Podcast appearances and mentions of klaus sch

Klaus Schönberg geht in den wohlverdienten Ruhestand. Nach über 35 Jahren im aktiven Dienst als Pastor des BEFG, unzähligen Begleitungen von Gemeindegründungen und Projekten verabschiedet sich Klaus noch einmal persönlich von euch. Er erzählt, was er aus diesen Jahrzehnten der pastoralen Arbeit mitnimmt und ihm wichtig geworden. Klaus war über 12 Jahre verantwortlich und Mitgründer des Arbeitsbereiches Gemeindegründung im Dienstbereich Mission des BEFG, hat mehrere Bücher geschrieben und Konferenzen mitgestaltet.

Klaus Schönberg diskutiert mit Tim (@timmelhimmel) und Lukas (@furchensohn) über die Zukunft der Kirche. Liveaufnahme vom Gründungslab 2023.

Sejrstimen er en udsendelse med studievært Sten Sejr. Han har en stor kærlighed for musik og er tilmed selv udøvende sanger og musiker. Udsendelsen bevæger sig rundt i temaer, fra studieværtens egen pladesamling og indeholder typisk mindre kendte numre med temaets kunstner. Et tema kan være med en bestemt komponist, producer, et bestemt land eller noget helt andet. Mulighederne er mange. Sten Sejr er selv professionel sanger og musiker. Dels som kirkesanger og sanger i DRs Radiokor. Og så er han det ene medlem i den elektroniske duo We Know Nothing. Han har også udgivet et par albums sammen med den internationalt kendte New Age musiker Klaus Schønning. Sejrstimen er i luften for 117. gang og temaet er usynligt, overalt og livsnødvendigt! Svævende på radiobølger kommer bl.a. Talking Heads, Portishead, Pink, Keane, Stella Donnelly, Churches, Massive Attack, Jamie Woon, Lana Del Rey, Ben Folds Five, Don McLean, Imogen Heap, Fleet Foxes, The Colourfield og minsandten Schønning & Sejr.

Sejrstimen er en udsendelse med studievært Sten Sejr. Han har en stor kærlighed for musik og er tilmed selv udøvende sanger og musiker. Udsendelsen bevæger sig rundt i temaer, fra studieværtens egen pladesamling og indeholder typisk mindre kendte numre med temaets kunstner. Et tema kan være med en bestemt komponist, producer, et bestemt land eller noget helt andet. Mulighederne er mange. Sten Sejr er selv professionel sanger og musiker. Dels som kirkesanger og sanger i DRs Radiokor. Og så er han det ene medlem i den elektroniske duo We Know Nothing. Han har også udgivet et par albums sammen med den internationalt kendte New Age musiker Klaus Schønning. Udsendelserne kan desuden aflyttes som podcast, efterhånden som vi når at uploade dem. Men kan godt være nogle uger efter, det som sendes i radioen.

In dieser Folge stellt uns Klaus drei Reifephasen des Glaubens dar und arbeitet Lernaufgaben für jede Phase heraus. Dabei erzählt er ganz persönlich, wie er diese Phasen selbst erlebt hat und noch erlebt. Wie bewährte Zugänge zu Gott für eine Zeit lang vertrocknen, aber zu einem anderen Zeitpunkt wieder fruchtbar werden. In welcher Phase steckst du gerade? Mehr zu den Reifephasen findest du bei Klaus Schönberg: Basisbuch Gemeindegründung www. blessings4you.de/shop/item/9783879390823/basisbuch-gemeindegrundung-edition-befg-band-8-von-klaus-schonberg-gebundenes-buch

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Para los que ya amábamos esta música en el siglo XX. Christopher Dean, Medwyn Goodall, Deuter, William Aura, Johannes Schmoelling, Wavestar, Dan Hartman, Trapezoid, Steve Howe & Constance Demby & Paul Sutin, Klaus Schønning, Enigma, Tomás San Miguel, Kevin Braheny & Tim Clark, Erik Wøllo, Roger Eno, Nancy Rumbel, Mychael Danna & Jeff Danna, John Doan, Tom Vedvik. El playlist detallado con enlaces a las audiciones íntegras de cada album: lostfrontier.org/episodios/2022/984.Escucha este episodio completo y accede a todo el contenido exclusivo de lostfrontier.org. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/26825

今天是一期空岛特别节目，将由目前在大理休养生息的倪兵老师担当守岛人，做回自己的老本行——电台DJ，与大家聊聊天放点音乐也希望借此疗愈到特殊时期感到焦虑与不安的朋友们。作为中国电子音乐行业的先锋，倪兵为我们带来了非常多元的疗愈音乐，舒缓的、充满律动的、氛围感的、具有民族气质的……确实，疗愈这个词不应该被局限在某种特定类型的音乐中。节目的末尾，倪兵老师特意挑选了于近日逝世的德国电子音乐先驱Klaus Schulze的作品，希望借此表达哀悼与敬意。也期待本期空岛可以带领大家在这不同风格色彩的音乐中去感受治愈的力量……00:00:48 本期空岛代班守岛人「倪兵」00:06:26 Hubbabubbaklubb - Fjellet (Bjørn Torske Remix)00:12:26 Klaus Schønning - Pyxis00:19:36 Sofie Birch; Nana Pi - Observatory00:25:07 Wau Wau Collectif - Yaral Sa Doom00:33:17 Pleasure Voyage - Hottest Day00:38:53 Spang Sisters - Caves of Altamira00:43:09 Statues - Lele (Original Mix)00:51:29 Mental Overdrive; Flash Atkins - Where？(BCB Extended Remix)00:56:50 Chris Zippel,Adel Tawil - Again01:05:13 El Leopardo - Solsticio01:09:48 SAULT - Luos Higher01:14:43 White Feather - 1-1 As Above, So Below01:24:16 Klaus Schulze,Pete Namlook - Set the Control to the Heart of the Mother, Pt. 2

Episode NotesBarn on the farm of R. Murray Schafer and Eleanor James, Indian River, Ontario, January 19, 2022 (photo by me)Note: the text below is a transcription of the narration in the episode (sounds are described, with their source where possible)Welcome to episode 99 of the conscient podcast, the last episode of season 3, which you might recall was on the theme of radical listening. (fade in of sound of barn)I invite you to guess what is this space. There are some sonic clues. It's clearly an indoor space and yet there is a hollowing wind with a deep, rich texture... You can hear the gentle crackling of wood… the occasional slap of a rope… a squirrel. (fade out sound of barn)This soundscape was recorded on January 19th, 2022, in a barn, on a farm that belonged to composer R. Murray Schafer and is now the home of his wife, the singer Eleanor James. The farm is located near Indian River, Ontario, about 20k east of Peterborough which is the traditional territory of the Anishinaabe Mississauga people adjacent to Haudenosaunee Territory and in the territory covered by the Williams Treaty. I went to the farm to record winter soundscapes for this episode, Winter Diary Revisited, which is a soundscape composition dedicated to the memory of composer, writer, music educator, and environmentalist, R. Murray Schafer.1st floor of barn of R. Murray Schafer and Elanor James, near Indian River, ON, January 19, 2022Eleanor James, January 19, 2022, Indian River, Ontario (photo by me)While visiting the farm, I had a conversation with Eleanor James about Murray and his relationship to winter. Here is an excerpt:Claude: I'm with Eleanor James and I just spent some time in your barn. Thank you so much. I recorded a bunch of sounds, and I went into the forest and captured sounds of wind and some of the things that Murray and I did when we did the Winter Diary, which is to do this kind of yelling out, to enliven the space and get a feeling of it. (sound of snowshoeing and distant 'Hey' at the farm on January 19, 2022)Claude: There are so many things that you could talk about Murray. Any thoughts about soundscapes but also around recording and winter sounds? Eleanor: There's a couple of things come to mind, which are in his creative output and one of them is Music in the Cold. It's a lovely little manifesto done in an artistic style about how it's better to be in the North than in the South and that music in the cold is tougher and hardier and more austere and (laughs) so he goes into a diatribe about that kind of thing. He really is a Northern personality. So, you have to forgive him for going on a rant about it, but, of course, it was an artistic creation, so it was intended to be hyperbolic. I think it's quite delightful. It's got a midnight blue cover and then the title Music in the Cold.Speaking of which, he has written a wonderful string quartet called Winter Birds which the Molinari quartet of Montreal have recorded, in which his own voice occurs in the very last movement where he describes the winter of 2005 looking out his studio window at the birds feeding. We used to fill the feeders with seeds, and we'd have all kinds of little birds coming and fluttering and going and making little soft sounds. In the string quartet, he describes a whole event of birds, just fluttering and coming and going and the total silence surrounding them, not only acoustically, but visually as well. Nothing but the snow, just like it is today, with snow heaped everywhere and just these little birds making tiny fluttering sounds with their wings.There's also the piece that he wrote for choir called Snowforms which is actually quite popular, and he wrote it as a graphic score and it's written on a sort of pale turquoise green paper, and the choir reads the shapes of snow and again, those shapes were something that he observed looking out his studio window and drew graphically and then composed it so that pitches were associated with these tones. It's just a marvelous description of winter and so for Murray, all of the soundscape work that he was so interested in fed into his artistic abilities and his artistic gifts as a composer.Note: See String Quartet no. 10 - Winter Birds (extrait) / R. Murray Schafer for an excerpt of Winter Birds performed by the Molinari Quartet. See Snowforms for a performance of Snowforms by the Vancouver Chamber Choir.I re-read Murray's Music in the Cold book when I got back home to Ottawa, which he wrote in 1977, when I was 17. It's interesting to look back at this piece of artistic reflection and provocation. Here are the last 11 lines of the book: Saplings are beginning to sprout again in the moist earth.Beneath it animals can be heard digging their burrows.Soon the thrush will return.The old technology of waste is gone.What then remains?The old virtues: harmony; the universal soul; hard work.I will live supersensitized, the antennae of a new race.I will create a new mythology.It will take time.It will take time.There will be time. (fade in recording of Eclogue for an Alpine Meadow)I remember back in August of 1985, the late composer Robert Rosen, Murray and I produced a series of ecological radio programs to be performed at Spry Lake, near Canmore, Alberta. Murray was in Banff to present his music theatre piece Princess of the Stars. We each wrote a piece of music for this space.  Mine was for bass clarinet and trombone called ‘Eclogue for an Alpine Meadow' . You can hear me on bass clarinet. Murray was a mentor to Robert and myself on this project, sharing his vast experience in writing music for and with a natural environment. Note: You can hear the entire piece on the Whom Am I page of the conscient podcast website. Robert Rosen, R. Murray Schafer and me in Banff in 1985 during ecological radio programs project (photo credit unknown)Excerpt of first page of my ‘Eclogue for an Alpine Meadow' for bass clarinet and tromboneMe and trombonist (name not known) at Spray Lake, Alberta, recording ‘Eclogue for an Alpine Meadow' for bass clarinet and trombone (photo credit unknown)Murray's music, and in particular his research in acoustic ecology, have had a deep influence on many composers, educators, researchers and sound artists around the world, including myself. Among other things, Murray taught me how to listen deeply, both with my ears and with a microphone.Me, Kozo Hiramatsu and R. Murray Schafer at Hör Upp! Stockholm acoustic ecology conference, Stockholm, Sweden 1998 (photo credit unknown)I remember having long conversations with Murray about listening, radio, acoustic ecology, field recording, technology, including how it make a living as a composer. Here is a short excerpt from a conversation I had with him in July of 1990 in a restaurant in Peterborough. I apologise for the poor quality of the recording, but I think you'll enjoy listening to Murray speak about the art of listening:You probe by asking further questions. Was it inside? Was it outside? Are there a lot of people assembled there? Is there nobody there? Is this in Canada? Is it outside of Canada? Is it in Europe? You heard a train. Is it Canadian train whistle or a European train whistle? You heard a language. What language was it you heard? Any of these cues that you might have heard that would help you identify where you were and then tell them afterwards where the actual recording was made but force them to really use their ears. Did you hear any birds? Did you hear any of this, did you hear any sounds that would help you to localize? I'm just saying that that's one sort of type of exercise, which I think someday somebody should put together a package, an educational package.I just feel that one has to constantly go back to nature and listen again, look again, learn again. It's as simple as that. Anytime you get too far in touch with it, you're probably going to be in trouble. If you don't know how to come, go back and look at a butterfly, because you're so spell bound by strobe lights or something, I think you're in trouble, which is not to say that you can't go back and look at it and reanalyze it. It will change things and then you go back to your old environment and see things differently. In nature, what you're so conscious of is a cycle of life and death, and rather the interchange, that almost sine wave of life and death, but also of silence and activity and that there are certain times when certain creatures are far and certain other times when they speak and that you take in the natural soundscape. Sometimes it's hard to find those rhythms in a modern urban soundscape where everybody sounds so aggressively trying to catch the attention of everyone else.Claude: they lose touch with the balance of their lives.Murray passed away on August 14, 2021, at age 88 in his farmhouse.Home of R. Murray Schafer and Eleanor James, Indian River, Ontario, January 19, 2022Studio of R. Murray Schafer, Indian River, Ontario, January 19, 2022Shortly after his passing, I was honoured to be asked to write a remembrance piece about my personal experience with Murray. This request came from Eric Leonardson, president of the World Forum for Acoustic Ecology (WFAE) an organization that Murray helped found in 1993 at the Banff Centre and that continues its good work to this day. Kirk MacKenzie and Robin Elliott of the University of Toronto also approached me to write a remembrance piece about Murray for a series of memorials they are producing about Murray and his legacy. I decided to produce a soundscape composition instead of writing an article for this remembrance piece. Here's the story.In 1996, Murray received a commission from the Akustische Kunst department of the West German Radio, the WDR, in Germany, produced by Klaus Schöning, to record a radio program about the winter soundscapes of rural Manitoba called Winter Diary. Murray had produced many radio pieces before for the CBC and the WDR, but he needed a hand with this rather large-scale production, so he hired me as a recordist, editor and mixer, but also as a driver and scout. I was 37 at the time and was about to be married to filmmaker Sabrina Mathews and start a family in Montreal, which we did.  However back then I still had the time and energy to do a 10-day road trip and to spend weeks afterwards editing it together with Murray. We certainly had a lot of fun together on that trip(sequence of Claude and Murray laughing during the recording of ‘Winter Diary' in 1997)Me in my home studio in Montreal in the 1990's (photo credit unknown)Letter from R. Murray Schafer to me, September 27, 1998Winter Diary ended up winning the Karl-Sczuka-Prize for radio art in 1998. I was deeply moved by the jury's statement, which I think captures the spirit of Murray's composition and the essence of our collaboration in its production:It is with great autonomy and imperturbability that Schafer draws the sound spectrum of a Canadian winter into his acoustic image. From the calm sequence of concise sound events an acoustic landscape emerges, almost spatial in its presence. To the point of noiselessness, of silence, everything audible is there concretely and non-arbitrarily. It is a work which ushers its listeners to a place of unhurried, patient listening, insists upon the wealth of nuances in acoustic perception, and takes a stand against sound refuse and staged hyperactivity.Scan of the first paragraph of Schafer's Winter Diary (not Dairy :-)) essay, February 15, 1997Winter-Diary-Essay-by-R.-Murray-SchaferDownloadWhile I was doing research for this piece, I found the first draft of an unpublished, 13-page essay in my archives that Murray wrote, at his farm, on February 15th, 1997, about the creation of Winter Diary. I was so excited. It's a brilliant piece of writing about our adventures in Manitoba, but the essay also includes reflections on a number of other issues: listening, art history, philosophy, his dreams, literature, and use the microphone. I decided to create a composition around his essay. A sonic illustration and interpretation of his words. But first let me tell a bit of a story about microphones. Murray had a love – hate relationship with the microphone. Here is another excerpt from that July 1990 restaurant conversation where he talks a bit more about distant listening, which is a key element of his aesthetic:If the microphone replaces your ear, there's something wrong. And as you see in a lot of our listening that the microphone has replaced the ear. The mere fact that for instance, we demand presence on all recorded sounds and they're all close mic-ed, is a recognition of the fact that the microphone, which is an instrument for getting closeups, is respected more than our own sort of hearing experience. The fact that we can no longer listen to the distance. Now, if you're going to get involved, really, with ecology in the environment, you have to rediscover how to listen to the distance, because an awful lot of the sounds you're talking about are distant.Claude (in the field from afar, recorded at Adawe Crossing, Ottawa): Now, if you're going to get involved, really, with ecology in the environment, you have to rediscover how to listen to the distance, because an awful lot of the sounds you're talking about are distant.I think you understand what I mean. Adawe Crossing, Rideau River, Ottawa where I recorded the 'distant' passage above, January 2022With the kind permission of Eleanor James, I used excerpts from Murray's essay as the narrative for the soundscape composition that you are about to hear. I did not use any of the field recordings from our original trip in 1997, outside of those few moments of laughter. Instead, I decided to record all new material during the winter of 2022, some 25 years later, not in Manitoba, but rather around where I live in Ontario and Québec, hence the idea of revisiting Winter Diary. However, I did use some field recordings from my archives, as well as a few excerpts from some of my previous soundscape compositions. All of those are noted in the episode script. Most of the soundscapes that you're about to hear are natural but a few have been transformed using tools like GRM Tools and ‘spatialisers'. I was interested in exploring that liminal space between reality and fantasy. While recording these winter soundscapes, and it's been a cold winter so far as you'll hear, I kept thinking about what the Karl Szuckaprize jury said about Murray's interest in the ‘noiselessness of silence'. I also thought about the idea of ushering the listener ‘to a place of unhurried, patient listening'.I tried to explore the idea of patient, unhurried listening in this piece as well as the notion of radical listening.Me on January 17, 2022 recording winter soundscapes in Ottawa (photo by Sabrina Mathews)Before we start, I want to let you know that some recordings are very quiet, at the threshold of what you might be able to hear on speakers or headphones so don't worry if you hear long silences or can't make out some of the detail, especially if you are in a car or in a noisier environment. You can listen to the Winter Diary Revisited again, in high resolution.I am extremely grateful for this opportunity to honour the memory of R. Murray Schafer and hope you enjoy this sonic illustration from his Winter Diary essay.ScriptNote: This script is drawn from R. Murray Schafer's Winter Diary Essay, first draft, February 15, 1997 (sounds are described with their source where possible)(door slapping and footsteps approaching the gate and mailbox at Murray's farm in Indian River)1. gatesGate at Murray and Eleanor's property near Indian River, January 19, 2022 (photo by me)Claude Schryer came by today to plan the Winter Diary radio program for the West German Radio. After dinner we walked the quarter mile out to the road. (walking towards the gate)There was a powdering of light snow, making the landscape bright under the stars. I opened and closed the gate while Claude recorded it; then I went to the tin mailbox and flapped the lid – both are sounds characteristic of rural life in Canada. (mailbox lid and gate)The flapping got the neighbour's dog barking. Then, more distantly other dogs began to bark. Dogs were the original alarm systems in the countryside and remain so despite electronic technology. Could be a thief or a wolf out there. The message is telegraphed from farm to farm and behind every dark doorway a farmer cocks his gun. The dogs grew silent again as we trudged back. (crossfade entry of house towards fire)Entering the warm house with a fire burning brightly in the grate, I suddenly realized that we had already discovered a valuable leitmotif for our program: the contrast between warm, populated rooms(crossfade with quiet cedar forest) and the vast, cold spaces that surround them during the Canadian winter.(wind from Murray's farm, slow fade to silence)Screen door at my cottage, Duhamel, Québec, December 2021 (photo by me)2. doorsThere is a painting by Cornelius Krieghoff (1815-1872) entitled "Merrymaking" that illustrates this drama between interior and exterior. (my wife Sabrina, son Riel and daughter Clara exiting our home and walking into our yard)A party at the Jolifu Inn is breaking up and the revellers are spilling out to depart into the cold, snowy dawn. The drama of the scene is depicted in Brueghel style, but the contrast between hot interior and cold exterior is distinctly Canadian. The same theme recurs in our best novelists, for instance in Frederick Philip Grove's, "Over Prairie Trails" (1922) or in Sinclair Ross's, "As for Me and My House" (1941). The contrast between interior and exterior creates the drama between society and selfhood. Marshall McLuhan summed it up epigrammatically when he said that Canadians go out to be alone and come in to be with company while elsewhere people go out to be with company and come home to be alone. Woman skater (family friend): If you're really lucky to be at a cottage in the winter in the morning and they're almost no sounds and you'll hear a branch cracking or something…(Quiet forest with cracking of frozen trees)The hinge is the door. One sound characteristic of the Canadian countryside is the slap of a screen door. (Various door slappings from Murray's farm and our cottage)I've known it since my childhood. Of course, it is intended to keep the insects out of the house in summer but out of laziness the screen door is often left on during winter too - as mine is. The door has a coil spring attached to it so that it will slap shut quickly. Usually there is another contraption on the side with a hairpin spring to snap it firm. If it isn't oiled, it squeaks. So, the entire sound event is actually quite complex, consisting first of a swish as the door opens, then a swoosh as it closes followed by a residual snap as the second spring is released to hold it shut. (More door sounds)The subject of doors could occupy a doctoral thesis or two. Every continent and climate has its own vocabulary and rhetoric of doors as different as the languages of the people who open and close them.(More door sounds)3. trainsPassing train from simplesoundscapes e73, March 20, 2018, Montréal (photo by me)(processed L14 train whistle with GRM Evolution Tool and Dear VR Pro spatializer)Every Canadian knows the three-toned Canadian train whistle - without knowing it. Tuned to an E-flat minor triad with a fundamental at 311 Hertz, it's the most authoritative sound mark of the country, curiously analogous to the Yellow Bell or Huang Chung, which established the tuning for all music in the golden days of ancient China.(Meditation bell)The legend goes that when the tuning of the Yellow Bell was abandoned the empire would fall into ruin.(Overpass from simplesoundscapes e167 above + train passing with gate processing)Something like that is happening here, for today more and more train whistles are out of tune, and with the building of overpasses and tunnels urban dwellers rarely ever hear them. (more processed L14 train whistle)Canadian railroads all run east-west. As the authority of the railroad vanishes the east-west axis gives way to a south-north bias, i.e., American invasion. … Eventually in the far distance we hear the L14 whistle (the signal for a level crossing, long, long, short, long,) which incidentally is also the rhythm of the opening phrase of the Canadian national anthem.(noon siren excerpt from my 1996 composition Vancouver Soundscape Revisited)4. hooves'Cricket', Mono, Ontario during recording of ‘hooves' scene. (photo by me)(wind from Murray's farm) It is warmer today then yesterday and a heavy fog lies over the snow so that the acoustic horizon surpasses the visual. Frederick Philip Grove talks about getting lost in the fog in Over Prairie Trails. Then he had to rely on the instinct of his horses.(sound of horse hooves from Cricket in Mono, Ontario)Note: below is a quote from Frederick Philip Grove'sOver Prairie Trails, Toronto, 1991, p.47.‘I had become all ear. Even though my buggy was silent and though the road was coated with a thin film of soft clay-mud. I could distinctly hear by the muffled thud of the horses' hooves on the ground that they were running over a grade.' (Grade and farm sounds and return of hoove sounds)‘That confirmed my bearings… So now I was close to the three-farm cluster. I listened intently again for the horses' thump. Yes, there was that muffled hoof-beat again – I was on the last grade that led to the angling road across the corner of the marsh.‘ 5. microphonesZoom H4N Pro recording wind sounds at R. Murray Schafer farm, January 19, 2022(wind from Murray's field)What would the Prairies be without wind? (Wind from Murray's barn mixed with forest sounds in South River, Ontario)It's the keynote sound here, the one against which everything else is registered. But to record it? Impossible. The microphone hasn't yet been invented to effectively record nature's most elementary sounds: wind, rain, fire.(thunder and rain sound from simplesoundscapes e105 thunder, fire from fireplace at our cottage)The mistake in recording the environment is in trying to pull a huge spread of events, far and near in all directions, into a single focus. The soundscape isn't stereophonic, its spherical. The stereophonic preoccupation in recording results from stereoscopy rather than any real understanding of the listening experience, in which one is always at the centre. (microphone panning ventilation system)One would like the microphone to observe the same respect for figure-ground that our ears do, elevating those sounds we wish to receive and suppressing those we don't.  But of course, the microphone is not an ear, and everything is registered according to its amplitude only. Could we imagine a future microphone with a discrimination circuit to allow us to reproduce the wished-for soundscape rather than the real one? Or is that merely another form of pathetic fallacy that only the romantic recordist could hope for? Claude (from snow pellets on dried leaves in Misikew provincial park): and here's an example of a sound that is so delicate that the microphone picks it up better than the human ear. The value of the microphone is that it presents simply what is there. The tape recorder puts a frame around it, often astonishing us with the sound events our real ears have missed. 6. footstepsFootstep tracks at Warbler's Roost, South River, ON, February, 2022Claude confesses his excitement for recording. He is almost like a fighter pilot seeking out the enemy, the elusive sound object, slating his various dives at the material we've targeted for a take, hoping the desired event will occur on cue, wondering whether to stalk it silently or prompt it - or forget it and seek another campaign. "So many things can go wrong," he says excitedly. Ruefully I agree.Note: I recorded my voice saying "So many things can go wrong,"Claude (xcountry ski sequence, December 2021): When Murray and I recorded Winter Diary in 1997, we record a lot of different winter sounds but not cross-country skiing. It is a typical sound of winter in Canada and a very rich one. You can hear me skiing now, as well as people skiing beside me. Skiing sounds have number of different elements: there's the push and pull of the ski, the poles that hit into the snow and of course the breath of the skier. Sometimes you can hear the wind in the trees, snowmobiles a distance, dogs...People who live by the sea know how the colour of the water changes constantly, but one has to live with a long winter to know the perpetual changes in the sound (as well as the colour) of snow. (various foot and snow sounds)Even the lapse of an hour can alter it profoundly, and the experienced listener can pinpoint the temperature by the sound of his footsteps in it. On the cold nights it screeches. Sometimes a crust will build up to produce a crunchy quality. Or even several crusts, separated by layers of powdery snow, giving variations of dissonance with each step. (Steps on crusty snow)7. carsLumber truck passing on Eagle Road, South River, ONWe always take the most ordinary sounds for granted. Assuming cars to be universal, we forget that they sound different in different environments. (bus stuck on a hill and cars passing in Ottawa)On a country highway we recorded the approach and departure of individual cars and trucks, sometimes lasting three minutes without any other sound. (Passing truck near South River, On)Where else on earth could you do that?8. callingForest where I recorded ‘calling sounds', January 2022, Gatineau Park, QuébecClaude (Gatineau Park, Québec) : When R. Murray Schafer and I did Winter Diary, one of the sequences was called calling where we were in the forest and listening for the reverberation in a winter space and in that case, it was a forest and here I am on January 11th, 2022, in Gatineau Park. I'm going try a similar experience where I'm going to walk in a circle away from the microphone and see what that sounds like and once in a while, I'll cry out like we did back then: Hey, and you can hear the reverberation and the movement, and it's a way to experience a winter soundscape by interacting with it. So here we go.(Hey sequence in forest in Gatineau QC, January 2022)Excursion into Park. Total isolation. We realized that the only way we could give an impression of soundscape here was by making sounds ourselves, so we set up the microphone in the snow and walked away from it, calling in different directions. How far is it across the valley? What is the difference between a bare deciduous forest and a leafy evergreen one? Your voice will tell you. 9. cracksForest where I recorded ‘calling sounds', January 2022, Gatineau Park, Québec(rumble of car on winter road, stop and get out of vehicle, then silence)I came out alone in the car after Claude had gone to sleep. Never had I heard the world so silent. Is it near or far, this black landscape? (forest cracks at Murray farm)My own slightest movement makes it seem near. The frosted crack of a distant tree makes it vast. My breathing brings it close again.  Justin Winkler pointed out that the soundscape is essentially a static term, but here it seems dynamic, increasing to an infinite volume, then shrinking right inside me as my stomach growls. (simplesoundscapes e01, rumble and Guérison from Au dernier vivant les biens (1998))I turn the ignition key and am startled and relieved at the same time. My escape.10. heaterGas fireplace at our home in Ottawa, January 2022(gas fireplace starting + song based on texture of fireplace ‘pings')Strange phenomenon this morning on waking. In my dream I had been singing a solo song at some kind of gathering. I finished and everyone applauded enthusiastically.(Sound of small crowd clapping and saying nice song Murray)I awoke to hear the propane heater come on. So, the conclusion of my song and heater were synchronized but I stress that I had sung a rather lengthy song to its conclusion before the applause of the heater. I even remembered the song and sang it over again to myself while lying in bed.(Gas heater and song)Had I anticipated the end of it and paced the singing to a sound that I could somehow fore-hear? Or had the whole event occurred in the fraction of a second as the heater came on? 11. iceChunk of ice at my home in Ottawa, January 23, 2022Spotting some children knocking down some icicles in Sainte Rose du Lac, we rushed over to record them but frightened them away. (gated kicking ice blocks and skating sounds)So, we knocked the icicles down ourselves and then kicked them along the street. (more gated kicking ice blocks and skating sounds)Each chunk had a different pitch and pieces when they broke into pieces the pitch rose. I was glad to have this other form of frozen water to add to our repertoire.12. jetLocation at Murray's farm where I recorded a passing jet, January 19, 2022The sun was setting. It was totally quiet. (begin sound of jet passing)Eventually the whisper of a jet aircraft became audible. It crossed the sky distantly, its passage lasting eight minutes without any other sound interrupting it. A perfect sound event in an anesthetized environment. (end sound of jet passing and fade to gentle forest sound)Claude: I would like to conclude Winter Diary Revisited with an excerpt from Murray's 1977 book Music in the cold. Here are the last 11 lines:Saplings are beginning to sprout again in the moist earth.Beneath it animals can be heard digging their burrows.Soon the thrush will return.The old technology of waste is gone.What then remains?The old virtues: harmony; the universal soul; hard work.I will live supersensitized, the antennae of a new race.I will create a new mythology.It will take time.It will take time.There will be time. *Credits(except from the end of my composition Eclogue for an Alpine Meadow in background)I have many people to thank. Murray's essay is narrated by my father-in-law, the poet, political activist and educator Robin Mathews.  In passing I invite you to listen to an episode about his work e88 robin mathews – on radical listening & political poetry. Poet Robin Mathews and me recording narration of Winter Diary Essay, November 2021, Vancouver (photo by Sabrina Mathews)I would like to thank Robin for his skillful narration, composer Christian Calon for his technical advice and moral support, artistic director Darren Copeland and Executive Director Nadene Thériault-Copeland of New Adventures in Sound Art (NAISA) for their encouragements and for hosting me as artist in residence from February 1 to February 6, 2022, at their facility in South River, Ontario. Thanks also to Eleanor James for permission to use Murray's essay, for the photos of the farm and for our conversation and finally my wife Sabrina Mathews for her feedback, patience and support.Logo of NAISADeep Wireless festival logoMy bedroom and editing studioEagle Road, where I recorded a passing truck, South River, ONDarren Copeland setting up the Ambisonic microphone for meMe recording forest sounds, February 2, 2022, Mikisew Provincial Park, ONMe, Victoria Fenner and James  Bailey during Q&A on February 6, 2022 at NAISA NorthWinter Diary Revisited was premiered at the Deep Wireless Festival of Radio and Transmission Art on Saturday, February 5, 2022, at 7pm. La version française de cet épisode, Journal d'hiver revisité sera retrouve dans l'épisode 100 du balado conscient.  *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

Klaus Schöffling hat seinen renommierten Frankfurter Verlag zum Jahreswechsel 2021/22 abgegeben. Sein anspruchsvolles Programm wird aber weiterbestehen.

Klaus Schädler ist 70 Jahre alt und erzählt uns von seinem Leben. Von seiner Kindheit bis heute. Er erzählt uns von der Zeit als die Bergbauern im Triesenberg das Holz und das Heu im Winter noch mit dem Schlitten transportierten, wieso es in den Bergwiesen über 300 Holzställe hat und wie das Losholz unter den Familien verteilt wurde. Als Kind arbeitete er mit viel Körpereinsatz auf den Heuwiesen und den Kartoffeläcker. Eine motorisierte Unterstützung kam erst später. Licht gab es praktisch keines, sie sind viel im Dunkeln gelaufen und haben die Kühe auf der Alp nur aufgrund des Glockengeläutes finden können. Er erzählt uns auch, wieso dass die Generation seines Vaters nicht einfach so spazieren geht - auch heute noch nicht, dass sie das Brot meistens gekauft haben, dass sie sich grösstenteils von Kartoffeln und Ribel ernährt haben, wieso früher im Januar und Februar niemand im Malbun war, wieso sie in der Schule von den Balznern*innen für 50 Rappen das Fahrrad gemietet haben und wo er während der Realschulzeit Schwimmen gelernt hat. Klaus hat nach der Schule die Lehre bei der Ciba in Basel gemacht und ist danach nach Marly bei Fribourg in das Forschungszentrum für Fotochemie gewechselt. In dieser Zeit hat sich auch seine Leidenschaft für die Fotografie entwickelt, welche bis heute anhält. Im Forschungszentrum hat er den ganzen Tag im Dunkelraum gearbeitet und war bei der Entwicklung der Farbfotografie beteiligt. Danach ging er mit seiner zukünftigen Frau für ein Jahr nach Paris, wo er Fotos von grossen Modemarken entwickeln durfte. In Paris beschlossen sie nach England zu wechseln, um dort eine Sprachschule zu besuchen und danach zu arbeiten. Seine Frau hatte dort bereits schon eine Stelle gefunden und gingen aber trotzdem nach Zürich. Hinter dieser Entscheidung steckt eine witzige Geschichte, welche Klaus uns mit Schmunzeln erzählt. Nach einem Jahr in Zürich, beschlossen sie wieder nach Liechtenstein zurückzukommen, wo er dann in den ersten Jahren bei der Balzers AG Arbeit fand, danach als Sport- und Inlandredakteur und Fotograf beim Vaterland arbeitete und sich dann mit einem Fotostudio selbstständig gemacht und unter anderem für die Tageszeitungen als Pressefotograf gearbeitet hat. Er war 1994 der Erste, der zwischen Lausanne und Innsbruck mit einer professionellen Digitalkamera (Marke Nikon Kodak) gearbeitet hatte und er hatte schon früh auf die Apple Computer, auf das Videoformat VHS und auch auf verschiedene Foto- und Videoprogramme gesetzt. Die Video- und Fotografie begleiten ihn schon über Jahrzehnte und er blieb dabei von der Technik und dem Handwerk dahinter immer auf der Höhe der Zeit. Er gibt uns mit vielen Details und Geschichten einen Einblick in die Entwicklung der Fotografie und des Berufes eines Fotografen. Klaus erzählt uns auch von den vielen Initiativen und Aktivitäten, für welche er sich in Triesenberg und in Liechtenstein über Jahrzehnte eingesetzt hat. Er spricht offen über seine damaligen und heutigen Aktivitäten und auch darüber, was er dabei erlebt hat. Es ist ein langes und eindrückliches Gespräch mit einem Menschen, der sich über Jahrzehnte für die Umwelt und uns Menschen in der Region eingesetzt hat. Hört rein!

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Desde que me inicié en estos estilos musicales, de vez en cuando ha surgido alguna composición que se ha grabado a fuego en mi memoria. Son piezas musicales generalmente más largas de lo habitual y que rescato muy de tarde en tarde para saborearlas de nuevo con especial deleite. Y nunca me defraudan: vuelven a mí con toda su intensidad para aflorar sentimientos semiolvidados que brotan con renovada energía. En esta tercera parte os presento algunos de aquellos “temas intensos” de largo desarrollo que marcaron un momento en mi historia personal con la música new age. Un programa especial para nostálgicos. William Aura, Klaus Schønning, A Produce, Iasos, The Alan Parsons Project.Escucha este episodio completo y accede a todo el contenido exclusivo de lostfrontier.org. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/26825

Wie führe ich einen Replant? Welche Eigenschaften sollte ein Leitender haben? Wie beeinflusse ich die Kultur meiner Gemeinde? In dieser Folge erklärt Klaus Schönberg welche Leitungsfähigkeiten ein Replanter haben kann und wie er sie bewusst für eine Neugründung einsetzten kann.

Tankstelle #4 | Klaus Schönberg by Christliches Gemeindezentrum Schwabbach e.V.

Hay quien escucha música como quien oye llover... Y hay quien oye llover como quien escucha música. Nosotros somos de los segundos. La música que escuchamos hace que el tiempo se detenga y lo llena todo. No importa dónde o cuándo estemos: la música inunda todo el espacio para conformar un paisaje personal, único e individual. Todos la experimentamos de manera única, individual y personal. Son las músicas de nuestros paisajes interiores. Marcus Warner & Kirsten Horne, Longlake, Esteban Vallín & TSODE, Klaus Schønning, Erik Wøllo & Frank Van Bogaert, A Produce, Todd Fletcher, Ben Chatwin, Ian Boddy, Howard Givens & Madhavi Devi & Craig Padilla.

Jetzt mal Klartext: Wie kann Kirche nach Corona aussehen und wie können Gemeinden sich darauf vorbereiten? Analog, digital oder hybride Kirche? Klaus Schönberg stellt hier eine Re-Opening Strategie für Gemeinden vor, die Herausforderungen und Chancen der Pandemie berücksichtigt.

Jeanne Lee- Sundance intro Klaus Schønning - Light Beams Arzachel- Queen St.Gang Harold Luscious- Try My Love Jadsa, Luiza Lian- Lian Helio Matheus- Catedral Gratien Midonet- Fô Ou Tchimbé Etiene de la Sayette - Keguli Eric Malmberg- Milda döden hämtar oss alla till slut Susumu Yakota- I Close The Door Upon Myself Mirka Krivánkova , Jiri Stivin Jazz System - Milhave Doteky Venus Gang - Take me Back to my Planet M.Sage , Chris Jusell, Patrick Shiroshi- Hesitant Optimism Karina- Alku

Following numerous requests, here is a Guided Meditation on Self-Enquiry - spoken spontaneously by Samaneri Jayasara, ending with an {optional} poem for meditation written by Ayya Jitindriya. Image: La Scapigliata, 2021, Found Stones, Chiang Mai, Thailand (Original by Leonardo De Vinci). Justin Bateman - Pebble Art https://landminds.weebly.com/ Music: Chinese Twilight by Klaus Schønning Poem: "The Mountain Hermitage of Mu" by Ayya Jitindriya

Autor: Brandau, Bastian Sendung: Informationen am Mittag Hören bis: 19.01.2038 04:14

江行初雪图背景音乐：Klaus Schønning DR - Chinese Twilight

江行初雪图背景音乐：Klaus Schønning DR - Chinese Twilight

Edgar S. Hasse Es war bei einem Empfang des Blankeneser Lions Club, als Eberhard Möbius, Urgestein der Hamburger Kulturszene, sich auf der Bühne den zugereisten Gästen vorstellte. Er sei der „Groß-Admiral der norddeutschen Rollatoren-Flotte“, scherzte der Senior und fügte mit Blick auf die betagten Besucher dieser von einem Autohersteller gesponserten Veranstaltung hinzu: „Ihr seid dem Rollator näher als Eurem Porsche.“ So war er – Eberhard Möbius, der Gründer des Theaterschiffs, der Regisseur, Schauspieler, Autor, Kabarettist und „Hamburger aus Leidenschaft“ (Olaf Scholz): Im neuen Abendblatt-Podcast „Geliebt & Unvergessen“ erinnert der Herausgeber und Chefredakteur des Blankeneser Magazins „Klönschnack“, Klaus Schümann, als einer seiner Weggefährten an „Möbi“, wie er von vielen genannt wurde. Der in Wernigerode im Harz geborene Künstler war am 10. Juni im Alter von 93 Jahren in Hamburg gestorben. „Für mich ist Möbi ein vielseitiger, kreativer und geistig hemdsärmeliger Kulturmensch gewesen“, würdigt Schümann jenen zugereisten Hamburger, der 1958 der Enge in der sowjetischen Besatzungszone entfloh und im Hamburger Hafen zunächst als Kessel- und Schiffsreiniger arbeitete. Bereits damals betrat er die Bretter, die die Welt bedeuteten, als Schauspieler und Regisseur. Später lernte er seine Frau Christa kennen. Sie war seine große Liebe, und er schrieb ihr nach ihrem Tod jeden Tag einen Brief. Zum größten Erfolg des Paares wurde das Theaterschiff am Nikolaifleet. Mit seinen Inszenierungen und Veranstaltungen gelang es Eberhard Möbius, bekannte Schauspieler auf die schwimmende Bühne zu holen: Peter Ustinov, Senta Berger, Gerd Fröbe und Heinz Reincke, erzählt Klaus Schümann. Möbi habe es gemeinsam mit seiner Frau Christa geschafft, das Theaterschiff subventionsfrei zu betreiben. Und wenn den Schauspielern oder Gästen mal aus Versehen ein Glas zu Bruch ging, scherzte er: „Schmeiß weg, Besitz belastet nur.“ Zur Institution in der Weihnachtszeit wurde Eberhard Möbius über Jahrzehnte bei der Veranstaltung „Märchen im Michel“, einer Aktion zugunsten des Abendblatt-Vereins „Kinder helfen Kindern“. In den vergangenen Jahren fuhr er schnellen Schrittes mit seinem Rollator ans Pult und las eine Geschichte vor. Klaus Schümann: „Möbi war ein großartiger Bestandteil der Märchen im Michel.“ Man dürfe gespannt sein, ob es für ihn überhaupt einen Ersatz gebe. Bis ins hohe Alter lud Eberhard Möbius in seine Seniorenstiftung zu Lesungen ein, ließ Kaffee und Kuchen servieren. Und begann, wie sonst immer auch, jedes Treffen stets mit dem Satz: „Ist das nicht schön.“

Continuando nuestra particular desescalada radiofónica a través de la serie "A la escucha del virus", proseguimos el camino de regreso desde una macroescala cósmica hacia el dominio infinitesimal propio de lo vírico. Nos detenemos, hoy, en las ciudades; o, más bien, recuperamos el movimiento dentro de ellas: unos paseos que ya no podrán ser los mismos, pues la pandemia ha transformado —o, quizás, debería haber transformado— nuestra relación con lo urbano. Proponemos, pues, un reencuentro con ciudades como París, Berlín, Buenos Aires, Nueva York, o incluso una ciudad sin nombre. Este paseo, con algunas reminiscencias psicogeográficas propias de los situacionistas, nos conduce primero hacia algunos extractos de “La Ville. Die Stadt (Metropolis Paris)”, composición radiofónica del pionero de la música concreta Pierre Henry (1927-2017) realizada en 1984 para la serie “Metropolis” que produjo Klaus Schöning para el Studio Akustische Kunst de la emisora WDR de Colonia (Alemania). Los movimientos —esta palabra resulta especialmente apropiada aquí— de la obra tienen nombres tan sugerentes y urbanos como “Eveil”, “Rumeurs”, “Escalier”, “Trafic”, “Foule”, “Portes”, “Pendules”, “Klaxons”, “Temple”, “Train”, “Chiens”, “Radio”, “Intérieur”, “Jeux”, “Atelier”, “Flipper”, “Extérieur”, “Incident”, “Métro” o “Lointain”. Otra ciudad —Berlín— y otro momento histórico —1930— operan como escenario de “Wochenende”, obra de Walter Ruttmann (1887-1941) que presentamos íntegramente y para cuya introducción nos servimos de algunos comentarios extraídos del libro que próximamente publicará la editorial bilbaína Consonni con el título “La radio ante el micrófono. Voz, erotismo y sociedad de masas”. “The Nameless City”, del italiano Fausto Romitelli (1963-2004), fue escrita en 1997 gracias a un encargo de la Fundación Gulbenkian. Su plantilla incluye orquesta de cuerdas y una campana. Entre sus morosos acordes se filtra, en nuestra propuesta radiofónica, la voz de Jorge Luis Borges, con varios poemas relacionados, tal vez, con la idea de ciudad. Este juego de intromisiones poéticas prosigue en nuestra última audición, constituida por varios fragmentos de la banda sonora de la película “Escape from New York” (traducida al español como “1997: Rescate en Nueva York”), dirigida en 1981 por quien también fue autor de su música, el estadounidense John Carpenter (nacido en 1948). Escuchar audio

Джинглы отсутствуют! Jingles are missing! FALLOW ME iTunes : https://clck.ru/Ed895 #TWITTER: twitter.com/Makkeno Web Page linktr.ee/djmakkeno #INSTAGRAM: www.instagram.com/djmakkeno 00:00 Lander & Matt Hylom - Stone (Extended Mix) 03:40 John Lynx & Angel Taylor - Back To You (Original Mix) 06:24 Gianni Kosta - Chase Your Dreams (Original Mix) 09:30 Loveday, Pyngu - Breathless (Like This) 12:25 Aevion & Sir Felix ft. Cider Sky - Weekend Love (Extended Mix) 16:10 Morgan Page - Other Girl (feat. Rayla) [Extended Mix] 19:34 Nikki Vianna & Matoma - When You Leave (Original Mix) 22:10 Majed Salih - Varna (Original Mix) 24:41 Greenjelin Aika Zabala - Run (Extended Mix) 28:02 Sam Feldt, Yves V & ROZES - One Day (Extended Mix) 30:45 Deepend, Hanne Mjøen - One Thing Left To Do (Extended Mix) 33:30 LIZOT & Emelie Cyreus - On The Top (Extended Mix) 39:40 Klaus Schønning - Chinese Twilight (Padé & Livin R Vocal Remix) 43:05 Ogun Dalka & DJ Funky C - Color (Extended Mix) 46:28 Loic Penillo & Matthias Ka - Chilling Vibes (Original Mix) 49:10 ZESKULLZ & Shaun Warner, The Dual Personality, Tara Rautenbach - No Hard Feelings (Original Mix) 51:50 NLSN & Towty - Alright (Original Mix) 54:45 The Him & Maria Hazell - Found Me (Extended Mix) 57:50 Zary - Intertwine ft. Rhea Raj (Extended Mix)

Джинглы отсутствуют! Jingles are missing! FALLOW ME iTunes : https://clck.ru/Ed895 #TWITTER: twitter.com/Makkeno Web Page linktr.ee/djmakkeno #INSTAGRAM: www.instagram.com/djmakkeno 00:00 Lander & Matt Hylom - Stone (Extended Mix) 03:40 John Lynx & Angel Taylor - Back To You (Original Mix) 06:24 Gianni Kosta - Chase Your Dreams (Original Mix) 09:30 Loveday, Pyngu - Breathless (Like This) 12:25 Aevion & Sir Felix ft. Cider Sky - Weekend Love (Extended Mix) 16:10 Morgan Page - Other Girl (feat. Rayla) [Extended Mix] 19:34 Nikki Vianna & Matoma - When You Leave (Original Mix) 22:10 Majed Salih - Varna (Original Mix) 24:41 Greenjelin Aika Zabala - Run (Extended Mix) 28:02 Sam Feldt, Yves V & ROZES - One Day (Extended Mix) 30:45 Deepend, Hanne Mjøen - One Thing Left To Do (Extended Mix) 33:30 LIZOT & Emelie Cyreus - On The Top (Extended Mix) 39:40 Klaus Schønning - Chinese Twilight (Padé & Livin R Vocal Remix) 43:05 Ogun Dalka & DJ Funky C - Color (Extended Mix) 46:28 Loic Penillo & Matthias Ka - Chilling Vibes (Original Mix) 49:10 ZESKULLZ & Shaun Warner, The Dual Personality, Tara Rautenbach - No Hard Feelings (Original Mix) 51:50 NLSN & Towty - Alright (Original Mix) 54:45 The Him & Maria Hazell - Found Me (Extended Mix) 57:50 Zary - Intertwine ft. Rhea Raj (Extended Mix)

Klaus Schümann ist der Macher des Blankeneser Neujahrsempfangs auf dem Süllberg, der zum 25. Mal stattfindet. Er erzählt von unterhaltsamen Gäste und großen und kleinen Pannen.

Was machen die Medien mit den Menschen?“ oder „Was machen die Menschen mit dem Medien?“. Seit den Anfängen der Medienforschung hat sich die Perspektive von Forscher*innen auf das Publikum stark geändert. Wo man früher gern von passiven Empfänger*innen ausging, wurden nach und nach aktive Nutzer*innen in Betracht gezogen; ein Publikum, das genau weiß, was es braucht und wo und wie es dies bekommt. Das ist zumindest die Idee des „Uses-and-Gratification-Approach“ oder auch "Nutzenansatz", den sich Sebastian und Jessica in dieser Sendung anschauen. Diesmal also Bauchpinseln für euch als unsere Hörer*innen, ihr - als die Rezipienten - werdet nur gelobt. Fast! Denn wie immer haben die zwei ein paar kritische Anmerkungen zum Schluss und einen Vorschlag, wie ihr das Wissen um den UGA in eurem Alltag nutzen könnt. Viel Spaß!Eure Lieblings-WhistleblowerFür die Nacharbeit:Kai-Uwe Hugger gibt hier einen ganz guten Überblick zur Geschichte und zum Einsatz des UGA. Und bei Google lohnt sich die Eingabe von: Uses-and-Gratification-Approach, Stimulus-Response-Modell, Dynamisch-Transaktionaler-Ansatz, Wirkungs- und Nutzenforschung, Publikumsforschung und die Namen, Eliuh Katz, Karsten Renckstorf, Klaus Schönbach, Werner Früh, Heinz Bonfadelli und Herta Herzog, die an sich schon 1942 die Perspektive vorgeschlagen hat, aber von den Männern ignoriert wurde.

Our podcast Beyond the Ivory Tower: conversations on journalism aims to create an accessible conversation about current research in journalism, intended for an academic as well as a broader audience. For our fourth episode we chatted with Klaus Schönbach, senior associate dean and professor in residence at the Northwestern University of Qatar about journalism and health communication in Qatar and the MENA region.

Geri Allen fick 1996, som första kvinna, det stora, internationella jazzpriset Jazzpar. Hon avled i juni 2017. Konsertpianisten och tonsättaren Thomas Koppel bildade Savage Rose. Han avled 2006. En podd med två nu bortgångna musiker, afroamerikanska jazzpianisten Geri Allen som jag mötte i Köpenhamn 1996. Och danske konsertpianisten och tonsättaren Thomas Koppel som jag intervjuade året efter här i Köpenhamn. Jazzpianisten Geri Allen från 1996. Det året fick hon, som första kvinna någonsin, det stora, internationella jazzpriset Jazzpar i Köpenhamn. Geri Allen hade just fyllt 60 när hon avled i slutet av juni 2017. Bakom sig hade hon en mer än 35-årig karriär där hon samarbetat med en rad andra namnkunniga artister. Charlie Haden, Paul Motian och Ornette Coleman är några av dem.      På senare år hade hon ett nära samarbete med slagverkaren TerryLynne Carrington och med basisten och sångerskan Esperanza Spalding.   Redan som 17-åring fik Thomas Koppel uppfört sin opera Historien om en Moder på Det Kongelige i Köpenhamn. Som 23-åring tog han solistexamen på det danska musikkonservatoriet. 1967 startade han rockgruppen Savage Rose med sin bror Anders Koppel och sin hustru Annisette, som fortfarande, som 69-årig turnerar med Savage Rose. För Thomas Koppel var det ett mirakel att få möjlighet att arbeta med en rösts som Anisettes och för honom är det självklart att räkna in Annisette i raden av stora sångerskor; som Billi Holiday, Edit Piaf, Aretha Franklin och Maria Callas. Röstkonstnärer som inte bara sjunger rätt och välfraserat, utan även med själen förmedlar den verklighet de sjunger om. Thomas Koppels Symfoni nr 2, som blev nominerad till Nordiska Rådets musikpris 1996, har förstås Annisette som sångsolist. I symfonin har Thomas Koppel velat återknyta till det han kallar traditionen, det som skrevs innan 60-talets förintelse av melodik, harmonik och rytmik, som han uttrycker det. Thomas Koppel kom från en mycket musikalisk familj. Thomas Koppels farföräldrar var fattiga, judiska flyktingar från Polen, som faktiskt var analfabeter. Han var son till konsertpianisten och tonsättaren Herman D. Koppel och bror till operasångerskan Lone Koppel och tonsättaren och pianisten Anders Koppel. Själv föddes Thomas Koppel i Sverige, 1944. Han fanns i mammas mage då familjen flydde över Öresund i en liten träbåt för att komma undan nazisterna. De bodde under några år i Örebro. Senare blev hans pappa, Herman D Koppel, tonsättare, konsertpianist och musikprofessor på Det Kgl Musikkonservatorium. I det Koppelska hemmet fanns sex flyglar till de fyra barnen som alla musicerade. Men det här var ingen instängd borgerlig salong, utan här möttes samtidens danska konstnärliga avantgardister, socialister och kommunister. Och Stravinskijs och Bela Bartoks folkmusikaliska influenser satte djupa spår i Thomas Koppel. Thomas Koppel avled avled 2006 i Puerto Rico, 61 år gammal.   Musiklista: Skin Geri Allen Geri Allen, piano Palle Danielsson, bas Lenny White, trummor Twylight   Law Years Ornette Coleman Geri Allen, piano Charlie Haden, bas Paul Motian, trummor Segments   A Celebration to All Life Geri Allen Geri Allen, piano The Printmakers   Feed the Fire Geri Allen Geri Allen Trio Ron Carter, bas Twenty One   Place of Power Geri Allen Geri Allen Trio Ron Carter, bas Twenty One   Woody'n You Wallace Roney Wallace Roney, trumpet Geri Allen, piano Crunchin   Stop the Wood Geri Allen Geri Allen, piano Geri Allen Trio Twylight   No More mr Niceguy Geri Allen Geri Allen, piano Tani Tabbal, trummor Dwayne Dolphin, bas Maroons   And They Parted  Geri Allen Geri Allen, piano Maroons   M's heart Geri Allen Geri Allen, piano The Printmakers   Nele's Danser Thomas Koppel Mikala Petri, blockflöjt, Lars Hannibal, luta Souvenir RCA09026 62530 2   Ouverture Before Dawn Thomas Koppel Michala Petri, blockflöjt och Klaus Schönning, accordeon Danska Radions Symfoniorkester Börge Wagner, dirigent   Dödens Triumf Thomas Koppel Savage Rose Annisette, sång Polydor 837 817-2   Dödens Triumf Thomas Koppel Savage Rose Annisette, sång Polydor 837 817-2   Wild Child Thomas Koppel Savage Rose Annisette, sång Polydor 843 190-2   Moonchild's Dream Thomas Koppel Michala Petri, blockflöjt English Chamber Orchestra Okko Kamu, dirigent   Symfoni nr 2 Thomas Koppel Tivolis symfoniorkester och kör Annisette, sångsolist   Symfoni nr 2 Thomas Koppel Tivolis symfoniorkester och kör Annisette, sångsolist

Klaus Schöning steht für über 40 Jahre erfolgreiche Gastronomie in Stuttgart. Mit bereits 23 Jahren wagte er den Sprung in die Selbständigkeit und betrieb die Weinstube Schluckspecht in Heumaden. 1984 eröffnete Klaus Schöning das Calwer Eck Bräu in Stuttgart, als zweite Hausbrauerei in Deutschland. Seit dem hat er die Stuttgarter Gastroszene entscheidend mitgeprägt: Der Biergarten im Stuttgarter...

Astrid und Klaus Schäpe betreiben einen Campingplatz in Hodorf bei Glücksstadt. Ihr Campinghplatz ist mehr durch Zufall entstanden denn eigentlich wollte Astrid nur einen Schwimmteich für ihre Familie haben. Daraus wurde ein mittelgroßer See und eine wunderschöne Anlage, die zum Verweilen einlädt. Wir waren im Rahmen unserer Deutschland Tour dort und haben mit den beiden gesprochen und sind von ihrer Geschichte begeistert. Durch "Zufall´" haben sie und wir dort ihr Glück gefunden. Viel Spaß beim Zuhören!

In dieser Episode geht's um Raketentriebwerke. Dazu habe ich am 8. November das DLR in Lampoldshausen besucht, wo u.a. die Triebwerke der Ariane erprobt werden und habe mich mit Klaus Schäfer unterhalten. Themen sind u.a. die Funktionsprinzipien von Flüssig-, Feststoff- und Hybridantrieben sowie deren Einsatz in modernen Raketen. Abschließend haben wir uns über den DLR Standort in Lampoldshausen und die dort stattfindende Erprobung der Triebwerke unterhalten.

"Berlin ist für das Verhältnis der Juden und der Deutschen zueinander immer ein besonderer Platz gewesen" - Klaus Schütz, der Regierende Bürgermeister von West-Berlin, begrüßt Yitzhak Rabin„Wir können nichts ungeschehen machen, was geschehen ist. Die Summe des Leides und des Schreckens lässt sich nicht aus dem Bewusstsein unserer Völker verdrängen. Die Zusammenarbeit unserer Staaten bleibt durch den historischen und moralischen Hintergrund unserer Erfahrungen geprägt“ – Willy Brandt hielt seine Begrüßungsrede bei seinem Besuch als erster deutscher Bundeskanzler in Israel im Juni 1973 damals noch auf Englisch. Doch dieser Besuch sollte erst der Anfang eines Annährungsprozesses zwischen den Deutschen und den Israelis werden. Ein Besuch aus Israel in West-Berlin – ein Dorn in den Augen der kommunistischen Machthaber im Osten Zwei Jahre später, im Juli 1975, kam nun auch der erste offizielle Besuch aus Israel in die BRD. Der damalige israelische Ministerpräsident Yitzhak Rabin begann seine Visite im ehemaligen Konzentrationslager Bergen-Belsen und anschließend in West-Berlin. Die ersten politischen Gespräche führte Yitzhak Rabin mit dem Regierenden Bürgermeister von West-Berlin, Klaus Schütz. Der Besuch in West-Berlin blieb für die Sowjet- und DDR-Presse nicht unumstritten. Das SED-Organ „Neues Deutschland“ bezeichnete die Visite als „Störmanöver gegen die Entspannung.“ Ein mit Sicherheitsrisiken behafteter Besuch Die Fortsetzung der Visite fand sodann in Bonn statt, wo der Ministerpräsident mit militärischen Ehren von Bundeskanzler Helmut Schmidt empfangen wurde. Aus Furcht vor Anschlägen wurden die Einzelheiten des Besuchs streng geheim gehalten und bei der Polizei hatte man höchste Einsatzstufe angeordnet. Auch die Elitetruppe der Bundeswehr, GSG9, wurde in die Sicherheitsplanungen einbezogen. Bei dem ersten Staatsbesuch hat man auch Geschenke ausgetauscht. So hatte man etwa für Rabin einen Farbfernseher mit Videorecorder vorgesehen und für seine Gattin ein Essservice. Als Gastgeschenk hat Rabin für Helmut Schmidt einen antiken Stoff mit mythologischen Darstellungen und für seine Gattin Loki ein Modell der Arche Noah mitgebracht. Der Besuch wurde um 24 Stunden verlängert, damit Yitzhak Rabin mit dem amerikanischen Außenminister Henry Kissinger zusammentreffen und über die Nah-Ost-Problematik sprechen konnte. Am Tag des Besuchs Rabins in West-Berlin am 9. Juli 1975 war DW-Reporter Karl-Heinz Maier mit dem Mikrofon dabei und hat von dort berichtet. Andreas Zemke Redaktion: Diana Redlich

"Er war ein effektiver Redner" - der ehemalige Regierende Bürgermeister von West-Berlin, Klaus Schütz, erinnert sich an Rudi DutschkeAm Samstag, dem 13. April 1968 betitelte "Die Welt" einen ihrer Kommentare: "Ein Opfer jener Gewalt, die er selbst verschmäht", fünf Tage später meldete etwa die "Süddeutsche Zeitung" am 18. April 1968: "Dutschkes Zustand gebessert, aber immer noch Lebensgefahr". Dies sind nur zwei Beispiele von unzähligen Artikeln der deutschsprachigen Presse, die sich mit dem Mordanschlag auf den Studentenführer Rudi Dutschke vom 11. April 1968 befasst haben. Der Anschlag Der Attentäter, der Hilfsarbeiter Josef Bachmann, traf den rebellischen Chefideologen des Sozialistischen Deutschen Studentenbundes mit drei Revolverschüssen an Kopf, Hals und Brust und verletzte ihn lebensgefährlich. Sein Motiv für diese Tat: Hass auf die Kommunisten. Die sofort durchgeführte Notoperation rettete ihm das Leben. Was der schwerverletzte Dutschke jedoch nicht mitbekam, würde wahrscheinlich auch seine Erwartungen übersteigen. Denn das zwischen den beiden Pressemeldungen liegende Wochenende sollte in die Geschichte der Bundesrepublik eingehen. Demonstrationen und Straßenschlachten mit vielen Verletzten Durch den Anschlag provoziert, gingen die aufgebrachten Studenten noch in der gleichen Nacht auf die Barrikaden. In zahlreichen deutschen Städten kam es zu Massendemonstrationen und Protesten, die bald in Straßenschlachten mit der Polizei mündeten. Dieses Oster-Wochenende wurde zu einem der blutigsten seit langer Zeit. So berichtet "Der Spiegel" in der Ausgabe vom 22. April 1968 zum Beispiel von 200 verletzten Demonstranten und 54 verletzten Polizisten in West-Berlin, von 60 verletzten Protestierenden in Hamburg - die Aufzählung dort ist noch viel umfangreicher. Insgesamt sollen sich 400000 Demonstranten bundesweit an den Protesten beteiligt haben. Insbesondere das harte Eingreifen der Polizei gegenüber den Demonstranten geriet ins Visier der Kritik. Noch ein Mal wurde die Kluft zwischen den Generationen aufs Schärfste sichtbar. Zwei Monate nach dem Attentat, am 11. Juni 1968, berichtete der "Tagesspiegel": "Dutschke erholt sich in der Schweiz" - einen Tag zuvor wurde er aus dem Krankenhaus entlassen. Rudi Dutschke starb am 24. Dezember 1979 in Dänemark an den Spätfolgen des Attentats. 20 Jahre nach diesen Ereignissen sprach DW-Redakteur Gerd Schmitz in einem Interview im April 1988 mit dem damaligen Regierenden Bürgermeister von West-Berlin, Klaus Schütz, über Rudi Dutschke und die studentischen Unruhen. Andreas Zemke Redaktion: Diana Redlich