Podcast appearances and mentions of George E Lewis

Eine Spezialdiskothek im Rahmen des SRF-Schwerpunktthemas «KI und wir». Was hat Künstliche Intelligenz in der Musik zu suchen? Viel und Vielfältiges. Das zeigt die Diskothek mit KI-Experte und Musikwissenschaftler Michael Harenberg (Hochschule der Künste Bern) und Tonmeister Andreas Werner. Wir hören in der Sendung Produkten aus einfachen Anwendungen zu, die jeder bei sich auf den Computer laden kann. Musik per Knopfdruck? Nein, so einfach ist es dann doch nicht. In einem zweiten Teil tauchen wir in die erstaunlich lange Geschichte ein von Musik und Automation. Sie geht zurück bis ins Mittelalter. Teil drei nimmt sodann Werke unter die Lupe, die mit KI entstanden sind und wo KI in einen Dialog tritt mit menschlichen Künstler*innen auf oder hinter der Bühne. Musik von Jennifer Walshe, Holly Herndon, George E. Lewis oder Brian Eno. Gespielte Musik: · Tomek Kolczynski: Blue Serenade, 2024. Eigenverlag. · · Lejaren Hiller und Leonard Isaacson: Illiac-Suite, 1957. Quelle: Youtube · · Wolfgang Amadé Mozart: Musikalisches Würfelspiel. Aufnahme von Neville Marriner, Cembalo. Philips, 1991 · · David Cope/Experiments in musical intelligence: Bach-Invention Nr. 1, Chopin-Mazurka. Centaur Records, 1994. · · Holly Herndon: Proto. Album bei 4AD, 2019. · · George E Lewis: The reincarnation of blind Tom. SWR Symphonieorchester, Leitung Susanne Blumenthal. Aufnahme des SWR, 2024. · · Jennifer Walshe: Late Anthology of Early Music. Tetbind Records, 2020. · · Maxime Mantovani: Improvisation 23/03/2022, Forum IRCAM. Quelle: Youtube. · · Brian Eno, Peter Chilvers: Reflection. Apple-Download, 2017.

Mike Stephen learns about the Smartphones On Hold initiative with co-founders Kelly Kribs and Gideon Bob, discusses the latest issues in local journalism with McKinley Park News publisher Justin Kerr, and discovers the Secret History of experimental jazz trombone player George E. Lewis.

An electronic composition created in Pure Data using processes which include elements of indeterminacy and improvisation. More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at Disquiet Junto Project 0651: Why Compute? – Disquiet The cover image for this project uses a photo by Ioan Sameli, thanks to a CC BY-SA 2.0 license; it's been cropped and text has been added to it. https://commons.wikimedia.org/wiki/File:Intel_8742_153056995.jpg https://creativecommons.org/licenses/by-sa/2.0/

It's “Three for Thursday” as Jay brings us three new releases to check out. First up, Jason Isbell released his ninth studio album, “Weathervanes,” this past week. It's a calmer and more intimate sounding record than some of his previous and is getting great reviews from past critics. Next up we have a reordered & amended reissue titled "The Complete Dirty South" by The Drive-By Truckers. Comprised of songs from their 2004 album “The Dirty South,” but in a different track order and with some new songs added. Jay received his special edition vinyl prior to the actually release date, so we're getting some early hot takes. Finally we give Bob Dylan's latest (surprise) album "Shadow Kingdom" a listen. The album features re-recorded versions of past songs and there's a movie too? Apparently there is, and apparently it's awesome.Songs:Jason Isbell & the 400 Unit - "Death Wish"Drive-by Truckers - "TVA"Bob Dylan - "Watching the River Flow"Nick came across a NY Times story about the adoption of A.I. technology within the classical music world. From classical singer Jen Wang's performance Alvin Lucier's “The Duke of York” accompanied by a digital rendition of her voice, to composer Robert Laidlow's “Silicon,” which incorporates various technologies throughout the movements of the piece, to the music designed by George E. Lewis for the last four decades, the article presents a conservative genre exploring controversial aspects of music's relationship to technology. There was plenty to discuss…Song: Huntertones - “Stede”Finally, Greg is excited to announce that because Manchester City completed the treble this past weekend, Liam Gallagher will have to make good on his tweets and reunite with brother Noel for an Oasis reunion. Then the bickering and taunts commenced and now they're at each other's throats again…freakin brothers. Nevertheless, we haven't talked much about the band Oasis and decided now was the time!Songs:Oasis - “Supersonic (Live at Knebworth 1996)”Oasis - “Champagne Supernova (alternate take)”Episode 201 Page

Oh my goodness, we're back for episode 18 of THE SCORE! Can you believe it? We're all grown up and after a month apart, all of three of us are reunited in the Pod Closet and it feels so good. This week, after a quick catch-up (0:00:59), we dive into Professor George E. Lewis' essay "New Music Decolonization in Eight Difficult Steps" (0:17:43). We chat about how some of his ideas could be used to bring a new generation of people into the concert hall and might - just maybe - pull opera and classical music kicking and screaming into the future. Next, we're joined by exquisite human, costume designer and recent McKnight Artist Fellow, Trevor Bowen (0:57:18). He shares his process when designing for opera, gives us his insight into what activism can look like in the costume shop, and gives us a sneak peek at the upcoming projects he's most excited about. And finally, what else? A moment of Pure Black Joy and a warm welcome to the newest member of our team (1:38:14)! Let's do it to it, y'all! Hosts: Lee Bynum, Rocky Jones, Paige Reynolds Guest: Trevor Bowen Producer: Rocky Jones -- Links "New Music Decolonization in Eight Difficult Steps" by George E. Lewis (https://www.van-outernational.com/lewis-en/?fbclid=IwAR3ZpgVk1GjriUGOfZG0SmOAmo09R_mugNSDeI6w1WZcCnJYggxnG0X7aSk (Outer National)) Trevor Bowen Design (https://www.trevorbowendesign.com/about (Website)) -- New episodes of THE SCORE drop every other Monday. If you like what you hear, please support us and SUBSCRIBE to the show on your favorite podcast app and be sure to SHARE our show with your friends. Also, leaving a 5-star REVIEW on Apple Podcasts is a great way to help get the word out. For more info about the exciting EDI work happening at MN Opera, please visit https://mnopera.org/edi/ (mnopera.org/edi). Email your questions or comments to thescore@mnopera.org

Suraj speaks with Amirtha Kidambi about her work as a singer, musician, bandleader, and composer in the creative music/avant-garde scene in NYC. Amirtha talks about how her upbringing as a first-generation Indian-American affects her artistic process, how she (and other musicians) arrived at the term “creative music” to describe the music she sings/plays, and how colonization has had an adverse impact on fully experiencing music. Also, FYI, Amirtha is Suraj’s second cousin! For subscribers on podcast apps, see additional show notes and links on the AIAIF website! Link below.Because this week’s episode is a little more “in the weeds” on topics like modern jazz and experimental film, I’ve made a more extensive list of show notes. Amirtha was talking about so much great artistic material — a lot of artists and works that I didn’t know — and I just HAD to include it all in the episode! Show Notes and Links: Amirtha Kidambi’s website — Lots of great videos and links to her work here, HIGHLY RECOMMENDAmirtha’s albums with her band, Elder Ones — “Holy Science” (2019) and “From Untruth” (2018)Amirtha Kidambi & Lea Bertucci’s “End of Softness” (2020)Mary Halverson’s “Code Girl” (2018) — Amirtha is a member of this band!Understanding the concept of Indian “Raag”NY Times obituary of Kadri Gopalnath, Indian alto-saxophonist — There’s a wonderful video of Mr. Gopalnath’s music that is a great introduction to the music Amirtha discusses in the episodeOrnette Coleman’s “Free Jazz” (1961)John Coltrane’s “Impulse! Records” Discography — Every one of the albums is worth listening to, with “A Love Supreme” (1964) and “Duke Ellington and John Coltrane” (1962) being two great starting points, in my opinion. Pitchfork review of Albert Ayler’s “Spiritual Unity” (1964)Lydia Goehr’s “The Imaginary Museum of Musical Works” (1992)NY Times obituary of Fred Ho, Asian-American composer and musician — Another obit that I think is a good jumping-off point for discovering of Mr. Ho’s music.George E. Lewis's book “The AACM and American Experimental Music” (2008) A NY Times article on the AACM at its 50-year anniversary in 2015A guide to the discography of Anthony Braxton, alto-saxophonist and composerA NY Times article on Vijay Iyer and a link to his NEW album “Uneasy” (2021) — Few jazz musicians today excite me as much as Vijay Iyer. Amirtha and I discuss the paradoxes of the word “accessible” when referring to music in the episode, but if you want to hear Iyer sticking to a more recognizable harmonic palate, check out his album “Accelerando” (2012). He does a version of Michael Jackson’s “Human Nature” that is groovy beyond belief.Alice Coltrane’s recording of the “Sai Bhajan,” “Prema Mudhita” and her albums “A Monastic Trio” (1968) and “Journey in Satchidananda” (1971)Website of Ravi Coltrane, Alice and John’s son, a current jazz saxophonistSuneil Sanzgiri’s website — filmmaker that Amirtha collaborated with on two film scoresIndian film director Satyajit Ray’s “Apu Trilogy” in the Criterion Collection, Roger Ebert’s review of the trilogy, and an interview with RayAn article from Vox on Iranian film director Abbas Kiarostami and a link to “Taste of Cherry” (1997) in the Criterion CollectionAn article on Charlie Chaplin filming “Modern Times” (1936)Robert Bresson’s “Pickpocket” (1959) Get on the email list at artinallitsforms.substack.com

Episode 25- Dana ReasonToday we are joined by Dana Reason. Reason is Assistant Professor of Contemporary Music at Oregon State University, where she serves as Coordinator of Popular Music; Contemporary Music and Ecampus Music. Reason's awards include a Social Sciences and Humanities Research Council Grant from Canada; and was a commissioned artist of the High Desert Museum/Oregon Cultural Grant. Reason studied composition with Alcides Lanza and John Rea at McGill University and with Pauline Oliveros and Alvin Curran at Mills College. She continued her development of improvised music forms with George E. Lewis and Anthony Davis, at the University of California, San Diego. As a performer, composer and improvising artist, she is documented on over 20 recordings. As a performer, she has toured and appeared at Frau Musica Nova, Banff Center for the Arts, The Stone (NYC), Stanford University, IF Festival, Improvisers Summit, High Zero 2020 Festival, Suoni Populo, San Francisco Jazz Festival, Spring Reverb, and Is that Jazz? Festival, ICASP, Guelph Jazz Festival, Western Front (B.C), and Improvisation Summit of Portland, as well as performed in Canada and Europe. Reason came to Oregon State University after being a teaching assistant at the University of California, San Diego and at Mills College, Oakland.You can find Dana on her website Danareason.com.Show Notes:DJ Spooky | WikipediaJerri Bartholomew, Department of Microbiology | Oregon State UniversitySonification Soundbox | Georgia Tech UniversityMUSE: A Musical Data Sonification Toolkit Orality | WikipediaLearning Music: Notation vs. Oral Tradition | MixolydianblogGeorge Lewis | WikipediaScratch (2001 Film) | WikipediaNubya Garcia- The Message Continues | YoutubeWho is Jill Scott | Hidden Beach Recordings Kamasi Washington | WikipediaThe Internet (Band) | Wikipedia

Episode 13 Electronic Jazz, Part 1: Before the Synthesizer Playlist: André Hodeir: “Jazz et Jazz” (1960) Terry Riley and Chet Baker, “Music for The Gift,” part 1 (1963). Walter De Maria, “Cricket Music,” 1964, privately released (excerpt). Bob James, “Untitled Tracks” from Explosions, 1965. Rahsaan Roland Kirk, “Slippery, Hippery, Flippery,” from Rip, Rig, and Panic 1965. Bernard Parmegiani, “JazzEx,” 1966. Roger Kellaway, “Spirit Feel,” from the album Spirit Feel, 1967. Frank Zappa, from the album Lumpy Gravy, about nine minutes into side 1, 1968. Barney Wilen, “Auto Jazz: The Tragic Destiny of Lorenzo Bandini,” part 2, 1968. The Archive Mix includes two additional tracks played at the same time to see what happens. These two additional tracks are additional examples of electronic jazz with tape: Walter De Maria, Ocean Music, privately released, 1968 (excerpt). Barney Wilen, Auto Jazz, part 1, 1968. Read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020). Read this important paper by George Lewis on improvisation and jazz origins: George E. Lewis, “Improvised Music after 1950: Afrological and Eurological Perspectives,” Black Music Research Journal 16, no. 1 (1996): 93.  

What happens when classical music takes seriously the work of Black avant-garde composers? What would a creolized musical world look like? And what is the relationship between scholarship and composing? A conversation with George E. Lewis, Edwin H. Case Professor of American Music at Columbia University.Show notes and more over at soundexpertise.orgQuestions? Thoughts? Share them with Will on Twitter @seatedovation

Kate Molleson hosts an online panel discussion on issues relating to race and equality within the classical music industry with contributions from performers, composers, artistic leaders and programmers. The panel considers past histories and looks to the future through the lenses of education, economics and programming and deliberates on the current impact Covid-19 is having on diversity within the arts. Kate Molleson is joined by Founder, Artistic and Executive Director of the Chineke! Foundation, Chi-chi Nwanoku; experimental vocalist, movement artist and composer, Elaine Mitchener; composer and Professor of American Music at Columbia University, George E. Lewis; Chair of UK Music Diversity Taskforce, Ammo Talwar; and Head of Music at Manchester International Festival, Jane Beese; with contributions from writer, Kadiatu Kanneh-Mason; Founder and Artistic Director of plainsightSOUND, Uchenna Ngwe and composer, Adolphus Hailstork.

Spoon boy: Do not try and bend the spoon. That’s impossible. Instead, only try to realize the truth. Neo: What truth? Spoon boy: There is no spoon. Neo: There is no spoon? Spoon boy: Then you’ll see that it is not the spoon that bends; it is only yourself. – from The Matrix Dr. George E. Lewis is the Neo of the classical music Matrix. He doesn’t have a great deal of use for preconceived notions of genre and form and he doesn’t have a lot of time to worry about definitions. That’s because he’s pretty darn busy making music and art. In addition to chairing the Composition Area at Columbia University, he’s a composer, an electronic performer, an installation artist, a trombone player and a scholar. In this episode of Classical Classroom, Dr. Lewis pauses for a moment to talk about his experimental classical music, and about what he’s been doing at Rice University with the James Turrell Sky Space using the things Houston is best known for: its crazy weather and its diverse people. Music in this episode : “Anthem” performed by Wet Ink Ensemble from Relay, by George Lewis “Give It Up Or Turn It Loose” by James Brown from Sex Machine (live at Bell Auditorium, Augusta, Georgia) Audio production by Todd “Typical Todd” Hulslander with digitization by Dacia Clay and assistance from Mark DiClaudio. By the way, in this episode, Dr. Lewis talks about an art installation that he worked on with artist Carroll Parrott Blue for the Contemporary Arts Museum Houston called Whispering Bayou. Among the many cool things about this piece, in it, Lewis and Blue used recordings of Houstonians representing many of the 145 languages that are spoken in the city. Learn more here in this short video from Houston Public Media’s Arts InSight.

Can you make a libretto out of an academic book? This is the question George E. Lewis asked and answered during his visit to the University of Guelph on March 4th, 2016. Drawing from the audio recordings of early AACM organizational meetings where members discussed their motivations for forming the Association, Lewis responds in the affirmative, transforming a chapter of his 2009 book A Power Stronger than Itself: The AACM and American Experimental Music into the Opera Afterword. Hear Herald Kisiedu in conversation with Lewis on this episode! Originally aired on CFRU 93.3FM on March 15, 2016. Sound It Out airs biweekly on Tuesdays at 5pm on CFRU 93.3FM.

Can you make a libretto out of an academic book? This is the question George E. Lewis asked and answered during his visit to the University of Guelph on March 4th, 2016. Drawing from the audio recordings of early AACM organizational meetings where members discussed their motivations for forming the Association, Lewis responds in the affirmative, transforming a … Continue reading Episode #36: AACM Origins and Apocrypha – George E. Lewis’s Opera ‘Afterword’ →