Podcasts about interlochen arts camp

Kaylee Nah, 15, is a sophomore at Sunset High School studying the violin under Hae-Jin Kim since the age of five. She has been a member of Portland Youth Philharmonic (PYP) since 2018 and currently serves as co-concertmaster of the PYP orchestra. Kaylee is a recipient of the Monday Musical Club Phillips Award for best instrumental performance and has won first place in many competitions such as the OMEA State Championships, MetroArts Young Artists Debut! Competition, and the MTNA Junior String competition, placing as one of the seven national finalists. Kaylee has participated in masterclasses of Ray Chen, Vadim Gluzman, and Benjamin Beilman, to name a few. She attended the Heifetz International Music Institute and the Interlochen Arts Camp, where she served as concertmaster of the World Youth Symphony Orchestra on a full scholarship. She was also concertmaster of the 2024 OMEA All-State Symphony Orchestra. In addition to her violin studies, Kaylee has been studying piano since the age o

What do Terry Crews, Rumer Willis, Josh Groban, Norah Jones and many more artists have in common? They all attended Michigan's Interlochen Center for the Arts!Listen to Interlochen President, Trey Devey, describe Interlochen Center for the Arts in Michigan. This world-renowned nonprofit institution was founded in 1928 and has nurtured some of the industry's most talented artists, musicians, actors, and performers. Its prestigious art programs and education institutions include the Interlochen Arts Camp, Interlochen Arts Academy and more. This international gem has produced alumni who have gone on to achieve great success in creative fields and has put Michigan on the map as a hub for artistic excellence.

Interlochen Arts Camp: There's an internationally recognized art camp just a few hours away from Toledo. Stage Door was lucky to have a former camper and her mom on the show to talk about the entire experience. What they loved, and what you can expect if you decide to send your child. Spotify: https://open.spotify.com/show/214M4OKBbWcDivndnc2MTu Apple Podcasts: https://podcasts.apple.com/us/podcast/stage-door-a-theatre-podcast-hosted-by-two-regular-guys/id1573865415

This story was written by Megan Westberg for the September-October 2024 issue of Strings magazine and is read by the author.I get the sense that violinist Ray Chen is still searching for the right answer—the perfect, succinct media-ready response—to a particular question. Funny thing is, it isn't a question I've asked him. In fact, outside the introductory pleasantries, I haven't asked him anything at all. He's calling from the airport in Chicago as he waits for a connecting flight to Los Angeles (delayed) and has thus far wryly chuckled at my suggestion that he may be headed for a break after his recent stint as guest artist at Interlochen Arts Camp (not so much—but he did get a fleeting “pocket of time” to leap into a Michigan lake post-concert the night before). Before I launch into a litany of questions about his upcoming release, Player 1; his practice platform, Tonic; and the general comings and goings of the artist known as Ray Chen, he thinks it may be worth mentioning why it is he routinely ventures outside the box, as it were, in terms of the activities that typically occupy a concert violinist. So he poses the first question himself.Support the show

As an international touring artist on fiddle and pedal steel, Andrea Whitt will be joiningMoby in Europe this September on his first tour in ten years. She has also toured with country megastar Shania Twain, Italian rocker Zucchero, country artist/rapper Struggle Jennings opening for Jelly Roll, and an exclusive VIP experience performance on the Dead and Company tour. This year Andrea stepped out from her long time role as a side musician and produced her first solo show where Robby Krieger from The Doors joined her on stage as a special guest. She was also recently a guest performer with the well-known jam band, Blues Traveler.   Andrea has performed at many of the world's top amphitheaters, arenas and theaters, and has shared stages with high-profile artists across all genres. Her credits include Journey, Ariana Grande, Moby, Kamasi Washington, KYGO, Deep Purple, Stevie Wonder, Cee-Lo Green, One Republic, Natalie Cole, John Legend, Halsey, Harry Connick Jr., Phil Lesh, Jelly Roll, BB Rexha, 30 Seconds to Mars, and Allison Wonderland. Last fall she joined the house band for the CMT show ‘Smashing Glass' where she performed with Clint Black, Chris Jensen, Lucy Silvas. Andrea has also recorded on many acclaimed albums, including Kendrick Lamar's Grammy Award-winning To Pimp a Butterfly, Kendrick Lamar's Damn, Kamasi Washington's The Epic and Harmony of Difference, Zucchero's Black Cat Live, Stu Hamm's Hold Fast, Blxst, Katie Gavin of Muna, and a PBS special with Shania Twain.   Set for August 2024, Andrea Whitt's next release is “Sleepwalk,” her take on the classic song by Santo & Johnny. Andrea's version dark, dreamy and ethereal, and sounds like what you'd get if Lana Del Rey played pedal steel. The “Sleepwalk” video was shot at the historic Madonna Inn in San Luis Obispo. Since most of her work is as a hired performer with other artists, when she has a release of her own, Andrea puts time and care into every facet of her artistry including styling her own wardrobe, artistic direction, and merch designs.   Determined and eager to explore new facets of creativity, Andrea wants her life to feel like the non-stop expression of Interlochen Arts Camp she went to growing up. In addition to music, she's a lifelong visual artist, having started drawing and painting when she was a toddler. Andrea is regularly commissioned for paintings in her signature ink and watercolor and oil painting styles. Much of her work can be found on her site, Boho Bunnie, which started as a fashion blog with recognition from press such as Marie Clare, Britt & Co and Free People. Modeling for the camera has “a similar type of energy” to performing on stage. The Boho Bunnie blog is morphing into a lifestyle brand, which produces products that inspire and encapsulate the fun, sexy, and expressive bohemian in all of us. She's now hard at work building the Boho Bunnie brand, which includes art prints, merch she has designed, fashion and a perfume line.   Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

The 2024 Advanced String Quartets from Interlochen Arts Camp visited Studio A to record Felix Mendelssohn's String Quartet no. 4 in E minor. Movement 1 Tarquin Bennion, violin, Sidney, MT Alex Workman, violin, Greenville, NC Steven Zhang, viola, Mesa, AZ Charlie Pabst, cello, Tempe, AZ Movement 2 Guillem Baviera Fuste, violin, Torrent, Spain Hannah Schewiger, violin, Rancho Santa Margarita, CA Dana Wang, viola, New York, NY Aiden Ko, cello, Seongnam-si, South Korea Movement 3 Momica Lu, violin, Vancouver, British Columbia, Canada Anthony Kim, violin, San Diego, CA Natalie Coleman, viola, Liberty, MO Juliet Diaz Onderwyzer, cello, West Nyack, NY Movement 4 Jonathan Milgram, violin, San José, Costa Rica Kaylee Nah, violin, Portland, OR Cristian Yohannes, viola, Frisco, TX Evelyn Yang, cello, London, England

Three high school student students from Interlochen Arts Camp recently visited Studio A to perform music by Giuseppe Verdi, Claude Debussy and Stefano Donaudy. "Il lacerato spirito" from "Simon Boccanegra" by Giuseppi Verdi David Gigauri, bass-baritone; Tbilisi, Georgia Hao Zhang, piano "Nuit d'etoiles" by Claude Debussy Valentina Gomez, soprano; Miami, FL Xiaoping Wang, piano "Vaghissima sembianza" by Stefano Donaudy Modestina Call, soprano; Oxford, MI Amelia Arguelles, piano

Two high school student brass quintets from Interlochen Arts Camp recently visited Studio A to perform music by Alexander Arutiunian, Eric Ewazen and Samuel Scheidt. The Fire Five Eric Ewazen, Frost Fire (first movement) Ben Mitchell, trumpet, Charlotte, NC Gabe Luza, trumpet, Charlotte, NC Connor Powers, horn, Houson, TX Will Cranston, trombone, Houston, TX Barrett Hoover, tuba, Wann, OK The Maple Brass Quintet Samuel Scheidt, Canzona Bergamasca Alexander Arutiunian, Armenian Scenes (third movement) Taylor Hopps, trumpet, Olympia, WA Jakob Burnham, trumpet, Brighton, MI Ben Shugart, horn, Grand Prairie, Texas Demitri Resto, tenor trombone, Trumbull, CT Caden Wolfe, bass trombone, Tampa, FL

Two high school student wind quintets from Interlochen Arts Camp visited IPR's Studio A to perform music by Carl Nielsen and Maurice Ravel. Apollo V Mariana Perez-Alvarez, flute, Katy, Texas Kate Roberts, oboe, Wylie, Texas Tom Wang, clarinet, Sammamish, Wash. Paul Wittmer, bassoon, Buffalo, N.Y. Ben Shugart, horn, Grand Prairie, Texas Coach: Sharon Sparrow Carl Nielsen, Quintet: I. Allegro ben moderato Couperin Quintet Marko Sretenovic, flute, Belgrade, Serbia Leo Egen, oboe, Kalamazoo, Mich. Chris Cui, clarinet, Apex, N.C. Damian Carrasco, bassoon, Cedar Park, Texas Connor Powers, horn, Houston, Texas Coach: Robert Walker Maurice Ravel, Le Tombeau de Couperin: I. Prelude (arr. Mason Jones)

The members of the Beaver Combo are high school jazz students studying at Interlochen Arts Camp this summer. Sam Crespino, Josiah Dean-Ware, Connor Dively, Emi Greenfield, Aiden Ledbetter and Armin Schulz-Baldes visited IPR's Studio A to perform the Errol Garner jazz standard "Misty."

Anna Snecinski and Santiago Ramirez are high school pianists at Interlochen Arts Camp who recently visited IPR's Studio A. Anna Snecinski is 16 years old. She is from Tampa, FL. Anna performed the Intermezzo in A major (op. 118, no. 2) by Johannes Brahms. Santiago Ramirez is 16 years old. He is from Medellín, Colombia. Santiago performed an original composition entitled "Pasillo no. 1." A pasillo is a traditional Colombian dance with a distinctive rhythm in 3/4 time.

Kotoha Inoue and Olivia Sexton have each just finished their first week at this summer's Interlochen Arts Camp (2024). They visited IPR's Studio A to perform and talk about their experiences at camp so far. Kotoha Inoue is 15 years old. She performed the "June: Barcarolle" movement from Peter Ilyich Tchaikovsky's "The Seasons." Olivia Sexton is 17 years old. She performed the Prelude and Allemande movements from Johann Sebastian Bach's Partita no. 1 in B-flat major. Michael Culler engineered this recording session with support from Carolyn Dzul.

My guest for this episode is Nathan Warner. Nathan is an eclectic guy. His path has led him from attending the Interlochen Arts Camp to a bachelor's degree in Jazz Studies at the Indiana School of Music, a master's degree in classical trumpet from the Manhattan School of Music, and finally, a DMA from Stony Brook University. He's a busy performer, passionate educator, and co-founder of the Apex Trumpet Symposium. And he manages to do everything with some serious swag and perfect hair. Check out what Nathan has to say about How the Apex Trumpet Symposium was born, toxic environments, giving permission to be where you are, learning to live with uncertainty, the importance of the struggle, aligning with his motivations, dealing with the negative voices, spirituality and music, the sound of Gabriel's trumpet, the importance of having your own voice, being the best version of yourself, the roles of affirmation and confrontation, and so much more! So pour yourself a big glass, pull up a chair, and let the hang begin! -------------------------------------------------------------- Get the skinny on Nathan at: https://www.nathanplaystrumpet.com/ Interested in learning more about the Apex Trumpet Symposium? https://apextrumpet.com/ Sound like a million bucks without breaking the bank with Barkley Microphones: http://barkleymic.com/ Let Vennture Mouthpieces help you on your search for the perfect mouthpiece. Use the code "TRUMPETGURUS21" to get 10% off your purchase: https://www.vennture.mp/ If you play hard, you need to make sure you show your chops some love with Robinson's Remedies products: bit.ly/ChopLove Let Jose help you master your mental game: bit.ly/MindfulnessSecrets ------------------------------------------------------------------------------- 00:00:00 Intro 00:03:56 How the Apex Trumpet Symposium was born 00:17:56 Toxic environments 00:23:41 Giving permission to be where you are 00:37:25 Learning to live with uncertainty 00:43:32 The importance of the struggle 00:48:26 Aligning with his motivations 00:50:29 Dealing with the negative voices 00:54:11 Spirituality and music 00:59:39 The sound of Gabriel's trumpet 01:07:42 The importance of having your own voice 01:16:12 Being the best version of yourself 01:23:01 The roles of affirmation and confrontation 01:28:01 Sound Off 01:31:53 Geared Up 01:39:06 Rapid Fire Round --- Support this podcast: https://anchor.fm/thetrumpetgurus/support

Your voice and how you use it matters in your business. Have you ever thought about how you could be perceived on an international scale through the way you speak? In our constantly changing industry where more and more coaches and businesses are working with people internationally, it's important to take these things into consideration.Katherine Beck shares some of her insights on using your voice in this episode! You're going to want to tune in to learn more. Don't forget to leave a review on Apple Podcasts. For every review during the month of November 2022, we will be donating $20 to the Children of the Night Organization. Screenshot your review and send it to chris@bsimpsonfitness.com. You can also rate 5 stars on Spotify!About Today's GuestKatherine Beck is a Voice Coach, Voice Actor & Host to two Globally ranked Podcasts.Born and raised in Chicago, her dream was to be an actress.  She refused to go to traditional sleep away camp and instead, she attended summer camps that specialized in acting like Interlochen Arts Camp and Carnegie Mellon University.   When she was 17, after begging and pleading with her Mom for years, she finally got her first agent.  The auditions started, there were callbacks and she was hooked. Before she knew it, she was on a plane heading for the bright lights of Hollywood.As soon as she landed in Hollywood her acting career quickly shifted into voice acting as she fell in love with creating characters with her voice. All she could think about was becoming the next iconic cartoon character.But in a split second everything changed when she randomly met an Australian one night in LA. Before she knew it she was getting married and moving to Australia.So what does an American actress do in Australia? Learn the Australian accent to continue to work. It was challenging but she did it and she started to book roles in an Australian accent.And that's when she started getting asked by other Actors to teach them how to sound American. And that was the beginning of her journey into voice coaching.Learn more about Katherine:https://www.katherinebeck.com/https://www.instagram.com/katherine_beck_/https://www.tiktok.com/@katherine_beck_Join the Facebook community!Are you a new fitness entrepreneur looking to attract clients? Maybe you're looking to dial in your messaging? Or perhaps you're experienced and looking to scale your business?Head on over to Facebook, and request access to my Online Marketing for Fitness Professionals group. Post an introduction about yourself, ask some questions, or let us celebrate your wins with you.BSimpsonFitnessLinks & Coaching OpportunitiesPT Profit Formula Jumpstart - a step-by-step proven process to generate consistent 10k Months in 30 Days with just a handful of followers and without sleazy sales.  https://www.bsimpsonfitness.com/jumpstartPT Profit Accelerator - a 6 month coaching mastering with both 1:1 custom support and community mastermind to start and scale a profitable multi 6-figure business and beyond.https://www.bsimpsonfitness.com/ptprofit30 Day Done for You Content Planner- FREEAttract, connect, and covert pre-sold leads so you can sell without selling.https://www.bsimpsonfitness.com/calendarThe Complete 10k Per Month Blue Print - FREEhttps://www.bsimpsonfitness.com/10kblueprint This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit beverleysimpson.substack.com

obituary courtesy of the International Society of Bassists: The ISB is sad to learn of the passing yesterday of bassist, composer, educator and recording artist Kelly Sill. He was 70 years old. Kelly was a beloved mainstay of the Chicago jazz scene for more than 35 years. Born in Fargo, North Dakota, he grew up in the Chicago area. After receiving his bachelor's degree from the University of Illinois at Urbana-Champaign, he returned to Chicago to perform and record with jazz artists such as Art Blakey, Joe Henderson, Art Farmer, Clark Terry, Cedar Walton, Herb Ellis, Woody Shaw, Hank Jones, Freddie Hubbard, Kenny Burrell, Barney Kessel, Chris Potter, Ernie Watts, Bob Mintzer, Mel Torme, Anita O'Day, Jackie McLean, Joey DeFrancesco, Donald Byrd, Eddie Harris, Scott Hamilton, Victor Lewis, Clifford Jordan and Bucky Pizzarelli. He performed at the Chicago Jazz Festival, the Elkhart Jazz Festival, the Red Sea Jazz Festival, Thessaloniki Concert Hall in Greece and Symphony Center in Chicago. Kelly's discography includes more than fifty recordings as a sideman and leader.   Kelly served on the faculties of Northeastern Illinois University, Lake Forest College, DePaul University and Northern Illinois University. He also taught at the Interlochen Arts Camp, Jamey Aebersold Summer Jazz Workshop, Janice Borla Vocal Jazz Camp, University of Wisconsin/Stevens Point Jazz Camp, Clark Terry Great Plains Jazz Camp and the University of Illinois (Urbana-Champaign) Summer Music Program.   Saxophonist Gregory Dudzienski recalls his friend: "Kelly was one of the warmest, most welcoming, supportive, and funniest people I've ever had the fortune to spend time with. He had that way of interacting with you, that way of giving you his full attention and self that made it feel like you were the most important person in the world to him. That way of interacting carried into his playing as well."   Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 100+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Carnegie Mellon University Double Bass Studio - CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   Upton Bass String Instrument Company - Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players.   Dorico - Unlock Dorico for iPad – For Life! Want to enjoy all of Dorico for iPad's subscription-only features – including support for unlimited players, freehand annotations in Read mode with Apple Pencil, support for third-party Audio Unit plug-ins, and much more – but don't want to pay a monthly or annual fee? Dorico for iPad now provides a lifetime unlock option, so you can access all current and future subscription-only features for a single, one-off in-app purchase. Visit the App Store today and unlock Dorico for iPad for life!   theme music by Eric Hochberg

Pack your bags - and your instruments! We're headed to summer camp at Interlochen.

Hello and welcome back to the TAMS Percussion Podcast. After some time off to finish up a busy semester, we are back with some fantastic guests! In this episode, we are joined with two of the cohosts of the @Percussion Podcast, Dr. Karlyn Viña, and Dr. Ksenija Komljenović. We take time to discuss the perspective of female percussionists in the industry and talk about the experiences of these educators and how the modern percussion studio must be accepting of everyone. We are thankful for Karlyn and Ksenija sitting down at talking to us about these important issues in the community and we at TAMS hope that this may help you become a more informed ally! Praised by the South Florida Classical Review for her "dazzling" and "incisive" performance, Dr. Karlyn Viña is a dynamic and creative percussionist based in Virginia. Dr. Viña is the newly appointed Assistant Professor of Percussion at Shenandoah Conservatory in Winchester, VA, and previously taught at Florida International University and New World School of the Arts in Miami, FL. During the summers, Karlyn serves as a percussion faculty member at Interlochen Arts Camp in Interlochen, MI. Karlyn maintains a busy schedule as an orchestral, chamber, and solo percussionist, and has a particular interest in works that incorporate theatrical elements. In addition to her teaching and performing, Karlyn can be heard as a co-host on the @Percussion Podcast and is proud to serve on the Percussive Arts Society's Education Committee. Karlyn earned her Doctorate of Musical Arts in Percussion Performance from the University of Miami as a fellow of the Henry Mancini Institute. Her dissertation focuses on the performance of works for theatrical percussion by Globokar, Kagel, and Smith. She also holds degrees in Percussion Performance and Music Education from The Boston Conservatory and the University of Maryland. Karlyn is proud to endorse Grover Pro Percussion, Marimba One, and Zildjian cymbals. Dr. Ksenija Komljenović (Belgrade, Serbia), a prizewinner of the International Percussion Competition Luxembourg, is a percussionist, educator, and composer. Throughout her career, she has performed, taught, and studied across Europe, the United States, and Asia. Ksenija is the first woman from Serbia with a Doctor of Musical Arts in Percussion Degree. She holds the Assistant Professor of Percussion position at Texas A&M University-Corpus Christi. Ksenija serves as a producer and host on the At Percussion Podcast. She is on the organizational committees of the Tierras South Texas Percussion Competition and the SoundWaves Festival. Ksenija's devotion to percussion is shaped by her advocacy for contemporary and chamber music, as well as intercultural collaboration. Her three chamber ensembles (PNEUMA, Vesna Piano/Percussion Duo, Balkan Percussion Duo) unite some of the finest young performers from across the world. Ksenija holds degrees from the Frost School of Music at the University of Miami, Illinois State University, and the Faculty of Music in Belgrade, Serbia. Her compositions and arrangements are published by Bachovich Music Publications. Ksenija is a Marimba One artist. For the full bios of these fantastic artists, you can find them on their websites: https://www.ksenijakomljenovic.com/ http://www.karlynvina.com/ ​

I am delighted to welcome Dr. Susan Kindall to the podcast today. You will see that Dr. Kindall has deep and abiding faith and that that faith permeates every aspect of her life. SUSAN KINDALL is known internationally as a performing member of three professional classical piano duos, numerous chamber groups, and as solo recitalist. In addition to a successful classical performance career, she has toured churches throughout the United States as sacred composer, arranger, solo pianist and soprano soloist. She holds the Doctor of Musical Arts in Piano Performance and Pedagogy (4.0 average) from The University of Oklahoma. Her students are successful international piano competition laureates, doctoral graduates of leading conservatories, performing/recording artists, and publishedcomposers and teachers who chair university music departments and direct ministries around the globe.An expert in the musics of Richard Cumming, Andrzej Dutkiewicz, and Ronaldo Miranda, Dr. Kindall is a passionate advocate of the piano music of living composers. Her most recent world premiere, Ronaldo Miranda's Festpielmüsik for Two Pianos & Percussion with members of the Greenville Symphony, is considered by the composer to be the definitive performance of that work to date. Dr. Kindall is an official observer by invitation of the Hilton Head International Piano Competition, as well as the XVI International Fryderyk Chopin Piano Competition in Warsaw, Poland celebrating the 200th anniversary of Chopin's birth. She has accepted repeated invitations as National Group Discussion Leader at the National Conference on Keyboard Pedagogy Pre-Conference Seminar for Collegiate Piano Pedagogy Teachers in Chicago and has performed nationally at the Music Educators National Convention and Music Teachers National Association Conference. Dr. Kindall is currently a performing member of the Kindall-Nitsch Piano Duo with award-winning American pianist, Paul Nitsch.Having nurtured musicians for over 35 years, Dr. Kindall has served on the staff of Interlochen Arts Camp, as a graduate teaching assistant at The University of Oklahoma, and taught on the artist faculties of Csehy Summer School of Music, Ouachita Baptist University, Ambassador Baptist College, and Bob Jones University—the latter where she installed of the Master of Music in Piano Pedagogy degree. As an MTNA Nationally Certified Teacher of Music, she founded and directed Majesty Music Academy bringing classical artistry to church musicians worldwide. Her numerous awards include Winner of the Oklahoma Music Teachers Association Graduate Piano Competition, the Gail Boyd deStwolinski Award foroutstanding service to The University of Oklahoma School of Music, and the President's Club Partner Award for exceptional professional outreach at BJU.Living true to one's personal values is a basic element of success. Dr. Kindall loves people and remains dedicated to the success of her students. She is currently teaching exclusively online as Owner and CEO of Kindall Piano Studio, LLC. Having toured in over 500 churches nationwide, she now serves as Director of Music and Worship at Greenwood Associate Reformed Presbyterian Church in Greenwood, SC.Susan Kindall is passionate about changing our world for the better, as evidenced in her ever-growing international roster of successful students. She believes that every person should have music as a part of his/her world of possibility.

Deno and Carl of Emerald City Band travel all over the world helping throw the best parties ever. Listen closely about the way they talk about what they do because when you're interviewing a band, you want to hear this kind of passion, drive, and authentic talent as well as a love for what they do. The energy of these bands is dynamic! Deno Taglioli was born in Detroit, Michigan and has studied music at Interlochen Arts Camp, Western Michigan University, Wayne State University, University of Texas, and the University of North Texas. Deno has performed all over the United States, from every house of Blue to the White House. He is the innovator, creator, and producer of "Emerald City Presents" the most sought after wedding bands in the country. Carl Poposki has had a diverse career as a freelance trombonist, composer, arranger, and educator in his home state of Michigan, as well as Texas, Indiana, and all over the globe. He holds a Bachelor's Degree in Instrumental Music Education from the University of Michigan and a Masters Degree in Music Education from Baylor University. A nine-year teaching veteran of the public schools in Michigan, Carl has also performed for over 30 years with groups of almost every genre. Carl also served as Musical Director and trombonist for Royal Caribbean Cruise Lines. He is currently the Director of Operations for Emerald City Presents/EC Bands specializing in the best in live entertainment. Big Takeaways * Reach out directly to the band, sales team, band leader - if you can. * When you go to an agency, they are the middle man. This does mean, you are paying for their service. Not all bands have the capability to speak to you individually, so the agency is a great step. However, we do live in the time of social media, a couple can reach out straight to the band. * When you are researching, go see the band live! This is the best way to know what you will be getting. There are “fake” bands that are thrown together right before the big day. They read music off iPads and phones, and just play the hits together, sometimes it's the only time they have ever played together. * The price point of the band is obviously important. Often though, they are those “fake” bands when it seems too good to be true. It can be a good sign to look deeper. A good band is not the cheapest route to go. Think about what kind of party you want! * A band rider outlines the production needs for the band, including sound, lights, instruments, etc. Wedding bands should come ALL-INCLUSIVE. If the band if going to ask for anything, it should be a hot meal, water, a room to dress in, etc. * There are a lot of things to consider about your space with a band, including power. So it's good to ask questions, and do the research. * The first dance can be edited down! That way you are hanging out on the floor solo for too long. Every band should be able to learn your first dance song. * Bands are typically booked for 4 hour blocks. To Consider For Ceremony: * Have you secured PA speakers for mics (for officiant or readers)? Do you prefer recorded music, or do you want a musician live? Links We Referenced instagram.com/emeraldcityband (https://www.instagram.com/emeraldcityband/) instagram.com/downtownfever (https://www.instagram.com/downtownfever/) instagram.com/pmbanddallas (https://www.instagram.com/pmbanddallas/) instagram.com/elevationpartyband (https://www.instagram.com/elevationpartyband/) ecbands.com (https://ecbands.com/) youtu.be/kIJF6QAa6O0 (https://www.youtube.com/watch?v=kIJF6QAa6O0&feature=youtu.be) deno@emeraldcityband.com Quotes “You have to be able to have a big playlist - now we're not Spotify we're not going to do 2,000 songs - but we've picked the best of the best.” - Deno “[...] Our bands don't just start playing and just hope that people are gonna [say], ‘Oh it's time to start. Set starts at 8 o'clock, go.' It's different. There's the connection between the band and the leader of the band, specifically, and the audience working together to all party together. It's just the difference between a group of musicians who may be very talented playing songs and one of our bands creating a party. It's as simple as that.” - Carl Plan your wedding using The Big Wedding Planning Master Class (https://www.thebigweddingplanningmasterclass.com/). A self-paced digital course created with love for you by Christy & Michelle. The Big Wedding Planning Podcast is... * Hosted and produced by Michelle Martinez. * Edited by Veronica Gruba. * Music by Steph Altman of Mophonics (https://www.mophonics.com/). * On Instagram @thebigweddingplanningpodcast and be sure to use #planthatwedding when posting, so you can get our attention! * Inviting you to become part of our Facebook Group! Join us and our amazing members. Just search for The Big Wedding Planning Podcast Community on Facebook. * Easy to get in touch with. Email us at thebigweddingplanningpodcast@gmail.com or Call and leave a message at 415-723-1625 and you might hear your voice on an episode * On Patreon. Become a member (https://www.patreon.com/thebigweddingplanningpodcast) and with as little as $5 per month, you get bonus episodes, special newsletters and Zoom Cocktail Hours with Christy & Michelle! Our Partners (https://www.thebigweddingplanningpodcast.com/partners) Special Deals for Listeners - TBWPP Enthusiastically Approved! 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Ms. Jessie Ahuama-Jonas is in her fifteenth year of teaching Orchestral music and is the current Director of Orchestras at Centennial High School in Roswell Georgia. A product of the Fulton County School system, Ms. Ahuama-Jonas started taking viola performance seriously in the eighth grade, eventually earning positions with, the Atlanta Symphony Orchestra's Talent Development Program, the Atlanta Symphony Youth Orchestra, , and Fulton County Middle and High School Honor Orchestras, and a camper at the Interlochen Arts Camp in Interlochen Michigan. Ms. Ahuama-Jonas received her Bachelor's degree of Music Education from The Frost School of Music at the University of Miami, and her Master's degree of Music Education from Boston University. Ms. Ahuama-Jonas began teaching middle school orchestra in 2007 and has accomplished musical success with her orchestras. Ms. Ahuama-Jonas has taught in the Fulton County Schools System and the Duval County School System in Jacksonville, FL. She and her orchestras have attended the Georgia and Florida Music Educators' Association's Large Group Performance Evaluations since 2008, receiving Superior ratings for twelve consecutive years, and has had students participate in Georgia and Florida All-State Middle School Orchestras, district honor orchestras and Solo and Ensembles, with superior results and high representation of musical excellence. As a 2016-2017 Teacher of the Year, Ms. Ahuama-Jonas, believes in the importance of quality music education and believes music education should be readily accessible and enjoyable for all students no matter their personal circumstances and situations.​ In her spare time, Ms. Ahuama-Jonas loves to perform, and is an avid concert goer of all music. She is a member of the Atlanta Community Symphony Orchestra, and currently performs in the music ensemble East West Strings. She loves sports (especially football, Atlanta Falcons and University of Miami football respectively), staying physically active by playing volleyball, basketball and weight training, knitting, and reading. ----- Your support is appreciated! If you are enjoying The Orchestra Teacher Podcast, please consider becoming a supporter for as little as 99 cents per month. I am working hard to bring on some amazing educators who will share ideas, tell their story, and offer some support for all of you. I have invested a lot of time in putting it all together and money purchase equipment that will help provide the best possible listening experience. Here is the link: https://anchor.fm/orchestrateacher/support Thank you for your continued support! If you have suggestions for podcast guests, please let me know by providing a name and contact information. ----- Subscribe to The Orchestra Teacher Website, YouTube Channel, and Podcast! Website: http://www.orchestrateacher.net YouTube Channel: http://youtube.com/theorchestrateacher Podcast on Anchor.fm: https://anchor.fm/orchestrateacher Podcast on Spotify: https://open.spotify.com/show/5pvAWs3uftZ5FJ2KyZYU0z Podcast on Apple Podcasts: https://podcasts.apple.com/us/podcast/the-orchestra-teacher-podcast/id1489358262 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/orchestrateacher/support

REED TALK celebrates our one-year anniversary! We're celebrating with an interview of one of the country's leading oboe pedagogues, Linda Strommen, Professor of Oboe at Indiana University's Jacobs School of Music, a guest faculty teacher at the Juilliard School and a faculty member of the Interlochen Arts Camp and the New York String Orchestra Seminar. In Episode 18 Linda Strommen tells about her mentor John Mack and discusses the chapter she co-wrote with Elaine Douvas in Understanding the Oboe Reed. Music excerpts: Três Peças Atlânticas: Chorinho baiano by Eurico Carrapatoso performed by Courtney Miller; Adagio from the Easter Oratorio by Bach and Le Prudent from Cinquième Suitte by Jean-François Boüin performed by Margaret Marco. Reed Talk is produced by Jason Slote.

Hi friends! Welcome back to the Composer Happy Hour. If you are reading this, you are likely a fan of the show and/or an avid supporter of whateverandeveramen. Thank you so much for your ongoing support - we really do appreciate it. If you haven't already, please rate and review the podcast here or on your chosen streaming platform (or both!). This is most appreciated. Our guest this episode is Jennifer Jolley. I had a chance to work with Jenn back in 2016 when she was in a residency with my choirs. I was quickly impressed with her as a composer, but also as a human. She is very kind and supportive of young musicians, and incredibly humble. So humble, in fact, that she has an entire blog dedicated to her own musical rejections. Her choral music often sets texts that address a fairly specific moment in time or experience. This is in stark contrast to the "tradition" of setting pretty poetry by dead white people, that seems to aim for timelessness, but too often ends up not being very good even in the moment. In this episode we discuss baseball, how to give directions in California, and why f*ck is such a great word for choral music. As always, if you like what you hear - buy us a beer! Your contributions will help to fund future projects by whateverandeveramen. Jennifer Jolley (b. 1981) is a composer, blogger, and professor person. She is also a cat lover and part-time creative opera producer. ​ Jennifer's work draws toward subjects that are political and even provocative. Her collaboration with librettist Kendall A, Prisoner of Conscience, has been described as “the ideal soundtrack and perhaps balm for our current ‘toxic… times'” by Frank J. Oteri of NewMusicBox. Her piece, Blue Glacier Decoy, written as a musical response to the Olympic National Park, depicts the Pacific Northwest's melting glaciers. Her partnership with writer Scott Woods, You Are Not Alone, evokes the fallout of the #MeToo Movement. ​ Jennifer's works have been performed by ensembles worldwide. She has received commissions from the National Endowment for the Arts, the MidAmerican Center for Contemporary Music, the Left Coast Chamber Ensemble, Quince Ensemble, and many others. Jennifer deeply values the relationship that is created between composers and the communities with whom they collaborate. She has been composer-in-residence at multiple institutions. She promotes composer advocacy through her opera company NANOWorks Opera and her articles for NewMusicBox & I CARE IF YOU LISTEN. Also, she is on the Executive Council of the Institute for Composer Diversity and the New Music USA Program Council. Jennifer joined the Texas Tech School of Music composition faculty in 2018 and has been a member of the composition faculty at Interlochen Arts Camp since 2015. www.jenniferjolley.com All Recordings Used by Permission of the Composer: "Prisoner of Conscience" (2015) Quince Ensemble "Drei Brücken" (2012) I. Roebling - Premiere Performance, Commissioned by the Contemporary Arts Center for their 2012 Gala, Drew Klein, Performance Curator III. Brent Spence - University of Toledo Chamber Singers "Her Speed Left the Winds Behind" (2020) Voices of Ascension and Trio Triumphatrix

In this episode, Michael Amidei and Clifford Brooks interview Megan Baxter. Megan Baxter (www.MeganBaxterWriting.com) holds an MFA in Creative Nonfiction from Vermont College of the Fine Arts and a BFA in Poetry from Goddard College. In 2004, when she graduated from Interlochen Arts Academy as a Creative Writing Major, Megan was honored as a Presidential Scholar in the Arts. While working for the South Carolina Governor's School for the Arts and Humanities Megan taught “pop-up” writing workshops at public schools in South Carolina, including poetry writing sessions in under-served and at-risk educational communities. In 2019 and 2020 she returned to Interlochen Arts Camp as an instructor of high-school level fiction and nonfiction. Megan's first book ‘The Coolest Monsters, A Collection of Essays' was published in 2018 by Texas Review Press. Her memoir ‘Farm Girl' is forthcoming from Green Writers Press in 2021. Megan is pleased to announce that her essay collection 'The Body(Electric) will be published by Mad Creek Books from Ohio State Press as part of their 21st Century Essay Series. Megan is currently seeking representation for her debut novel. Megan has won numerous national awards including a Pushcart Prize. Her work has been listed in The Best American Essays of 2019. Recent publications included pieces in The Threepenny Review, Hotel Amerika, The Florida Review, and Creative Nonfiction Magazine. Megan serves as a mentor to young writers and loves developing cross-genre and innovative creative writing pedagogy for her workshops and classes. Megan lives in New Hampshire where she loves walking her dogs, running, and cooking with local foods. She teaches writing at Colby-Sawyer College.

A nosy trombonist (Melissa Brown) chats to fellow brass professionals about their careers, how they got there, and what music they'd happily put in the bin. In this episode trombonist Nikki Abissi tells us how (like several previous guests) she felt so at home at Interlochen Arts Camp, what it was like to study with world renowned trombonist Joseph Alessi, and how Extendabone came to fruition! All episodes recorded during COVID-19 lockdown via video call programmes. There are occasional technical glitches - please bear with us! Facebook: Bold as Brass Podcast Instagram: @boldasbrasspodcast Show artwork: Stuart Crane Music credit: Upbeat Forever by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/5011-upbeat-forever License: http://creativecommons.org/licenses/by/4.0/

I'm excited to have my colleague Andrea Priester Houde on to discuss the topic of finding the right fit studio teacher in college. Andrea is an Associate Professor of Viola at West Virginia University and the String Area Coordinator. She serves on the artist faculty of the Interlochen Arts Camp and the Master Players Festival and is a board member of the American Viola Society. Her solo album, The American Viola, features early and contemporary American works, including the historic world premiere of the first American viola composition, composed by Benjamin Cutter and the first composition for viola by an American woman composed by Blanche Blood. If you're interested in getting to know Andrea a great way to do so is by participating in her summer programs, Viola Days and the WVU Viola Bootcamp, both at West Virginia University. We Cover:How summer festivals introduced Andrea to the world outside of her own and helped shape her musicianship and career.How a mentor in high school ended up becoming her principal teacher in college.How Andrea figured out that music was the right path for her. She didn't figure this out until college.The importance of trusting your teacher.Recognizing that your professional contacts are made as a student. What traits to look for in a teacher that is right for you. The differences between looking for a teacher in undergraduate and graduate-level programs.How to ask a potential teacher a question during a trial lesson.What qualities Andrea looks for in a student.How a studio affects a student's education.The power of constructive criticism and how Andrea teaches her students to deliver it.Common mistakes in auditions.Andrea's hands-on approach to audition preparation for prospective students.How Andrea has created Summer opportunities and communities through her Viola boot camps and Workshops. Links Mentioned:WVU Viola Bootcamp Connect with The Scholarship Roadmap:WebsiteApple PodcastsInstagramFacebookYouTube Theme Music:‘Elegua' from Axiom Asunder by The Majestic Jazz OrchestraComposed by Buzz Jones.

Damian Joseph Kulash Jr. (born October 7, 1975) is an American musician, singer, songwriter, and music video director who is best known for being the lead singer and guitarist of the American rock band OK Go. Damien was born in Washington DC and spent a large amount of time studying at the Interlochen Arts Camp. He was active in bands at his time at Brown University, eventually winning a prize in music composition. From the time span of 2005-2007 while the band released and was touring off of the “Oh No” album, the music video “A Million Ways” ended up being the most downloaded video with over 9 million downloads. The band decided to cut ties with their major record label deals with EMI and Capitol Records, and eventually started their own label, Paracadute, in 2010. OK Go released their most recent album completely free on their website, which includes rarities, B-sides, and covers of other songs.  Topics Discussed In This Episode: Damian discusses how both he and his family contracted coronavirus and how in hindsight, the time spent quarantined yielded different effects and revelations that Damian was not expecting. Damian speaks on how he personally finds hope within the world and how it comes to him emotionally rather than a linearly or algorithmically. “When the world breaks down or the rules shift in such a drastic way, it’s a little like the shackles come off and everything begins to reconfigure. That is terrifying but it also brings an element of hope…”  Deconstruction and equalization of power structures within the world and hope shining through the cracks of society shifting.  The depth of what we experience and how it relates to the “Truth”. Life being a puzzle with the pieces everchanging, how it relates to our humanity, and how we see others and ourselves change.  Giving yourself the freedom to tread new waters, and to genuinely feel emotions. Dynamic of how we are all working together for a common goal. Collaboration and calling back to others who have to tread the path before us. “We are not individual actors” www.artistdecoded.com

David Biedenbender is an Assistant Professor of Composition at Michigan State and a member of the Blue Dot Collective. He joins the show to talk about his music and share his thoughts about composing for band. Topics: David’s background growing up in Michigan and learning music by watching his mother play organ, and how a high school band director gave him his first big break that led to him studying music. Studying at Central Michigan University and how he didn’t write a single band piece while studying with David Gillingham The story of how he wrote Melodius Thunk and bringing in popular elements such as jazz and rock and roll into the concert band medium. Influences on his compositional style, a conversation about development in band music, and why he self-publishes his music and distributes it through Murphy Music Press. Links: David Biedenbender Murphy Music Press Biedenbender: Melodious Thunk Beidenbender: Cyclotron Abide With Me Biography: David Biedenbender (b. 1984, Waukesha, Wisconsin) is a composer, conductor, performer, educator, and interdisciplinary collaborator. David’s music has been described as “simply beautiful” [twincities.com], “striking” and “brilliantly crafted” [Times Argus] and is noted for its “rhythmic intensity” [NewMusicBox] and “stirring harmonies” [Boston Classical Review]. “Modern, venturesome, and inexorable…The excitement, intensity, and freshness that characterizes Biedenbender’s music hung in the [air] long after the last note was played” [Examiner.com]. He has written music for the concert stage as well as for dance and multimedia collaborations, and his work is often influenced by his diverse musical experiences in rock and jazz bands as an electric bassist, in wind, jazz, and New Orleans-style brass bands as a euphonium, bass trombone, and tuba player, and by his study of Indian Carnatic music. His present creative interests include working with everyone from classically trained musicians to improvisers, acoustic chamber music to large ensembles, and interactive electronic interfaces to live brain data. David has had the privilege of collaborating with many renowned performers and ensembles, including Alarm Will Sound, the PRISM Saxophone Quartet, the Stenhammar String Quartet (Sweden), the New Jersey Symphony Orchestra, the Aspen Contemporary Ensemble, the United States Navy Band, the Philharmonie Baden-Baden (Germany), VocalEssence, the Eastman Wind Ensemble, the Music from Copland House Ensemble, Detroit Symphony Orchestra bass trombonist Randall Hawes and pianist Kathryn Goodson, the Juventas New Music Ensemble, the Washington Kantorei, the Atlantic Chamber Ensemble, the Boston New Music Initiative, Ann Arbor Dance Works, Composer’s Inc. (San Francisco), and the Grand Valley State New Music Ensemble. dsc_3680Recent recognition for his work includes two ASCAP Morton Gould Young Composer Awards (2011, 2012) and the 2012 Suzanne and Lee Ettelson Composers Award. His music has been heard in many diverse venues, including Carnegie Hall, Gaudeamus Muziekweek/TivoliVredenberg (Netherlands), Symphony Space (New YorkCity), the Smithsonian Museum, the German Embassy (Washington, DC), the Antonín Dvořák Museum (Prague), the Old First Church (San Francisco), Harris Hall (Aspen Music Festival), the Interlochen Center for the Arts, Hill Auditorium (Ann Arbor, MI), the University of Michigan Museum of Art, as well as at numerous universities and conservatories, and it has been broadcast on NPR stations around the country, including on WNYC’s Soundcheck with John Schaefer and on Center Stage from Wolf Trap. David’s music can also be heard on many commercially available recordings, including recent albums by the U.S. Navy Band, Akropolis Reed Quintet, H2 Saxophone Quartet, Khemia Ensemble, PUBLIQuartet, and the North Texas Wind Symphony. Recent and upcoming commissions and projects include works for yMusic, the New York Virtuoso Singers, the Cabrillo Festival of Contemporary Music, San Francisco Symphony principal trombonist Tim Higgins, the Albany (NY) Symphony Orchestra, the Edge Ensemble, the Donald Sinta Saxophone Quartet, the Akropolis Reed Quintet, Kevin Sedatole and the Michigan State University Wind Symphony, and pianist Jeannette Fang. In addition to composing, David is a dedicated teacher. He is Assistant Professor of Composition in the College of Music at Michigan State University, and he previously taught composition and theory at Boise State University, Eastern Michigan University, Oakland University, Madonna University, the Music in the Mountains Conservatory, and the Interlochen Arts Camp. He has also taught an interdisciplinary course in creativity and collaboration in the Living Arts program at the University of Michigan. His composition students have achieved regional and national recognition for their creative work, including numerous awards and acceptance into renowned summer music festivals and undergraduate and graduate composition programs. He received the Doctor of Musical Arts and Master of Music degrees in composition from the University of Michigan, Ann Arbor and the Bachelor of Music degree in composition and theory from Central Michigan University. He has also studied at the Swedish Collegium for Advanced Study in Uppsala, Sweden with Anders Hillborg and Steven Stucky, the Aspen Music Festival and School with Syd Hodkinson, and in Mysore, India where he studied South Indian Carnatic music. His primary musical mentors include Stephen Rush, Evan Chambers, Kristin Kuster, Michael Daugherty, Bright Sheng, Erik Santos, Christopher Lees, David R. Gillingham, José Luis-Maurtúa, John Williamson, and Mark Cox.

Barrett Foa is a series regular on the hit CBS drama, NCIS: Los Angeles (2009). He plays tech operator/surfer "Eric Beale" alongside Chris O'Donnell, LL Cool J and Oscar winner Linda Hunt. Since moving to Los Angeles in January 2009, Foa has been a recurring guest on Entourage (2004) (as Ari's assistant), and the original NCIS (2003) and guest-starred on Numb3rs (2005) and The Closer (2005) opposite Kyra Sedgwick. On Broadway, Foa starred as the leads of both "Avenue Q" (Princeton and Rod) and The 25th Annual Putnam County Spelling Bee (Leaf Coneybear), and was in the original Broadway cast of "Mamma Mia!". He can be heard as "Jesus" on the 20th anniversary cast recording of "Godspell". He has played leading roles at Playwrights Horizons (where he starred in the world premiere of Adam Bock's play, "The Drunken City", a piece he helped workshop and develop), The Public Theatre, New York Theatre Workshop, The York, and John Houseman, as well as at such reputable regional venues as Hartford Stage and The Shakespeare Theatre, D.C. (starring as "Claudio" in William Shakespeare's "Much Ado About Nothing"), Bay Street Theatre (starring opposite playwright Charles Busch), Paper Mill Playhouse, TheatreWorks in CA, The St. Louis MUNY, North Shore Music Theatre, Pittsburgh Civic Light Opera, Music Theatre of Wichita, Weston Playhouse, and Maine State Music Theatre. Born and raised in New York City, Foa graduated from The Dalton School on Manhattan's Upper East Side. He attended Interlochen Arts Camp for four summers, spent a semester of college at the Royal Academy of Dramatic Arts, and received his Bachelor of Fine Arts from one of the nation's top musical theatre programs, The University of Michigan in Ann Arbor. He resides in Los Angeles. @barrettfoa  --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/confessionsofanactress/message Support this podcast: https://anchor.fm/confessionsofanactress/support

One of Publishers Weekly’s Best Books of 2019! What happens when early artistic promise doesn’t materialize into fame and fortune? Rachel Friedman was a talented viola player who attended the prestigious Interlochen Arts Camp as a kid. She quit music in college but never stopped fantasizing about what her life might be like if she had never put down her bow. In her 30s, a freelance writer in New York, she again found herself struggling with her fantasy of an artist’s life versus its much more complicated reality. In search of answers, she decided to track down her former Interlochen campmates—actors, writers, fellow musicians, and more—to find out how their own creative promise has translated into adult careers, relationships, and identities. RACHEL FRIEDMAN Author of AND THEN WE GREW UP: On Creativity, Potential, and the Imperfect Art of Adulthood AND THEN WE GREW UP: On Creativity, Potential, and the Imperfect Art of Adulthood is a funny, insightful exploration of how Friedman and eight of her talented childhood friends have reckoned with creativity mid-life. Each of these men and women reveal important insights about creativity: that it doesn't have to be all or nothing, that success isn't always linear, that sometimes it's okay to quit. Those interviewed include Michelle, a violist who got the musical career Friedman thought she wanted; Dalia, a former actress who struggles as an adult to satisfy her creative impulses; Sarah, a professional flutist who quits at 29 in spite of success; Daniel, whose day job at a special effects studio turns out to be far more fulfilling than his earlier aspirations to be a screenwriter. AND THEN WE GREW UP provides a warm and whip-smart way forward for anyone struggling to write, play music, or make art, while also balancing things like having a family, making rent, and finding contentment.

On this Episode of Marti’s Music Kitchen, the fun music and food podcast where anything can happen, it’s a Liberace 100th Birthday Celebration! With costumes, music and the glamor of show business, Liberace tribute artist and extravagant performer, David Saffert is with me today. David is a classically trained pianist and has partnerships with the Oregon Ballet Theatre, the Portland Opera, the Oregon Symphony and the Interlochen Arts Camp. He’s received RAVE reviews for his blinged-out tribute to Liberace from Oregon Arts Watch, the Deluth News Tribune and the San Francisco Chronicle. Not only was Liberace was famous for his over-the-top performance style and his slightly naughty humor, but did you also know he also liked to cook? He loved his sticky buns, so to speak! “Before I get on stage and I’m in sequins from head to toe, and the hair, a wig and the makeup and the rings, and I hear Bo and the band will start playing the Liberace Hilton-Vegas intro, it just puts you in the mindset to be him.” Crashing the party is Mr. Bo Ayars, who has worked with Bob Hope, Elvis, Barbara Streisand and who just happened to be Liberace’s music director for 13 years. How cool is this interview going to be? And just how deliciously sticky will Liberace’s sticky buns really be? Come with me into this great kitchen to get a sparkling, glamorous glimpse of musical history and lets find out! https://www.facebook.com/DavidSaffertPiano/ http://insequinspdx.com/bio https://www.ax2music.com/ MartiMendenhall.com Patreon.com/MartiMendenhall OregonMusicNews.com Liberace’s Sticky Buns Ingredients - As Best Bo can remember and David can infer! 1.5 cups brown sugar 2 sticks unsalted butter (or salted for a little zing) Basically add pumpkin pie spices to taste….. about 1.5 tsp. Or break down the spices: @.5 teaspoon cinnamon @.25 teaspoon each-ish nutmeg, cloves, allspice and cloves @.25 ginger if you want to add a little bite 3 packages refrigerated unbaked rolls (crescent, cinnamon, or other. The spice/butter mixture flavors it up.) 1 cup roughly chopped pecans 1.25 cups golden raisins (or what you have on hand) .50 cup rum (whatever smells good) Preheat oven to 325°. Soak raisins in rum until soft. Microwave 15-35 seconds if necessary to soften. Melt butter, spices and brown sugar in a small pot. Stir until is bubbling and at a thick sauce consistency. Use bigger chunks of pecans to line two non-stick baking pans (use non-stick spray on pan first), and add about 1 tablespoon of the butter mix to each cup. Prepare whatever dough you have chosen, making it into one big, single sheet of dough. Brush the butter mixture on to the dough (maybe about ¼ of the pot.) Put on raisins and more chopped pecans on top of the dough. Roll dough into a log, then slice off 1-1.25 inch sections and place into cups in the baking pan. Bake 13-15 minutes, or until the muffins just start to brown on top. Right out of the oven, place a plate over the baking pan and flip to pop-out the muffins on to the plate. Eat them warm! Use first batch to determine how much butter mixture to put muffin cups in the second batch. #liberace #lizaminnelli #tributeact #musicdirector #cabaret #Liberace100thbirthday #oshgoshbgosh #DavidSaffert #BoAyars #MartiMendenhall #MartisMusicKit #Cooking #StickyBuns

Composer Jennifer Jolley is on the faculty at Texas Tech University and Interlochen and is a member of ADJ*ective New Music and the Blue Dot Collective. In this episode she discusses her career, including how she got into writing for band. Topics: Jennifer’s background and her current gig as a composition professor at Texas Tech University. Combining electronic music with band and how composers can best help teachers bring these types of works to life. How Jennifer got involved in writing music for band and the story of “And The Eyes of the World are Upon You” commissioned by Jerry Junkin and Kappa Kappa Psi. The Fail Blog. Jennifer’s thoughts about self-publishing and distributors and why that’s important for composers. The story of how Jennifer has recognized that her anxiety was in getting in the way of her happiness and the story of her decision to seek help. Links: Jennifer Jolley Why I Compose, aka "The Fail Blog" Blue Dot Collective ADJective New Music Murphy Music Press Jolley: The Eyes of the World are Upon You Jolley: Ash Bach: Concerto for Two Violins in D Minor, BWV 1043 Reich: Music for 18 Musicians Norman: Play: Level 1 Biography: Composer Jennifer Jolley’s diverse catalog includes choral, orchestral, wind ensemble, chamber, and electronic works. She has been commissioned by ensembles and institutions across the United States, including the Vermont Symphony Orchestra, University of Texas at Austin, Bowling Green State University, Quince Contemporary Vocal Ensemble, The Canales Project, Left Coast Chamber Ensemble, among others. She is Assistant Professor of Composition at Texas Tech University in Lubbock, Texas, is the co-founder of North American New Opera Workshop, and has written articles for the e-zine NewMusicBox. In recent years, Jennifer has been increasingly drawn toward subjects that are political and even provocative. Her 2015 collaboration with librettist Kendall A, Prisoner of Conscience, sets to music statements made by the Russian punk-rock band Pussy Riot as they stood trial in Moscow for “hooliganism” and “religious hatred.” Quince Ensemble has performed the piece widely and has released a recording on their album Motherland with New Focus Recordings. Jennifer’s 2017 piece The Eyes of the World Are Upon You, commissioned by the University of Texas at Austin Wind Ensemble, reflects on the first-ever campus shooting in America, which took place at UT-Austin in 1966. Jennifer’s blog—on which she has catalogued more than 100 rejection letters from competitions, festivals, and prizes—is widely read and admired by professional musicians. She is particularly passionate about this project as a composition teacher, and enjoys removing the taboo around “failure” for her students. In addition to her professorship at Texas Tech, she is a member of the composition faculty at Interlochen Arts Camp. Jennifer deeply values the relationship that is created between composers and the communities with whom they collaborate. She has been composer-in-residence at Brevard College, University of Toledo, and the Vermont Symphony, and was in-residence at the Central Michigan University School of Music and the Alba Music Festival in Italy in 2018. She will be the Composer-in-Residence of the Women Composers Festival of Hartford in 2019. Jennifer Jolley took 2nd Place for the 2017–18 American Prize in Composition (Band/Wind Ensemble Division) and was a finalist for the the Symphony Number One Call for Scores. She holds degrees from the University of Southern California and the Cincinnati College-Conservatory of Music, where her principal teachers included Stephen Hartke, Frank Ticheli, Michael Fiday, Joel Hoffman, and Douglas Knehans.

Juliana and Heidi talk about friendship, Interlochen Arts Camp and moving 54 times. Juliana is a Gemini Sun, Taurus Moon and Aries rising.

This week Christine and Abbey as they discussion a listener question about a child that wants to quit because they dislike practice and hear a tips about how they get their own practice in their busy schedules.  This week is also a great interview with Oregon Symphony violist Jennifer Arnold. Hear how she structures her own practice, her time as a student, and how she gives back to the music community. It was such a great conversation!  Show Notes:    *Grit* by Angela Duckworth  Itzhak Perlman article   Jennifer Arnold's Bio with the Oregon Symphony  Jennifer's Website American String Teachers Association of Oregon Sphinx Performance Academy  Cleveland Institute of Music  Interlochen Arts Camp  If you are enjoying the show, please leave us a rating or review on Apple Podcasts. This helps our show reach more people! Follow us on Facebook and Instagram

An instrumental music educator at Patrick March Middle School in Sun Prairie, Wisconsin, Chris Gleason was the 2017 Wisconsin Middle School Teacher of the Year, a finalist for the 2017 National Teacher of the Year and a semifinalist for the 2017 GRAMMY Music Educator Award. He joins the show to talk about his career, his commissioning program, and share some teaching wisdom. Topics: Growing up as the son of a band director, the lessons that he learned from his parents, and the story of applying for, and being selected as Wisconsin's "Teacher of the Year." The story of his high school band experience and the importance of the literature that we select as our curriculum. Anecdotes from some of the composers who Chris has commissioned. The value of commissioning new works and tips for educators to find funding. Chris' philosophy of "lighting fires" and his thoughts about what makes a good teacher including tips for young teachers and getting "beyond the notes." Links: Chris Gleason Erickson: Ballad Aire Ticheli: Portrait of a Clown Mackey: Lightning Field Shapiro: Rock Music Balmages: Sun Cycles Hazo: Blue and Green Music Chesnokov: Salvation is Created Biography: Chris Gleason is an instrumental music educator at Patrick Marsh Middle School in Sun Prairie, Wisconsin.  He is the 2017 Wisconsin Middle School Teacher of the Year, a finalist for the 2017 National Teacher of the Year and a semifinalist for the 2017 GRAMMY Music Educator Award. Chris earned his BME at UW-Eau Claire in 1997 and his Masters Degree from UW-LaCrosse in 2002. He has taught band in the East Troy School District and the LaCrosse School District. Mr. Gleason's bands have performed at the Milwaukee Art Museum, Wisconsin State Capitol Rotunda, the "New Wisconsin Promise Conference", and the 2006 and 2009 Wisconsin State Music Conferences. The Patrick Marsh Middle School Band has commissioned composers such as Samuel R. Hazo (Blue and Green Music -2009), Brian Balmages (Sun Cycles – 2012), Michael Sweeney (Particles - 2013), Erik Morales (One Giant Leap - 2014), John Mackey (Lightning Field – 2015), Alex Shapiro (Rock Music- 2016), Brian Balmages (Twittering Machine – 2017), Andrew Boysen Jr (TBA – 2018).  In 1992 Mr. Gleason was selected as the Wisconsin Governor’s Scholar to Interlochen Arts Camp in Interlochen, Michigan. Mr. Gleason has performed professionally at Disneyland, Valleyfair, and the Mall of America. He has been guest conductor of numerous camps and festivals including the Tarleton Invitational Band Festival (Texas), National Band Association –Wisconsin Chapter Junior High All-State Band, Tri-State Honors Band, UW-Milwaukee Honors Band, UW-Whitewater Band Camp and numerous regional honor bands across Wisconsin and Illinois. He is the past-chair of the Wisconsin Comprehensive Musicianship through Performance (CMP) Committee and the Wisconsin State Middle Level Honors Band.  Currently, he is chair of the Wisconsin State Middle Level Honors Project. He has taught CMP Workshops at VanderCook College of Music, the Los Angeles Unified School District in California, The NAfME National In-Service Conference, numerous school districts in the Midwest, and recently in Hong Kong. He has presented clinics at the Minnesota, Indiana, Illinois, Iowa, and Wisconsin State Music Conventions. Mr. Gleason is the recent recipient of the Melvin F. Pontious Sparks in Music Education Award (2016), Michael G. George Distinguished Service Award (2016) and the Vi Miller Award for Excellence (2013) by Dane Arts and had a feature interview in the March 2015 Instrumentalist Magazine. Mr. Gleason is the founder and organizer of the Band Festival at the Kalahari in Wisconsin Dells that has to date inspired more than 23,500 young musicians. Mr. Gleason is a member of NBA, WMEA, and NAfME.   ​

Happy Memorial Day! For this most important and solemn of holidays I am joined by Sara Corry, the staff arranger for the U.S. Army Band "Pershing's Own." Topics: Sara's background and how her parents took her to the doctor as a child because she heard music in her head! The variety of ensembles and opportunities that she writes for as an arranger for the "Pershing's Own." Thoughts about what we can do as educators to help encourage young women to become composers. Links: Sara Corry, Composer The United States Army Band "Pershing's Own" University of Colorado, Boulder Pärt: Cantus in memorium Benjamin Britten Schnittke: Piano Quartet No. 5 (5th movement) Schwantner: ...And the Mountains Rising Nowhere Jolley: The Eyes of the World Are Upon You Biography:   Sara Corry is currently a member of the U.S. Army where she serves as a Staff Arranger for the U.S. Army Band "Pershing's Own." For the last six years she has been a Teaching Fellow at Interlochen Arts Camp, providing instruction on electronic music and theory. As a composer, Corry has had notable performances by the JACK Quartet, Harvard's Videri String Quartet, Dallas Symphony Chamber Players, Meadows Symphony Orchestra (Dallas), Interlochen Ensemble and the Musica Nova Ensemble (UMKC). She has received commissions from the Playground Ensemble, Dallas Museum of Art - Nasher Sculpture Center, and University of Colorado. She has been a featured composer at the Aquilla Summer Music Festival, ISCM Miami, and the UNC Open Space Festival. Her Composition "Aftersong" is included on the "Electronic Masters Vol. 5" CD released in 2016 by ABLAZE Records. Coming from both a scientific and musical background, she was the recipient of a Catalyst grant to fund her ideas linking music and physics and won the O'Neal-Taniguchi prize for Arts Entrepreneurship for the development of a computer program that reads brainwaves and aids in musical performance. In addition to composing and arranging, Corry is an active harpist. As a musician, she has performed in Carnegie Hall, Renee and Henry Segerstrom Concert Hall, Meyerson Symphony Center, Meng Concert Hall, as well as venues in Germany, Austria, Switzerland and France. She earned a Master's degree in Music Composition from the University of Texas at Austin and is currently finishing her D.M.A in Music Composition and Technology at the University of Colorado at Boulder. Her principle teachers include Dan Kellogg, John Drumheller, Donald Grantham, Dan Welcher, Yevgeniy Sharlat, and Rob Frank.

During her tenure at Interlochen, Megan sat down with Jeff Irving, another percussion faculty member.  Jeff resides in NYC, freelances as a contemporary, orchestral, and Broadway player, and co-owns New York Percussion Service, a percussion instrument rental company.Topics: Interlochen, freelancing, blogging, Jan WilliamsWatch here. Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 Intro and hello2:27 Interlochen Arts Camp5:00 Brett Morris: In your success in acquiring performance opportunities, what’s the balance between your musical skills, networking, and knowing people who can help in job placement?10:12 Building connections in school13:54 Ben: Jan Williams19:33 Megan: High school percussion camps25:57 Jeff’s experience at Interlochen Arts Academy34:08 New York Percussion Service38:57 Life as a freelancer in NYC42:10 Ted Jackson: Could you explain how you have crafted your career out of many different opportunities? I love how you are able to play in some of the finest orchestras in the world, perform contemporary music, run your own percussion business, and have a blog. How have each of these things developed the way you perceive music?46:54 Bird perch timpani mallets and forgetting your pants and underwear57:19 “Two out of three test” from Jeff’s blog1:04:34 Nathaniel Gworek: How did it happen that you got a job while already living in New York City. Subbing with the Met is a pretty big deal. Was it luck that the job opened while you were already living in New York City?1:09:07 Wrap

While his peers at Interlochen Arts Camp excelled in one particular arts area, Jesse Green (IAC 67-74) dabbled in everything Interlochen had to offer. Years later, Green uses every facet of his Interlochen education in his work as the Co-Chief Theater Critic for the New York Times. Tommy caught up with Green for a discussion on artistic generalism and the transformational power of Interlochen. The episode concludes with a performance of Ralph Vaughan Williams’ “Fantasia on a Theme by Thomas Tallis,” performed by the 1989 Arts Academy String Orchestra.   More: https://www.nytimes.com/by/jesse-green 

Mary Land joins me to share 29 years of experience as a middle school band director. Also discussed is her role on the Midwest Board of Directors, finding balance as a band director, and her recent transition to college professor. Topics: The program at Young Harris College and how Mary made the transition from a 29 year career as a middle school band director to a college band director. “You can not teach to empty chairs.” Mary’s thoughts about building a program and attracting students to participate in the band. How to choose good music and creating packets to help students learn the skills necessary to play a piece effectively. Practical advice about competitions, score preparation, cues, and dealing with the percussion section. Keeping balance in your life as a band director and being a lifelong learner. Links: Mary Land Young Harris College Composers and Schools in Concert BandQuest Contemporary Music Project Biography: Mary Land is Director of Bands and Assistant Professor of Music at Young Harris College in Young Harris, Georgia. Mary received the Educational Doctorate in Music Education from the University of Georgia. Dr. Land, a native of North Augusta, South Carolina, received her Bachelor of Music Education degree from the University of Georgia and her Master of Music Education degree from Vandercook College of Music in Chicago, Illinois. She has served the Georgia Music Educators Association in various state and local offices. Dr. Land is currently the immediate past president of the Georgia Music Educators Association and the CNAfME state chair. She continues to make numerous appearances as adjudicator, conductor, and clinician throughout the United States. Her professional affiliations include: GMEA, NAfME, IAJE, CBDNA, and Delta Kappa Gamma Society International Professional Teacher Association. Dr. Land serves on the Board of Directors for the Midwest International Band and Orchestra Clinic and is a member of the Zeta Chapter of Phi Beta Mu International Bandmasters Fraternity. Dr. Land is a member of the National Band Association and has served as a national representative on the NBA executive board of directors. Mary Land is also on the faculty of the prestigious Interlochen Arts Camp as the conductor of the Intermediate Division Wind Symphony and conductor of the Interlochen Faculty Brass Ensemble. Many professional awards and recognitions have been awarded Dr. Land during her career. She has recently been presented with The Distinguished Alumni Award from the Vandercook College of Music. Dr. Land has been featured in many issues of the Instrumentalist magazine discussing her teaching techniques and her band program in the public schools and her band program at Young Harris College. She has been presented the National Band Association Citation of Excellence on twelve separate occasions and has been presented the Women Band Directors International Scroll of Excellence five times. Dr. Land was awarded the GMEA Music Educator of the Year Award for 2002 and was presented with the John Philip Sousa Foundation Legion of Honor Award at the 2002 Midwest Band and Orchestra Clinic for her contributions to music education. Mary Land was selected by the national publication School Band and Orchestra in their December 2003 issue as one of “50 Directors Who make a Difference”. Mary Land’s band program was the recipient of the Georgia Senate Resolution 212 commending the success of the Pickens County School Band Program. Mary Land and the Pickens County Middle School Band were the 2003 recipient of the Magna Cum Laude Award, a prestigious International Award for Middle School Bands. Dr. Land is published in the journals for the National Band Association, the Instrumentalist, Teaching Music (NAfME), School Band and Orchestra Magazine, and the GIA series Teaching Music Through Performance in Band. Commissioning projects include works by Sam Hazo, Bill Locklear, Barry Kopetz, and Christopher Tucker. Bands under Mary Land’s direction have received invitations to perform at many music conferences and clinics on multiple years, including the Georgia Music Educators Association Conference, the Southern Division MENC Convention, the CBDNA/NBA Southern Division Conference, the University of Southern Mississippi Conductors’ Conference, and the University of Georgia Band Festival.

Spending time with Jack Unzicker was a major highlight of my trip to the Dallas-Fort Worth area.  Jack is an assistant professor at The University of Texas at Arlington and is one of the most professionally active bassists in the region. We dig into all kinds of topics, like: what Jack's professional life looks like where the bass is headed what possibilities look like for music students private teaching modalities of practice Links to Check Out: Jack's Website Jack's UT-Arlington Faculty Page Jack and Jason chatting for Viva el Bajo Live in 2017 (YouTube) More About Jack: Jack Unzicker is the Assistant Professor of Double Bass at the University of Texas at Arlington and is a sought-after performer and educator. He has extensive and varied experience in all performance areas, from early music to contemporary, solo, chamber, and orchestral, as well as jazz and electric bass. He maintains an active performing schedule, over 300 performances since his appointment at UT Arlington in 2012. Raised in Juneau, Alaska, he began his musical studies with piano, guitar, and percussion and began performing as a professional bassist and teaching private lessons at the age of fourteen. He earned his Doctor of Musical Arts and Master of Music degrees from the University of North Texas, where he studied solo and orchestral performance, orchestral conducting, jazz studies, and early music with Jeff Bradetich, Paul Sharpe, Bill Clay, Anshel Brusilow, Lynn Seaton, and Lenora McCroskey. Dr. Unzicker earned his Bachelor of Music degree from Western Washington University where he studied jazz studies, performance, and contemporary music with Chuck Israels, Anna Doak, and Roger Briggs. Dr. Unzicker continued his studies at the Henry Mancini Institute, working with Bertram Turetzky, Christian McBride, and John Clayton, the Pierre Monteux School for Conductors, and the Pirastro Strings Elite Soloists Program. In 2016, Dr. Unzicker was a featured soloist with the Dallas Chamber Symphony, performing Hindemith’s Trauermusik. Upcoming projects include a recording for commercial release in 2017, of an ongoing duo project. This duo project is in collaboration with Dr. Martha Walvoord, UT Arlington violin professor, and contemporary composers to commission, perform, and record new works for violin and double bass. Composers include six-time Grammy-award winner Michael Daugherty, Roger Briggs, Andrea Clearfield, Tom Knific, George Chave, and Daniel M. Cavanagh. The duo will perform a recital at the International Society of Bassists 2017 Convention in Ithaca, NY on June 10, 2017. Dr. Unzicker’s recent chamber music performances include the Adams Chamber Symphony, Bach Brandenburg Concerto No. 1, 2, 3, & 6, Beethoven Septet, Bruch Octet, Ginastera Variaciones Concertantes, Prokofiev Quintet, Stravinsky L’Histoire du soldat, and Brahms Sextet in B-flat Major, Svendsen Octet, and Schubert Octet with members of the Dallas Symphony, Dallas Opera, Fort Worth Symphony, Grand Rapids Symphony, and professors from Rice University and the University of North Texas. Dr. Unzicker is also principal double bass of the Dallas Chamber Symphony and Santa Fe Pro Musica. As an orchestral musician, Dr. Unzicker has performed with the Artosphere Festival Orchestra, Dallas Opera, Dallas Symphony, Fort Worth Opera, Fort Worth Symphony Orchestra, Holland Symphony, Waco Symphony, and as principal of the AIMS Festival Orchestra (Austria), Dallas Chamber Orchestra, Lubbock Symphony Orchestra, Orquesta Divertimento (Costa Rica), and Plano Symphony Orchestra. He has worked extensively with conductor Miguel Harth-Bedoya, as well as Jaap Van Zweden, Otto Werner-Mueller, Larry Rachleff, Rossen Milanov, James Conlon, Anshel Brusilow, and Gunther Schuller. As a pedagogue, Dr. Unzicker serves on the board of the Bradetich Foundation, a double bass performance and education organization, and is the Bass Forum Editor for the journal American String Teacher. He has been featured in articles on playing and teaching the double bass in The Strad, Bass World, American String Teacher, and Strings Magazine and frequently performs, adjudicates, and presents at the International Society of Bassists, American String Teachers Association, and Texas Music Educators Association Conventions. In the summers, he performs and teaches as Artist Faculty and as the Assistant Director of the Annual Bradetich Double Bass Master Classes. Current and former students of Dr. Unzicker have been accepted to undergraduate, graduate, and summer programs at the Colburn School, Juilliard School, University of Southern California, Boston University, Indiana University, University of North Texas, Florida State University, University of Texas, North Carolina School of the Arts, New World Symphony, Curtis Institute of Music Summerfest, Aspen Music Festival and School, National Orchestral Institute, National Repertory Orchestra, Interlochen Arts Camp, Round Top Music Festival, Texas Chamber Music Institute, and the WaBass Institute. The double bass studio at the University of Texas at Arlington has proudly hosted many guest artists recently, including Artist-In-Residence Eddie Gomez, Ira Gold, Milton Masciadri, Jeff Bradetich, Brian Perry, Aaro Heinonen, and the Bassinova Quartet. Dr. Unzicker performs primarily on instruments by Daniel Hachez and Albert Jakstadt, and a bow by Reid Hudson. Contrabass Conversations is sponsored by:   The Upton Bass String Instrument Company.  Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr.  Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. Check out this video of David Murray "auditioning" his Upton Bass! The Bass Violin Shop, which  offers the Southeast's largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Subscribe to the podcast to get these interviews delivered to you automatically!

I am thrilled to welcome conductor Jerry Junkin to the show for a conversation about his career, how every commission provides a new opportunity, and the importance of cultivating good relationships. Topics: Jerry’s background as the son of a high school band director and being prepared to take advantage of serendipitous opportunities that helped to shape his early career. Collaborating with other musicians and how to ask a composer to work with your group. The most important bit of advice that Jerry looks to pass along to all of his conducting students at the University of Texas. Criteria for selecting literature for his concerts and advice for sifting through the large number of pieces that are released each year. Links: Jerry Junkin The University of Texas Butler School of Music Dallas Winds Senzoku Gakuen College of Music Hong Kong Wind Philharmonia Cornet Favorites, Gerard Schwarz & William Bolcom Composers and Schools in Concert The War of Art by Steven Pressfield Harvey Penick's Little Red Book Mozart: Serenade for 13 Winds in B-flat Major, K. 361 "Gran Partita" Biography: In his 25th season as Artistic Director and Conductor of the Dallas Winds, Jerry Junkin is recognized as one of the world’s most highly regarded wind conductors. He has served as Music Director and Conductor of the Hong Kong Wind Philharmonia since 2003, additionally, 2017-18 marks his 30th year on the faculty of The University of Texas at Austin, where he holds the Vincent R. and Jane D. DiNino Chair for the Director of Bands. There, he also holds the title of University Distinguished Teaching Professor. Previously, he served on the faculties of both the University of Michigan and the University of South Florida. In addition to his responsibilities as Professor of Music and Conductor of the Texas Wind Ensemble, he serves as Head of the Division of Conducting and Ensembles and teaches courses in conducting and wind band literature. He is a recipient of multiple teaching awards, and students of Mr. Junkin hold major positions throughout the world. Since 2007, he has been the Principal Guest Conductor of the Senzoku Gakuen College of Music Wind Symphony in Tokyo. Performances under the direction of Mr. Junkin have won the praise of such notable musicians as John Corigliano, David Del Tredici, Gunther Schuller, Karel Husa, William Kraft, Jacob Druckman and Michael Colgrass, among many others. Mr. Junkin has released over 30 compact disc recordings for the Reference, Klavier and Naxos labels. The New York Times named his recent release on the Reference Recordings label, Bells for Stokowski, one of the best classical CD’s of the year. His performance of Circus Maximus with The University of Texas Wind Ensemble was recently released on the world’s first Blu Ray audio disc in 5.1 surround sound by Naxos and was nominated for a GRAMMY. During the summer of 2014 he led The University of Texas Wind Ensemble on a four week tour around the world. Jerry Junkin is an enthusiastic advocate of public school music education, having conducted All-State bands and festivals in forty-eight states and on five continents. He spends his summers in residence at the Interlochen Arts Camp in Michigan, as well as appearing at major music festivals throughout the world.  Mr. Junkin has served as President of the Big XII Band Director's Association and is a member of the Board of Directors of The John Philip Sousa Foundation, is Past-President of the American Bandmasters Association, and is Past President of the College Band Directors National Association. Regularly making guest appearances with ensembles such as the Tokyo Kosei Wind Orchestra and the Taipei Symphonic Winds, the 2017-18 season finds him conducting throughout the United States in addition to multiple appearances in Japan, China, and Europe. In 2005 he was presented the Grainger Medallion by the International Percy Grainger Society in recognition of his championing of Grainger’s works, and he has received numerous career awards from Kappa Kappa Psi, Phi Beta Mu, and the Midwest Clinic, among others. Mr. Junkin is a Yamaha Master Educator.  

Some of our episodes talk about a conductor’s journey as a musician, or their philosophical understanding of the nature of choral music. Some episodes are pure toolkits: here’s what you need to solve your problems. This episode has the rare distinction of being both. Dr. Kronauer and Ryan cover the “hows” of directing teenage male voices, as well as the “whys” behind them. You’re going to want to listen to this one twice. Listen: Highlight to Tweet: “Living rigidly is not the game. The game is finding elasticity.” - Steven Kronauer Show Notes: Try thinking less in terms of “blend,” and more in terms of “agreement.” For the teenage male singer, it’s important to reassure them that change is a part of life. Whatever they are working with (or through) will be fine. When dealing with limited range, you need to offer patience and guidance. Provide a model. Avoiding “compensation,” or reaching for a pitch. (“that giraffe thing” - Ryan Guth) Posture and alignment are always important, but especially so for teenage boys. Accept and love this period of life where you’re going through change! Falsetto is huge. HUGE. Sing into a straw in a cup of water, so that the sound is focused at the front of the bubbles. It helps practice constant airflow. Hum with the tongue between the lips, concentrating on the vibration of the vocal folds while letting go of tensions. “You learn to sing by singing.” Place your singers according to what will be healthy for them. Bio: DR. STEVEN KRONAUER, a highly experienced voice teacher, tenor, and conductor, is the conductor of Los Angeles Children’s Chorus’ Young Men’s Ensemble, comprised of young men with changing voices. After completing two Master’s degrees at the University of Michigan, one in Voice Performance and the other in Choral Conducting, Dr. Kronauer began his professional career in the chorus of the Bavarian State Opera in Munich, Germany, as its youngest member ever.  During his ten-year engagement, he had the privilege of meeting and studying with many noted singers of the highest echelon, including world famous Verdi tenor Dennis O’Neill and Wagnerian baritone Donald MacIntyre.  Dr. Kronauer was employed as a soloist with the Bavarian State Opera for television broadcasts, CD recordings, and live radio performances, appearing with Renee Fleming, Kurt Moll, and many others, in secondary tenor roles.  Dr. Kronauer performed the role of Smy in a world premiere of the German opera Peter Pan, by Willfried Hiller, directed by the world famous stage director August Everding.  This performance was recorded at the Prinz-Regenten Theatre in Munich, Germany, and distributed by Deutche Gramaphone. Dr. Kronauer has studied oratorio with the finest of the field, including Ernst Haefliger and Peter Schreier, in Germany (while being a guest observer as a conductor at the Deutche Stats Oper in Berlin, Germany). He also studied with tenor John McCollum in the United States. Since then, he established a career in Europe singing oratorio under such noted conductors as Karl Anton Richenbacher and Peter Schneider.  Additionally, Dr. Kronauer has sung as a soloist at the Cologne Philharmonic, and with the Munich Philharmonic in Germany. He has sung more than 100 performances of Carmina Burana, internationally.  Dr. Kronauer’s interest in opera conducting was enhanced upon becoming acquainted with Zubin Mehta and Wolfgang Sawalisch at the Munich Opera.  Dr. Kronauer is a soloist with many organizations since his return from Europe, including a frequent guest with the Angeles Chorale and the National Children’s Chorus, here in Los Angeles. Dr. Kronauer completed his doctorate degree at the University of California, Los Angeles in choral conducting and operatic conducting under the direction of Donald Neuen and William Vendice, respectively.  He has worked with Donald Neuen as an assistant conductor with the UCLA Chorale and with Maestro Vendice as the assistant conductor of the UCLA Opera. Previously, The University of Michigan offered Dr. Kronauer the opportunity of completing two Masters Degrees in Vocal Performance (under Lorna Haywood and John McCollum) and Choral Conducting (under Theodore Morrison).  There, he was the Assistant Conductor for Jerry Blackstone and the University of Michigan Men’s Glee Club.   He has also led a choral workshop at the University of Munich.  Dr. Kronauer’s expertise focused on performance practice of American and British chorale music.  While in Munich he formed The Munich Opera Chamber Chorus, which sang some of the great chamber music of the Germanic tradition, including the complete Liebeslieder waltzes. Dr. Kronauer has taught on the voice faculty of the Interlochen Arts Camp and at the University of California, Irvine.  He also had the honor of presenting a lecture to the National Association of Teacher’s of Singing on the “Dos and Don’ts of Starting a Singing Career in Germany.” Dr. Kronauer taught for three years as a member of the voice faculty, and the music director of the opera program at California State University, Los Angeles, conducting fully staged performances of Hansel and Gretel by Humperdinck and L’incornatione di Poppea, by Monteverdi.  Dr. Kronauer was the Acting Chair of the voice department of the University of California, Santa Barbara for two years and the director of opera activities producing. Currently Dr. Kronauer has a busy private voice studio and is on the faculty of California State University, Long Beach at the Bob Cole Conservatory of Music teaching voice and German diction. Resources/links Mentioned: LA Children’s Chorus Vocal Wisdom Choir Nation group on Facebook Patreon - Support the podcast! Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

Michael Blieden is known for many things in the comedy world where he's a writer, director and performer, but he's best known (to our hosts at least) as Micah's counselor at Jacobs Camp in the summer of 1990. He joins Micah and Judy to talk about that magical summer as well as growing up at Interlochen Arts Camp in Michigan.

We are featuring our complete interview with former Indiana University and University of Michigan double bass professor Lawrence Hurst on this week's Contrabass Conversations episode.  This interview was broadcast in the early days of this show in three separate parts, and we are pleased to present the complete and uninterrupted interview on this week's show.  This episode was co-hosted by John Grillo.  Enjoy! About Lawrence Hurst: Lawrence Hurst began his musical studies on the piano accordion at the age of four. At 13, he started studying the double bass through the public school system of his hometown, Norfolk, Virginia. After serving two years with the Seventh Army Symphony, he started his professional career as principal bassist with the Dallas Symphony under Sir Georg Solti. He joined the music faculty at the University of Michigan School of Music in 1964. During his tenure at Michigan, he chaired the String Department and was Associate Dean and Director of the University Division of the National Music Camp at Interlochen, Michigan. In 1986 he joined the faculty of the Jacobs School of Music of Indiana Universtiy and was the chair of the String Department from 1987 until 2012. In 1967, he joined the summer faculty of the famed National Music Camp (now the Interlochen Arts Camp) and has taught there every summer since. His students can be found in orchestras and musical venues all over the world, including the orchestras of Philadelphia, Chicago, San Francisco, Indianapolis, Atlanta, The Metropolitan Opera, St. Louis, and Milwaukee, to name a few. In 2005 he was given the American String Teacher's Association Artist/Teacher of the Year Award, and, in 2006, the International Society of Bassists (of which he is past president) gave him the Distinguished Teaching Award. In JUne, 2013, the ISB also awarded him the Distinguished Achievement Award. He retired from the Jacobs School of Music in June 2012, whereupon his former students initiated an endowment scholarship and medal for double bassists in his name. email: feedback@contrabassconversations.com phone (call-in number--we'll play your message on the show!): 415-952-5643

This interview-only Contrabass Conversations episode features the conclusion of our interview with Indiana University double bass professor Lawrence Hurst, whom we interviewed on episodes 20 and 23 of the podcast. About Lawrence Hurst Lawrence Hurst is the former principal double bass for the Dallas Symphony. He is a former faculty member of Southern Methodist and Eastern Michigan Universities and former faculty member, associate dean, and chair of the string department at University of Michigan School of Music. He was honored with the Alumni Award from the University of Michigan School of Music in 1998. Professor Hurst is former director of the University Division of the National Music Camp and is a summer faculty member of the Interlochen Arts Camp.  He is past chair of the American String Teachers Association National Solo Competition, and past president of the International Society of Bassists.  His former students can be found in many prestigious orchestras, including Chicago, Philadelphia, San Francisco, Indianapolis, and Atlanta.  He has chaired the Indiana University Strings Department for the past 19 years and has been on faculty at Interlochen for the past 40 years.  

Lawrence Hurst is the former principal double bass for the Dallas Symphony. He is a former faculty member of Southern Methodist and Eastern Michigan Universities and former faculty member, associate dean, and chair of the string department at University of Michigan School of Music. He was honored with the Alumni Award from the University of Michigan School of Music in 1998. Professor Hurst is former director of the University Division of the National Music Camp and is a summer faculty member of the Interlochen Arts Camp.  He is past chair of the American String Teachers Association National Solo Competition, and past president of the International Society of Bassists.  His former students can be found in many prestigious orchestras, including Chicago, Philadelphia, San Francisco, Indianapolis, and Atlanta.  He has chaired the Indiana University Strings Department for the past 19 years and has been on faculty at Interlochen for the past 40 years. Music from the Bass Gang website: http://www.thebassgang.org/

Lawrence Hurst is the former principal double bass for the Dallas Symphony. He is a former faculty member of Southern Methodist and Eastern Michigan Universities and former faculty member, associate dean, and chair of the string department at University of Michigan School of Music. He was honored with the Alumni Award from the University of Michigan School of Music in 1998. Professor Hurst is former director of the University Division of the National Music Camp and is a summer faculty member of the Interlochen Arts Camp.  He is past chair of the American String Teachers Association National Solo Competition, and past president of the International Society of Bassists.  His former students can be found in many prestigious orchestras, including Chicago, Philadelphia, San Francisco, Indianapolis, and Atlanta.  He has chaired the Indiana University Strings Department for the past 19 years and has been on faculty at Interlochen for the past 40 years.