Podcasts about Leroy Anderson

Records include: Riverboat Shuffle by Isham Jones, A Trumpeter's Lullaby by Leroy Anderson, 3 O' Clock Blues by B.B. King, Tennessee Waltz by Jo Stafford, Mozart's Piano Sonata #12 by Aldo Ciccolini and Our Delight by Tadd Dameron.

This week's episode of Broadway Nation is the second half of my conversation with author Ron Fassler, whose latest book is titled The Show Goes On — Broadway Hirings, Firings, and Replacements. Among the outstanding Broadway performers and creatives who are at the center Ron's fascinating stories include Abe Burrows, Bernadette Peters, Chita Rivera, Comden & Green, Cynthia Erivo, Fantasia, Frank Loesser, Gower Champion, Harold Prince, Howard Keel, Iva Withers, Jane Russell, Jeff Conaway, Jerry Orbach, Jerry Zaks, Jo Swerling, John Cullum, John Kander & Fred Ebb, John Travolta, LaChanze, Leonard Bernstein, Leroy Anderson, Lewis J. Stadlin, Michael Bennett, Michelle Lee, Robert Preston, Rosalind Russell, Shelly Winters, Sheila Smith and Yvonne De Carlo. And the musicals referenced include 1776, Carousel, Company, Follies, Grease, Guys And Dolls, How To Succeed in Business, Kiss of the Spider Woman, Mack & Mabel, Minnie's Boys, Oklahoma!, The Color Purple, Wonderful Town and more! Ron Fassler is a historian,  theater critic, and former actor whose previous book is, Up in the Cheap Seats — A Theatrical Memoir of Broadway. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members, such as Carl Baldasso. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: ⁠⁠⁠⁠⁠https://broadwaynationpodcast.supercast.tech/⁠⁠⁠⁠⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this 1702nd episode of Toronto Mike'd, Mike chats with Canadian country music legend Donna Ramsay about her career, playing with her husband LeRoy Anderson as Donna and LeRoy on The Tommy Hunter Show, and playing live with FOTM Banjo Dunc. Toronto Mike'd is proudly brought to you by Great Lakes Brewery, Palma Pasta, Ridley Funeral Home, Toronto Maple Leafs Baseball, Yes We Are Open, Nick Ainis and RecycleMyElectronics.ca. If you would like to support the show, we do have partner opportunities available. Please email Toronto Mike at mike@torontomike.com

In this episode of the Crack House Chronicles Donnie and Dale discuss Robert Leroy Anderson, The Duct Tape Killer. Anderson was a murderer, rapist, and serial killer who was sentenced to death in South Dakota for the murders of Larisa Dumansky and Piper Streyle in 1994 and 1996, respectively. https://www.crackhousechronicles.com/ https://linktr.ee/crackhousechronicles https://www.tiktok.com/@crackhousechronicles https://www.facebook.com/crackhousechronicles Check out our MERCH! https://www.teepublic.com/user/crackhousechronicles SOURCES: https://en.wikipedia.org/wiki/Robert_Leroy_Anderson https://www.amazon.com/Duct-Tape-Killer-Murderer-Anderson/dp/1632137062 https://www.crimelibrary.org/serial_killers/predators/robert_anderson/index.html  

Retrouvez Jacques Lemaître avec toujours plus de musique. Cette semaine, Leroy Anderson, Dalida, le guitariste John Williams, Placido Domingo et Renée Fleming…pour ne nommer que ceux et celles-là Animation : Jacques Lemaître Mise en ondes : Mathieu Tessier

Songs include: The Third man Theme by Anton Karas, Ruby by Richard Hayman, The Syncopated Clock by Leroy Anderson, Swedish Rhaposdy by Percy Faith, Dragnet by Ray Anthony and Melancholy Serenade by Jackie Gleeson. 

No clima da data de Natal, nesta edição do Clássicos CBN, com o comentarista Helder Trefzger, vamos conhecer um pouco mais de obras clássicas ligadas a esse tema. Desde compositores com um viés mais popular, como o americano Leroy Anderson, passando pela também americana Florence Price, mulher à frente de seu tempo, a primeira compositora afro-americana a ter uma sinfonia tocada por uma grande orquestra, até o genial compositor russo Tchaikovsky e seu famoso balé O Quebra Nozes.

Norski Verkamannaflokkurinn er í miklum öldudal um þessar mundir eins og stjórnarflokkar víðar á Norðurlöndum. Framfaraflokkurinn nýtur mests fylgis og þykir tíðindum sæta að hann skuli njóta meiri stuðnings en Høyre sem hefur haft afgerandi forystu á hægri væng norskra stjórnmála. Sænska kosningarannsóknin við háskólann í Gautaborg hefur birt lista yfir mat kjósenda á stjórnmálaleiðtogum frá 1979. Fredrik Reinfeldt, fyrrverandi forsætisráðherra og leiðtogi Moderaterna, fær hæstu einkunn, Jimmie Åkesson, formaður Svíþjóðardemókrata, er á botninum. Aðeins einn núverandi leiðtogi kemst á topp 10 listann, Magdalena Anderson, formaður Jafnaðarmanna. Þórunn Elísabet Bogadóttir og Björn Þór Sigbjörnsson ræddu einnig við Boga Ágústsson um annan sænskættaðan Anderson. Bandaríska tónskáldið Leroy Anderson sem samdi eitt vinsælasta jólalag allra tíma, Sleigh Ride. Bogi upplýsti að Leroy Anderson hefði starfað á fréttastofu Útvarpsins í síðari heimsstyrjöldinni. Hann var mikill tungumálamaður og hafði meðal annars lagt stund á forn-íslenskunám í Harvard-háskóla. Þegar hann var kallaður til herþjónustu 1942 var hann settur í gagnnjósnadeild hersins vegna tungumálaþekkingar sinnar. Hann var sendur til Íslands og hafði það hlutverk að sjá til þess að íslenskir fjölmiðlar birtu ekki fréttir sem gætu orðið Þjóðverjum til gagns. Það er orðin hefð í síðasta Heimsglugga fyrir jól að leika Fairytale of New York með írsku sveitinni Pogues. Við heyrðum brot af flutningi sveitarinnar við útför Shane MacGowans, söngvara Pogues, í desember í fyrra. Svo var upphafleg útgáfa lagsins leikin í heild.

Alle Jahre wieder zur Weihnachtszeit gleitet ein amerikanischer Schlitten durch Radiostationen, über Weihnachtsmärkte und durch geschmückte Wohnzimmer. "Sleigh Ride" heißt das Stück, Leroy Anderson hat es komponiert. Seit seiner Uraufführung vor über 75 Jahren gehört es immer noch zu den Top-10 der Christmas-Songs in den USA. Entstanden ist der Weihnachtsklassiker in einer Zeit, in der die Sehnsucht nach Idylle besonders groß war. Sylvia Schreiber nimmt uns mit auf diese längste Schlittenfahrt der Welt.

Jeffrey Biegel is a pianist who has dazzled audiences across the globe, performing with major orchestras from a young age. But his contributions go far beyond the concert stage — He's commissioned over 25 new works from living composers, leaving a lasting mark on contemporary piano music. Always pushing the boundaries, Jeffrey has performed weekly online concerts during the Covid pandemic and even pioneered the first-ever live audio/visual recital on the internet in 1997, broadcasting from Steinway Hall in New York. We explore Jeffrey's extraordinary journey—from his early challenges with being unable to hear to his studies at Juilliard, and his deep passion for bringing new music into the world. Along the way, we discuss his creative process, his experiences as a performer and teacher, and even a futuristic story he's written, which you can find on his website.Part 1 dives into Jeffrey's early life, starting with the incredible story of overcoming hearing issues before discovering his musical gift. By age 10, he was already performing concerti! We talk about his time at Juilliard and the lessons he learned from that transformative period. Since Jeffrey has brought so many new works into the piano repertoire, I ask him to walk me through the fascinating process of commissioning new music. We wrap up with a fun, hypothetical set of questions based on one of his creative stories.Part 2 [Subscriber Content] turns to another key part of Jeffrey's career — teaching. We also dig into a question that musicians often grapple with: how much freedom should a performer take when interpreting a composer's work? Finally, we end on a high note, discussing two unique pieces Jeffrey has been closely involved with: Leroy Anderson's Concerto in C and Peter Schickele's Concerto for Very Grand Piano (you might know him as Mr. PDQ Bach).Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

A mixed bag of musical allsorts presented weekly by Ray Woodley, produced by Manawatū People's Radio with the support of New Zealand On Air. This week 78's Ray rescued from the dump featuring tracks from John Parkin, Guy Lombardo, Leroy Anderson, the Dutch Swing College, Les Paul, Donald Peers, Liberace, and Frankie Lane!

Broadcast on Serenade Radio on 21st March, 2024 Name Artist Album Year Comments Promenade John Seng The Song Is Ended [Pipe Organ Presentations POP113] 4-19 Howell-Wurlitzer, St. Mary of the Lake Seminary, Mundelein, IL The Syncopated Clock Charlie Balogh Spectacular! [OSP CD] 2000 4-78 Wurlitzer, Organ Stop Pizza, Mesa AZ Serenata Joseph Seal At The Wurlitzer [Pye NPL 18130] 1965 3-12 Wurlitzer, ABC Kingston (Regal), Kingston-On-Thames The Waltzing Cat Nigel Ogden The Entertaining Organist [OS Digital CD] 1993 4-20 Wurlitzer, Free Trade Hall, Manchester; ex Odeon Cinema, Manchester Blue Tango Reginald Foort Organ Pops [Cook 10579sd] 1952 4-36 Wurlitzer, Fox Theatre, Detroit, MI Belle of the Ball Gerald Shaw Cinema Organ Encores Vol 72 [Deroy 1237] Reprocessed Stereo 1975 5-17 Compton, Odeon Theatre, Leicester Square, London China Doll Jelani Eddington Sleigh Ride [RJE CD] 2006 5-80 Wurlitzer, Sanfilippo Victorian Music Palace The Sandpaper Ballet Stanley Tudor Cinema Organ Encores Vol 6 [Deroy 871] 4-14 Wurlitzer, Gaumont Theatre, Manchester Forgotten Dreams Douglas Reeve A Tribute To A Gentleman Of Music [Grosvenor CDGRS 1311] 4-40 Hill, Norman & Beard Christie, Dome, Brighton Lazy Moon Dudley Savage As Prescribed 1975-09-07 1975 3-8 Compton + Melotone, Royal/ABC Plymouth, Devon, UK Jazz Pizzicato Robinson Cleaver Aria ad Astra [AK Records 7709] 1977 3-8 Christie, Astra Theatre, Llandudno, Wales (1935-1987)

Yule 2023 13th-21st Centuries This week we hear anonymous and traditional works and works by Nicolas Gombert, Jean Titelouze, Arcangelo Corelli, Johann Sebastian Bach, Georg Philipp Telemann, Alexander Kastalsky, Arthur Honegger, Heinrich Kaminski, Leroy Anderson, Einojuhani Rautavaara, Agustín Barrios, John Rutter, Harold Darke, Mel Tormé, and David Foster. 206 Minutes – Week of 2023 December 25

Looks Unfamiliar is a podcast in which writer and occasional broadcaster Tim Worthington talks to a guest about some of the things that they remember that nobody else ever seems to.This time, in a special festive edition, Tim, Bob Fischer and Georgy Jamieson are all crowding into a paper chain-strewn local radio studio ready to take your calls and chat about some of the signs that Christmas was coming that you just don't seem to get any more. So that's Sleigh Ride by Leroy Anderson being used to back every single local news feature, School Christmas Fairs, weird decorations that were still in use long past their cultural sell-by date, Advent Calendars with no chocolate but plenty of pictures of Shepherds sort of leaning sideways a bit, the toy pages in 'The Catalogue', the bitter rivalry between the Christmas double issues of Radio Times and TV Times, Channel 4 flinging out angular festive fare like Santa Claus Conquers The Martians, festive replacements for the BBC Globe, The Middlesborough Methodist Tableau and much more besides. In a crammed Christmas Cracker of chat we'll be debating the physics of those big televisions with shutters on them, stressing the need for a Loose Cannon reconstruction of Bob's drawing of a Lord 'a'Leaping', attempting to beat Carol Vorderman at Yuletide Maths, deploring the steady stream of one-shoed shoplifters hopping out of Bobby Cannon's, refuting any and every suggestion that clowns have any business being anywhere near anything to do with Christmas, exploring the financial potential of an Advent Calendar with Willie Rushton behind every single door and querying the value of using Rentaghost as a sort of all-purpose philosophical yardstick. Call in and donate some 'Canned Goods' now!You can find more editions of Looks Unfamiliar at http://timworthington.org/. You can also find Bob on Looks Unfamiliar chatting about The Tom O'Connor Roadshow, Giant Hogweed, Can't Get A Ticket (For The World Cup) by Peter Dean, Glee Bars, J. Edward Oliver's ‘Abolish Tuesdays' and How To Be A Wally here, Eighties ‘Tabloid Celebrities', Accidentally Kelly Street by Frente!, The Two Ronnies' ‘Mileaway', Rude Food, Suggs On Saturday and School Folk Songs here and  Tucker's Luck, Pookiesnackenburger, We Wanna Be Famous by Buster Gobsmack And Eats Filth', game show contestants' occupations being booed by the studio audience and the lost ancient art of the paper plate and shaving foam Custard Pie here, and Georgy on Indoor League, Re-Joyce!, the The Animals In The Box sketch, the Paul Squire Fan Club, Pippa Dolls, Pig In The Middle and Good Winter Telly here.If you enjoy Looks Unfamiliar, you can help to support the show by buying us a coffee here. If the 'Chocolate Train' calls at your stop you get a Mocha. Sorry, it's the rules.

Songs include: A Christmas Festival, Christmas Island, Christmas In Killarney, The Twelve Days of Christmas, All Around the Christmas Tree, I Want a Hippopotamus For Christmas and Have Yourself a Merry Little Christmas.  Performers include: Leroy Anderson, Judy Garland, The Andrews Sisters, The DeCastro Sisters, Gayla Peevy, Buddy Clark and Sammy Kaye. 

This week on The Sound Kitchen you'll hear the answer to the question about the French linguist Jean-François Champollion. There are reflections on keeping time, “The Listener's Corner” with Paul Myers, and Erwan Rome's “Music from Erwan”. All that, and the new quiz question, too, so click on the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more.There's Paris Perspective, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our team of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English – that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here. Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. NB: You do not need to send her your quiz answers! Email overload!And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognised RFI English club, go to the Facebook link above, and fill out the questionnaire!!!!! If you do not answer the questions, I click “Decline”.There's a Facebook page for members of the general RFI Listeners Club, too. Just click on the link and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do!This week's quiz: On 7 October, I asked you a question about the French linguist Jean-Francois Champollion. That week, RFI English journalist Jessica Phelan joined Alison Hird and Sarah Elzas on their excellent podcast, Spotlight on France, to tell us how Champollion, in 1822, came closer than any other scholar of the day to de-coding Ancient Egyptian hieroglyphics. He already knew an Egyptian language that was spoken during Rome's occupation of Egypt, and Champollion used that language to work backward, teasing out some of the meanings in hieroglyphics. You were to tell me the name of the language he knew that helped him with his discovery.The answer is: Coptic. Coptic was the primary spoken language in Egypt from the 3rd century AD in Roman Egypt; it was supplanted by Arabic following the Muslim Conquest of Egypt in 639 AD. There are no native speakers of Coptic today, but it is still the liturgical language of the Coptic Orthodox Church and the Coptic Catholic Church.In addition to the quiz question, there was the bonus question: “Who is the most beautiful woman in all of history … to you?”Do you have a bonus question idea? Send it to us!The winners are: RFI Listeners Club member Alan Holder from the Isle of Wight in Great Britain. Alan is also the winner of this week's bonus question – congratulations, Alan!Also on the list of lucky winners this week are Fatematuj Zahra, co-secretary of the Shetu RFI Listeners Club in Naogaon, Bangladesh, and Ferhat Bezazel, President of the RFI Butterflies Club Ain Kechera in West Skikda, Algeria.Additionally, there are RFI Listeners Club member Samir Mukhopadhyay from West Bengal, India, and RFI English listener Pratish Ranjan Behera from Odisha, India.Congratulations winners!Here's the music you heard on this week's programme: “The Syncopated Clock” by Leroy Anderson, performed by the composer with his “Pops” Concert Orchestra; “Spell number 78: For Being Transformed into a Divine Falcon” from Songs from the Book of the Dead by Alberto Acosta; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and “Invisible Worlds” composed by Simon Mary and performed by Mukta, featuring Olivier "DouDou" Congar on drums and percussion.This week's question ... you must listen to the show to participate.  After you've listened to the show, re-read our article “Official Swedish dictionary completed after 140 years” to help you with the answer.You have until 4 December to enter this week's quiz; the winners will be announced on the 9 December podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here. 

En este episodio hemos decidido platicar un poco acerca de la vida y obra del aclamado compositor Leroy Anderson, quien es conocido en la cultura pop por algunas de sus más famosas composiciones haciendo alusión a fechas importantes como son la Navidad, o a herramientas de trabajo del siglo pasado como la máquina de escribir. Acompáñanos en este podcast breve donde platicamos acerca de esto. Música: Tema de melodía que "toca" Leroy Anderson compuesto por Eduardo Mariné Harvard University Band Invades Harvard Square. Recuperado en https://www.youtube.com/watch?v=KiQlqxb7TaY&ab_channel=CandidVideos WW2 War Sounds Battle of Berlin 1 Hour Version. Recuperado en https://www.youtube.com/watch?v=S6AoR8d2QCw&ab_channel=WarSounds Jazz Pizzicato de Leroy Anderson en Leroy Anderson conducts his own compositions en Leroy Anderson and His "pops" Concert Orchestra. Recuperado en https://archive.org/details/78_promenade_leroy-anderson-and-his-pops-concert-orchestra-leroy-anderson_gbia0035790/08+-+(1)+Jazz+-+Leroy+Anderson+And+His+%22Pops%22+Concert+Orchestra.flac The Syncopated Clock de Leroy Anderson en Leroy Anderson conducts his own compositions en Leroy Anderson and His "pops" Concert Orchestra. Recuperado en https://archive.org/details/78_promenade_leroy-anderson-and-his-pops-concert-orchestra-leroy-anderson_gbia0035790/08+-+(1)+Jazz+-+Leroy+Anderson+And+His+%22Pops%22+Concert+Orchestra.flac. Sleigh Ride de Leroy Anderson en Leroy Anderson conducts his own compositions en Leroy Anderson and His "pops" Concert Orchestra. Recuperado en https://archive.org/details/78_promenade_leroy-anderson-and-his-pops-concert-orchestra-leroy-anderson_gbia0035790/08+-+(1)+Jazz+-+Leroy+Anderson+And+His+%22Pops%22+Concert+Orchestra.flac Typewriter Song de Leroy Anderson en https://archive.org/details/TypewriterSong Consulta las notas de este episodio en nuestro IG @historiachiquita Conoce más sobre los anuncios que te aparecen. Visita: https://www.megaphone.fm/adchoices. Learn more about your ad choices. Visit megaphone.fm/adchoices

Synopsis In the Guiness Book of Music Facts and Feats, the record for "Most Prolific Composer" goes to Georg Philip Telemann, who died on today's date in 1767 at the age of 86. And longevity gave an edge to productivity: Telemann outlived his prolific contemporary, J.S. Bach, by 21 years, and outlived Handel by 12. But even considering the extra years he lived, Telemann's output is staggering. Of Bach's cantatas, some 200 or so survive, but Telemann's number 1400. He also wrote 125 orchestral suites, 125 concertos, 130 trios, 145 pieces for solo keyboard, and about 50 operas. Most composers (if they are lucky), publish one autobiography; Telemann published three, and commented in one of them, "How is it possible for me to remember everything I wrote for violin and winds?" Sometimes, in addition to composing original music, Telemann was also asked to perform it: "A few days before I play a violin concerto," he wrote, "I always locked myself away, fiddle in hand, shirt-sleeves rolled up, with something strong to calm the nerves, and practice." Fortunately, Telemann seemed to find musical inspiration everywhere, including from the pop and folk music of his day. As he put it, "One would scarcely believe what wonderful ideas pipers and fiddlers have when they improvise while dancers pause for breath. An observer could easily gather enough ideas from them in eight days to last a lifetime!" Music Played in Today's Program Georg Philipp Telemann (1681 - 1767) Violin Concerto in A (The Frog) Pavlo Beznosiuk, violin; New London Consort; Philip Pickett, conductor. London 455 621 On This Day Births 1860 - French composer Gustave Charpentier, in Dieuze, Lorraine; 1935 - Austrian composer Kurt Schwertsik, in Vienna; Deaths 1767 - German composer Georg Philipp Telemann, age 86, in Hamburg; 1822 - German composer, critic and popular Romantic author Ernst Theodor Amadeus ("E.T.A.") Hoffmann, age 46, in Berlin; Premieres 1840 - For the 400th anniversary of the Gutenberg Printing Press, Mendelssohn presents his Symphony No. 2, "Lobegesang" (Song of Praise) at the Thomaskirche in Leipzig; 1850 - R. Schumann: opera "Genoveva," in Leipzig at the Stadttheater; 1910 - Stravinsky: ballet, "The Firebird," at the Paris Opera, with Gabriel Pierné conducting; 1923 - de Falla: one-act opera "El retablo de maese Pedro" (Master Peter's Puppet Show), first staged performance in Paris at the home of the Princesse de Polignac; This opera was premiered in a concert performance in Seville on March 23, 1923; 1940 - William Grant Still: choral ballad "And They Lynched Him on a Tree," at New York's Lewisohn Stadium by the Schola Cantorum and Wen Talbert Negro Choir with the New York Philharmonic, Arthur Rodzinksi conducting; 1954 - Leroy Anderson: "Sandpaper Baller" at a Decca recording session in New York City, with the composer conducting; Three different grades of sandpaper rubbed together were used to make the vaudeville-style "soft shoe" dancing sound effects for this classic recording; 1955 - Grofé: "Hudson Valley" Suite, in Washington, D.C., by the National Symphony conducted by André Kostelanetz; 1991 - James MacMillan: "Tuireadh" (Lament) for clarinet and string quartet, by James Campbell and the Allegri Quartet at St. Magnus Cathedral in Kirkwall (Orkney Islands). Links and Resources On Telemann

A Inteligência Artificial é tema inesgotável de debates e continuará sendo à medida que ela avança exponencialmente em diversos segmentos que permeiam a vida de todos nós. E como o foco das nossas conversas aqui no Barucast é a comunicação, trouxemos um olhar sobre os impactos da IA não apenas para os profissionais da área, mas para todos aqueles que utilizam a comunicação para a promoção de suas marcas e tudo o que ela constrói e oferta. Para além da substituição ou não do agente humano, propusemos uma reflexão honesta sobre as colaborações e limitações dela para além dos processos produtivos da comunicação. Quer saber mais? Então vem ouvir com a gente o episódio e aproveita para agregar também a sua visão a respeito do tema.   Créditos: Produção: Baruco Comunicação Estratégica Dupla da conversa: Erika Baruco e Bruna Carvalho Edição técnica/sonorização: Leonardo Engelmann Trilha musical: Admirável chip novo - Pitty / Cérebro Eletrônico - Marisa Monte e The tipewriter - Leroy Anderson

“Zadok the Priest” is the musical hit of British coronations, and has been since the 1720s. “The Swan” is a hit too, and is never more magical than in Godowsky's piano arrangement. These are two of the selections in this episode. Others are by Mozart, Leroy Anderson, and other worthies. An appetizing, eclectic menu. Handel, […]

“Zadok the Priest” is the musical hit of British coronations, and has been since the 1720s. “The Swan” is a hit too, and is never more magical than in Godowsky’s piano arrangement. These are two of the selections in this episode. Others are by Mozart, Leroy Anderson, and other worthies. An appetizing, eclectic menu. Handel, “Zadok the Priest” Mozart, Serenade from “Don Giovanni” Anderson... Source

“Zadok the Priest” is the musical hit of British coronations, and has been since the 1720s. “The Swan” is a hit too, and is never more magical than in Godowsky's piano arrangement. These are two of the selections in this episode. Others are by Mozart, Leroy Anderson, and other worthies. An appetizing, eclectic menu. Handel, “Zadok the Priest” Mozart, Serenade from “Don Giovanni” Anderson, Piano Concerto in C Handel, “Ah, mio cor, schernito sei,” from “Alcina” Saint-Saëns-Godowsky, “The Swan” Bacewicz, String Quartet No. 4 Cilea, “Poveri fiori” from “Adriana Lecouvreur” Bach-Godowsky, Andante from the Violin Sonata No. 2 in A minor

Synopsis On this date in 1814, Ludwig van Beethoven conducted the premiere performance of his Symphony No. 8 in F Major. As the scherzo movement of his new symphony, Beethoven recycled a tune he originally used as a musical salute to Johann Nepomuk Maelzel, the inventor of the metronome. For a time, Maelzel was Beethoven's friend and sometimes collaborator on concerts and various mechanical projects. Beethoven used Maelzel's metronomes to add precise, if sometimes debatable, tempo markings to some of his earlier works. Some conductors choose to ignore these metronome markings, since they came after the fact of composition and at a time when Beethoven was increasingly deaf. In fact, in addition to metronomes, the versatile Maelzel also supplied the Beethoven with ear trumpets—the 19th-century version of hearing aids. Perhaps Beethoven was using one of those ear trumpets when someone asked him why his Seventh Symphony was more popular in Vienna than his Eighth. "Because the Eighth is so much better," he growled in reply. Closer to our own time, the American composer Leroy Anderson, who lived from 1908 to 1975, immortalized the tick-tock of a mechanical timekeeper in his piece entitled The Syncopated Clock. Leroy Anderson was a master of the musical miniature, creating dozens of witty pieces with titled like Plink, Plank, Plunk, Bugler's Holiday, and Fiddle Faddle. Music Played in Today's Program Ludwig van Beethoven (1770 - 1827) Symphony No. 8 in F, Op. 93 Berlin Philharmonic; Herbert von Karajan, conductor. DG 429 036 Leroy Anderson (1908-1975) The Syncopated Clock St. Louis Symphony; Leonard Slatkin, conductor. BMG/RCA 68048

In 1981, Rita Marley's brother Leroy Anderson aka Lepke launched the Dread Broadcasting Corporation (DBC), Europe's first dedicated black music station. Frustrated by the lack of airtime for reggae music in the UK, Lepke setup a mast in his back garden and began to broadcast to a small area of West London every Sunday afternoon. DBC soon expanded to cover all styles of black music and with its unmistakable logo featuring a dread with headphones and a spliff became a trailblazer for the future of black British radio in the UK. Neil Meads speaks to former DBC station manager Michael Williams about the early days of the station, and DJ Carmella Jervier explains how inspiring it was to finally hear black female DJs on the radio. (Photo: Dread Broadcasting Corporation. Credit: BBC)

Mormons believe that Jesus once lived in the Americas. Some of them once believed he lived on the outskirts of Walla Walla, Washington from 1868-1880. This is their story. Transcript, sources, links and more at https://order-of-the-jackalope.com/unto-us-a-child-is-born Key sources for this episode include C. LeRoy Anderson's For Christ Will Come Tomorrow: The Saga of the Morrisites; Russell Blankenship's And There Were Men; William Denison Lyman's History of Old Walla Walla County, Embracing Walla Walla, Columbia, Garfield, and Asotin Counties; and Tony Zbaraschuk's The Fall of the Standard: William W. Davis and the Walla Walla Jesus. Presented by #13 (Dave White) Artist. Lover. Social Media Unfluencer. Acknowledged authority on lucrative bogs. Dave White is all this and more. But most days he's a web developer, graphic designer, and cartoonist. He lives in Pittsburgh with his wife, his two cats, and his crippling obsession with strange trivia. Discord: https://discord.gg/Mbap3UQyCB Facebook: https://www.facebook.com/orderjackalope/ Instagram: https://instagram.com/orderjackalope Reddit: https://www.reddit.com/user/orderjackalope Tumblr: https://orderjackalope.tumblr.com Twitter: https://twitter.com/orderjackalope Email: jackalope@order-of-the-jackalope.com Part of the That's Not Canon Productions podcast network. https://thatsnotcanon.com/

Do you ever wonder what inspires composers and songwriters to create the music they do? Would you be surprised to learn that some of our favorite Christmas tunes were written in the heat of the summer? On today's podcast, I'll share some of the interesting things I discovered about some of the songs we enjoy throughout the holiday season. Learn more at www.PianoParentPodcast.com/072 Merry Christmas!!

Episode 86 Merry Moog 2022 Vintage Holiday Music Performed on the Moog and other Synthesizers Playlist Frank Luther with Zora Layman, “Christmas Bells” from Christmas In Song (1939 Decca). This is the original 78 RPM release featuring a vocal quartet, bells, and music played on the Hammond Novachord. 0:38 Frank Luther with Zora Layman, “Christmas Day in the Morning” from Christmas In Song (1958 Vocalion). This is a reissue of the 1939 release featuring a vocal quartet, Zora Layman, bells, and music played on the Hammond Novachord. The stereo is simulated. There are some nice moments for the Novachord on this record. 3:12 Paul Tanner, “Holiday on Saturn” from Music for Heavenly Bodies (1958 Omega). This rare disc features Tanner playing the Electro-theremin, an imitation of the Theremin that was a box with an audio oscillator inside and a rotary dial to control the pitch. Tanner, a renown studio musician and trombone player, later provided the sound of the Electro-theremin on the Beach Boys hit Good Vibrations (1966). 4:16 Greg Lake, Emerson, Lake & Palmer, “I Believe In Father Christmas” from I Believe in Father Christmas (1995 Rhino). Produced by Keith Olsen; written by Greg Lake, Peter Sinfield; vocals, Bass, Acoustic Guitar, Electric Guitar, Greg Lake; Drums, Percussion, Carl Palmer; Hammond organ, Piano, Moog Synthesizer, Keith Emerson. This is the original version released in 1975 with a choir and Moog Modular. It differs significantly from the stripped-down mix, also included on this CD, originally appearing on Works Vol. 2 in 1977 and then later in 1994. Rhino Records was kind enough to package all of ELP's X-Mas related tunes onto a CD EP in 1995, from which this version comes. 3:34 Keith Emerson, “Troika (From Prokofiev's Lieutenant Kije Suite)” from The Christmas Album (1995 Rhino). This is the Prokofiev composition that Greg Lake adapted into “I Believe in Father Christmas.” Later on, Emerson released this interpretation of the Prokofiev piece on The Christmas Album” that appeared in the US in 1995. It doesn't appear on the original UK version in 1988. And again, this is taken from the nifty holiday CD EP also released in 1995 by Rhino. This album was made with instruments from Korg, Ensoniq, Alesis, and Opcode. 4:19 Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:44 Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 4:46 Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:52 Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Don wrote the original synthesized version of the NPR “All Things Considered” theme. It was created in his Electronic Studio of the University of Wisconsin. He used a Moog Modular Synthesizer plus a Fender Rhodes, Polymoog, and ARP string synthesizer and 16-track recorder. 1:02 Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:34 Douglas Leedy, “Good King Wenceslas” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. Leedy was an American composer, performer and music scholar. He founded the electronic music studio at UCLA where he had access to both Moog Modular and Buchla synthesizers, and it was during this period from about 1969-71 that he was commissioned to create several albums of electronic music. His training as a minimalist and experimental composer always flavored his music with unexpected sounds and patterns. 3:05 Moog Machine, “O Holy Night” from Christmas Becomes Electric (1970 Columbia). Moog Modular Synthesizer. 2:43 Armen Ra (Armen Hovanesian), “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). Moog Etherwave Pro Theremin. Armen Ra is an American artist and performer of Iranian-Armenian descent. He plays Theremin. His music fuses Armenian folk music with modern instrumentation, along with melodic lounge standards and classical arias. 4:43 Don Voegeli, “Carol of the Drum” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01 Philippe Renaux, “Noël Blanc” (“White Christmas”) from We Wish You A Cosmic Christmas (1977 Sinus). Belgium. Minimoog, Arp Axe, Arp Soloist, EMS Synthesizer, Stringman Crumar, Fender Rhodes, Electronic Drums. 3:21 Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:58 Joseph Byrd, “Carol of the Bells” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:12 Андрій Кок (Andriy Kok), “Небо І Земля” (“Heaven and Earth”) from Різдво На Галичині. Колядки (Christmas in Galicia. Christmas carols) (2006 Ліда). Folk singer, accordion and synth player Andriy Kok has recorded many albums of Ukrainian folk music in addition to a number of holiday songs and carols. 5:00 Douglas Leedy, “In Dulci Jubilo” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 1:14 Bernie Krause, Philip Aaberg, “Deck the Halls” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. He later turned his attention to audio ecology and the recording of nature sounds, particularly of animals. This very special Holiday recording is composed entirely of animal sounds. Some you'll recognize as the natural animal voices themselves. Others may sound like instruments, but they are actually digitally transformed animal sounds. Wild Sanctuary Productions invites you to enjoy a truly unique celebration of both the wild kingdom and Holiday Spirit. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (K 2000/Emulator III) Phil Aaberg. 8:12 The Royal Philharmonic Orchestra, Paul Freeman, and The Chicago Synthesizer-Rhythm Ensemble, John Tatgenhorst, “The Little Drummer Boy” from Turned On Christmas (1985 Columbia). Conductor, Paul Freeman; synthesizers, The Chicago Synthesizer-Rhythm Ensemble; Orchestra, The Royal Philharmonic Orchestra. Keyboards & Synthesizer Concepts: Ed Tossing; Electric Bass, Steve Rodby or Bob Lizik; Drums, Tom Tadke; Guitars, Ross Traut and Bill Ruppert; Percussion, Russ Knutson. 4:08 Montana Sextet, “Little Drummer Boy Jam” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor And Bass Drum, Gene Leone. 8:46 Montana Sextet, “Have Yourself a Merry Little Christmas” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor and Bass Drum, Gene Leone. 4:56 Mannheim Steamroller, “Good King Wenceslas” from Christmas (1984 American Gramaphone). Arranged, conducted, produced by, Chip Davis; Drums, Percussion, Soloist Recorder, Black Oak Hammered Dulcimer, Soprano Dulcian, Crumhorn, Bells, Vocals, Dry Ice, Chip Davis; Lute, Bass, Eric Hansen; Baldwin SD-10 Synthesizer, Harpsichord, Clavichord, Toy Piano, Prophet 5 Synthesizer, Fender Rhodes, Vocals, Bells, Jackson Berkey; Classical Guitar, Twelve-String Guitar, Ron Cooley; Flute, Willis Ann Ross; French Horn, David (High D) Kappy; Harp, Mary Walter; Oboe, Bobby Jenkins; Strings, Bill Ritchie, Grace Granata, Michael Strauss, Michelle Brill, Richard Altenbach, Richard Lohmann, Roxanne Adams, Wayne Anderson. 3:39 Don Voegeli, “Jingle Bells” long, short, and tag from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:56 Don Voegeli, “Lully, Lullay - The Coventry Carol” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01 Fossergrim, “Ave Maria” (2020 Bandcamp). Fossegrim is billed as “Dungeon Synth music from the Adirondack Mountains.” In Scandinavian folklore, Fossergrim is is described as an exceptionally talented fiddler. No fiddles here. I think Fossergrim is one Ian Nichols of Albany, New York. Check out his Bandcamp presence. 3:54 Phillip Fraser, “Rub A Dub Christmas” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. 2:53 Phillip Fraser, “The Lord Will Provide” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. There is some crazy synth material on this track. Despite it being recorded in 1985, it sounds quite analog for a synth. 3:17 Unconditional Loathing, “Carol, with the bells” from Holiday Mood (2018 Bandcamp). Every artist dreams of releasing an album of hit holiday songs that will surprise the world and bring great wealth. This is not that album. But it is remarkably noisy and dark. Check out Unconditional Loathing, from Fargo North Dakota, on Bandcamp. Self-described as “A footnote in the history of Midwestern noise that refuses to completely go away.” 1:51 The Smurfs, “Deck the Halls” from Merry Christmas With The Smurfs (1983 Dureco Benelux). This album is in English from the Netherlands. 2:17 Vatto Lofi, “Holiday Lofi” from A Merry Lofi Christmas EP (2021 Bandcamp). Providing a low-fidelity tune for the holidays, but I don't know if “lofi” refers to the low-fidelity sound that is currently a thing (and it does sound like that) or is the actual name of this Icelandic musician. 2:21 Rotary Connection, “Silent Night” from Peace (1968 Cadet Concept). I think this holiday album from the famed psychedelic soul ensemble was perhaps only their second album. Produced by Charles Stepney and Marshall Chess, I've included this track not only because it features some crazy electric guitar but also because Minnie Riperton's five-1/2-octave vocal range could effectively imitate a Theremin, which begins in this track around 1:30 into it. In an interview I once heard her say that one of her childhood fascinations was imitating that “science fiction stuff” with her voice. Interestingly, Charles Stepney also included a Moog synthesizer, used sparingly, on some Rotary Connection tracks, but I've heard none on this album. Co-producer Marshall Chess often added Theremin to Rotary songs but this is not one of them. It's pure Ripperton. The Rotary Connection vocalists: Bobby Simms, Jim Donlinger, Jim Nyeholt, Minnie Riperton, Mitch Aliota, Sidney Barnes, Tom Donlinger; The studio band, Leader, David Chausow; Bill Bradley, electronic effects; guitar, Bobby Christian; bass, Louis Satterfield; bass, Phil Upchurch; bass vocals, Chuck Barksdale. 3:52 Klaus Wunderlich, “Sleigh Ride” from Multi Orchestral Organ Sound (1982 Teldec). Wunderlich was a prolific musician who mastered the Hammond Organ. Occasionally, he performed with a synthesizer and this track comes from an album not of holiday music but of various favorites, performed in the style of the original artists. This is a Leroy Anderson song arranged in the Anderson style. The MOOS (Multi Orchestral Organ Sound) was produced by the Wersi organ company in Germany. This organ/synth/drum machine hybrid was also known as the Wersi Galad and play both synth and traditional organ sounds. There is a current musician advocate for this instrument in Florian Hutter (listen to the next track), of Germany. 3:11 Florian Hutter, “Frosty the Snowman” privately released (2022 No Label). Florian is a living master of the vintage Wersi Delta and Atlantis synthesizer/organ hybrids with a built-in rhythm box. In recent years he has begun to release his music on Spotify. This is taken from the first or second day of his Christmas Special 2022 during which he releases a new tune every day. I don't normally feature tracks recorded from YouTube, but this was too good to pass by and it fits with the vintage music played in the previous track by Wunderlich. Check him out. 2:34 Edwin Hawkins, “The Christmas Song” from The Edwin Hawkins Christmas Album (1985 Birthright). Produced when the Yamaha DX-7 became the top selling synthesizer on the planet, this is a great example of its tidy, digital sound. Richard Smallwood, keyboards, synthesizer; Edwin Hawkins, keyboards, synthesizer; Joel Smith, Drums and Fender bass; Kenneth Nash, percussion. Sounds like one or two Yamaha DX-7s. 3:57 Ryuichi Sakamoto (坂本龍), “Father Christmas” from Merry Christmas Mr. Lawrence (戦場のメ)(1983 Virgin). Music By, Composed By, Performer, Ryuichi Sakamoto. Our best wishes to Mr. Sakamoto who is suffering from Stage 4 cancer. In June he said, “Since I have made it this far in life, I hope to be able to make music until my last moment, like Bach and Debussy whom I adore.” 2:06 Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Not be confused with an album by the same name by The Moog Machine in 1969. Unnamed synthesizer programmed and performed by Bob Wehrman and John Bezjian. From Marina Del Rey in California. 1:46 Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 Keith Emerson, Emerson Lake & Palmer, “Nutrocker” (live) from Pictures at an Exhibition (1972 Cotillion). A fitting reworking of Tchaikovsky arranged by Kim Fowley and performed live, Newcastle City Hall, 26 March 1971. Hammond C3 and L100 organs, Moog modular synthesizer, Minimoog, Clavinet, Keith Emerson; bass guitar, acoustic guitar, vocals, Greg Lake; drums, percussion, Carl Palmer. "Nut Rocker", a rock adaptation of The Nutcracker originally arranged by Kim Fowley and recorded by B. Bumble and the Stingers in 1962. 3:48 Richie Havens, “End of the Season” from Alarm Clock (1970 Stormy Forest). A melancholic reflection on life from Mr. Havens, totally synthesized on the Moog Modular by Bob Margoleff. 3:32 Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 Opening background music: Jean Jacques Perrey and Sy Mann, “Rudolf the Red-Nosed Reindeer” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 2:16 Moog Machine, “Twelve Days Of Christmas” from Christmas Becomes Electric (1970 Columbia). Arranged by Alan Foust; Synthesizer Tuner, Norman Dolph; Moog Modular Synthesizer, Kenny Ascher. 3:55 Jean Jacques Perrey and Sy Mann, “Silent Night” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 1:52 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation For additional notes, please see my blog, Noise and Notations.

Episode Credits  https://www.youtube.com/watch?v=9dX7-wlhkyw Yma O Hyd - Dafydd Iwan https://www.youtube.com/watch?v=ITOsQKaW1Ag  Paper Planes Adventure - V.K https://www.youtube.com/watch?v=OFFj8HYm3-w Jazz Pizzicato - L. Anderson  https://www.youtube.com/watch?v=EDRFmn_KqfA Sleigh Ride - L. Anderson https://www.youtube.com/watch?v=akwfqjtBn7Y The Typewriter - L. Anderson All other Sounds and Music are property of Phonetic Planet, Susan Shea, and Joshua David Yardy

Synopsis On today's date in 1950, Decca recording engineers committed to disc seven short works by the American composer Leroy Anderson, with Anderson himself conducting top-notch New York freelance musicians. Since 1938, Anderson had been associated with the Boston Pops, for whom he had composed a string of very successful pieces, beginning with “Jazz Pizzicato” and “Jazz Legato,” complimentary works designed for the two sides of a 78-rpm disc. Anderson recorded both those pieces at his 1950 Decca session and also the first performance of a brand-new work, entitled “The Waltzing Cat.” In fact, after 1950 most of Anderson's premieres took place at Decca recording sessions. One of them, “Blue Tango,” sold over a million copies. By 1953, one national survey found that Leroy Anderson was the most-performed American composer of his day. That was the year that Anderson wrote his only extended orchestral work, a Piano Concerto. With the exception of a short-lived Broadway musical from 1958 entitled “Goldilocks,” the bulk of Anderson's works are short, witty orchestral pieces, superbly crafted works intended to make audiences smile. “I just did what I wanted to do,” Anderson once said, “and it turned out that people liked it.” Music Played in Today's Program Leroy Anderson (1908–1975) –Jazz Pizzicato and The Waltzing Cat (Decca studio orchestra; Leroy Anderson, cond.) MCA 9815

Leroy Anderson was an American composer of short, light concert pieces.

The follow-up episode to my previous Forgotten Broadway episode is an epic one, chock full of fascinating composers, lyricists, performers and shows. We begin with a tribute to birthday boy Leonard Bernstein, a song from Peter Pan sung by gay Broadway icon Larry Kert. From there we encounter shows by Lerner and Loewe, Rodgers and Hammerstein, Kander and Ebb, Cy Coleman, Dorothy Fields, Strouse and Adams, Jerry Herman, Stephen Sondheim, Schmidt and Jones, Vernon Duke, Mary Rodgers, Sigmund Romberg, Harold Rome and Leroy Anderson, among others, performed by Jane Powell, Pat Suzuki, Melba Moore, Rita Gardner, Jack Cassidy, Rebecca Luker, Cesare Siepi, Susan Johnson, Dody Goodman, Pearl Bailey, Ezio Pinza, Elaine Stritch, Shannon Bolin, and others. Diverse topics discussed include the Broadway revue, queer subjects and performers, and the place of performers of color on Broadway. This is a long episode that I recommend listening to in segments! And please be aware that an equally mammoth third segment on Forgotten Broadway will be published this weekend for my Patreon supporters! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Episode 230, “1952 Hit Parade,” revisits 16 of the best-selling popular songs from 1952, in some cases presenting cover versions instead of the originals. Performers include The Mills Brothers, Leroy Anderson, Patti Page, Tommy Edwards,... Read More The post Episode 230, “1952 Hit Parade,” appeared first on Sam Waldron.

Synopsis It's a mark success when a new musical work is recorded shortly after its premiere, and even more when the recording session itself is the premiere. But that was the case with many works written by the American composer Leroy Anderson, whose short and tuneful compositions from the 1940s, 50s and 60s proved enormously popular during his lifetime. On June 20, 1962, Anderson was at New York's Manhattan Center, conducting for Decca Records the premiere of his “Clarinet Candy.” By recording in the summer months, when many of New York's best symphonic players were available for studio work, Anderson was able to round up top-notch musicians for his recording sessions. The contemporary Argentinean-born composer Osvaldo Golijov has also proved popular enough to have many of his brand-new works recorded either at their premieres or shortly thereafter. This Klezmer-style clarinet piece is entitled “Rocketekya,” and was written for the 20th anniversary of New York's Merkin Hall. Golijov explained: “I thought it would be interesting to write a different sort of celebratory piece, and I had an idea of a shofar blasting inside a rocket—an ancient sound propelled toward the future.” Music Played in Today's Program Leroy Anderson (1908 - 1975) –Clarinet Candy (Decca Studio Orchestra; Leroy Anderson, cond.) MCA 9815 Osvaldo Golijov (b. 1960) Rocketekya (David Krakauer, clarinet; Alicia Svigals, violin; Martha Mooke, electric viola; Pablo Aslan, contrabass) Naxos 8.559403

Classical music is often thought of as strict and serious, but throughout history composers each had their own sense of humor that they would let shine through in some of their pieces. Join host Liz Lyon and producer Melanie Renate as they share laughter and comedy through classical music. Episode 79 playlist Joseph Haydn: Surprise Symphony — Haydn was known to include musical jokes in his music. In the second movement of his Surprise Symphony, he wrote in loud chords within the soft dynamics of the piece. It brings surprising energy to an otherwise mellow piece. LISTEN — Joseph Haydn: Surprise Symphony Joseph Haydn: Surprise Symphony by Wolfgang Amadeus Mozart: A Musical Joke — Mozart was known to have a varied sense of humor. He played pranks on people and would often write jokes into his music. Some musicologists argue this piece was either written to parody the work of less-educated musicians or to mock those whom he felt followed the strict concepts of conventional classical music too closely.LISTEN — Wolfgang Amadeus Mozart: A Musical Joke Wolfgang Amadeus Mozart: A Musical Joke by Ludwig van Beethoven: Rage Over a Lost Penny — As the story goes, one night Beethoven's neighbors overheard him arguing with his housekeeper about a lost (or stolen) gold penny. This piece was composed around that time and became part of the legend of Beethoven's bad moods.LISTEN — Ludwig van Beethoven: Rage Over a Lost Penny Ludwig van Beethoven: Rage Over a Lost Penny by PDQ Bach: My Bonnie Lass She Smelleth — PDQ Bach, otherwise known as Peter Schickele, is educated in musical composition. He took early comedic inspiration from musician Spike Jones, who specialized in spoof arrangements in the 1940s.LISTEN — PDQ Bach: My Bonnie Lass She Smelleth PDQ Bach: My Bonnie Lass She Smelleth by Leroy Anderson with Martin Breinschmid: The Typewriter — This piece features a typewriter as a percussion instrument. Only professional drummers can manage the typewriter part in this piece because of how fast the typing speed is.LISTEN — Leroy Anderson with Martin Breinschmid: The Typewriter Leroy Anderson Martin Breinschmid: The Typewriter by G. Berthold: Duetto Buffo di Due Gatti — This piece is often performed as a comical encore at the end of a concert performance. The singers repeat the word, “meow,” and might even occasionally hiss during the piece.LISTEN — G. Berthold: Duetto Buffo di Due Gatti G. Berthold: Duetto Buffo di Due Gatti by You can now search and listen to YourClassical Adventures where podcasts are found. Explore more from YourClassical Adventures! What are you curious about? You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy.

Synopsis Today we celebrate St. Patrick's Day in Boston (where else?), noting two musical premieres that occurred in that Celtic city. The first premiere was in March of 1922, when Pierre Monteux conducted the Boston Symphony in the premiere of three of the “Five Irish Fantasies” by the German-born American composer Charles Martin Loeffler. These were settings for solo voice and orchestra of poetry by William Butler Yeats, and, for their Boston premiere, the vocalist was none other than THE great Irish tenor, John McCormack.  The second premiere dates from 1947, when the Eire Society of Boston commissioned another American composer, Leroy Anderson, to write an “Irish Suite” for its annual Irish night at the Boston Pops. Anderson used six popular Irish tunes, ranging from the sentimental to the exuberant, for his suite… skillfully arranging them into an immediate hit and lasting success.   Arthur Fiedler conducted the premiere and the work soon became a staple item for St. Patrick's Day concerts in Boston and concert halls all across the United States. Music Played in Today's Program Charles Martin Loeffler (1861 - 1935) — Five Irish Fantasies (Neil Rosenshein, tenor; Indianapolis Symphony; John Nelson, cond.) New World 332 Leroy Anderson (1908 - 1975) — Irish Suite (Decca studio orchestra; Leroy Anderson, cond.) MCA 9815

This week we talk about the duct tape murderer from South Dakota also know as Robert Leroy Anderson and the Vampire Goddess Magdalena Solis. You can find our socials linked below! Instagram: @Crime2podcast Patreon: patreon.com/crime2podcast Facebook: @Crime2Podcast We would greatly appreciate if you could head over to Apple podcast and leave a review and subscribe, it helps us out a lot! Thank You for listening! --- 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/crimesquared/message Support this podcast: https://anchor.fm/crimesquared/support

蹦藝術 S2 EP4｜三分鐘音樂大師：勒萊·安德森與他的音樂 用耳朵閱讀古典音樂 -蹦藝術 | BONART

Known as the Duct Tape Killer, and was responsible for instilling fear into my mother when I was young. Not only was Robert Anderson a garbage person, he was also from my home state. So we had to cover him in this weeks episode, The Case of Robert Leroy Anderson. This is also the first male serial killer we have featured in the show so, yay diversity! You can find out more on Robert Leroy Anderson by reading The Duct Tape Killer from amazon! There is also a audio book version available as well! thanks for listening! see you next week! Want to write in to the show? send an email to cancelledcultproductions@gmail.com! To stay up to date on all of our podcasts, head over to thecancelledcult.com! --- Send in a voice message: https://anchor.fm/totallyinnocent/message Support this podcast: https://anchor.fm/totallyinnocent/support

In this episode, Stacy Krueger-Hadfield, Kelle Freel, and Rishi De-Kayne chat with Jeremy Yoder about a pandemic-focused Darwin Day symposium, the phylogenetic conservation of a bioluminescence symbiosis, and the online iteration of a venerable population genetics conference. Links to the things we discuss: The UAB Darwin Day event — and online video of the talks The phylogenetics of cardinalfishes, which host light-producing, environmentally acquired symbiotic bacteria Rishi's PopGroup conference interviews The music in this episode is Leroy Anderson's "The Syncopated Clock," performed on piano by Markus Staab and available under a Creative Commons license via Musopen. --- Send in a voice message: https://anchor.fm/molecular-ecologist/message

In this episode, Stacy Krueger-Hadfield, R Shawn Abrahams, and Jeremy Yoder chat about their experiences managing research, teaching, and scientific conferences in the year of COVID-19. (This episode was recorded back in October, but production's been delayed because of, well, everything. It's still a pretty good retrospective on a strange and challenging year!) Links to things we discuss: The Research Coordinated Network for Evolution in Changing Seas One of the most widely-tweeted talks from the online Botany 2020 meeting is this presentation on the evolutionary genetics of flower development by Min Ya — there doesn't seem to be a central list, but lots of talks from the conference turn up in a YouTube search. You can find the podcast hosted on Anchor.fm, or on Apple Podcasts, Pocket Casts, and Spotify — or you can add the RSS feed directly to your podcast-management app of choice. Whatever service you use, consider taking a moment to rate or even review the podcast, which will help us build an audience. The music in this episode is Leroy Anderson's “The Syncopated Clock,” performed on piano by Markus Staab and available under a Creative Commons license via Musopen. --- Send in a voice message: https://anchor.fm/molecular-ecologist/message

Season's Greetings from the Ajero Family! Olivia Ajero and Antonio "Nio" Ajero perform "Sleigh Ride Duet Fantasy" by Leroy Anderson arranged for piano by Zach Heyde and Frank Tedesco. Link to sheet music: https://www.sheetmusicplus.com/title/sleigh-ride-duet-fantasy-sheet-music/19903568?aff_id=198335

####Bio- Born 1894 in Rockland, Maine, and eventually the family moved to Boston. - Early on, Piston considered becoming an artist instead of a musician. He actual finished his degree in painting at the Massachusetts Normal Art School. He spoke of the transition quote > “I went to art school and earned money on the side playing the violin and the piano. I kept getting more and more interested in music, and by the end of the senior year I was entirely devoted to it; but by then I was so near to graduation I decided to finish up school and I got my diploma as a painter.”- Since the Piston's didn't have a piano around until they moved to Boston, Walter picked up the violin and reportedly practiced so much his mother complained. That is ABSOLUTELY not something that would have happened in my house growing up! Quite the opposite...- One quote of Piston is just funny on its own, but also shows his continuous curiosity. Before he began his studies at Harvard, he seems to have wanted to get ahead of the draft, entering the Navy Band at MIT. He explained quote “when the war cam, the First World War, that is, and it became obvious that everybody had to go into the service, I wanted to go in as a musician. I couldn't play any band instrument, but I knew instruments and I knew that the saxophone was very easy.” HAHAHAHA! Oh, but he wasn't done. “So I... bought a saxophone, and stopped by at the public library to get an instruction book. I learned enough to play by ear. In a very short time I was called and I tried out for the band. I didn't pretend to read the part but just played notes that went with the harmony, and I was accepted.” So that's it?? Not only, in his own version of the story anyway, did he prove that quote “saxophone was very easy”... really? That was the standard for getting into the Navy Band at MIT in the early 20th century? No need to actually read the music, just play something that sounds like music, based on what they put in front of you... Were I a comedian I'm sure that whole thing would be ripe for material!- Piston married Kathryn Nason, who kept her maiden name. She was an artist, and though it seems she rarely exhibited her work, she was very involved in the advocacy for her medium.- The couple had no interest in and never had children. Instead they tended gardens and raised dogs and cats. In fact, Piston actually once confessed “Some of my best musical ideas come to me while I'm spreading manure.”- Now, Piston and his wife seemed to be of the Bohemian sort, passionate about art and music, preferring life exploration to outright money and security. They were part of a free-living group of people that lived in an un-urbanized area of Belmont, Maine, called “The Hill”. They got drunk often, discussed visual art, and even regularly held nude sketching parties. Since mostly you will only find pictures of the SENIOR Mr. Piston, this is an unfortunate image to have... but I digress. Though it may seem a youthful time, this was Piston's way of life while he did a great deal of his serious composing.- While teaching at Harvard, Piston maintained quite a furtive compositional pace. In all, he wrote nearly 80 works that ran the gamut of the art music medium.####Culture- If you have ever had life kick you in the teeth, you understand the Einstein quote “The more I learn, the more I realize how much I don't know.” In a way, Walter Piston had this figured out for himself early on when he reluctantly decided he was going to be a composer. Admitting to a reunion of the Harvard Class of 1924:> After graduation I spent two years in Paris... I discovered [then] that I would probably become a composer. Now it is not from choice that one becomes a composer but rather, it seems, one does it in spite of everything even against one's better judgement. But writing long-haired music is not a way to make a living...- Concurrent with teaching and composing, he wrote four academic texts that are still discussed and argued about to this day: Principles of Harmonic Analysis, Harmony, Counterpoint, and Orchestration.- The fact that Piston developed, published, and continuously edited his academic texts would suggest that he is by and large of an analytical mindset. However, even in those texts he offers warnings and nuggets of wisdom along the way, cautioning against taking theoretical study too far. In Counterpoint, Piston spends the first chapter discussing “melodic curve”, instructing that “the outline of a melody may be perceived by simply looking at the music” and that “the word curve is useful to suggest the essential quality of continuity”. Then, after giving many examples and explaining his methodology, Piston makes sure to point out “it is important to see that in the process of analysis and simplification we do not destroy or lose sight of those details of a melody which are the essence of its individuality and expressive quality.” This statement is telling of his own philosophy on composition itself. Putting it succinctly, from the preface to Harmony, “[music theory] tells not how music will be written in the future, but how music has been written in the past.” So, as much as Piston wrote about theory, about theories about theory, and edited the books he wrote about those theories on his own theory... he held the perspective that composition is an organic event, not to follow a prescribed path. This concept absolutely plays out in his work, as we will see with his Symphony No. 2.- Musicologist and biographer Howard Pollack does a great job of getting to the core of Piston's compositional individuality. In his book _Walter Piston and His Music_, Pollack says “One steady and important aspect of Piston's music is his ability to give an advanced twentieth-century idiom the sort of motion and direction one finds in eighteenth and nineteenth-century classics, and this he does by asserting such principles as pulse, melodic curve, harmonic rhythm, tonal design, and symmetrical form. In fact, all the musical elements, including dynamics and color, are responsive to form and movement.”- An interesting thing Piston said himself about what it is like to compose a piece gives us a bit of incite into his thinking. Quote “I used to tell my students, as soon as you put down one note you've changed the conditions, and then you have to consider the others in relation to this, whereas before you put it down, you're free. On the other hand, you've got to be ready to throw that away, and that takes courage...” I'm sure this mirrors the writing process quite closely.- Symphony No. 2, written 1943, premiered by the National Symphony Orchestra in 1944.- Obviously, the timing of completion and premiere can't be separated from WWII. Whether or not Piston intended it, this 2nd Symphony draws American patriotic association. Personally, I am not in agreement that the external factors effecting the composer him or herself will by default manifest itself literally in the music. Though, a few musician quotes from early performances show a strong emotional response. Hans Kindler, who conducted the premiere, said “[The Symphony] is without even the shadow of a doubt one of the half dozen great works written during the last ten years. It sings forever in my heart and in my consciousness, and Dow not want to leave me. Even Erich Leinsdorf wrote “The performance of your Symphony which took place last night was, to me personally, the most gratifying experience with any score that has seen daylight within the last ten or fifteen years.” Well, we have to hear some of it after reviews like that!###Analysis of piece####Overall scope- Piston's Symphony No. 2 is written in 3 movements: Moderato, Adagio, Allegro. 3 movement symphonies are a less used format. Usually 4 movements is standard, as established by Haydn and Mozart. But, it was not uncommon, and knowing Piston's knowledge of form we can confidently assume he had strong reasoning to go this route. Even the movements themselves are basically in sonata form, though the sound and inflection is undeniably Pistonian.####Excerpts- In the first movement Moderato, the opening theme is a serious, lyrical unfolding from the very beginning, presented at first in unison with little accompaniment.- The second theme is a dramatic contrast to the first, playful, off kilter, almost tongue-in-cheek.- In the recap, Piston brings this theme back in a bigger, more filled out capacity adding brass and more percussion to boost the moment.- However, to close the movement this sort of fanfare becomes a calm brass chorale, ending just with the same seriousness as he began.- The Adagio movement, on the other hand, has a completely different feeling. Like home, down to earth. After a brief introduction to set the soft texture, syncopated pulses in the strings accompany a gorgeous clarinet solo, crafted and presented with simple delicacy.- Throughout this movement, even as it expands to climaxes and contracts back from them, the tenor of sensuousness never gives way. Even as the sound slowly builds to the ultimate moment of tension, the feeling is of complete organic overflow.- Incidentally, it was this 2nd movement that Leonard Bernstein conducted as a tribute to Piston upon his death.- The final movement, Allegro, begins with a pop, racing energy, and a characteristic Piston horn call, followed by a semi-fugue, all setting the stage for a quick, intense closing.- When this same material is repeated it is appropriately right at the height of excitement as Piston barrels into the recap.- Then to close out the whole of the symphony, Piston pushes forward the motion while letting out all the energy. He even pulls back the tempo for one brief moment, and then like a slingshot shoots off to the rousing finish!###Closing- Honestly, most of the orchestral pieces in Piston's portfolio deserve to be heard, analyzed, and enjoyed, most notably including his 8 numbered symphonies, the ballet _The Incredible Flutist_, _Three New England Sketches_, and Serenata for Orchestra. Carrying on his legacy, not only will his theory texts continue to be discussed for many decades to come, after teaching at Harvard for 34 years, his long list students include some recognizable names such as Samuel Adler, Leroy Anderson, Arthur Berger, Leonard Bernstein, Elliott Carter, and Colon Nancarrow.- Piston's music is moving and on the edge of what came to be a new sound in American music. Even now, his pieces have a distinctiveness of both depth and quality. As we continue to perform and hear his music, we will come to know more of the character of this great composer.Music:Symphony No. 2By: Walter PistonPerformed By: Gerard Schwarz, Seattle Symphony OrchestraCourtesy of Naxos of America, Inc.Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, we turn to a question that every academic scientist has to answer at some point: How do you choose a scientific journal to receive your paper? Kelle Freel, Shawn Abrahams, Katie Grogan and Jeremy Yoder chat about what they like in a journal, what they consider when picking a publication venue for a new paper, and the various meanings of an "impact factor." JANE, the Journal/Author Name Estimator, will select candidate journals based on a sample of text from your paper's abstract. The Wikipedia article on impact factors is a quick overview of the metric's history and criticisms. There have been multiple studies of the effect Twitter attention may have on a paper's eventual citation count — one for ecology specifically was published in PLOS ONE in 2018. The study establishing a "chaperone effect" in which papers are more likely to be published at a high-impact journal if one of the authors has published in the journal before is on the PNAS website. The recent study of unprofessional peer reviewer comments by Nyssa Silbiger and Amanda Stubler is on the PeerJ website. You can find the podcast hosted on Anchor.fm, or on Apple Podcasts, Pocket Casts, and Spotify — or you can add the RSS feed directly to your podcast-management app of choice. Whatever service you use, consider taking a moment to rate or even review the podcast, which will help us build an audience. The music in this episode is Leroy Anderson's "The Syncopated Clock," performed on piano by Markus Staab and available under a Creative Commons license via Musopen. --- Send in a voice message: https://anchor.fm/molecular-ecologist/message

Episode Nine's Game Changer traces its roots back through 1970's game shows and 1950's Golden Age Television all the way back to Edwardian England.Check out David's writing at The Daily Worker Placement.Support us on Patreon!Intro Music: Violet World by Aquartos - https://artlist.io/jp/song/7373/violet-worldIncidental music used in this episode in public domain, retrieved from archive.org:"The Typewriter", Leroy Anderson and His 'Pops' Concert Orchestra"Thunderbird", Ray Anthony and His Orchestra"Chicken Fried Steak", Lenny White

In this episode, Sarah Shainker tells us about how population genetic structure works differently in river drainages; Kelle Freel recaps her reading on the history of rabbits and rabbit-killing viruses in Australia; Jeremy Yoder reports on his misadventures in sourdough starter cultivation and the community genetics of everyone's new favorite hobby; and Katie Grogan talks about the sites she follows for professional development tips, going all the way back to grad school. You can hear more about the history of rabbit introduction and (attempts at) ecological management in Australia on these two episodes of Stuff You Missed in History Class. There's more testimony and recommendations to fight racism in science, and our fields specifically, in this Nature feature, this editorial in Nature Ecology and Evolution, and this open letter to the EEB community on Medium. You can find the podcast hosted on Anchor.fm, or on Apple Podcasts, Pocket Casts, and Spotify — or you can add the RSS feed directly to your podcast-management app of choice. Whatever service you use, consider taking a moment to rate or even review the podcast, which will help us build an audience. The music in this episode is Leroy Anderson's “The Syncopated Clock,” performed on piano by Markus Staab and available under a Creative Commons license via Musopen. --- Send in a voice message: https://anchor.fm/molecular-ecologist/message

On this episode, we're taking our #NewPI Chat conversations among early-career faculty to the podcast format. In this chat, Rob Denton, Stacy Krueger-Hadfield, and Jeremy Yoder discuss teaching: the transition from postdoc life to managing classrooms and curricula, juggling instruction time and research — and how all of this has changed while our campuses are locked down to help contain the COVID-19 pandemic. To send us questions about life as new PIs, or suggest topics or guests for future chats, you can leave us a voice message from the podcast's Anchor.fm page, hit us up on Twitter or Facebook, or email Jeremy. You can find the podcast on Apple Podcasts, Pocket Casts, and Spotify — or you can add the RSS feed URL directly to your podcast-management app of choice. Whatever service you use, consider taking a moment to rate or even review the podcast, which will help us build an audience. The music in this episode is Leroy Anderson's "The Waltzing Cat," performed on piano by Markus Staab and available under a Creative Commons license via Musopen. --- Send in a voice message: https://anchor.fm/molecular-ecologist/message

The Molecular Ecologist Podcast made it to a second episode! Thanks for listening to our first one, and for all the positive comments. In addition to our "home" hosting service, Anchor.fm, you can now subscribe to the podcast on Apple Podcasts, Pocket Casts, and Spotify — or you can add the RSS feed URL directly to your podcast-management app of choice. Whatever service you use, consider taking a moment to rate or even review the podcast, which will help us build an audience. On this episode, Stacy Krueger-Hadfield and Sabrina Heiser talk about Stacy's #StudentScicomm initiative, using science blogging as an assignment in graduate-level professional development and science courses. Kelle Freel describes the results of a community genetics survey of diversity within an algae bloom that travels the North Atlantic every year, by Bolaños et al. (doi: 10.1038/s41396-020-0636-0) R. Shawn Abrams previews an upcoming post about new research supporting the hypothesis that symbiosis with nitrogen-fixing bacteria had a single origin in the common ancestor of the clade that includes legumes, roses, and oaks. Jeremy Yoder recaps a new simulation study that shows how populations distributed continuously across space (which is to say, most natural populations) confound and complicate population genetic analyses, by Battey et al. (doi: 10.1534/genetics.120.303143) The music in this episode is Leroy Anderson's "The Syncopated Clock," performed on piano by Markus Staab and available under a Creative Commons license via Musopen. --- Send in a voice message: https://anchor.fm/molecular-ecologist/message

In the inaugural episode of the Molecular Ecologist Podcast, a panel of contributors to The Molecular Ecologist recap the science they've been reading and writing about over the past month. On this episode: Kelle Freel talks about a nifty study of the microbes that help whales digest plankton, by Carolyn A. Miller et al. (doi: 10.1038/s41396-019-0549-y) Patrícia Pečnerová describes how endangered Alpine Ibex populations have lost genetic diversity but are still purging deleterious mutations, as described in a paper by Christine Grossen et al. (doi: 10.1038/s41467-020-14803-1) R Shawn Abrams recaps his post about the history of African Americans studying evolution, and what it will take to broaden the diversity of the field, citing a recent paper by Joseph Graves (doi: 10.1186/s12052-019-0110-5) Jeremy Yoder discusses a study that finds substantial hybridization between the endemic Northwest crow and the much more widespread American crow, by David Slager et al. (doi: 10.1111/mec.15377) You can find more from The Molecular Ecologist at molecularecologist.com, follow updates on Twitter at @molecologist, or find us on Facebook at The Molecular Ecologist. The music in this episode is Leroy Anderson's "The Syncopated Clock," performed on piano by Markus Staab and available under a Creative Commons license via Musopen. --- Send in a voice message: https://anchor.fm/molecular-ecologist/message

Fulltrúadeild Bandaríkjaþings hefur kært Donald Trump forseta til embættismissis. Mál hans fer nú fyrir Öldungadeildina sem dæmir í kærumálinu, fréttaskýrendur telja afar ólíklegt að deildin svipti forsetann embætti. Bandaríska tónskáldið Leroy Anderson samdi mörg vinsæl lög. Meðal allra vinsælustu tónsmíða hans er Sleigh Ride, Sleðaferðin sem orðið hefur að jólalagi þó að hvergi sé minnst á jólin í textanum. Foreldrar Andersons voru sænskir innflytjendur og sænska var töluð á heimilinu og Leroy talaði því sænsku. Anderson nam við Harvard háskóla og vann þar að doktorsritgerð um þýsku og norræn tungumál. Þegar síðari heimsstyrjöldin hófst var hann kvaddur í herinn. Anderson var gerður að liðsforingja í gagn-njósnadeild hersins og sendur til Íslands. Vegna þekkingar hans á norrænum tungumálum fékk hann það hlutverk að lesa yfir fréttir Ríkisútvarpsins til að öruggt væri að ekki yrði sagt frá neinu sem gagnaðist Þjóðverjum. Jón Múli Árnason, síðar einn allra ástælasti útvarpsmaður þjóðarinnar, var fenginn til að kenna Anderson íslensku og tókst með þeim góð vinátta.

Fulltrúadeild Bandaríkjaþings hefur kært Donald Trump forseta til embættismissis. Mál hans fer nú fyrir Öldungadeildina sem dæmir í kærumálinu, fréttaskýrendur telja afar ólíklegt að deildin svipti forsetann embætti. Bandaríska tónskáldið Leroy Anderson samdi mörg vinsæl lög. Meðal allra vinsælustu tónsmíða hans er Sleigh Ride, Sleðaferðin sem orðið hefur að jólalagi þó að hvergi sé minnst á jólin í textanum. Foreldrar Andersons voru sænskir innflytjendur og sænska var töluð á heimilinu og Leroy talaði því sænsku. Anderson nam við Harvard háskóla og vann þar að doktorsritgerð um þýsku og norræn tungumál. Þegar síðari heimsstyrjöldin hófst var hann kvaddur í herinn. Anderson var gerður að liðsforingja í gagn-njósnadeild hersins og sendur til Íslands. Vegna þekkingar hans á norrænum tungumálum fékk hann það hlutverk að lesa yfir fréttir Ríkisútvarpsins til að öruggt væri að ekki yrði sagt frá neinu sem gagnaðist Þjóðverjum. Jón Múli Árnason, síðar einn allra ástælasti útvarpsmaður þjóðarinnar, var fenginn til að kenna Anderson íslensku og tókst með þeim góð vinátta.