Podcast appearances and mentions of jeannette fang

Last year, plenty of people took up the new hobby of baking sourdough. What better to do when you can’t leave the house? And, since sourdoughs are based on cultivating a microbial community of yeast and bacteria in what’s called a “starter,” these bakers had to learn how to care for the billions of microbes with which they now shared a kitchen. But as with many other hobbies, some of those new sourdough bakers probably gave up at some point. So what happened to their new microbe friends? What happens to a neglected sourdough starter? On this episode of the Scienceline podcast, we find out. Photo: A healthy sourdough starter can smell floral, yeasty or even like alcohol sometimes — but not rotten. [Credit: Jill Wellington | Pixabay] Music by Jahzzar and Chopin, by Frank Levy and Jeannette Fang. For more information about this episode, please visit: www.scienceline.org/2021/01/death-of-a-sourdough

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.

In which we talk about our summers at various music festivals, being at Garth Newel, and give belated thanks and replies to our listeners. Special thanks to Shi-An Costello, who left us our very first review! Thanks for listening!

In Part 2 of Jonathan's interview of Jeannette, they discuss Jeannette's best and worst gigs, and shares pieces of advice for the listeners. Purchase Garth Newel Piano Quartet's newest album here: https://store.cdbaby.com/cd/garthnewelpianoquartet12 Musical interlude: Paul Moravec - Piano Quartet (mvt. 2)

In Part 1 of Jonathan's interview with Jeannette Fang (pianist of the Garth Newel Piano Quartet and co-host of So Many Wrong Notes podcast) (recorded June 2017), we discuss sexism and other mental pathology in the highest echelons of music, Chopin etudes, and the familial stresses surrounding going into music. Purchase Garth Newel Piano Quartet's newest album here: https://store.cdbaby.com/cd/garthnewelpianoquartet12

Harpsichord phenom Joe Gascho may be uncomfortable with me introducing him as an awesome person, but he’s just going have to be ok with it, because if anyone is deserving of the title, it’s him. Find out why in this … Continued

For part 2 of my interview with pianist Brian Hsu, we get into repertoire pet peeves, talk about his past and future recording projects, about how becoming a professor has made him see how they might have gotten some stuff … Continued

We’re back! For episode 1 of season 2, we catch up on our summers, get into the business of performance anxiety, talk about how nerves are actually not the enemy, and also about more important things like naming your spiders … Continued

In which Franny discovers that Jeannette knows nothing about the harpsichord despite being his friend for all these years. What do you think of our new theme song?  Leave us a comment! ITUNES GOOGLE PLAY