: performers, intellectuals, salon hostesses, and writers. Jennifer Ronyak is currently Senior Scientist in Musicology at the Institute for Musical Aesthetics at the University for Music and Performing Arts Graz, Austria (Kunstuniversität Graz). Her work has been published in The Journal of the American Musicological Society, 19th-Century Music, Music & Letters, The Journal of Musicology, and the Jahrbuch Musik und Gender; additional research is forthcoming in collections from Boydell & Brewer and Oxford University Press. She has also explored the implications of her research into song for current performing practices as a guest faculty member of the Vancouver International Song Institute and at the Kunstuniversität Graz. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Lied is one of the most important genres of nineteenth-century Romantic music, and one of the most intriguing. Balanced between public and private performance, an expression of both poetic and musical meaning, musicologists have tended to study Lieder by analyzing the connections between the music and text. In her new book Intimacy, Performance, and the Lied in the Early Nineteenth Century published by Indiana University Press in 2018, Dr. Jennifer Ronyak studies a set of Lieder with texts she identifies as “intimate lyric poetry” through the lens of performance using methodologies culled from literary studies, philosophy, and musicology. Delving deeply into German Romantic ideas about interiority and the self, Ronyak considers Lieder as an intimate expression of meaning for composer, lyricist, singer, and audience. She contextualizes this act of performance within the salon culture of several important German cities. By centering a philosophical inquiry into the paradox of the Lieder as the outward expression of inwardly facing ideas, Ronyak is able to de-emphasize the most famous Lieder composers of the period and bring in the voices and contributions of marginalized figures including women who functioned in a variety of roles: performers, intellectuals, salon hostesses, and writers. Jennifer Ronyak is currently Senior Scientist in Musicology at the Institute for Musical Aesthetics at the University for Music and Performing Arts Graz, Austria (Kunstuniversität Graz). Her work has been published in The Journal of the American Musicological Society, 19th-Century Music, Music & Letters, The Journal of Musicology, and the Jahrbuch Musik und Gender; additional research is forthcoming in collections from Boydell & Brewer and Oxford University Press. She has also explored the implications of her research into song for current performing practices as a guest faculty member of the Vancouver International Song Institute and at the Kunstuniversität Graz. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Lied is one of the most important genres of nineteenth-century Romantic music, and one of the most intriguing. Balanced between public and private performance, an expression of both poetic and musical meaning, musicologists have tended to study Lieder by analyzing the connections between the music and text. In her new book Intimacy, Performance, and the Lied in the Early Nineteenth Century published by Indiana University Press in 2018, Dr. Jennifer Ronyak studies a set of Lieder with texts she identifies as “intimate lyric poetry” through the lens of performance using methodologies culled from literary studies, philosophy, and musicology. Delving deeply into German Romantic ideas about interiority and the self, Ronyak considers Lieder as an intimate expression of meaning for composer, lyricist, singer, and audience. She contextualizes this act of performance within the salon culture of several important German cities. By centering a philosophical inquiry into the paradox of the Lieder as the outward expression of inwardly facing ideas, Ronyak is able to de-emphasize the most famous Lieder composers of the period and bring in the voices and contributions of marginalized figures including women who functioned in a variety of roles: performers, intellectuals, salon hostesses, and writers. Jennifer Ronyak is currently Senior Scientist in Musicology at the Institute for Musical Aesthetics at the University for Music and Performing Arts Graz, Austria (Kunstuniversität Graz). Her work has been published in The Journal of the American Musicological Society, 19th-Century Music, Music & Letters, The Journal of Musicology, and the Jahrbuch Musik und Gender; additional research is forthcoming in collections from Boydell & Brewer and Oxford University Press. She has also explored the implications of her research into song for current performing practices as a guest faculty member of the Vancouver International Song Institute and at the Kunstuniversität Graz. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jace Clayton In Conversation with Mark McNeill In his book Uproot: Travels in 21st Century Music and Digital Culture, Jace Clayton aka DJ /rupture takes us with him as he traverses the globe. He shares some of these stories and his observations about the nature of music making and sharing in the our times with dublab co-founder, Mark McNeill. We hope you can tune in for this wide ranging and inspiring conversation. “Indeed, when Clayton talks about techniques such as transcoding and compressing – the art of squeezing recorded music into easily exportable and copyable packets of data – he could almost be talking about the journeys of refugees and migrants: “This is the sound of files that have survived patchy connections and erroneous metadata, straddling pirate servers and shaky Bluetooth transfers and YouTube rips, evading spam filters en route to Russian wares sites, to end up on a desktop or in some web video accompanied by an equally messed-up JPeg.” -The Guardian In Conversation is produced by dublab. Sound editing and music are by Matteah Baim. Due to rights reasons music from the original broadcast has been removed. To hear more, please visit dublab.com.

Team Human celebrates its 100th episode with this special “double feature,” recorded live before an audience at Civic Hall in Manhattan. Joining Douglas on the stage is writer, artist, and journalist Molly Crabapple. With just “compressed ash and wood pulp,” Molly brings to life images of injustice and makes visible that which is too often rendered invisible. Her paintings from Guantanamo, Istanbul, Syria, Puerto Rico, and recently immigration detention centers in Texas bear witness to the struggle of humans suffering under the oppression of empire. Molly explains how being an artist has afforded her unique access to these places otherwise closed off to cameras and reporters. “The best thing about being an artist who is a reporter is that you are constantly underestimated,” Molly explains. Molly and Douglas discuss both the subversive and connecting power of art in this thought-provoking Team Human conversation. Molly’s latest book is Brothers of the Gun: A Memoir of the Syrian Wara collaboration with Marwan Hisham. Molly also is the author of Drawing Blood.In part two of today’s show, Douglas welcomes Jace Clayton, aka DJ /rupture to the stage. Like Molly, Jace’s art has taken him across the globe, giving him a unique perspective on the powerful contribution of musicians to the living archive of history. Clayton looks at both the affordances of digital technology to spread music far and wide, while also critiquing those colonizing forces of globalized music that serve to flatten creative expression. In a chapter (excerpt) of his recent book, Uproot: Travels in 21st-Century Music and Digital Culture, Jace offers a twisting narrative on the use of the ubiquitous pitch correction software Auto-Tune. It’s a story that not only reveals the embedded biases in technology, but poses both a media metaphor and question that Team Human must face in a digital society; “What is an individual voice nowadays when we are amplified and scattered digitally? We are obliterated. We too are products being traded.”Learn more about Jace and Molly’s work at their websites. http://www.jaceclayton.com/ https://mollycrabapple.com/This show features music from Jace Clayton DJ /rupture. You can stream or download over 8 hours of his music here: http://www.negrophonic.com/dj-rupture-mixes-free-download//His Sufi plugins are available here: http://www.beyond-digital.org/sufiplugins/Our live audience enjoyed the following video media: On Money Bail: https://mollycrabapple.com/animation/Molly’s Sketches from the trial of Jumaane Williams: https://mollycrabapple.com/drawings-from-the-trial-of-jumaane-williams/Vanity Fair Feature Inside Aleppo: https://www.vanityfair.com/news/2015/07/inside-aleppo-syriaThis episode of Team Human was produced in collaboration with Civic Hall thanks to Micah Sifry (featured guest on TH Episode 36) and Savanna Badalich. Thanks to Luke Robert Mason for recording the show, Josh Chapdelaine for coordinating the event. You can support this show by becoming a subscriber via Drip and/or Patreon. Visit teamhuman.fm/support to sign up. Thanks as always to Dischord Records for allowing us the use of a sample of Fugazi’s Foreman’s Dog in the intro and to Mike Watt and R.U.Sirius. See acast.com/privacy for privacy and opt-out information.

Special Announcement and Invitation! Free Show. Limited Tickets Remain.Details and Tickets:https://www.eventbrite.com/e/jace-clayton-and-molly-crabapple-with-douglas-rushkoff-team-human-live-tickets-48339958116?utm_source=eb_email&utm_medium=email&utm_campaign=new_event_email&utm_term=viewmyevent_buttonNext Thursday, August 16th, Douglas will be joined live on stage at Civic hall in New York City by two incredibly talented, powerful, and thoughtful human beings; artist, journalist, and author Molly Crabapple as well musician, artist and writer Jace Clayton, aka DJ /rupture.Molly latest published work Brothers of the Gun is an illustrated collaboration with Syrian War journalist Marwan Hisham. Jace Clayton, whose work as DJ Rupture has received international acclaim, is the author of Uproot Travels in 21st Century Music and Digital Culture.It’s sure to be an inspiring evening of conversation and audience Q&A with these boundary pushing artists.Visit teamhuman.fm and click on live events for a link to the show. All are welcome to this live podcast recording. Team Human supporters on Drip and Patreon have access to reserved free seats. Join our support team for early access to shows like this, signed books, trading cards, totes bags and more. Team Human Live w/ Molly Crabapple and Jace Clayton, live at Civic Hall August 16th 2018.Thanks for being on Team Human! See acast.com/privacy for privacy and opt-out information.

A well rounded music Ministry on sundays.

Picks from across the week on In Tune with Sean Rafferty, featuring dancer Zenaida Yanowsky choral director Andrew Carwood and violinist Lorenza Borrani.

Episode 102 - Composers Of 20th And 21st Century Music Sunday, October 1, 2017 This might not be the music you were expecting. Listen and find out! Pictured: A musical composition by 20th century composer George Crumb. www.brasstenor.com twitter.com/brasstenor itun.es/i6d62cg

Jace Clayton is an artist and writer based in Manhattan, also known for his work as DJ /rupture. Clayton uses an interdisciplinary approach to focus on how sound, memory, and public space interact, with an emphasis on low-income communities and the global South. His book Uproot: Travels in 21st Century Music and Digital Culture was published in 2016 by Farrar, Straus and Giroux. Recent projects include Sufi Plug Ins, a free suite of music software-as-art, based on non-western conceptions of sound and alternative interfaces; Room 21, an evening-length composition for 20 musicians staged at the Barnes Foundation; and The Julius Eastman Memorial Dinner, a touring performance piece for grand pianos, electronics, and voice. As DJ /rupture, he has released several critically acclaimed albums and hosted a weekly radio show on WFMU for five years. Clayton’s collaborators include filmmakers Jem Cohen, Joshua Oppenheimer, poet Elizabeth Alexander, singer Norah Jones, and guitarist Andy Moor (The Ex). Clayton is the UNC-CH/Duke Nannerl Keohane Distinguished Visiting Professor. He is a 2014 New York Foundation for the Arts Nonfiction Literature fellow, a 2013 Creative Capital Performing Arts grantee, and recipient of a Foundation for Contemporary Art artists award. He joined the Music/Sound faculty of Bard College’s MFA program in 2013. Clayton has been an artist-in-residence with the Lower Manhattan Cultural Council, Eyebeam Art + Technology Atelier, and a USC Annenberg/Getty Arts Journalism fellow. Clayton has performed in over three dozen countries, and has given artist talks at a number of museums, universities, and other institutions, including The Andy Warhol Museum.

In this episode of Houghton75, we speak with Ann Blair, Carl H. Pforzheimer University Professor at Harvard, about the development of note-taking devices from early wax tablets to our modern smartphones. We start with an early modern writing tablet - a small reference book which also contains specially treated pages for recording notes while on the road. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-w1 Music From La Luna (Ensemble for 17th Century Music), Wild Boar Records, WLBR 9605.

Episode 5: 21st Century Music Movie Moments Top 5 by Flicker to Flame: A Movie Podcast

Jace Clayton is a music writer and musician who records as DJ /rupture. His book is Uproot: Travels in 21st-Century Music and Digital Culture. “What does it mean to be young and have some sound inside your head? Or to be in a scene that you want to broadcast to the world? That notion of the world is changing, who you’re broadcasting to is changing, all these different things—the tool sets. But there’s this very fundamental joy of music making. I was like, ‘Ok. Let’s find flashpoints where interesting things are happening and can be unpacked that shed different little spotlights on it, but do fall into this wider view of how we articulate what’s thrilling to be alive right now.’” Thanks to MailChimp for sponsoring this week's episode. @djrupture jaceclayton.com [04:15] Uproot: Travels in 21st-Century Music and Digital Culture (Farrar, Straus and Giroux • 2016) [05:00] Wax Poetic [05:30] "Slow Burn" (The Fader • Jul 2008) [06:00] "Past Masters" (The National • Mar 2009) [15:30] "Pitch Perfect" (Frieze • May 2009) [23:30] Mudd Up! [29:15] "Julius Eastman Memorial Dinner" (The Music Gallery • Oct 2014) [29:30] Julius Eastman’s Femenine [35:00] The Mudd Up! Radio Archive [37:45] Caroline Shaw [40:00] "Cairo: Something New" (The Fader • Oct 2012) [41:15] "Tribal Guarachero: Mexican Teens & Aztec History" (The Fader • Oct 2010) [42:15] Moneyball: The Art of Winning an Unfair Game (Michael Lewis • W.W. Norton & Company • 2004) [44:45] Tigerbeat6

Since 2008, Big Think has been sharing big ideas from creative and curious minds. The Think Again podcast takes us out of our comfort zone, surprising our guests and Jason Gots, your host, with unexpected conversation starters from Big Think’s interview archives. As DJ /Rupture, Jace Clayton has spun music all over the world in every imaginable kind of venue (including not only big arenas but also, once, a refrigerated truck) and released several critically acclaimed albums. He’s also one of the most gifted writers about musical culture that Jason has ever read. His book Uproot: Travels in 21st Century Music and Digital Culture digs deep into the back-bins of hyper-local musical traditions and zooms out to take in the whole shifting global landscape. This conversation delves deep into the ways music disseminates and morphs in our digitally connected world, originality in cut-and-paste culture, and the fragility of beauty and culture. Surprise conversation starter interview clips in this episode: Bill Burnett on Brainstorming Innovative Ideas, Jonathan Harris on Social Networks and Human Connection, Mary Aiken on Trump as an Internet Troll Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest today is a founding member of one of the most unique, interesting, and eclectic groups on the world stage. Back in 2006, Delhi 2 Dublin began as a side project for vocalist Sanjay Seran. As the band name suggests, Sanjay and fellow founding member Tarun Nayar began playing a fusion of North Indian […] The post Ep. 16: From Delhi 2 Dublin: Sanjay Seran on Charting Your Own Course in the 21st Century Music Business appeared first on Zachary Stockill.

My guest today is a founding member of one of the most unique, interesting, and eclectic groups on the world stage. Back in 2006, Delhi 2 Dublin began as a side project for vocalist Sanjay Seran. As the band name suggests, Sanjay and fellow founding member Tarun Nayar began playing a fusion of North Indian […] The post Ep. 16: From Delhi 2 Dublin: Sanjay Seran on Charting Your Own Course in the 21st Century Music Business appeared first on Travels in Music.

  "The Medici Boots" is adapted from a story of the same name by Pearl Norton Swet, which appeared in an issue of the long-running Weird Tales pulp-fiction magazine. Adapted, directed and produced by Pete Lutz. Set in the year 1935, it's the story of John Delameter, his wife Suzanne, and his brother Eric -- it's also the story of a pair of beautifully styled boots, made in the 15th century and cursed in the same era. Weird things start happening to the Delameters once they inherit these boots from their historian uncle...   Contains explicit sexual content.   CAST OF "THE MEDICI BOOTS": ANNOUNCER: Lisa Ayala NEWSCASTER: Derek Lutz UNCLE SILAS DICKERSON: Pete Lutz JOHN DELAMETER: Peter M. Howard SUZANNNE DELAMETER: Aileen Corpos ERIC DELAMETER: Pete Lutz ERSKINE: Gene Giggy MARIA MODENA and SERVANT: Alex Moore   SPECIAL FEATURES CAST: Kristy Glick, Pete Lutz, Nick Wommack, Austin Hanna, Kevin Schuster, Melody Gaines   SPECIAL 15th-CENTURY MUSIC (various composers) performed by Ernest Stoltz and Paul O'Dette   MUSIC FROM 1935 (and before) by the following: "Alone" by Arthur Freed and Nacio Herb Brown, sung by Kitty Carlisle "Easy To Remember" by Richard Rodgers and Lorenz Hart, sung by Bing Crosby "Isn't It A Lovely Day (To Be Caught In The Rain)" by Irving Berlin, sung by Fred Astaire "Rhapsody in Blue" by George Gershwin "Violin Concerto No. 2 - II Andante Assai" by Prokofiev   Additional Music by: Kevin MacLeod of incompetech dot com "Paperback Writer" by the Beatles, performed by Andrew Kesler "Lara's Theme (Somewhere My Love)" from Dr. Zhivago by Andre Rieu   Pulp-Pourri Theatre Theme composed and performed by Rich Wentworth   Opening announcers: Gene Lutz, Rich Wentworth  

Welcome to the inaugural episode of the #iAMiNDiE Podcast. In this episode you will get to know our host Rod Hubb, as well as learn the secret to success in the 21st century music business.

Rasslin'*, Negura Bunget, Grime God, Rasslin', Nuclear Assault, RASSLIN'!?, Penntera (Pantera Tribute), Schism (Tool Tribute), Tool (by proxy), 20th Century Music in a Grocery Store, Kayo Dot Recording, Viper (rapper who released 347 albums last year)  * Rasslin' = Wrestling co-hosts Rich and Eric

Episode 5 features a pre-concert lecture by Blue Heron's Music Director, Scott Metcalfe. In his lecture, given on October 13, 2012, before a concert in Cambridge, Metcalfe took on a number of interesting topics. He discussed the works that were about to be given their North American Premieres (Ludford's Missa Inclina cor meum and Mason's Ave fuit prima salus), the history of the Peterhouse partbooks (which is the sole source of those pieces), why Blue Heron approaches this repertoire the way it does and finally "why music from the 16th century should be as captivating, varied and expressive as music from any other age." The lecture was supported in part by the Cambridge Society for Early Music. The Ludford and Mason works discussed in this lecture were recorded shortly after the premiere performances in October 2012, and will soon be released commercially on Blue Heron's own label, as Volume 3 of a planned set of 5 Peterhouse Partbooks recordings (BHCD1004; RELEASE DATE: October 2013). The disc will contain the world premiere recordings of all the music on the CD.

Reflections on 9/11 is a piano work in seven movements. The composition "disturbingly transposes the catastrophe into... cataclysmic sound and artistically suggests the aftermath’s lingering sense of numbing devastation" (Fanfare). A "tone poem full of dark textures and a compelling somber atmosphere," Reflections moves from shock to calmness (if not acceptance) and provides a "commentary on loss of trust and a need to reconstruct ourselves in a post-9/11 world" (American Record Guide). Karen Walwyn is a concert pianist and Associate Professor of Music at Howard University. For the 2011-12 academic year, she is a Mellon HBCU Fellow at the FHI. A classical concert pianist, Prof. Walwyn, successfully made her New York recital debut at Merkin Hall, in New York City which was quickly followed by her debut performance on National Public Radio, (NPR). Her most noted performances included works from her compact discs entitled Dark Fires: 20th Century Music for Piano, Vol. I and Dark Fires: Walwyn and Friends, Vol. II (Albany Records). Articles and reviews have appeared in the Washington Post, Fanfare, American Record Guide, Records International Catalogue, and the Detroit Free Press in response to the recording, and as a result she has become in high demand across the United States and in Europe. Of her performance for the Musart Series at the Cleveland Museum of Art, the Cleveland Plain Dealer writes that "Walwyn was fearless throughout, managing every challenge with precise fingers and heroic command of textures. Other halls and institutions where Walwyn has given masterclasses and performances of her repertoire of African American 20th Century and European 19th Century Works include L'Auditorio and The Palau, Barcelona Spain, The Casino Hall in Tenerife, Canary Islands, The Salzburg College in Salzburg, Austria, the University of Michigan, the University of Indiana, the University of Miami, Clark Atlanta University, and the University of Hawaii.

Mike Gale talks about his research project exploring a sixteenth century music manuscript; and the research culture at Southampton, that included organising a two day cross-disciplinary conference on sixteenth and seventeenth century English manuscripts.

Listening to Labor