Podcasts about idagio

Anyone who's had the pleasure of seeing violinist Rachel Barton Pine perform live knows this is a musician who gives every performance her all. What many people will likely not know is how much that mesmerizing stage presence is informed and inspired by her love of heavy metal music. "[In heavy metal], there's this 150% commitment to feeling the music and sharing it with the person farthest away in the venue," Pine shares on the latest episode of the Classical Post podcast. "That's something I try to do whether I'm playing things that are really bombastic or things that are perfectly calm. ... For me, sharing is what it all comes down to — knowing that I've done everything I can to share the most music with the most people." Sharing a lot of music with a lot of people has been a throughline of Pine's career. Besides performing the standards of the violin repertoire, Pine has made it her mission for more than two decades to shine a light on music by underrepresented composers. Last year she released the 25th anniversary edition of her seminal album, Violin Concertos by Black Composers Through the Centuries — a collection of works for violin and orchestra by Florence Price, Joseph Bologne, Samuel Coleridge-Taylor, and José White Lafitte.  The overwhelming response to that album — produced long before classical music's concerted push for more diverse programming — inspired her to launch the Music by Black Composers initiative in 2001, which has not only collected more than 900 works by 450 composers of African descent, but also produced a variety of free educational resources so music lovers of all ages can access this incredible music. In this episode, Pine and I talk more about the album and the impact of historical discrimination on the violin repertoire. Plus, she shares how finding a sense of purpose as a violinist fuels her energy and creativity, that time she heard authentic tango music in Uruguay, and her favorite place in New York City for vegan Italian food. Listen to Violin Concertos by Black Composers Through the Centuries on Spotify, Apple Music, Idagio, or wherever you stream music. — ⁠⁠Classical Post⁠⁠® is a leading podcast based in New York. Our content uncovers the creativity behind exceptional music through dynamic deep-dive interviews with prominent artists in the world today. We are powered by ⁠⁠Gold Sound Media⁠⁠® — a creative studio providing omnichannel marketing and public relations services for the classical music industry.

Composer Steven Mackey has come a long way since his teenage years studying physics at the University of California, Davis, and learning blues-rock riffs on his guitar. Today Mackey stands as a celebrated composer and electric guitarist whose work is regularly performed by orchestras around the world — including the Los Angeles Philharmonic, the National Symphony, and the Boston Symphony. He's taught composition at Princeton University for nearly 40 years and has served as a composer in residence at the Curtis Institute of Music, Tanglewood, and the Aspen Music Festival. On his latest album, Beautiful Passing, Mackey brings together two works inspired by personal experiences that deeply informed his views on memory, life, and death: Mnemosyne's Pool, which Musical America called "the first great American symphony of the 21st century"; and Beautiful Passing, a violin concerto Mackey composed after watching his mother pass away from cancer. Despite the presence of death woven throughout both works, Mackey made sure to find moments for levity and humor in his music. "Part of death is a farewell to this joyous life and the energetic people my parents were," Mackey says on the latest episode of the Classical Post podcast. "There's a depth of emotion that music is really uniquely suited for. Where words are a struggle to come by, music bypasses those language centers and gives you a direct emotional response." In this episode, we talk more about the new album, and Mackey shares the profoundly moving story of his mother's death and how it influenced Beautiful Passing's title. Plus, he discusses the parallels he sees between filmmaking, cooking, and composition, and his go-to spot for Italian food on Manhattan's Upper West Side. Listen to Beautiful Passing on Spotify, Apple Music, Idagio, or wherever you stream and download music. — ⁠Classical Post⁠® is a leading podcast based in New York. Our content uncovers the creativity behind exceptional music through dynamic deep-dive interviews with prominent artists in the world today. We are powered by ⁠Gold Sound Media⁠® — a creative studio providing omnichannel marketing and public relations services for the classical music industry.

After fading from view in the UK after "Strange And Beautiful" (a top 10 hit in 2002), Aqualung was hardly consigned to the legend of the one hit wonder. Instead Matt Hales went to make his name and build his career in the USA - much of it through hard, steady touring - the opposite of his “instant success” in the UK. Aqualung bucked the trend for under-achieving British acts through the naughties, selling several hundred thousand albums and becoming darlings of the cool celebrity crowd, from appearances on Jay Leno's Tonight show to Grammy nominations and cool celebrities attending his shows. Matt Hales became what he calls “inadvertently cool”. How did that happen? By not compromising for one thing. “I tried compromising at one stage, by writing hits and giving the A&R guy what he wanted, but it made me unhappy. So I made the quietest music I could, my Idagio, my quieter version of Pet Sounds. That turned out to be successful anyway!”Hales also established a parallel music career by becoming a successful, sought after writer-producer: collaborating with Lianne La Havas (he produced her superb debut album), Bat for Lashes, Tom Chaplin, Mika, Paloma Faith, Disclosure and many others. This has set Matt free from the curse of every commercial musician out there i.e. not attached to having a hit. Still, despite being a collaborator for hire, Hales has released no less than seven albums as Aqualung. The most recent, Dead Letters, is something truly special. When I heard it I immediately invited Matt on the show to get the inside story on his rather unusual career journey. Hales is often compared with the great & the good, from Radiohead & Coldplay, to Elton John and Talk Talk. It makes sense when you listen to Dead Letters, an album in which he has let all of these influences come to the surface:“This is a record where I am paying homage to the record collection that I was raised on. There is Elton, Stevie Wonder, Bread, Toto - Pet Sounds of course, that's the muesli I was raised on”. And if you thought the key change is dead in pop music, then Matt Hales is out to prove you wrong on Dead Letters. As he mentions in our conversation, he can literally “do anything he wants”.Perhaps that's the very definition of musical longevity.Support the showGet more related content at: https://www.songsommelier.com/

In this bonus episode of The Culture Bar podcast, we are sharing something a little bit different with you; a compilation of responses to a special bonus question we asked some of our guests from previous episodes. We asked this post-interview question: ‘How will technology influence arts and culture?'. These informative, insightful ideas, predictions and thoughts have been edited together so you can hear how music and arts experts think digital and tech will impact the sector, and what this might look like.   You will hear opinions from: Professor Anatol Lieven of Georgetown University in Qatar, from our first episode ‘The Green New Deal and the Arts', thinking about technology in the context of architecture, sustainability and public spaces. Arts development and fundraising experts Diana Williams, Simon Fairclough from CBSO, and Charlotte Appleyard from Royal Academy of Arts appeared in our second episode ‘Sponsorship in a Pandemic', and talked about the need for a blended approach of live and digital. Guests Nadia Race Director of International Engagement at the British Museum, Roy Luxford Planning and Operations Director from Edinburgh International Festival and Rafi Gokay-Wol Director of Touring at HarrisonParrott talked in-depth about technology and culture in episode Number 3 'International Cultural Exchange', and gave us an international perspective on tech and the arts. Our fourth podcast ‘Tech, COVID and the Future' was exactly about this topic and explored in-depth by Till Janczukowicz from Idagio, Ben Hogwood from Naxos, and Silvia Pietrosanti from Pentatone, and provided insights into how tech gives greater access to new audiences and breaks down barriers. Choral experts Paul Evans, Canon of Ely Cathedral, Sofi Jeannin Chief Conductor BBC Singers and Music Director of the Maîtrise de Radio France, and Tido Visser Artistic Director of Netherlands Chamber Choir from episode Number 5 'How can sacred music be relevant in a secular society?' discussed how we need to increasingly think about music as a visual medium.  Finally, in episode Number 10 ‘Oil & Water: Can Art and Digital Mix?' mixed media artist Laura Hendricks and Assistant Art Gallery Curator Wells Fray-Smith from Whitechapel Gallery reflected on how technology can help communicate artworks to audiences.  The Culture Bar is a podcast series created by HarrisonParrott focussing on conversations in culture and the arts. Find us on Spotify, iTunes, Google Podcasts, YouTube, Podbean, Deezer, Stitcher, Pocket Casts and all good podcatcher sites. Use #theculturebar or follow us on Twitter @_TheCultureBar to keep up with our latest releases. A special thank you to Robert Cochrane as the composer of the theme tune music, and Merlyn Thomas our editor.

Claudio Bohórquez es un cellista alemán de enorme prestigio internacional que este miércoles 16 de junio presenta en la plataforma Idagio un nuevo episodio de su serie musical "On the Shoulders of Giants". Por esta razón, hoy nos visita para hablarnos sobre estos conciertos online y sobre su carrera en general. Esto no es ni un episodio completo ni un PauCálogos Musicales, es un oportunidad que se nos ha presentado y que no podíamos rechazar tratándose de alguien como Claudio Bohórquez. Así que ya sabéis, hoy a disfrutar del bueno de Claudio, mañana episodio T2 x 35 y el miércoles 16 todos a Idagio a escuchar lo que este pedazo de músico tiene que ofrecernos.

每日英語跟讀 Ep.K119: In Streaming Age, Classical Music Gets Lost in the Metadata   When Roopa Kalyanaraman Marcello, a classical music aficionado in Brooklyn, asked her Amazon Echo for some music recently, she had a specific request: the third movement of Beethoven's “Emperor” Concerto. 最近，布魯克林區的古典音樂愛好者魯帕．卡利亞拿拉曼．馬切羅要她的亞馬遜智慧音箱Echo播放一些音樂時，她具體地說出要求：貝多芬《皇帝》協奏曲的第三樂章。 “It kind of energizes me, motivates me to get things done,” she said. 她說：「它讓我精力充沛，激勵我把事情做好。」 But the Echo, a voice-activated speaker, could not find what she wanted. First it gave her the concerto's opening movement; then, on another try, came the second movement. But not the third. 但Echo這個聲控喇叭找不到她想要的東西。它先播給她協奏曲的開場樂章， 然後在另一次嘗試中播了第二樂章，但都不是第三樂章。 Exasperated, Kalyanaraman Marcello gave up. 憤怒的卡利亞拿拉曼．馬切羅放棄了。 “Just play something else!” she recalled saying. 「就播點別的吧！」她記得自己這麼說。 Her frustration may be familiar to fans of classical music in the streaming age. The algorithms of Spotify, Apple and Amazon are carefully engineered to steer listeners to pop hits, and Schubert and Puccini can get lost in the metadata. 對串流媒體時代的古典音樂愛好者來說，她的挫折感並不陌生。Spotify，蘋果和亞馬遜的演算法是經過精心設計的，引導聽眾點擊熱門歌曲，而舒伯特與普契尼則會迷失在描述資料中。 Classical music has always been a specialized corner of the music business, with a discerning clientele and few genuine blockbusters. But by some measures the genre has suffered in the shift to streaming. While 2.5% of album sales in the United States are classical music, it accounts for less than 1% of total streams, according to Alpha Data, a tracking service. 古典音樂一直是音樂產業的一個專業領域，有著挑剔的客戶且很少有真正熱賣的唱片，但從某種程度上來說，此一音樂類型在轉向串流市場時受到挫折。根據追蹤服務公司Alpha Data指出，美國唱片銷量雖有2.5％是古典音樂，但它在整體串流市場的占比不到1％。 Two new companies, Idagio and Primephonic, see an opportunity in the disconnect. Both are challenging the big platforms by offering streaming services devoted to classical music, with playlists that push Martha Argerich over Ariana Grande, and databases tailored to the nuances of the genre. 兩家新成立的公司Idagio與Primephonic在這種斷線中看到了商機。兩家都透過專門提供古典音樂串流服務方式來挑戰大型平台，有著將阿格麗希排在亞莉安娜．格蘭德之上的播放列表，以及依據音樂類型細微差別量身訂做的數據庫。 “The mission we are on is to turn the tide for classical music the way Spotify has done for pop,” said Thomas Steffens, the chief executive of Primephonic, which is based in Amsterdam and went online last fall. 總部設於阿姆斯特丹、去年秋天上線的Primephonic執行長托瑪士．史特芬斯說：「我們的使命是以Spotify為流行樂所做的那樣翻轉古典音樂。」 For most of the music on Spotify or Apple Music, a listing of artist, track and album works fine. But critics of the status quo argue that the basic architecture of the classical genre — with nonperforming composers and works made up of multiple movements — is not suited to a system built for pop. 對Spotify或Apple Music上的大部分音樂來說，歌手、曲目與專輯的列表運作得很好，但批評現狀的人認為，古典音樂類別的基本架構並不適合於為流行樂而建的體系。該類別的作曲家並不表演，且作品由多個樂章組成。 Source article: https://udn.com/news/story/6904/4047663     更多Podcast單元: 每日英語跟讀Podcast，就在http://www.15mins.today/daily-shadowing 精選詞彙 VOCAB Podcast，就在https://www.15mins.today/vocab 語音直播 15mins Live Podcast, 就在https://www.15mins.today/15mins-live-podcast 文法練習 In-TENSE Podcast，就在https://www.15mins.today/in-tense 用email訂閱就可以收到通勤學英語節目更新通知。   老師互動信箱: ask15mins@gmail.com 商業合作洽詢: 15minstoday@gmail.com  

Die Themen unser 100. Ausgabe: Cusp Capital - SellerX - Tomorrow - Sento - Limehome - Charly - Simplo - Momo - Idagio - Verbally - Likeminded +++ Ex-TEV-Team startet Cusp Capital #EXKLUSIV +++ L Catterton investiert in SellerX #EXKLUSIV +++ Neobank Tomorrow sucht bis zu 25 Millionen #EXKLUSIV +++ Picus Capital investiert in Sento #EXKLUSIV +++ Ex-Limehome-Mitarbeiter gründen Wettbewerber Charly #EXKLUSIV +++ Simplo gibt auf - Gründer startet Momo #EXKLUSIV +++ Lansdowne Partners (Steven Heinz) übernimmt Idagio #EXKLUSIV +++ Berliner Angel-Mafia investiert in Verbally #EXKLUSIV +++ Likeminded sucht Geld - Heartcore Capital zeigt Interesse #EXKLUSIV Der Sponsor Unser heutiger Sponsor ist CAYA. Die regelmäßigen Hörer erinnern sich sicherlich: Das sind die Kollegen die eure Briefpost digitalisieren. Kurz zusammengefasst: Mit dem digitalen Briefkasten von CAYA könnt ihr eure Post online empfangen. Dafür leitet CAYA eure Post um - bevor diese überhaupt bei euch im Unternehmen eintrifft - und scannt sie tagesaktuell ein. In der CAYA Document Cloud könnt ihr dann alle eure Dokumente online verwalten und bearbeiten. So könnt ihr zum Beispiel eingehende Dokumente ganz einfach im Unternehmen verteilen, Rechnungen bezahlen oder Formulare ausfüllen und unterschreiben. Alles direkt aus der CAYA Plattform heraus. Das funktioniert einfach, verlässlich und ist super effizient. Der Grund, warum ich euch das jetzt erzähle, ist ein erfreulicher: CAYA bietet mit "CAYA für Start-Ups" jetzt ein Programm für Startups an. Als Startup erhaltet ihr so bis zu 50 % Rabatt auf alle Tarife bei CAYA. Damit gibt's jetzt wirklich keine Ausreden mehr, schaut euch das Ganze mal genauer an! Alle Infos findet ihr unter www.getcaya.com/startups. Oder ihr googelt einfach mal nach "CAYA für Start-ups" - C A Y A - für Startups. Vor dem Mikro Alexander Hüsing, deutsche-startups.de - www.linkedin.com/in/alexander-huesing/ & https://twitter.com/azrael74 Sven Schmidt, Maschinensucher - www.linkedin.com/in/sven-schmidt-maschinensucher/ Hintergrund Der deutsche-startups.de-Podcast besteht aus den Formaten #Insider, #News, #StartupRadar und #Interview. Mehr unter: www.deutsche-startups.de/tag/Podcast/ Anregungen bitte an podcast@deutsche-startups.de. Unseren anonymen Briefkasten findet ihr hier: www.deutsche-startups.de/stille-post/

He is director of orchestral studies at the University of Cincinnati College-Conservatory of Music, where he has been for over 20 years. He has guest conducted orchestras and opera companies all over the United States and the world, and has traveled just as far to teach master classes, conducting workshops, and conduct student orchestras. Most recently, he was appointed head of the Conducting Institute at the Miami Music Festival. In 2017, Oxford University Press published his book _The Beat Stops Here_ to critical acclaim, and he is currently working on the 8th edition of _The Modern Conductor_. His premiere recording of the Gregory Spears' opera _Fellow Travelers_, performed with the Cincinnati Opera in 2017, can be found on IDAGIO and Apple Music, and pandemic conditions allowing, he will be on a podium in Cincinnati this season. Maestro Mark Gibson joins me for this episode of the American Muse podcast!Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In podcast episode No.4 of The Culture Bar we are considering the future of music, where it's headed, trends, and of course the impact of COVID19. We are delighted to be joined by Ben Hogwood from Naxos, Silvia Pietrosanti from Pentatone, and Till Janczukowicz from Idagio. This episode is hosted by HarrisonParrott's Lorna Aizlewood and produced by Maja Wolniak. This lively debate talks about how we consume music and where we get our music fixes from, be it live or recorded, and what's happening in that world today. What changes are there, what are the trends, and COVID-19 and how that's changing where we get our music from.   Use #theculturebar or follow us on Twitter @_TheCultureBar to keep up with our latest releases

Also featured: What do Brittni and Brad Pitt have in common?! They're both dating Germans!! In this episode, we discuss how NOT to approach someone on LinkedIn, professionalism, going on vacay during Covid and whether being an early riser is all it cracks up to be. Oh, and it's our 60th ep, so yes, we're a little tipsy ;) Idagio: https://about.idagio.com/ How To Do Nothing: Resisting the Attention Economy https://www.amazon.com/How-Do-Nothing-Resisting-Attention/dp/1612197493 Thanks so much for listening! Join our community on Facebook (https://www.facebook.com/groups/812538469107105/) for more regular tips, chats and fun work-related things! Have a question, suggestion or topic request? We’d love to hear from you. Please email us at happyhourcareertalk@gmail.com Follow us on the socials! Penny’s Instagram - https://www.instagram.com/vanta_blackmore/ Brittni’s Instagram - https://www.instagram.com/brittnibow/?hl=en We’ll see you next week

Der zweite Teil beschäftigt sich mit der Suche von Komponisten, Aufnahmen, Werken etc. Idagio im AppStore: https://apps.apple.com/de/app/idagio-klassische-musik/id1014917700

In der heutigen Folge wird es mal wieder sehr musikalisch. Ich stelle euch die App Idagio vor, mit der man klassische Musik auf höchsten Niveau genießen kann. Was diese App von anderen Streaming Diensten unterscheidet und welche Funktionen sie zusätzlich hat, wirst du ebenfalls hier erfahren. Idagio gibt es im App Store: https://apps.apple.com/de/app/idagio-klassische-musik/id1014917700 viel Vergnügen.

durée : 01:17:01 - Soft Power - par : Frédéric Martel - À l'occasion de la Fête de la musique, Soft Power est dédié au secteur de la musique. Nous nous intéresserons aux acteurs qui la font vivre, dont les plateformes numériques qui ont pris une importance sans précédent dans l'industrie musicale. - réalisation : Peire Legras - invités : Jean-Philippe Thiellay Président du Centre National de la Musique; Till Janczukowicz Fondateur et CEO de la plateforme de musique classique Idagio; David Lavaud Enseignant à l'université Paris Nanterre

Im globalen Konzertsaal von Idagio spielte das Ensemble von Spectrum Concerts Berlin am Sonntag zwei Streichsextette von Johannes Brahms. Hans Ackermann hat sich das Konzert angesehen.

In this episode, we'll be "zooming in" with Thomas Hampson, one of the finest baritones of our time. We talked about a variety of topics including the impact of Zoom and other digital platforms on the classical music industry in these current times. Thomas is a real advocate of digital technology within his many varied projects from live-streaming masterclasses around the world to the Hampsong Foundation, an online treasure trove focused on the art of song. With his wealth of knowledge and experience on song, Thomas is currently presenting a series with a unique classical music streaming platform IDAGIO. We briefly discussed some of the topics he'll be exploring in this series over the next few weeks such as comparing classical song to pop songs, the relationship between music and poetry, and performance practice. Thomas also sheds new light on the construct of memorising songs in recital, that this shouldn't be necessary in order to stay true to the composer and keep searching new ideas for the work. Additionally, we discussed issues of and performers' reception to music criticism. Thomas also shared some wonderful insights into his long and illustrious career, working with some of the greatest musicians of our time, from Nikolaus Harnoncourt to Daniel Barenboim to Leonard Bernstein. Many thanks to Jenna at Lenny's Studio for helping to organise this interview over the last few months, and Thomas for taking the time out of his very busy schedule to talk to me! Interview recorded 14th April 2020; published 19th April 2020. Thomas Hampson, America's foremost baritone, has received international honors and awards for his captivating artistry and cultural leadership. Lauded as a Metropolitan Opera Guild "Met Mastersinger" and inducted into both the American Academy of Arts and Sciences and Gramophone's "Hall of Fame," Hampson is one of the most respected and innovative musicians of our time. With an operatic repertoire of over 80 roles sung in all the major theaters of the world, his discography comprises more than 170 albums, which include multiple nominations and winners of the Grammy Award, Edison Award, and the Grand Prix du Disque. He was appointed the New York Philharmonic’s first-ever Artist-in-Residence, and was honored with a Living Legend Award by the Library of Congress, where he has served as Special Advisor to the Study and Performance of Music in America.

In der heutigen 15. Folge des Podcasts befassen wir uns mit der Situation für Orchester. Beat Fehlmann, Intendant der Staatsphilharmonie Rheinland-Pfalz berichtet, was ein Orchester im Home Office so macht, wo für klassische Musik neben Spotify, Idagio und der Digital Concert Hall der Berliner Philharmoniker im Digitalen noch Platz ist und was die Rolle von klassischer Musik und Orchestern in und nach der Krise sein kann.

Bas Grasmayer is a digital strategist who has held various roles in music & tech over the last decade, most recently as Product Director at IDAGIO, a music streaming service dedicated to classical music. He’s the founder of the MUSIC x TECH x FUTURE newsletter and the Music Tech Network community. On this Music Growth Talks episode, Bas talked about one of his latest ventures, MUSIC x GREEN. Designed to “create more visibility for organisations and initiatives that make the music industry less impactful on the climate and ecology”, MUSIC x GREEN makes it easy to browse through various projects which can make music greener, without “greenwashing.” Listen to the episode in full for the examples of how others make performing greener, and to see if moving from CDs to streaming has actually reduced music’s carbon footprint (it may not be what you expect). We also encourage you to subscribe to Bas’ most recent MUSIC x CORONA newsletter, for daily updates “for the music business on the coronavirus,” at musicxcorona.com. ⏯ Go to http://dottedmusic.com/2020/podcast/mgt151-bas-grasmayer for the show notes and http://musicgrowthtalks.com to subscribe to the podcast. Become a patron to access a secret podcast feed with patron-only episodes at https://www.patreon.com/andrewapanov

A few minutes in the beginning Rob shares how this pandemic is taking a toll on him, but this doesn’t need to be a downer episode! Alex and Rob talk about remote work, the pros and cons of it, and how he is adapting to teaching music online and being creative with a virtual group of people. Rob talks about his affinity for all kinds of technology that creates a sense of shared space, like Zoom, Echo Show with a faraway friend, and other tools. We ponder about how else these drastic times might create a positive culture shift. Links to specific apps and sites mentioned: Zoom Houseparty Berlin Philharmonic – Digital Concert Hall (giving free membership if signing up before March 31) IDAGIO (has free plan) *Note if you are using Spotify, they don’t support links. Either try a “real” podcast app, or visit our site: https://joshandrob.comAlso feel free to say hello to @sorrytopic on Twitter, or maybe we can all Zoom together!

Andrew Hitz (former tuba player for Boston Brass, professor at Shenandoah University, speaker, creator, and podcaster) joins the show to talk about portfolio careers, being an entrepreneurial musician, confident self-promotion, apps we’re using, classical music subscription services, and taking Sam Pilafian to his first Phish show. And as usual, way more... Show Notes: Baltimore Brass - Amazing Instrument and Repair Shop in Baltimore, Maryland AndrewHitz.com Boston Brass The Brass Junkies TEM.fm Me Asking Andrew A Question TEM Episode 206 with Amanda Gookin Andrew Hitz Twitter Band Directors Guidebook Crush it - Gary Vaynerchuk My book: Digital Organization Tips for Music Teachers | Oxford University Press GroupMe Ship It - Seth Godin Joe Alessi  Presidio Brass Parker Mouthpieces Brass Chats Audible  This is Marketing on Audible Slack Tonal Energy Tuner TEM Episode 174: Sam Pilafian on Producing Rick Beato: Perfect Pitch: The World’s Greatest Ear | Music Notation! My StaffPad Review  Leo Laporte  IDAGIO  Clairières: Songs by Lili & Nadia Boulanger Digital Concert Hall - Currently free for the month!  Phish Concert 12/31/93 - Harry Hood (Hitz’s first Phish show) The Most Validating Day of My Life —Andrewhitz.com  (Hitz takes Sam Pilafian to his first Phish show) Punch Brothers   App of the Week:  Robby - StaffPad for iPadOS Andrew Hitz - Better Ears - Eartrainer   Album of the Week: Robby - Brilliant Corners | Thelonious Monk (Not mentioned on air)  Andrew Hitz - Andris Nelsons | Boston Symphony Orchestra | Shostakovich Symphonies No's. 6 & 7    Where to Find Us: Andrew Hitz: Twitter | Website  Robby Burns: Twitter | Blog   Subscribe to Music Ed Tech Talk: Apple Podcasts | Overcast | Castro | Spotify | RSS

Kate Molleson heads down to Covent Garden where rehearsals are under way for a new production of Beethoven's Fidelio at the Royal Opera House. She speaks to conductor Sir Antonio Pappano, director Tobias Kratzer and soprano Amanda Forsythe, who sings Marzelline. Fidelio is sometimes considered a problem opera, with its mix of comic and serious, but Kratzer emphasises the deep themes of political revolution and unjust imprisonment, while for Pappano, Beethoven's score opened a new world for German opera, not least for Wagner. Kate also talks to Marta Gardolinska, Young Conductor in Association at the Bournemouth Symphony Orchestra, about the challenges of forging a career as a conductor, and about her love of Polish music. And Music Matters joins the composer Valgeir Sigurdsson and director Stewart Laing as they discuss We Are In Time, a new music-theatre piece for the Scottish Ensemble about a heart transplant. It's a profound exploration of the emotional and scientific aspects of this most risky operation, with the ensemble's string players also taking on dramatic roles and singing. Kate also investigates the effectiveness of mood-based music playlists, with James Foley from Spotify and Hugo Shirley from classical streaming site Idagio - and gets a concert programmer's point of view from Helen Wallace, programme director of King's Place in London. Are mood lists a gateway to the treasures of classical music, or just dumbing down the art form?

durée : 00:01:47 - Streaming : Idagio se lance dans le gratuit - par : Suzanne Gervais - Ce matin, nous prenons des nouvelles du petit monde du streaming musical.

durée : 00:05:53 - L'Orchestre philharmonique de Vienne mise sur Idagio - par : Suzanne Gervais - L’Orchestre philharmonique de Vienne s'associe à la plateforme de streaming Idagio.

My guest today is Thomas Dose. Thomas is the head of Music Services at DR, the Danish Broadcasting Corporation. In this role, he works with a massive archive of physical and digital music files. In this episode, we talk about how DR organizes it all and what we can learn to help us manage our own music collections better. Listen to the full conversation https://theinformeddotlife.files.wordpress.com/2019/09/the-informed-life-episode-18-thomas-dose.mp3   Show notes Thomas Dose on Twitter DR Spotify IDAGIO Jorge's blog post about Idagio Apple Music Tidal Qobuz MusicBrainz.org RuneAudio The Dark Side of the Moon by Pink Floyd Acousting fingerprint Shazam AcoustID Read the full transcript Jorge: Thomas, welcome to the show. Thomas: Thank you Jorge. Jorge: It's great having you here. For folks who are tuning in and who don't know about you, how do you describe what you do? Thomas: Yeah, well, I'm Head of Music Services in DR. That is the national radio and TV Broadcasting Corporation. The short story of DR is that it is the equivalent of the BBC in UK. So we are a public service organization founded in 1925 and we basically provide news and culture, music, entertainment and such through TV and radio and online services and as well as having seven orchestras and a concert house. So I work within this facility in what used to be the physical music archive and is now basically… We're still managing the physical archive, but we're also obviously we're more data-driven now. So we are developing and operating a number of internal digital services and I work mostly as a product owner for these services and I spend basically all my time thinking about how to organize music and how to facilitate the music production of DR. Jorge: That's fantastic. I'm curious about your background in order to do that. Do you have training in music or… Thomas: No. Actually and I don't have an academic background. I was through the 90s and for as long as I can remember in the early part of my life, I wanted to be a musician or rather a producer. I grew up with open music genres, hip-hop and soul and R&B and a number of electronic music genres. And that was basically where my heart and head was for the first 25 years of my life. But eventually, it became clear that I was more focused on how music worked, I mean technically, than actually… And my talent didn't really reach for a career in the arts. So during the 90s I transitioned into being a sound technician, at first as a trainee on Film School in Copenhagen and then working as a sound technician on a production company. And then parallel with that, I was working in an independent record shop and then from the mid-90s I was exposed to the web and became obsessed with all disciplines of that, including programming and the design. I was part of a quite lively design community in the late 90s in Copenhagen around music. We did a lot of interesting projects with driven radio stations and playlist services and so on and that basically led to the job. I'm holding now In the in the DR. Jorge: You mentioned something that I took note of and I'm intrigued by, which is that you have digital archives and you also have physical archives. Thomas: Yes. Jorge: What kind of things do you store in the physical archives? Thomas: Yeah, we don't store as much anymore though. The department I'm working in has been systematically collecting music since 1949, and the physical archives that they consist of roughly about 900,000 physical units, that is records, which are shellacs, vinyl, CDs, and so on. But obviously for the last decade or so, we haven't really added much to the physical archive. Only on those instances where a release is purely on physical, we will acquire that such. What else it's all digital now. But we're still very happy with the physical archive. It's not collecting dust because the editorial units in DR are basically ordering digitization of older materials every day, and we handle those. And we digitize those from from vinyl and from shellac. And you would be surprised of the volume of music that is still not available on the mainstream streaming services. You think that it's interesting that every piece of music recorded ever is on Spotify. It's not nearly the case. So we're still recording from from our physical archives. Jorge: One of the differences between a physical archive on a digital archive is that by the very nature of the thing you're storing, the physical disks or objects or whatever it is can only be on one shelf in one order at any given time. I'm curious, 900,000 sounds like a lot. Do you have a particular organization scheme for those? Thomas: The only sensible way to organize collecting like that is to basically have it placed in the order they were acquired, and then have an identification to, and then catalog the all the items in order to find them. We do organize them by format. So we have twelve-inch vinyls on one part and then we have seven-inch vinyls and so on. But that is that's the way. So basically when you go through the physical archive, it's sorted in the order they came in which also makes it interesting because you can dive into periods of music that way. 70s, 60s… But that that's how it was done. We acquired or developed our first electronic system in 1978. And from there on it's mostly a true digital system we've been finding and organizing our music. Jorge: That makes sense. And that actually is the primary reason that you and I are talking. I came across this company a few… I guess a couple of months ago, called IDAGIO. And I wrote a little blog post about it because it it intrigued me that it's a service that is using the organization of information — a very particular type of information in this case, classical music — as a competitive differentiator against competitors such as Spotify or Apple Music. And I was very intrigued by this and a common friend of ours suggested that we talked about it. So I'm guessing that you have thoughts on the organization of digital music and in particular this challenge that companies like IDAGIO are looking to solve.  Thomas: Absolutely. Well, no doubt. And it's long overdue. And I'd say that there are streaming reading alternatives to Spotify doing it the right way in terms of describing music not only as a track or a recording, but also the relationship between a recording and the original composition or work and which is basically the crucial component to IDAGIO's business model. We've been doing that as well and DR for a few decades. We were somehow through coincidence lucky enough to not be organized within the program archives in DR and that is quite atypical in all other public broadcasting organizations I know of. In DR, the music archive is a department of the programming archives and the programming archives traditionally lean towards structuring their items the same way as the libraries would do. And through not having been in the program archives, organizations with basically been developing music data models from the 90s that supported this structure of having the composition and the recording separated, which is yeah, the main point is either of IDAGIO. You see a number of other streaming services going the same route as well. But Spotify, the large mainstream streams are still lacking in that department. Jorge: What I'm hearing you say is that in classical music, perhaps more so than in other types of music, the distinction between the artist who composed the piece that you're interested in, can be as or not more important than the artist who performed the piece. Thomas: Yeah. Jorge: And in things like pop music, usually those two things are merged somehow. And if you're thinking of listening to a song by someone like Taylor Swift, you just search for Taylor Swift. Whereas if you're wanting to listen to music by Gustav Holst, there might be many many recordings by different orchestras and different conductors. And how does one deal with that distinction? Thomas: Well in our case, our data model basically supports two types of composition. And one is, you could say, the normal type of composition where you have a title for the composition and then you would have composers and lyricists related to that. And the other type of composition would support sub-compositions, which is basically in one of the obvious example is you have a symphony which would have four movements and then and so those are the sub-compositions. And we are then able to relate each of these sub-compositions or movements to all the different recordings of this movement and this work. So you would have obviously the the classical editorial units in DR would need to search for the composer and then from there on see what recordings there were of this composition, including the orchestras, the conductors, choirs or soloists' performance. And all this is not that different to the structure of of a composition but it's just a crucial step to having these two entities that composition and recording available to you. And also IDAGIO is basically exploring this model but really a lot of other genres could do. Well, it's I mean, especially yes, you would want to explore jazz standards through the different performance recording one composition and also in pop music you would have remixes, you have live versions of the same composition. So really it benefits all genres of music but classical it's just the obvious end to start having these solutions. Jorge: Yeah, what I'm hearing you describe there is that it's desirable to have some way of connecting a piece of music with perhaps variations on that piece or alternate takes or something like that. Thomas: Yeah, that's it. See I think you're gonna… I think Spotify, as we agree on, is lacking, but now you actually can view the credits or at least the composers and the producers of most of the tracks at Spotify. They've just not made them searchable or they haven't implemented this information in a very convenient way yet. So I think you're going to see some of those developments in some of the mainstream services as well. Jorge: I have a lot of thoughts hearing you describe this. I'll just pick one because there's so many avenues we could go down here. One is that there is certainly a distinction between someone who does this, someone like yourself who does this for a large centralized music archive, such as DRs, right? Like there's this… That would strike me as a kind of one-off instance of a music catalog where you're maintaining this catalog and you have to provide it with all these connections and all these organizations schemas so that the people who need the music can easily find it. And the other is what you're describing with regards to services like Spotify, which is we as consumers of music or listeners of music who just want to listen to something. Thomas: Yeah. Jorge: And we we don't have necessarily very good ways of doing this. So I just wanted to draw that distinction between you know, the work that you're doing as a kind of one-off for this very large… Thomas: Yeah. I think the use cases are connected. It's just that these types of solutions that were talking about has been basically only for professional use and we're starting to see with examples like IDAGIO the solutions being fully being put into mainstream solutions as well. I mean we used to have when music was distributed physically, you would have credits obviously on cover sleeves and for a lot of people those were crucial information. And so I think the case of not having those information available as search parameters in streaming services, it's probably just a case of a decade or two transitioning in from physical to streaming. And I think we're going to see a lot of… I think I'm really excited about the next few years because we are seeing the signs now that both from the major label end of the business but also in the open source community, you see solutions providing a much more detailed mixed tastes on music, and I think IDAGIO is only the beginning. You have in streaming services now, obviously Spotify is still is the biggest one, surpassing 200 million users, but it's not… You're starting to see what you could call boutique solutions popping up catering for special needs. Most of this development, I think, has been driven by basically, the audio quality, the technical quality of the streaming. You've seen streaming services like Tidal and Qobuz basically carving out niches within the Hi-Fi communities and their price model is very much based on the technical quality of the streaming of the audio. But you're starting to see that these same services are also competing on the quality of search and metadata basically, which is one thing. The other thing is having these metadata available at first. And this is obviously been the biggest obstacle towards delivering these services. You had a music industry that has been for almost always not really been that tech savvy to to drive those kind of solutions. So it's no coincidence that it's tech companies coming in and and disrupting this this business. You also had a case where the music industry didn't really care because they were making enough money, basically through selling the music. And what I've seen in the last 10 years or so with the crisis in and the devaluation, commercial devaluation anyway, of music, is that even the major labels are now starting to push for better metadata because that is one of the sources of revenue now for them. It's metadata basically that provides them with the royalties from video or any other public use. So you're starting to see the development from both the major industry and as well as the open source communities. Jorge: When you say open source, are you referring to a piece of software that you install on your computer? Thomas: No, I'm more thinking about some of the larger open source music databases. One important one is the musicbrainz.org Initiative, which is basically a catalog of music. And one is special with I think with the MusicBrainz is that data model is very sound and it's quite advanced and it supports both the solutions we've been discussing as well as a lot of others. And MusicBrainz is is driving a lot of development in some of these areas mostly through products ingesting these data and then providing music streaming services on top. I was discussing the Hi-Fi communities one, very important product in that end is Rune which is basically a home streaming solution that supports both your local collection, sound files collection, and as well as your subscription to Tidal or streaming services like Qobuz. So you could basically combine your private collection with these streaming services and Rune lets them provide say a quite convenient interface based on basically MusicBrainz music metadata. So you would have all these search facilities that you're like you're talking about IDAGIO has as well. Jorge: It sounds like it's a service that solves a problem that I face . I'm old enough where I went through the transition from having music in physical media to having a digital collection and that meant digitizing a bunch of CDs, for the most part for me. Thomas: Sure. Jorge: And one of the challenges that I faced there is that… You were touching on this earlier with the notion of the sub compositions. So I have a lot of like electronic music and rock and stuff like that, more kind of pop music. And those are fairly straightforward because those are musical works that were produced for the most part during the era of recorded music, right? So for the most part of the composition fits into an album, this concept of an album. And I'm thinking of something likePink Floyd's Dark Side of the Moon which I think for a long time was the biggest selling album and that's a composition that is as long as an album because of the media that it was recorded for, right? Thomas: Yes. Jorge: And it made the transition to CDs because CDs were designed to accommodate most of these things. And when digitizing that, all that software kind of accommodated that very nicely. Thomas: Sure. Jorge: But then I also have a bunch of classical music CDs, and those include musical forms that are not easily fit into an album length thing, right? You have things like like piano sonatas which are much shorter than what fits into a disk. And therefore you have multiple of those in one plastic plastic disc. And the challenge for me when digitizing all the stuff was, do I like… Let's say that I'm digitizing a disk that has a bunch of Beethoven piano sonatas. Do I save each sonata as its own work or do I save them as a set? Because I acquired it as a set, right? It's been well over a decade since I did this, and I still haven't resolved this. How does one solve this? Thomas: I think what the problem is with these cases. There are no one perfect solution because each release will have its own way of organizing. You see so many variations of releases of the same work, and you have to support those. So I would for I think as a private music user I would definitely look into some of these solutions like Rune or others that have made the attempt to solve this for you. Because it's always going to be a compromise with these types of metadata. I mean, that's even with some of these factual information that everyone should be agreeing off. But but you see so many instances In classical releases that you would have several movements on the same track on the CD, you would have… So if you're organizing based on your media, your CDs, you're going to be in pain for a lot of time. I think the best way to go about it is basically to decide on one of the sensible solutions out there and then live with some of the problems. I personally, with my own with my own consumption I gave up on organizing my own music collection a few years ago once I saw that there were actually some very sensible solutions beginning to emerge. So I would I would I would pass that on to you as a key advice. Jorge: Yeah, thank you for that. I actually did the same I so my trajectory went like this. I digitized my music then I signed up for this –I think it was called Apple music match — service, which basically gave me cloud based versions of the things that I already had. Thomas: Yeah. Jorge: And one of the things that happened when I made that transition is that. For some reason Apple restructured some of the things that I had already digitized, especially around things like classical music that have these challenges we were talking about. And it it basically broke a lot of my careful organization. And I got so frustrated that I said, you know, I'm not going to bother with this. Thomas: Yeah, because I remember that. I didn't I was lucky enough to avoid that myself. But I remember that being the source of quite some scandal that a lot of music lovers basically ruined their collection and all their work of organizing the music for years through that solution. What I didn't mention was one of the key benefits of using some of the Contemporary Solutions is that you basically only provide your sound files and through audio fingerprinting these services will then recognize and identify all your music and will envision your music files with all the correct metadata as well as album covers and cover sleeves if they're available and so on. So it's really that easy now to combine your carefully collected sound files through the years and then your student preferences. So I think it's looking up. Jorge: We're nearing the end of our time together, but I can't pass up the opportunity to ask you about audio fingerprinting. I mean, you said that and it just intrigues me. What is audio fingerprinting? Thomas: Audio fingerprinting is the most popular popular technical way to identify an audio file. It's been popularized by Shazam. I don't know if you ever use that service, but Shazam is a mobile app and it's very popular, especially with younger demographic. It basically makes it possible if you have the app installed to open your microphone and then listen to a piece of music in a room or a restaurant or a club and then Shazam will recognize the music and tell you what it is. The problem with Shazam is you're only receiving the information about the artist and the title. But other services, like the MusicBrainz initiative I was just talking about, on top of MusicBrainz there is an audio fingerprinting service called AcoustID, which is the solution that most of these new products are using, including Rune. So basically Rune through AcoustID will scan all your audio files analyze them and then match them in their database and then through that have access to the complete music database of MusicBrainz. So it does and it does not it's not like all your fingerprinting is affecting the sound files itself. We've been doing audio fingerprinting ourselves in DR and it's basically been a huge game changer in the way we're administering our music because it's… Yeah, basically before we needed to have a very complex flow of metadata to complete production in order Jorge: That's fascinating and I'm sure that we could keep talking about this or so many things to to discuss in this field, but that feels to me like a good place to wrap up our conversation for today. Thank you for that. Just one final thing, if folks want to follow up with you, see what you're up to, what is the best way for them to do that? Thomas: Actually, I'm not that active on social media. I kind of was disillusioned by social media a couple of years ago. Mostly for the same reasons that I mean, the rest of the world was in terms of privacy and so on, so I'm not… I'm kind of hiding myself in this 900,000 large record collection for a few years. But sometimes I am on Twitter. So you're certainly welcome to follow me there. My handle is @thdose. Jorge: Fantastic. Well, I'll link that in the show notes. Thomas. It's been a real pleasure talking with you. Thank you so much. Thomas: Thank you Jorge.

Music to me is, and has always been existential. From when I was a little boy growing up with a concertmaster – in many of the world's most famous orchestras – as my dad, in Vienna, and constantly visiting his workplace, the famous Musikverein, to today where I am a music aficionado, an avid vinyl record collector as well as a (fairly amateur) music producer. Music is a passion, or 'addiction' as my wife would say, and a great source of joy for me.Having Till Janczukowicz on this show was a big personal pleasure. His classical music streaming app, IDAGIO, is constantly running a fine line between catering to the young and the old, the classical novice versus the expert, and it is a fascinating branding game.Till discusses how classical music, as a brand, was intimidating, and how he and his team are breaking that wall down, out their offices in Berlin, Germany. And how classical music's role and perception in society has changed over the years, and what role technology played in it.We discuss how to showcase music visually, with all of its nuances, is an extremely difficult task, one that IDAGIO mastered from day one.So many fascinating takeaways in this conversation, one that struck with me, and that should give you an idea on how deep we are diving into not only the brand discussion, but also the entrepreneurial journey as a whole: "The bigger you grow as a corporation, the more you have to bring things that are on a subconscious level to a conscious level."A delightful conversation that truly inspired me, and I believe it will do the same for you.To support this show, please head to Patreon.____Full Transcript:F Geyrhalter: Welcome to HITTING THE MARK.Today we welcome a guest who I have been looking forward to for a while now. The subject hits home in many ways. Not only is this founder based in Berlin, Germany, hence you will get a double-German accent episode today, but his is the world of classical music, which is the same world in which I grew up in, back in Vienna.Till Janczukowicz is the founder of IDAGIO, which is often described as being the Spotify for classical music.Till has more than 20 years of experience as an artist manager, producer, and concert promoter. In 2000, he established the European office for Columbia Artists Management, heading it up as managing partner for 11 years. He was responsible for organizing several of the Metropolitan Opera’s European tours, and his personal clients included conductors Christian Thielemann, Seiji Ozawa, André Previn, and Jukka-Pekka Saraste, as well as pianists Ivo Pogorelich and Arcadi Volodos. In 2008, he founded the Abu Dhabi Classics, a performing arts series merging culture, education and tourism for the government of the United Arab Emirates. That is where he arranged debuts for the New York, Berlin and Vienna Philharmonics; the Bayreuth Festival; and Daniel Barenboim, Simon Rattle, Zubin Mehta, Yo-Yo Ma, Ben Kingsley, Jeremy Irons, and countless other musical and artistic luminaries.I am thrilled to welcome you to the show, Till!T Janczukowicz: Great, pleasure to meet you and to be here.F Geyrhalter: Absolutely. So as I mentioned in my intro, this is truly a pleasure for me since my father was an amazing violinist who spent most of his life as a concert master and some of Vienna's best orchestras from the Vienna State Opera Orchestra, the Vienna Tonkünstler Orchestra, the Kammer Orchestra, all the way to the Vienna Philharmonics, and appeared on over 50 records and radio productions. So he was also a sound purist who loved his audio gadgets the same way that I do now. He would've cherished to hear this conversation today.So listeners who are not classical music fans may wonder why. Why was there a need for classical music in an app form when you can find plenty of classical options on Spotify, Apple music and Tidal? Let me quote an article from Vogue that explained it perfectly well, "It all comes down to Metadata." While Metadata for most popular music is quite simple, there's the artist, the song, or track, the album it's from. Classical Metadata might encompass everything from the composer, the orchestra, the conductor, the choir, which may have its own director, various soloists, the title of the piece, along with perhaps some sort of number or nomenclature to indicate it's placed within the larger symphony of work.Then artists opus number, or in the case of composers like Mozart Bach whose works are ordered by their own system, their Kochel or BWV number. So it's not simple. Yes, there is a big need for it.Till, your biography talks a lot about the amazing journey you have taken prior to starting IDAGIO in 2015, but tell us a bit about the founding story behind IDAGIO. How did it all start? Give us the romance, the hardship of your startup's early days.T Janczukowicz: So where to start? Let's start with the Romance, maybe-F Geyrhalter: That's a good place. Let's start positive.T Janczukowicz: The very early Romance, but what I would say is that I was lucky and only looking back, I understood that I was lucky. I was offered to piano when I was six years old and that captured me immediately. So once I started to play the piano for the first time without knowing anything, I knew and felt, "Well, that's my life. I'm going to spend my life with this music that fascinated me.I could even say, probably I've never worked. I never felt I was working in my life. At the very end, it comes down to a variety of attempts to promote what fascinated me, in a very, I wouldn't say egoistic way, but it was a very obvious thing for me. Classical music captured me. It opened stories for me. It created images and so on.So I started to be a pianist at the beginning. Thanks god I became friends with a real pianist, Krystian Zimerman, when I was 18 years old, who by the way... You are from Vienna, it's probably you were even still in Vienna these days. He recorded the Beethoven Piano Concerto with the Vienna Philharmonics Leonard Bernstein in the 80s. So Christian became a good friend. I saw what he did, I saw what I did and said, "Okay, he's a pianist." So next step for me was then he wanted to push me into management. It helped me a lot.But first of all, I started to be a teacher during my studies, made some money. But I'm coming from a family of teachers and so, "Okay, my dad was a teacher, my mom was a teacher, my grandfather was a teacher. So do you really want to sign a contract at your end of your 20s and that's going to determine what you're going to do until the end of your life?" The answer was no. So I didn't want to become a teacher. I wrote a little bit, but also as a writer I saw, well, you can speak about it in part, but you can't really change things.So then I went into management and now I'm coming to your question to the necessity of IDAGIO. As a manager, my perspective was always a B2B perspective. If you manage a great conductor, or a great soloist, your touring orchestra, it's about, first of all, building brands. Any young artists you see or any unknown ensemble or new music you see, as a manager, you have some possibility to make these people famous, to assist them to find out how they work and how you can help them.What I saw then having spent my life in management, putting on concerts in all parts of the world and we can cover that a little later because there were many fascinating learnings. But the main thing for me was that, if the future of music listening is streaming and the all-genre streaming services aren't designed for classic music because as you said, they are around pop music and they're pop driven where you only have three criteria: The song, the artist, and the album, my clients are going to be invisible in the digital ecosystem.So the moment there is no digital structure that could trick down a recording where you have a conductor, you have an orchestra, you have singers, you have a soloist, you have the composition, and so on. The moment that doesn't exist, I saw that as a luxury problem from the user's perspective because you can still curate and so on. Maybe yes, it's a problem for aficionados, but at the very end, I want to push a button, and I want music to play without a huge cognitive investment that I like, fine, but even there is a huge group of aficionados worldwide that suffering from bad metadata, and bad usability of classic music streaming platforms.But if you look at it from an artist perspective, this is a real threat because if you can't be tracked down in the digital space and people don't find you, you cease to exist and with you, the entire genre ceases to exist. That was a motivation from you, I said, "Well, you have to do something." The main question at the beginning for me was, "How can we use technology in order to maintain that music genre that was the passion since I first encountered that.There was not at the beginning, the idea of, "Well, I have to found the best streaming service for classical music." That was the result of a chain of it durations. For us it's rather the beginning than the end.F Geyrhalter: It was really more of an action cry, right? It needed to be done in order to... in the biggest terms possible, save classical music for generations, right? To me, that's where it gets really interesting to think about who the audiences. When you think of classical music, many think of an older audience, but you're obviously a digital tool that already eliminates, I would say, the too old for tech audience, right?T Janczukowicz: Yeah.F Geyrhalter: You also clearly understand that you have to capture the hearts and souls of the next generations as the IDAGIO or IDAGIO... You and I had a little chat prior to this, it could go either way. So I don't feel guilty. The IDAGIO Instagram account, for instance. It nicely shows that it's going for the next generation. It's 29,000 followers. You have features like a relax playlist, which are perfect gateway drugs to anyone regardless of musical preference, right?T Janczukowicz: Sure.F Geyrhalter: Who do you cater to and how do you capture them in your brand communications? Do you constantly run that fine line between young and old, and classical novice versus expert?T Janczukowicz: Well, there are various levels to answer that. When I left my peer group, the classical music world that had been spending my life in, and started to enter into tech, I was, of course, reading a lot and all these blogs and I traveled to San Francisco, went to Silicon Valley just to be there to talk to people, to understand what it's all about.The first thing I learned, or the first thing at least that I remember is that one of the most failures of startups is to solve problems that don't exist.F Geyrhalter: Right.T Janczukowicz: For me, it was obvious that this problem does exist, both from a customer or user perspective and also from an artist perspective. So that was the beginning. Based on that, we did build our own technology, make a data model and so on and so on. Based on that, we can now, answering your question, cater for all varieties of audiences.What was interesting for me to see that after having spent 20 to 25 years in that world, more or less looking at things and reacting to things through my instinct, the assumptions I got over the years, they were confirmed in real numbers. Because the classical world is not really about numbers, it's about opinions. It's about being right, everybody is right. Everybody knows everything, it’s very controversially, very ego driven also.Now, I entered in a world where its numbers, "Okay, what you say is nothing more than a thesis, let's prove it." So that was totally new to me and very fascinating. What we found out that there are five, 10, 15, 20, maybe 50 use cases of listening to classical music and you can, of course, go and start segmenting classical music listeners.But interesting, is also to me that you can probably break it down into use cases because there are use cases that you would probably apply to an aficionado that sometimes also apply to a millennial listening to classical music and vice versa. So, for example, you mentioned this mood search we have and why do we have it? I wanted a tool where everybody, who opens the app and comes in contact with classic music, they can execute an action, move something, just touch screen with a finger, remove the finger, but already make a choice. So it can go to relaxed or meditative or joyful and so on. Then it's simply a playlist opening up with joyful or relaxing or focusing music.However, this is a use case and also some aficionados' life, because also aficionados are sometimes, I don't know, ironing their shirts, or cleaning the home. So this is the first thing I wanted to highlight because it was very interesting to me.Secondly, there are, of course, the obvious different segments. You have, the fact that classical music around the globe as a genre that's aggregating the high achievers. Classical music has always been, the music genre of the emerging communities. If you look at South America, you give underprivileged kids instruments and playing Beethoven makes their lives meaningful from one day to the other. So this is still system up. Gustavo Dudamel is one of the most known represented-F Geyrhalter: Well, he's here in the Los Angeles Philharmonic's now. So yeah, he's close to home.T Janczukowicz: Exactly.F Geyrhalter: Yeah.T Janczukowicz: Yeah, exactly. This is something that at the same time you have 50 million piano students in China these days. [] for example, used to say that the future of classical music is in China, which I wouldn’t say the future of classic music, but also be in China. But we see that a lot of young people in the Nordics, in Europe, but also in the United States are more and more turning to the classical, but they see and look at classical music in a different way, because especially in Germany... You're from Austria, central Europe, classical music is a heavy, serious thing. You have to gain some knowledge before you really understand it, which I believe is total bullshit. If music is great, everybody understands it immediately.The new use case that's coming up that I am listening to classical music because it helps me focus, it helps me calm down. But another word that I see in classical music as belonging, because if you listen to classical music and if you listen to a great concert with friends and a social environment, it also makes you feel connectiveness. You are connected with other people, you're connect with the musicians on stage. You are connected with the people you are listening with.So there was a very nice quote, which is very famous, but I heard it first from Yo-Yo Ma who once said, "The great thing about classic music is that it makes you part of something bigger than yourself." This is a very, very needed and a great value proposition.F Geyrhalter: I think, playing devil's advocate, that could be said about pretty much every musical genre, right? Because it is a very communal tribal idea. But with classical, just the idea that a lot of it happens in ginormous orchestras. There's so much where one person talks to the other via their musical instrument and jazz is kind of one step up from pop where you've got a couple of people that need to perfectly sync in an orchestra, make this 10, 20, 30 fold. So there's something by just the structure of classical music where it's more communal from the get go, I believe.T Janczukowicz: Yeah, I mean, jazz, I would say goes very much in the same direction, because it has various levels, but if you're looking at what is constituting music, first of all you have a melody, number two, you have rhythm, and number three you have harmonies. Then you can have one melody, which is the case in pop music, but then you can have two melodies, two themes.Then it starts with something that probably 70% or 80% of classical music have in common, which makes it so fascinating. You have two themes, and very often in the Sonata form, the first theme is male and the second theme is female.F Geyrhalter: How chauvinistic?T Janczukowicz: It's very chauvinistic, but everybody apparently seems to like Beethoven sonatas or Mozart symphonies where exactly this is happening. Then you have an exposition where the first theme, the male theme is being presented and after the female's theme is presented.Then you have the second part where these themes start to interact and to talk to each other. Sometimes there is tension and then comes down and so on. So it's very, very close to storytelling without words. This is something, probably, I said that earlier, what captured me at the very beginning, and I think it's a fascinating role because you can close your eyes, but you see stories, you feel stories, but you don't need to know when Beethoven was born, you don't need to know what is an overture. You don't need to know what is an aria. Just close your eyes and listen to it. This music is so appealing to everybody.I think one of the mistakes that classic music or classical music has made over decades is, is building this huge wall around it. Because if you go back to Mozart or Bach, it was entertainment music. It's agenre that comes from the courts and the people were eating and drinking and laughing and walking out and coming back. Something that the middle-class that occupied classic music for themselves, started to forbid. This created an intimidating...Let's say when we speak about branding, a part of this brand that is intimidating and it's not necessary because it's so embracing, and it's such a great genre.F Geyrhalter: I so agree with you. I so agree with you. Coming from a household where we constantly went to the Vienna Musikverein to see my dad play and others, it was always a big deal. Even though it's my dad on stage, and it's just normal, we go to his workplace, right?T Janczukowicz: Yeah.F Geyrhalter: There's something, there's an aura around classical music that feels like it's a cloud that should be broken. It feels like... I love how you talk about it. Even though I did not really realize that, but as I started looking through your brand work, through your website, through your app, it actually really is what you're doing. You're breaking that stigma. You're breaking that wall down, and I think it's beautiful.While we talk about musical terms, let's talk about IDAGIO, the brand name, for a second. It sounds a lot and pretty obviously to me like ADAGIO, which only has one letter replaced. ADAGIO for our non-musical listeners signifies a music played in slow tempo. So what was the inspiration for the name? Walk us through that a little bit.T Janczukowicz: It's very end simple. We needed a name, first of all, and we wanted the name to be self-explanatory. So we wanted something that people around the globe would associate with classical music. So ADAGIO, as you said, it's an international word. Many albums are just having one title, which is ADAGIO. If you have music that calms you down.At the same time, we wanted something that people understand context of technology. This is, I. The funny thing is that we had a law firm working for us this time and they were also representing a very famous American brand that has created many new devices that are starting with an I-F Geyrhalter: Whatever that could be.T Janczukowicz: Whatever that may be, and they called us back after three days said, "We checked it. You can use the name. No problem at all." So IDAGIO was born. That was the funny incident.F Geyrhalter: That's hilarious. Yeah, and it's not always the case. I heard of other firms that try to use names that started with I, and couldn't do it based on that same conglomerate that tries to own that one letter. But obviously, those are words where the, I, has more of a meaning in front of it with IDAGIO. It is a word. The, I, itself is not as meaningful.So, great. Well, I'm glad I got that quiz right. I'm proud of myself. How did you and your team obviously derive the brand's visual aura, so to speak? I use the word aura specifically since the gradient based imagery surrounding your brand has a very meditative feel to it. Even talking about IDAGIO, the idea of slowing down. Then you have the nifty mood selection feature, which we talked about in your app. Overall, you really crafted a beautiful slick visual identity that mixes the atmospheric, like in many of the Instagram posts with the harsh and crisp in the actual logo or the line work that apps dimension to the gradient artwork.Now, for everyone listening, unless you're currently driving a car, head on over to @IDAGIOofficial on Instagram to see what we're actually talking about. Till, how was the look derived? I think it just really found its groove, no pun intended, back in May on Instagram where everything started to have this very distinct and beautiful look. Can you talk a little bit about how this came about?T Janczukowicz: I think there are three factors probably, and, of course, none of these factors was conscious during it was there. Only looking back, you're connected in a meaningful way. Probably the first thing is that my grandfather, who offered me the piano, he had a Braun stereo system at home. We all know that Braun was one of the decisive branding and visual influences for this very, very famous brand we have been speaking about. I remember it was that it was the first thing.The second thing, as an artist manager, I was always in the second row. So that means you work as a catalyst. You are doing a great job if you work invisible. So you mentioned the Abu Dhabi Classics I created. The star was the series. If you manage an artist, if you build the career of a conductor, the conductor is the star, not yourself. You are always in the background.I think this is a thinking that also my co-founder was aesthetically a very big fan of minimalistic architecture. We said, "We want a look and feel that really highlights the musicians and the music and that's not dominating them. I think that's the second aspect.The third aspect is that, we had, at a very, very early stage, I think, our designer was a part of the founding team. He started on day one. I think he was one of the third or fourth people we hired. Because we believe it's very important that you reflect the beautiful and fascinating and special role that you also described. We were just speaking, that you going to the Musikverein with family when your father was playing. It's a fascinating thing. We wanted to translate that into a user interface and into a look and feel that respects the music and the artists.F Geyrhalter: Which is really, really difficult to pull off. It's very easy to look at and then criticize or get your own emotions about it, which by the way, I would never criticize because I think it is brilliant. It is so easy to look at something after it has been established. But to showcase music visually with all of its nuances, is an extremely difficult task. So bravo to that. It's really, really well done and it was one of the reasons why I got sucked into your brand.So while we talk about that, we might as well talk one more second about the actual icon, about the logo. It's a play on the play button and there is a horizontal line to the right of it, right below it. Tell us a bit about the idea behind it. Obviously you are not the designer, but I'm sure that that you played a role in signing it off and adopting it. What is the key idea behind it?T Janczukowicz: Well, I don't want to take a credit of others. My role was to not say no to it. Let’s put it like this, which at a minium I disliked it or I liked it, but my thinking here is rather, and thinking big, I was designing all this myself five, six, seven years ago. I had the first ideas of IDAGIO and I was very proud of, I don't know, copying some letters from an Italian luxury brand and I showed it to our designer when we hired him and he laughed at me. He was right there laughing at me.So I understood. I don't really understand this. I can express what I wanted for the brand and I could express how I believe it may look like, but he really did it. Then I think it's at the very end minimalistic thinking. I think when it comes down to that. Not something that disturbs and then some people get some agencies from outside before and they we're proposing a logo with some music scores and all this, a key, so it's really...I think we are in a different world.F Geyrhalter: Yeah.T Janczukowicz: Yeah. The icon that we have. Maybe one other thing. It's a little bit high level, but I was thinking when you were talking about... Again, I'm seeing in front of me your dad sitting on the stage of the Musikverein and what was the classic music 20, 30, 40 years ago, and what has really changed? Because also we were talking about different customer segments.When I started to work as a manager, that was '96, that was still a period where a conductor was still a maestro. He was the icon, you couldn't reach him, you couldn't talk to him. The entire management approach was to create a myth, create something that's unavailable because the less it's available, the more people want it. This is something, and this is an understanding of value. It's to the old world, which is an old world value thinking.I think in the digital world, and this is a big shift, in the digital world value is being created by being visible, by being transparent, by showing with as many people as possible what you are, who you are, what you do. So this is a total paradigm shift. If you look, for example, at a Karajan, you could not reach out to him. A Schulte was the same running the Chicago symphony orchestra for many years.If you now these days at young comebacks like Yannick Nezet-Seguin, the music director of the Philadelphia orchestra, music director of the metropolitan opera Andris Nelsons, music director of the Boston symphony and the Gewandhaus orchestra in Leipzig Germany. It's a new generation of open minded and more communicating conductors.What was very interesting to me, I had a meeting with the Juilliard School of Music in New York some months ago. I didn't know that when you are making your degree there, if you leave school, you don't have to only play, you also have to moderate the performance. The way how you talk about the music you play, as an artist, is also being judged. I think it's a very interesting thing.But this is all owed to transparency that came through technology. All the scandals that we are seeing and witnessing these days, it's not that humanity has apparently become immoral, just our ways to measure things and to see things are much more granular than 10, 20, 30, 50 years ago.This is also an aesthetic shift in classical music and this is also creating a new type of classical musicians. I find that a very interesting thing to see how technology even has some impact on the way you perform classical music.F Geyrhalter: That is absolutely fascinating. I agree. I've never thought about it that way. But just like everything else, classical music is being touched by it and it's great to be on the forefront of that like you are. While we were talking a little bit about philosophy here, what does branding mean to you? The actual word, branding. How do you see it?I know we talked a lot about emotion, we talked a lot about how people feel something rather than just listen to something. But maybe even in the classical arena, like where you are, what do you think when you think of branding?T Janczukowicz: Well, I would spontaneously say branding is an aggregated public perception. If it goes well and first of all, you have a good intention and you succeed in running the brand, the way you want, then it's probably aggregated trust that says, "Well, yeah, I can turn into this complex thing without making a mistake, without failing."Because I've heard of the brand from, whomever, my brother, my peers these days, then through, through, through advertisement because I think trust is getting more and more local, and we less and less trust governments and we less trust corporations. So I rather trust my peers because I'm so over flooded with information and bombarded by visual things that want to get my attention.But I think branding for me done right it's something of, well, yes, I can go. It's a safe harbor, safe place for me. I can recommend it. I can package that when I talk to other people pass it on to others and recommend to others.F Geyrhalter: You talked about trust and failures. I'm not as familiar with the entrepreneurial scene in Berlin, but here in the US we love to talk about failures. There are entire business book sections dedicated to it. Even though in my eyes it's blown way out of proportion, there are great things to be learned from mistakes that startup founders have made or witnessed during the early days of the brand formation.What was an enormous fail that you went through with IDAGIO in the very early days? Was there something where you just look back and you're like, "Okay, that was a fail, we could have prevented this, someone can learn from this?"T Janczukowicz: Well, I have to say, I think we were lucky in leaving out many mistakes you can potentially make. But, of course, there were mistakes, but there is not this story where I would say, "Well, this is really, really, really, I'll never forget it." I think it's rather a pattern.What I've learned over the years is that, if you do something for the first time and being an entrepreneur and forming and building something new has to do a lot of with trial and error. Probably the biggest mistake that I'm trying to avoid more and more is that I wasn't listening early enough to my natural instincts. I don't know if it's right or wrong, but I'm more and more convinced that this is the right thing. It sounds like cliché, but this is a principle that you can break down into any daily decision. If you feel something, but...and this is a personal problem that I have because everybody is, of course, different. I'm coming from the world of the arts. I'm rather intuitive, some people say visionary, but at least I have ideas. Some of these ideas have worked out in my life so far.But I'm also analyzing it. But if I feel that something is right, I start to do it. The bigger you grow as a corporation, you more and more have to bring things that are on a subconscious level to a conscious level. Then it has to arrive on the conscious level and then you have to explain it to everybody. Then you have to also give ownership to the people with whom you work with your team, because you are nobody with a team.You can form the North star, you can say that the direction and give a vision and the mission, I think in our company everybody is on that mission and people coming to the office, to our premise here in Berlin they say, "Oh wow, this is a great chemistry here. It feels good to be here." So that's the thing.But we're not talking about the good things, we're talking about failures. Of course, at the very end, nobody wants to fail. But thanks God, I was brought to this life by really an American entrepreneur, who was the owner of Columbia Artists, Ronald Wilford, and he was a typical American self-made man. One of his quotes was, "I didn't learn anything and that's why I can do everything."I think this is a good thing and this, and the combination that when I met him after our job interview in '96 where we even didn't perceive it as a job interview, but afterwards we had the first meetings. They will tell, "We are in an industry of ideas." Usually, we all have a lot of ideas and if you fail with 10 ideas, it's bad, you're gone. If you make one of the 10 ideas work, it's really great. If you make two of your 10 ideas work, this is highly above average.I think this is a mentality that's very, very un-German and having inhaled this kind of thinking for 16 years, I got more comfortable with the idea of making failures because, a young artist is like stakes you buy a company, you see something and you believe all to be there in two, four, six, eight years. Sometimes you're right and sometimes you are wrong. Then you have principles to figure out and to understand why you may be right.But going back in a nutshell, re-listen to yourself and if you feel something, you're really convinced, do it, whatever others say.F Geyrhalter: Mm-hmm (affirmative). Yeah, absolutely.T Janczukowicz: But listen to them, then think, but then do what you feel.F Geyrhalter: And the same holds true for data, because I'm sure, at this point, your app has been downloaded over 1.5 million times, I think it's the latest in 190 countries?T Janczukowicz: Yeah.F Geyrhalter: So you must have so much great data about your users at this point, and I know you're using it and you have studies made about listenership and about what classical music means today. But on the other hand, you have to balance that out with not always listening to customer data and just solely basing decisions on your instinct as well. It's always a fine line that an entrepreneur walks.T Janczukowicz: Yeah.F Geyrhalter: On the flip side now, we talked a little bit about failures. Now, let's climb over that hill to success. When you look back, what was that big breakthrough moment where you felt like, "Okay, the startup is slowly moving into a brand." People start using the name, the app becomes part of daily life. When did you know that you had something that would become a major player in the music world? No pun intended. May it have been a funding round or the Salzburg Festival where you launched or early user feedback. What was it for IDAGIO where you knew that this will actually be a success?T Janczukowicz: Well, I think in order to do something like that, you need a certain, what we call... I don't know how you may be able to translate that in German. There's a nice word, Gottvertrauen. I don't know how you translate it. You put your trust in God. You have to do something. Everybody was, "Oh, you're going to fail, you're stupid." But to trust, you trust that it will work.So this is something that was always there. However, I, would say two things. One thing was quite early. It was that we were indeed launching, not the app, a minimal viable product, even not the beta at the Salzburg festival in 2015. We were launching there and we were sitting on stage in the premises of the festival upon invitation of the Vienna Philharmonic.Then some days later there was an article in Frankfurter Allgemeine Zeitung. They wrote, it was 2015 and they wrote, "If they're not going to run out of money, they could change the way how people listen to classical music." This is something, I remember, we were by far not yet there, but having read that and then securing the next funding round, the combination of those two things that we say, "Okay, we are on the good way. Let's put it like that."F Geyrhalter: Right. That’s amazing. For our international listeners, which is not the majority of our listeners, I think we have 6% German listeners. The Frankfurter Allgemeine Zeitung is the authority, not only in Germany but it reaches through all of the central Europe. So that is a huge deal. To go back to when you talk about Gottvertrauen, the idea of you trust in God, just to make it universally accessible. It's also for atheists. That idea that you just trust in the universe, right? You have this ideology where you trust in the universe.All right, Till, we're coming slowly to a close, but none of my guests can get away without answering this particular question. Mainly because I believe it is such a great exercise for any entrepreneur to give some thought to as they keep building their culture and brand. I gave you a heads up on that. If you could describe everything about your brand in one or two words that would turn into your brand's DNA, as I call it, what would it be like? Examples could be freedom for Harley Davidson or happiness for Coca-Cola. What would that brand DNA be?T Janczukowicz: I have to answer that with an anecdote and then I try to answer your question.F Geyrhalter: Perfect.T Janczukowicz: There was a young Romanian conductor, Sergio Celibidache, amazing, amazing conductor. Was for many years the music director, legendary music director of the Munich Philharmonic. He believed he would get the job of the music director of the Berlin Philharmonic, then Karajan got the job. I just have to say that because he said Karajan is like Coca Cola.F Geyrhalter: I think I know that story from my dad actually because it's so classic.T Janczukowicz: Yeah, exactly. So sorry to... But it's not exactly an answer to what you asked, but I had to raise that. If you would allow two words that are not very romantic, I would say, what people should think in three, five, 10 years when they hear IDAGIO, it's classical music. If you would ask me to really distill it down to one word, then I would rather turn to what the classic music does with people. Then we could say happiness because it brings happiness. It gives people a more happier life because it makes you healthy.There are all these studies, classical music connects when you're growing up the right and the left half of the brain in a more meaningful way. You learn empathy, the social skills and so on. You could say health, but probably if we could nail it. Ask to really nail it down to one word, I think it's belonging.I think it's belonging because, if you look at what happens, we come alone, we go along but we have this 60, 70, if you're lucky, 80 years. To overcome this, this illusion of loneliness and classical music has this power to really connect you with other people. You don't need to touch them. You don't need to look at them. You close your eyes, but you feel connected with other people. I think this is probably best described by the word belonging.F Geyrhalter: That's beautiful. I knew that belonging would come back up because you had talked about it in the beginning. It is such a perfectly emotional word to really capture the brand beyond, right, really the entire genre. Where can listeners find IDAGIO if they are intrigued enough after listening to us for the last 45 minutes to give it a try and perhaps even become converts to the magic of classical music?T Janczukowicz: Very easily, on the internet, idagio.com. In the app store, there's an Android version. Anybody, for example, who has a Sonos device. There's been Sonos implementation of IDAGIO. But I would say go to the internet and there you'll find all the app stores to find IDAGIO and the different partnerships we have also with hardware manufacturers. Yeah, that's probably the easiest way.F Geyrhalter: Excellent. Excellent. That's the beauty of owning your name online. So I know you launched the company at the Salzburg Festival or the Salzburger Festspiele in 2015.T Janczukowicz: Yeah.F Geyrhalter: That is exactly what I would be heading next week. So watch out for me Till. If you're in Salzburg, you might run into me at one of the many Festspiele locations.T Janczukowicz: Cool.F Geyrhalter: Thank you so much for staying late at your office in Berlin to have this conversation with me today and to share your stories and your thoughts on branding with me and my listeners. We really appreciate your time.T Janczukowicz: A great pleasure. Thank you so much.F Geyrhalter: And thanks to everyone for listening, and please hit that subscribe button and give the show a quick rating - it only takes 5 seconds and it helps the podcast’s visibility and growth.And if you really enjoy it, please head on over to PATREON.com/Hittingthemark to become a sustaining member supporting this show.There has never been a more important episode in which to give the theme music some credit. It was written and produced by Happiness Won. If you want to know who is behind Happiness Won, then also head on over to PATREON.com/Hittingthemark and you may find what you learn amusing.I will see you next time – when we, once again, will be hitting the mark. 

Südtirol – du Perle. Südlich der Alpen, an der Grenze zur Schweiz und zu Österreich liegt eine Region, die alles kann. Oben die Berge: ein Paradies für Wanderer, Kletterer, Paraglider oder Skifahrer. Unten in den Tälern: Palmen, Weinberge und Apfelbäume. Und überall in dieser Ecke von Tirol begegnen uns herzliche, gastfreundliche Menschen, die kochen und backen können wie die Weltmeister. Hier trifft Italien auf Österreich, mischt sich und heraus kommt: Europa in Perfektion. Wir erkunden Südtirol von Meran aus, der alten, wunderschönen Kurstadt, geadelt von Kaiserin Sissi, wo Hipster und schicke Rentnerinnen um die Wette flanieren. In dieser Folge scheint viel die Sonne, aber es geht auch ums Scheitern beim Reisen und das Glück des Zufalls. (Oder gibt es keine Zufälle!?!) Zum Beispiel beim Wandern in den Bergen. Wir haben eine Legende getroffen. Nein es war nicht der Ötzi, auch nicht der Yeti, eine lebende Legende: Reinhold Messner. Alles drin in nur einer Podcast-Folge. (Werbung) Hier noch einmal der Link, unter dem ihr zwei Monate lang umsonst Idagio - die App für klassische Musik und unser Partner für diese Folge - testen könnt: https://www.idagio.com/de/radio/

Kedves hallgatóink, megint kíváncsiak vagyunk arra, hogyan és miképpen alakultak podcast hallgatási szokásaitok, szóval előre is köszi, hogy kitöltöd a podcastügyi kérdőívet! Ha már van Star Warsos tej, akkor ezen sem szabad meglepődni, kérem! Az is kiderül, hogy mi a véleményünk az Idagio-ról, a klasszikus zenét kínáló streamszolgáltatásról. Sultan pedig hoz egy fülest, ami valamiért különleges, de inkább mégsem az, pedig az, de mindegy, mert úgyis azt kapja, amit érdemel... A műsor végén pedig őrületes szakmázás, mi sztereo mi nem az, és egyáltalán, minek? facebookunktwitterünktelegram weboldalunk youtube --- Send in a voice message: https://anchor.fm/newzoundstudio/message

Bas wears both the innovator and analyst hat in music innovation, and in countries from The Netherlands to Bulgaria, to Turkey to Russia and now to Berlin. He shares his insights on how technological realities drive fresh combinations and possibilities, and how we can learn and grow new capabilities from "MySpace moments." He also muses on conversational interfaces like Alexa and how technology choices are changing songs with Playlist Cuts. He closes with suggestions to look at video and short-form content, and to get back to where creation is happening and shares thoughts on Instagram Stories as a place to watch for new ways that people express themselves. Guest: Bas Grasmayer, Product Director, IDAGIO; Publisher, MUSIC x TECH x FUTURE Bas Grasmayer is Product Director of IDAGIO, a streaming service for classical music. He's also a digital strategist and founder of MUSIC x TECH x FUTURE, a consultancy agency and newsletter about trends, innovation and technology, and how they impact the music business. His writings have been quoted or featured in publications like Forbes, Quartz, Hypebot, Techdirt, and Music Ally. Twitter: @BasGras Idagio: http://about.idagio.com IDAGIO_official Zvooq: http://zvooq.com/ Soundcloud: https://soundcloud.com/stream Native Instruments: https://www.native-instruments.com/en/ Ableton: https://www.ableton.com/en/ MySpace: https://myspace.com/ Ethereum: https://www.ethereum.org/ Big Chain DB: https://www.bigchaindb.com/ Resonate (Music Cooperative): https://resonate.is/ Aitokaiku http://www.aitokaiku.com/ TheWaveVR: http://thewavevr.com/ Turntable.fm: http://mashable.com/2013/12/03/turntable-fm-final-day Music Hack Day: http://new.musichackday.org/