Podcasts about classical style

Order your exclusive da Vinci BoldBrush paintbrush set!https://brushoffer.com/collections/boldbrushLearn the magic of marketing  with us here at BoldBrush!https://www.boldbrushshow.com/Get over 50% off your first year on your artist website with FASO:https://www.FASO.com/podcast/---For today's episode, we sat down with Russell Gordon, an artist living in upstate New York who is deeply inspired by nature and seeks to express the beauty of nature through his paintings of fauna and flora. Russell discusses his experience at the Schuler School of Art in Baltimore and emphasizes the importance of training and persistence, sharing that it took six years after art school for him to begin to find success in his artistic career. He highlights the challenges of self-doubt and the necessity of a supportive environment. He advises aspiring artists to train rigorously, seek out the right gallery fit, and to have persistence, passion, and patience. Russell then tells us about the new direction he is taking in his work, which involves anthropomorphizing animals and placing them in human roles, inspired by childhood memories and illustrators like Beatrix Potter. Finally, Russell tells us about his upcoming shows where we can see his beautiful new work!Russell's FASO site: https://www.gordonartstudio.com/Russell's Instagram:https://www.instagram.com/russellwgordon/

Chapter 1 What's Arnold Schoenberg by Charles Rosen"Arnold Schoenberg" by Charles Rosen is a comprehensive exploration of the life and works of the influential composer Arnold Schoenberg, a key figure in 20th-century music. Rosen elaborates on Schoenberg's innovative contributions, particularly his development of the twelve-tone technique, which revolutionized compositional approaches and aesthetics. The book delves into Schoenberg's artistic philosophy, examining his relationships with other composers and his impact on modern music. Additionally, Rosen discusses specific works, providing an analysis that highlights Schoenberg's unique style and his place in the historical narrative of classical music. Through this examination, readers gain insights into Schoenberg's complexities as both a person and an artist, illustrating how his experiences shaped his creative output.Chapter 2 Arnold Schoenberg by Charles Rosen Summary"Arnold Schoenberg" by Charles Rosen is a comprehensive exploration of the life, music, and impact of one of the 20th century's most influential composers. The book highlights Schoenberg's revolutionary contributions to music, particularly his development of the twelve-tone technique, which transformed compositional methods and aesthetics.Rosen delves into Schoenberg's early life in Vienna, where he was exposed to various musical influences, including late Romanticism and early modernism. He discusses Schoenberg's evolution as a composer, his move from traditional tonal music to atonality, and the philosophical underpinnings of his work. The author meticulously analyzes Schoenberg's major compositions, providing insights into their structure, emotional depth, and innovative use of harmony. He also addresses Schoenberg's role as a teacher and mentor, influencing a generation of composers who followed, including Alban Berg and Anton Webern.Rosen does not shy away from the controversies surrounding Schoenberg's music, including its reception by audiences and critics, and the challenges of promoting atonal music in a predominantly tonal landscape. The book presents a nuanced view of Schoenberg as both a radical innovator and a deeply introspective artist, exploring his struggles with identity, faith, and the role of the artist in society.In summary, Charles Rosen's work on Arnold Schoenberg is both a biographical account and a critical analysis, capturing the essence of a composer whose music remains a profound and challenging part of the canon of modern classical music.Chapter 3 Arnold Schoenberg AuthorCharles Rosen was a distinguished American pianist, musicologist, and author, widely recognized for his contributions to the understanding of classical music and its history. He was born on March 5, 1927, and passed away on December 9, 2019. In addition to his extensive performing career, Rosen's writings have had a significant impact on musicology. Book DetailsArnold Schoenberg: Charles Rosen's book on the composer Arnold Schoenberg was published in 1975. This work delves into the life, music, and innovations of Schoenberg, who was a pivotal figure in the evolution of 20th-century music. Other Notable WorksCharles Rosen authored several other important books, including:The Classical Style (1971) This book explores the music and style of major composers such as Haydn, Mozart, and Beethoven.Piano Notes: The Hidden World of the Pianist (2002) A collection of essays reflecting on the experience and art of being a pianist.The Romantic Generation (1995) This examines the music and cultural life of the nineteenth century, focusing on composers like Chopin, Wagner, and Liszt.Freedom and the Arts (2010) A collection of essays on various topics concerning art and culture. Best EditionsThe best edition of his works typically considers both critical reception and availability. The...

The article that I am using as a resouce comes from the appendix of this excellent book  by Harvey and Laure Bluedorn called "Teaching the Trivium: Christian Homeschooling in a Classical Style."

What is the Neo-Classical Style, and where did it come from? Musicologist Michael Lee peruses these very questions.

We're getting deep into the Battle of Hoth today! This is minutes 26-30 of The Empire Strikes Back with composer/orchestrator Dominic Sewell. The quickie topic is a primer on the anatomy and function of a score.  To follow along with the visuals in this episode, I recommend checking out the video version (or just spot checking the areas you want to see): https://youtu.be/oOvHkaciOVk  Timestamps: 00:00 - Hello there! 2:10 - What stands out to you about the Battle of Hoth? 8:26 - Who is the greatest 20th century composer? 10:30 - Quickie topic: Anatomy and function of a score. 16:05 - Start of these minutes. 18:51 - Contrapuntal fudge. 28:18 - Frank Lehman's breakdown of the Battle of Hoth themes from a-z. 32:46 - Cool things about octatonic scales and John Williams's use of them. 45:42 - Military preparation theme (e) 48:00 - "One is okay, two is memorable, three is too much." 54:05 - Optimistic Walton-esque theme (h) 1:01:07 - Increasing rhythm, momentum, texture before big crescendo. 1:03:35 - Start of 3M3 "The Snow Battle" 1:10:30 - Pitch class sets, Forte numbers, using the pitch-class set calculator. 4-19, 6-z19, 5-32, 8-28, etc... 1:26:29 - “Fingers are not to be despised: they are the great inspirers, and, in contact with a musical instrument, often give birth to subconscious ideas which might otherwise never come to life.” -Stravinsky 1:29:10 - Alpha chords. 1:38:47 - What JW wrote about this cue in the liner notes ("bizarre, mechanical, brutal...") 1:49:10 - "The rub" + Why are minor seconds and major sevenths "the same?" 2:00:14 - "Into the Maw" from Solo: A Star Wars Story. 2:06:13 - Cluster splurge. 2:13:33 - Diverging outline. 2:19:01 - Filigree, frills, and trills. 2:23:41 - 6-20 classic hexatonic set. 2:31:40 - Philosophical question: how do you decide the boundaries of the set you're analyzing? 2:36:46 - The Hoth sequence contains nearly all of John Williams's action hallmarks. 2:45:38 - SWMM Questionnaire References: Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/. Analysis Through Composition - Principles of the Classical Style (book by Nicholas Cook) - https://searchworks.stanford.edu/view/3425258 Vaughan Williams: Fantasia on a theme by Thomas Tallis Orb and Sceptre (William Walton) - https://youtu.be/v6qjUdaDE_Q Crown Imperial March (William Walton) - https://youtu.be/1M9xZlA2zn8 Dominic's video intro to pitch class set theory: https://youtu.be/Am2KLFMGuvw Pitch-Class Set Calculator: https://www.mta.ca/pc-set/calculator/pc_calculate.html List of set classes: https://en.wikipedia.org/wiki/List_of_set_classes Petrushka (Stravinsky) - https://youtu.be/jeSC0vtdn3g David Matthews piece: The Golden Kingdom song cycle, "Spell of Creation" movement - https://www.fabermusic.com/shop/the-golden-kingdom-p3081 Mussorgsky: Night on Bald Mountain - https://youtu.be/SLCuL-K39eQ Mickey Mouse (2013) series, music by Christopher Willis - https://www.youtube.com/watch?v=yNdhDq-DF8k&list=PLIUzyJZLGeBM2mB9MaXtfzCxHRZ6s8PIl Mark Richards's film scoring courses: https://filmmusicnotes.com/all-courses/ https://en.wikipedia.org/wiki/Mickey_Mouse_(TV_series) The Music of The Lord of the Rings Films: A Comprehensive Account of Howard Shore's Scores (by Doug Adams) - https://www.goodreads.com/en/book/show/8882617 Check out Dominic Sewell's channel to see more analysis with video walkthroughs of these cues: 3M2 Leia's Instructions (final segment) - https://youtu.be/DThcEWb_CoE 3M3 The Snow Battle - https://youtu.be/fIHn1e521DY 3M4/4M1 Luke's First Crash - https://youtu.be/dfKjTX7gpNs  Cues in these minutes: 3M2 "Leia's Instructions" 3M3 "The Snow Battle" 3M4/4M1 "Luke's First Crash" Musical Themes: 2. Rebel Fanfare 18) Descending Heroic Tetrachords 1a. Main Theme (A Section) 13. Droids Where are we in the soundtrack(s)?: "The Battle Of Hoth (Ion Cannon/Imperial Walkers/Beneath the" --------------- STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? Transporting. Transforming. Transcendental. 2. What's something related to Star Wars music or sound that you want to learn more about? Dom would like to talk to John Williams about what his teachers taught him. 3. What's a score or soundtrack you're fond of besides anything Star Wars? Lord of the Rings - Howard Shore Doctor Who (TV series) - Murray Gold The Orville (TV series) - Bruce Broughton (main theme), Joel McNeely, Andrew Cottee, John Debney, and Kevin Kaska Death of Stalin - Christopher Willis --------------- Guest: Dominic Sewell Website: https://dominicsewell.co.uk YouTube: https://www.youtube.com/c/DominicSewellMusic Twitter: https://twitter.com/dominicsewell Patreon: https://www.patreon.com/DominicSewellMusic ------------------ If you want to support the show and join the Discord server, consider becoming a patron!  https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink Where else to find SWMM: Twitter: https://twitter.com/StarWarsMusMin Spotify: https://smarturl.it/swmm-spotify Apple Podcasts: https://smarturl.it/swmm-apple YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com Buy Me A Coffee: https://buymeacoffee.com/starwarsmusmin

The Film Music of John Williams: Reviving Hollywood's Classical Style A Conversation With EMILIO AUDISSINO Hosted by Maurizio Caschetto and Tim Burden Featuring Special Guest Frank Lehman, music theorist Distinguished author Emilio Audissino talks about his acclaimed book The Film Music of John Williams - Reviving Hollywood's Classical Style, the first and only monograph book in English language dedicated to the music of Maestro John Williams, now updated and revised in a newly published second edition from University of Wisconsin Press. In this conversation, Audissino talks about the process that brought him to write a book on John Williams and the specific angle he chose, focusing on the composer's revival of Hollywood's classical symphonic style through the film scores of such movies as Jaws, Star Wars and Indiana Jones, adding his own thoughts on the burgeoning study work on John Williams' music by academic professors and researchers across the globe that happened in the last few years. Audissino also talks about updating the second edition with a new chapter dedicated to the film/music analysis of Williams' gothic score for John Badham's Dracula (1979). Joining the conversation is music theorist Frank Lehman, another distinguished scholar who devoted a lot of his field work to the music of Maestro Williams. For more information, visit https://thelegacyofjohnwilliams.com/2021/09/24/legacy-conversations-emilio-audissino/(opens in a new tab)

Friday, 17 September 2021, 12 – 1pm What can we learn about a writer from reading their letters? This online roundtable, organised by the Trinity Long Room Hub as part of Culture Night 2021, invites a panel of experts to reflect on the letters of three major writers, American author Shirley Jackson, American poet John Berryman, and Irish novelist John McGahern. The roundtable will feature Bernice Murphy (TCD), Philip Coleman (TCD), and Frank Shovlin (University of Liverpool), and will be chaired by Eve Patten, Director of the Trinity Long Room Hub. About the speakers Philip Coleman is Professor in the School of English, Trinity College Dublin. His is an expert on American poetry and short fiction, and is the author/editor of several books, including John Berryman's Public Vision (2014), David Foster Wallace: Critical Insights (2015), and George Saunders: Critical Essays (2017). His most recent book is the Selected Letters of John Berryman (Harvard University Press, 2020), which he co-edited with Calista McRae (New Jersey Institute of Technology). Bernice M. Murphy is an Associate Professor and Lecturer in Popular Literature in the School of English, Trinity College, Dublin. Her books include the edited collection Shirley Jackson: Essays on the Literary Legacy (2005), The Suburban Gothic in American Popular Culture (2009), The Rural Gothic: Backwoods Horror and Terror in the Wilderness (2013), and The California Gothic in Fiction and Film (forthcoming). Bernice was an expert consultant on The Letters of Shirley Jackson, edited by Laurence Jackson Hyman (Random House, 2021). Frank Shovlin is Professor of Irish Literature in English at the Institute of Irish Studies, University of Liverpool. His several publications include Journey Westward: Joyce, Dubliners and the Literary Revival (2012), and Touchstones: John McGahern's Classical Style (2016). Frank is editor of the newly-published Letters of John McGahern (Faber, 2021).

Following the previous interview with Gundecha Brothers, who dedicated their lives to continuing this style of music, we present the part II of the talk, where among other interesting insights, the main topics covered are:The importance of Sanskrit and the connection between Dhrupad and this language, the three notes used in the Vedic chanting style, and the difference between mantra chanting and mantra singing.Dhrupad claims the distinction of being the oldest form of Indian Classical music heard today, its origin can be traced back to the chanting of Vedic hymns and mantras. The birth of Dhrupad as we know it today coincided with the Bhakti movement and consequently was more devotional in nature. It was rendered in temples facing the the Divinity full of devotion and bhaav, this was the genesis of what became known as Haveli Dhrupad/Sangeet. Dhrupad is a body of spiritual and mystical knowledge to be practiced with devotion (Bhakthi) and dedication (Shraddha). It is primarily an act of submission to one's inner spirit, not a tool for entertainment.The Gundecha Brothers  from Ujjain, India are classical vocalists of the Dhrupad genre of the Dagar Vani (a tradition of classical Dhrupad of 20 generations tracking back to Swami Haridas.) From 1985 to 2019 the duo consisted of brothers Umakant Gundecha and Ramakant Gundecha and were awarded the Padma Sri for art for 2012. Following the death of Ramakant Gundecha in 2019, his son Anant began to perform with Umakant in the Gundecha Bandhu. They also run a Dhrupad institute outside Bhopal, India, where they teach students from all over the world according to the guru–shishya tradition, or parampara ("lineage"), denoting a succession of teachers and disciples."Dhrupad is the search of the ultimate, the search for a true sound, the eternal sound, the sound of the cosmos. Dhrupad is Nada Yoga - the yoga of sound. It is the best way to get yourself into a calm, peaceful state of mind." Umakant Gundecha"In Dhrupad, we sing the notes in their pure form. Both the performers as well as the listeners experience the life energy in these notes. Dhrupad is therefore really about going deep into the essence of everything, including oneself. You can see yourself through Dhrupad." Ramakant Gundecha

An Oscar winner and exhibition of Classical Style.

We're back with some more era-specific tips for listening to classical music, and this time we're talking about Classical (?) style! Despite being a poorly named period in music history, the Classical era boasts some of the greatest composers of all time, including Mozart, Haydn, and the young Beethoven.  Tip 1: Listening for quick character changes (6:07) Tip 2: Listening operatically (11:25) Tip 3: Noticing metric irregularities (21:20) Tip 4: Hearing Sonata form (29:57) Tip 5: Musical jokes! (36:37)  www.attentiontodetailpod.com

Hello, and welcome to the seventh episode of Classical Meets Contemporary! This podcast will act as a fun and inspiring space for fellow music fanatics, such as myself. We will provide helpful resources creativity, which gives us freedom and fulfillment. In today’s show, I talk about a “pop song” genre in the classical music world. And of course, I will arrange classical music into contemporary music.If this piqued your curiosity, then tune in to Episode 7 of Classical Meets Contemporary! In This Episode, You Will Learn:Personal experience of starting to listen to classical music (1:50)What is the difference between classical and popular music? (4:00) What is “pop song” in classical music? (6:15) Music: what if we play classical pop music in contemporary (7:22)Let’s Connect!InstagramWebsite See acast.com/privacy for privacy and opt-out information.

Beginner series on HomeschoolingAn Overview of homeschool models and philosophies-School at Home: formal lessons, structure, and texts that are done at home similar to what is done at traditional school. Common for people to start out with this model then they evolve to find what works best for them.-Unschooling is the other end of the spectrum. Unschooling doesn't mean kids aren't learning, but they aren't using a formal curriculum or structured methods to learn. They often use life lessons to learn and specific interests to guide learning. Unschooling looks different for different people.In between these two ends of the spectrums are lots of other options. The two models that I loosely feel are very popular are the "relaxed" or "eclectic" models.In the middle are a lots of philosophies that people follow to teach their children:Classical Style: based on the trivium and more academic/rigorous. The Well Trained Mind is an excellent resource to check out but don't be intimidated by it. https://amzn.to/2z0ZLQ0Waldorf: focuses on more natural minded learning and developmental stagesCharlotte Mason: child centered, shorter lessons, nature study (sometimes combined with Classical style)Montessori: independent work, can transfer to home environmentProject Based Learning: using a specific theme to learn all subjects. Good for kids who want to dive deep into a topic.You can google any of these philosophies or look for FB groups to learn more about them.**These models give parents a framework to use but NOT required to use any of them! They are just a tool to use. Don't feel forced to "label" yourself anything!SEA Homeschoolers is an excellent and active FB group for secular homeschooling that discusses all these styles and philosophies. I highly recommend this page and participate often. https://www.facebook.com/groups/seahomeschoolers/Thank you for listening!Announcements and resources can be found on the FB page:https://www.facebook.com/learningoutsidethelinespodcast/Or learningoutsidethelines.comPlease send questions, suggestions, and comments:outsidethelinespodcast@gmail.com See acast.com/privacy for privacy and opt-out information.

The String Quartet in B Minor (Op. 33, No. 1) was the first of six quartets composed in 1781 by Franz Josef Haydn and popularly known as the "Russian" quartets. By this point in his career Haydn was a master of his craft, and with that confidence he began to experiment with the sonata form. This quartet is one of two that Haydn set in the key of B minor, a rare key for both Haydn and the string repertoire, and it has an uncharacteristically adventurous, questing quality. It moves from B minor through several keys, restlessly exploring rhythms, melodies, and modulations before "landing" back upon its home key in the breathless, virtuosic final movement. This piece amply demonstrates why Mozart held Haydn in high esteem. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33220]

The String Quartet in B Minor (Op. 33, No. 1) was the first of six quartets composed in 1781 by Franz Josef Haydn and popularly known as the "Russian" quartets. By this point in his career Haydn was a master of his craft, and with that confidence he began to experiment with the sonata form. This quartet is one of two that Haydn set in the key of B minor, a rare key for both Haydn and the string repertoire, and it has an uncharacteristically adventurous, questing quality. It moves from B minor through several keys, restlessly exploring rhythms, melodies, and modulations before "landing" back upon its home key in the breathless, virtuosic final movement. This piece amply demonstrates why Mozart held Haydn in high esteem. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33220]

The String Quartet in B Minor (Op. 33, No. 1) was the first of six quartets composed in 1781 by Franz Josef Haydn and popularly known as the "Russian" quartets. By this point in his career Haydn was a master of his craft, and with that confidence he began to experiment with the sonata form. This quartet is one of two that Haydn set in the key of B minor, a rare key for both Haydn and the string repertoire, and it has an uncharacteristically adventurous, questing quality. It moves from B minor through several keys, restlessly exploring rhythms, melodies, and modulations before "landing" back upon its home key in the breathless, virtuosic final movement. This piece amply demonstrates why Mozart held Haydn in high esteem. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33220]

The String Quartet in B Minor (Op. 33, No. 1) was the first of six quartets composed in 1781 by Franz Josef Haydn and popularly known as the "Russian" quartets. By this point in his career Haydn was a master of his craft, and with that confidence he began to experiment with the sonata form. This quartet is one of two that Haydn set in the key of B minor, a rare key for both Haydn and the string repertoire, and it has an uncharacteristically adventurous, questing quality. It moves from B minor through several keys, restlessly exploring rhythms, melodies, and modulations before "landing" back upon its home key in the breathless, virtuosic final movement. This piece amply demonstrates why Mozart held Haydn in high esteem. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33220]

The Quintet in E-flat Major amply supports the contention that Mozart wrote superbly for wind instruments. Composing for an unusual combination of instruments, Mozart speaks directly to the character of each; the short and often rapid phrases for oboe, clarinet, bassoon, & horn are beautifully supported by the piano's rippling, fluid lines. This piece is not about virtuosity, but about musicians putting themselves at the service of the music. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33154]

The Quintet in E-flat Major amply supports the contention that Mozart wrote superbly for wind instruments. Composing for an unusual combination of instruments, Mozart speaks directly to the character of each; the short and often rapid phrases for oboe, clarinet, bassoon, & horn are beautifully supported by the piano's rippling, fluid lines. This piece is not about virtuosity, but about musicians putting themselves at the service of the music. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33154]

The "Flute Quartet in C Major" is one of two Mozart quartets discovered fairly recently, and whose authorship is uncertain. Certainly the piece has all the hallmarks of Mozart's classical style: smoothly flowing melodic lines, nimble interaction between flute and strings, and a familiar theme-and-variation section. Whatever its provenance, this is graceful, pleasing music. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33153]

The "Flute Quartet in C Major" is one of two Mozart quartets discovered fairly recently, and whose authorship is uncertain. Certainly the piece has all the hallmarks of Mozart's classical style: smoothly flowing melodic lines, nimble interaction between flute and strings, and a familiar theme-and-variation section. Whatever its provenance, this is graceful, pleasing music. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33153]

Jon deMartin is among the leading figurative artists working today and has taught life drawing and painting for more than twenty years at the most prestigious academies and ateliers in the country.  His work has been reproduced in many publications, and he has exhibited at Hirschl & Adler Galleries, the John Pence gallery, and the Beijing World Art museum, just to name a few. In his book Drawing Atelier – The Figure: How to Draw in a Classical Style, Jon does just that by sharing techniques and approaches for drawing the human form. Full shownotes: http://yourcreativepush.com/jondemartin In this episode, Jon discusses: -His artistic history, which included a mixture of graphic design, fine art, and baseball. -How he began to create a path for himself to be a fine artist while he was a graphic artist. -Why fine art was so attractive to him and why he always kept that passion throughout his life. -Some of the initial Resistances that he faced when starting his figurative drawing. -How teaching was the thing that helped him to transition from a graphic artist into a fine artist in terms of making money. -His advice to not have any expectations of the amount of time it will take you to achieve your grand goal, but to be patient and stick with it. -How he balances his time, especially when his own work can’t happen fast enough. -Keeping journals as he creates his work to help him determine what works and what doesn’t work. -The importance of analysis in a creative endeavor. -How he tries to teach his students the importance of conceptualization before the technical aspects of a project. -The idea of becoming closer to the master that you have been striving to become. -The importance of not deleting or erasing your old work, so that you can have something to compare yourself to in the future. -How he started writing his book, Drawing Atelier – The Figure: How to Draw in a Classical Style. Jon's Final Push will inspire you to keep your dream alive, no matter what is going on around you!     Quotes: “At some point the interest of drawing reawakened in me.” “I always had that dream of being a fine artist and I think that’s why I was always doing it on my own.  It’s important to keep that dream alive.” “If you really feel that passionate about something, I think it will happen.  Whether or not it will be a full-time career, who knows?” “Don’t have any expectations of time or deadlines, just keep doing what you like to do and it will happen.” Links mentioned: Drawing Atelier - The Figure: How to Draw in a Classical Style Connect with Jon: Website / Instagram / Book On the next episode: Martin Bruckner : Website / Facebook Are you keeping a creative passion prisoner? Something that gets to be free sometime in the future?  Join that discussion at the Facebook group!