Podcast appearances and mentions of Mark Applebaum

Aphasia is by Mark Applebaum   Mark Applebaum is a musical inventor whose music combines the unrelenting rigor of post-war European Modernism with ridiculousness and whimsy borne of zooming obsessively and exactingly close to the mundane. Mike and Mike break down how they learned Mark Applebaum's iconic solo work *Aphasia.* “Eat sandwich,” “smell grapefruit,” “open beer,” “close window,” “fasten seatbelt”!   Topics include: - Prior experience with Applebaum's music - Practicing slow and fast - Memorizing new repertoire - Being specific in theatrical repertoire   Mike C's video of Aphasia with Four/Ten Media https://www.youtube.com/watch?v=B2YLoqIYEUI   MikeDrop is Mikes Compitello and Truesdell

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As part of our continuing effort to help lawyers improve their practices, we invited Mark Applebaum to join us in the studio to talk about the benefits of joining BNI, an internationally-renowned networking program. Enjoy!

In this episode of Your Stories, Dr. Applebaum shares the hopeful news about conquering childhood cancers with fellow oncologist Dr. Douglas Yee and gives doctors’ orders for how all patients with cancer and their families can face every phase of a diagnosis with childlike hopes. Dr. Mark Applebaum, a kid at heart, uses every trick in the coloring books he shares with his young patients to improve the often long and brutal treatments they face. In this episode of Your Stories, Dr. Applebaum shares hopeful news about conquering childhood cancers with fellow oncologist Dr. Douglas Yee. He gives doctors orders for how all patients with cancer and their families can face every phase of a diagnosis with childlike hopes. So I'm a medical oncologist. I take care of breast cancer patients. So back when I was in medical school and training, I really wanted to be an all-purpose physician that took care of people. When I was thinking about that I said, well, maybe I would like to be a pediatrician. I went to do my pediatrics rotation. The thing that didn't work for me was that most of your patients really don't want to see you. In other words, kids either in a well baby check or if they're sick or anything, they don't want to see you, much less talk. So, obviously, it appealed to you. Yeah, I mean, the reality is I'm a large child. When I was in college, and even in medical school, I just gravitated towards working with kids. It's just more fun. Our rooms are more highly decorated. I get to watch magicians when I'm on rounds because they happen to be in the child's room. I can't tell you how many art projects I've gotten to watch and participate in just because that's what my patient was doing when I was seeing them. And it keeps you young and it keeps you sprightly. And the good news is for pediatric oncology, I mean, for the vast majority of children with leukemia, we cure those kids. And that's fantastic. My specialty is not leukemia I do research on a disease called neuroblastoma, which is one of more common pediatric cancers. It's a disease that affects nerve tissue. And I try to research better cures and try to find different ways of identifying patients who are more likely to have better or worse disease and really figure out how we can precisely treat those kids. So we're working towards those goals. But kids keep it young and fun. And the pediatric oncologists within pediatrics, we're sort of a special breed because there are a lot of pediatricians who don't want to work with the sick kids. Well child checks are more fun. We deal with the issues of life and death. And that's a struggle, but it's an honor. I think it's very hard for me early on in my career because I see some success, I see some failure in my research and with my patients. But I don't have that long view. And one of the things I see from my senior colleagues is they love nothing more than hearing from their patients 20 years later. They love nothing more than looking back and saying, this is where things were 20, 30 years ago. This is where they are now. Look at what I've contributed to. What is your perspective on that? I think on the individual level, it's really always gratifying. And you don't, like you said, sometimes you don't think about a patient's perspective completely. But when a patient will tell me that, well, you know, I never thought I was going to see my child graduate or get married. And so in some respects that's extraordinarily gratifying on a personal level. But the other aspect is how do you as an individual help make that happen more often than not? And how do you then really try to set the field up so that things are changing a little more rapidly? As you know, the struggles that my dad has had with advanced prostate cancer, and he is at the phase where he's just running out of options basically. I mean, from that perspective, it's been both fascinating and heart wrenching to interact with the medical oncology community. I mean, you're at an academic center, and I am as well. And I think the first thing we always think about is, how can I get my patient on a study? How can I find something better than standard of care if standard of care just isn't good enough? It is always the challenge when there's barriers between what we in the academic world perceive as optimal care and what people are getting. And as somebody who sees a referral practice, I see that a lot. When we train practitioners, we need to make sure we train them in a way that they're always curious. Now, you don't necessarily have to be a leader in research, but you certainly have to stay on top of things. So culturally, I think we just need to train more physicians who come with that background. I tell patients and everybody that today's ceiling is tomorrow's floor. If you're practicing at the top of your game today, 5, 10, 2 years from, now it's not going to be that way anymore. So we have to make sure that everybody in the health care system understands that. As you said, pediatrics is a best case example. I think what we've always benefited from in pediatrics is our patients have to come to an academic center. And we've always had to pool resources because we deal in nothing but rare diseases. The only reason we've made advances is because we have a strong focus on research. I don't think it's just research that, though, has been a struggle. It's also been supportive care. As my dad has been progressing, his symptoms are becoming more severe. And unfortunately, he's having a harder time mobilizing. And I had to encourage my family to fight to get palliative care services, which to me, in my practice, it's a no-brainer. If I've got somebody with metastatic disease, like the day they're diagnosed, I call my palliative colleagues, and I say, hey, can you help me with symptom management here? We need to make them do well. But we also need to make sure that they're-- in my case, in pediatrics-- going to school, seeing their friends, acting like children. That's so important. That's what I was told on day 1 of fellowship. Yes, it's terrifying to start taking care of children with cancer. And you're not trained for it yet. And you're going to be taking the call at the middle of the night from somebody who needs to talk to somebody who knows something about pediatric oncology. But just remember, no matter what you do, if the patient is first, you will not be wrong. My patient, she's now 10 years old, and she's been battling with high-risk neuroblastoma for a couple of years. And her mom gave a very, very moving speech about everything that she has gone through in the past couple of years. And it's very emotional for me to hear as her physician. We don't, I think, as doctors always think about what my patient is doing on a day-to-day basis because we think about sort of our patients as a whole. And where is this person in treatment? And what do I need to make sure that this treatment keeps marching on? But seeing it from that sort of one person's side and all the ups and downs of cancer treatment, and seeing all the pictures and hearing the stories of how their family had to rally through good and bad, it was really quite touching. And it really brought home, I think, the importance of what we do. It was pretty amazing to hear that. Conquer Cancer funded Dr. Applebaum's early research, which he says helped lay the foundation for every discovery he's made to treat children with neuroblastoma. To learn more about his research, visit conquer.org. The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience, and conclusions. The mention of any product, service, organization, activity, or therapy should not be construed as an ASCO endorsement.

Mark Applebaum shares five money-making activities you can engage in to improve your results in BNI.

https://youtu.be/iOSDV0OeCMQ --- Support this podcast: https://anchor.fm/stevenapplegate/support

http://www.john-lane.com/John Lane is an artist whose creative work and collaborations extend through percussion to poetry/spoken word and theater. As a performer, he has appeared on stages throughout the Americas, Australia, and Japan.Commissioning new works and interdisciplinary collaborations are integral to John's work. Over the last few years, he has been connected with a number of composers including Peter Garland, Mark Applebaum, Yo Goto, Emiliano Pardo, Mara Helmuth, Christopher Deane, John Luther Adams, Kyle Gann, Michael Byron, Wen Hui Xie, Kazuaki Shiota and David Farrell. John has several on-going collaborations with writer Ann McCutchan, poets Nick Lantz and Todd Boss, percussionist Allen Otte, visual artist Pat Alexander, and has created original music for choreographer/dancer Hilary Bryan and granite sculptor Jesús Moroles.John is the creator and host of a podcast, Standing in the Stream: Conversations with Creatives. Through long-form conversations and audio collaborations, the podcast explores the lives and works of artists in a variety of fields from visual art, music, filmmaking, dance, writing/poetry, to everything in between. It is a podcast for and about artists seeking to live and sustain creative lives.Currently, John is the Director of Percussion Studies and Professor of Percussion at Sam Houston State University. He taught previously at the University of Wyoming and held fellowships at the Cincinnati College-Conservatory of Music and the University of North Texas.John is a Yamaha Performing Artist and is an Artist with Innovative Percussion, Evans Drumheads, and Zildjian Cymbals.0:00 Intro and hello 3:00 Your podcast, "Standing in the Stream"?  5:40 Composer, Peter Garland.  9:50 Working with composers12:00 Your methods of composition?  15:30 Ben: Percussion Group Cincinnati 24:50 Percussion Group Cincinnati and sponsorships30:40 The Innocents project43:33 Intersection of politics and art47:57 Working with Christopher Deane? 54:25 Thank you and farewell, Michael Colgrass1:02:00 Casey: This day in music history 1:06:45 Interpreting new works and finding meaning?  1:09:35 Upcoming works and projects? 1:13:10 Recommended books? Watch here. Listen below.If you cannot see the audio controls, your browser does not support the audio element

The ever-evolving Aiyun Huang enjoys a musical life as soloist, chamber musician, researcher, teacher and producer. She was the First Prize and the Audience Award winner at the Geneva International Music Competition in 2002. As a soloist, her recent highlights include engagements with San Diego Symphony Orchestra, L’Orchestre de la Suisse Romande, Taipei Symphony Orchestra, St. Lawrence String Quartet, and Aventa Ensemble. The Globe and Mail critic Robert Everett-Green describes Huang’s playing as “engrossing to hear and to watch” and her choice of repertoire as capable of “renovating our habits of listening.” An expert in percussion theatre, her work on the subject has been published in Cambridge Companion to Percussion (2016) and Save Percussion Theater (Mode 242). Watch here. Listen below.If you cannot see the audio controls, your browser does not support the audio element 0:00 Intro and Hello1:00 Spotify reports: Metal has the loyalist fans5:20 Welcome, Aiyun Huang6:35 Windward by David Bithell12:25 Finding great repertoire?17:47 Keeping up with so many projects?21:35 Transplanted Roots Percussion Symposium.27:18 Experience with Aphasia and Mark Applebaum?30:27 Approaches to memorization? 41:27 Taxes for musicians, and some practical things we wished we had learned. 1:10:00 The Taco Bell/Starbucks plan.1:12:10 Bridging classical percussion teaching with other styles and genres?1:16:00 Casey: what's the sound?  Arts in the Summer Olympics.

Joining us this week is percussionist, composer, and regular guest host: Caleb Pickering.  His works are often performed by high schools in his home state of Texas, and he is regularly commissioned for ensemble and solo works. Currently, he is at work on a collection of intermediate snare solos.A current DMA student at James Madison University, he is a wonderful addition to the percussion faculty.Watch here. Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 Intro and Hello.  Westworld banter4:08 Caleb's ensemble writing and style11:25 Writing for varying student abilities/levels in percussion ensembles.16:56 Casey: What's the sound?23:36 Facebook question from Jade Hails: Balancing your academic life with a performance/composing career?28:21 Laurel: When/why humans develop recognition of emotion in music, a study in China.45:55 Ben: Four musical solo works that are gesture based.  Thierry de Mey, "Silence Must Be!"; Mark Applebaum, "Aphasia"; SR9 Trio "This is Not a Ball"; Cangelosi, "Bad Touch" (shout out to Kyle Maxwell-Doherty and his dissertation)1:07:48: Caleb: thoughts on classroom teaching and classroom teaching.1:15:00 Facebook question from Overton Alford: When did your  compositions start to take-off?

In addition to teaching at Southern Oregon University in Ashland, Terry Longshore currently heads up three chamber groups: Left Edge, Caballito Negro, and Duo Flamenco.  He's equal parts contemporary and world music.Topics: passing of Remo Belli, percussion music of Mark Applebaum including Composition Machine no.1 (Terry's commission)Watch here. Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 Intro and hello2:30 Current projects, Max MSP, collaboration6:38 PASIC 2014 Focus Day12:09 Ben: Remo Belli25:39 Jared Brown: How did your business training roll into music?32:06 Left Edge / performing with our students34:56 Ted Jackson: When Mark Applebaum was on the show, he stated that he had learned a lot about writing for percussion from Terry Longshore. Could you explain your process of working with Mark Applebaum?37:08 Composition Machine #144:06 Mark Applebaum’s music47:25 Jared Brown: With the internet and readily available software, anyone can doodle and compose these days. This has yielded many wonderful and interesting ideas in music that may have not have been exposed. However, can you think of a way in which this might be negative in any way?50:31 Language, aesthetic, utility59:37 North Indian and Spanish Flamenco studies1:04:20 Wrap

Improvizuota ir užrašyta muzika. Apie John Zorn ir Mark Applebaum kūrybą.Laidos vedėjai Šarūnas Nakas ir Mindaugas Urbaitis.

Improvizuota ir užrašyta muzika. Apie John Zorn ir Mark Applebaum kūrybą.Laidos vedėjai Šarūnas Nakas ir Mindaugas Urbaitis.

Schools In with Dan Schwartz & Denise Pope Stanford Music Professor Mark Applebaum discusses the importance of discovering your own path when it comes to learning music. Originally aired on SiriusXM on November 1, 2017. Recorded at Stanford Video.

Mark Applebaum, professor in the Stanford Department of Music, discusses the importance of discovering your own path when it comes to learning music.

This week, on Music For Life...BaladinoAnna talks to Steven Linville and a pair of students about the upcoming concert by the Musical Theatre Scenes class...Orcenith Smith comes by to talk about the grand finale to the choirs' and orchestra's season, Beethoven's monumental Ninth Symphony...I chat with visiting composer Mark Applebaum, who just gave a fascinating concert with our percussion ensemble...and we catch up with ensemble in residence Fifth House and visiting ensemble Baladino, in town for our final Green Guest Artists Series concert of the year! SOURCES From the Student Recital Hour of April 22, 2015, tenor Blake Beckemeyer and pianist John Clodfelter perform Hugo Wolf's "Fussreise."From the Student Reci tal Hour of April 22, 2015, pianist Alexander Bushkin performs the Andante Cantabile in B-Minor from Sergei Rachmaninoff's Moments Musicaux, op. 16.From the Student Recital Hour of April 22, 2015, pianist Emily Chen performs the Etude no. 2 in E-flat Major, the "Octave," from the Grandes Etudes de Paganini S. 141, by Franz Liszt.From their performance of April 20, 2015, the DePauw Chamber Singers perform excerpts from Hildegard of Bingen's "Ursula Antiphons."

Mark Applebaum, composer and professor of composition and theory at Stanford University, joined me for an in-depth conversation. We discussed some of his work, including his instrument design/building and his massive graphic installation work, "The Metaphysics of Notation." Mark also has some great advice on living a creative life.

In this week's episode of Music For Life...Band director Craig Paré and jazz director Steve Snyder come by to tell us about the programs for their ensembles' upcoming concerts...Mark ApplebaumHannah talks to percussion student Zach Jacobs about an upcoming percussion performance featuring guest composer Mark Applebaum...cellist Eric Edberg and composer Scott Perkins give us a preview of the DePauw Chamber Players' concert this week...and looking forward to our final Green Guest Artists concert, Anna Gatdula chats with Elleka Okerstrom about a 21CM collaboration between our ensemble-in-residence Fifth House and Mediterranean folk band Baladino! SOURCES From our 2015 Concerto Competition Winners' Concert of April 11, pianist Shiyu Su and the DePauw University Orchestra, under the direction of professor Orcenith Smith, perform the first movement of Felix Mendelssohn's Piano Concerto No. 1 in G Minor, op. 25. From our 2015 Concerto Competition Winners' Concert of April 11, mezzo-soprano Dana Hart and the DePauw University Orchestra, under the direction of professor Orcenith Smith, perform the aria "Ah, qual gelido orror...Il padre adorato" from the opera Idomeneo by Wolfgang Amadeus Mozart. From our 2015 Concerto Competition Winners' Concert of April 11, clarinetist Natalia Fumero and the DePauw University Orchestra, under the direction of professor Orcenith Smith, perform the Concertino for Clarinet, by Carl Maria von Weber From the Student Recital Hour of April 15, singers Ines Hayouna, Marin Tack, Kelsey Cantrell, Brittny Goon, Alaina Matthews, Erin Tolar, Elizabeth Brunell, and Laura Witte perform the Bulgarian folk song "Ergen deda." From the Student Recital Hour of April 15, clarinetist Dan Hickey, violinists Jenny Miller and Alec Barker, violist Anna Urso, and cellist Peter Kim perform Bela Bartok's "Romanian Folk Dances."

Oct. 26, 2013. In collaboration with Stanford University, Mark Applebaum and Ge Wang speak about and demonstrate their work exploring technology in music. They illuminate key issues at the intersection of art and the technologies that contribute to it. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6304

(May 19, 2012) Mark Applebaum gives a talk on how boredom can spark creativity, invention, and innovation. He urges the audience to pursue what interests them and to disregard the rigid definitions society places on art.

마크 애플바움은 환상적인 방법으로 규칙을 깨는 음악을 만듭니다. 플로리스트를 위한 협주곡을 작곡하고 고물로 악기를 제작합니다. 이 이상한 강의는 여러분들 자신의 청조적인 작품에서 "규칙"을 깨버릴 수 있는 영감을 불어넣습니다. (TEDxStanford 에서 촬영)

مارك أبلباوم (Mark Applebaum) يكتب موسيقى تكسر القواعد التقليدية بطرقٍ مدهشة، ليؤلِّف لحناً فردياً لبائع زهور، ويصنع آلة موسيقية من القمامة، ويكتب نوتة موسيقية من خريطة قطارات. قد تلهمك هذه المحاضرة غير الاعتيادية بطريقة مذهلةٍ لتغيّر "قواعد" عملك الإبداعيّ الخاص بك (صُوِّرت المحاضرة في TEDxStanford).

Марк Эпельбаум пишет музыку, которая самым неожиданным способом ломает устоявшиеся стереотипы, сочиняя концерты для флористов и создавая музыкальные инструменты из мусора и найденных вещей. Эта яркая речь вдохновит вас пересмотреть устоявшиеся «правила» вашей творческой работы. (Снято на TEDxStanford)

Mark Applebaum compone música que rompe los esquemas de maneras fantásticas; compone un concierto para un florista y fabrica instrumentos musicales con chatarra y objetos que encuentra. Esta charla excéntrica podría inspirarnos a deshacernos de las «reglas» de nuestro propio trabajo creativo. (Filmado en TEDxStanford).

Mark Applebaum écrit de la usique qui brise les règles de manière fantastique, en composant un concerto pour fleuriste et en fabriquant un instrument de musique à partir de déchets et d'objets trouvés. Cette allocution excentrique pourrait vous inspirer à bousculer les "règles" de votre propre travail créatif. (Filmé à TEDxStanford.)

Mark Applebaum escreve músicas que violam as regras de maneiras fantásticas, compondo um concerto para um florista e elaborando um instrumento musical feito de sucata e outros objetos. Esta palestra peculiar talvez inspire você a sacudir as "regras" de seu próprio trabalho criativo. (Filmado no TEDxStanford.)

Mark Applebaum schreibt Musik, die auf fantastische Weise die Regeln bricht, indem er ein Concerto für einen Floristen komponiert und ein Musikinstrument aus Gerümpel und gefundenen Gegenständen zusammenbaut. Dieser verschrobene Vortrag inspiriert Sie vielleicht dazu, die "Regeln" Ihrer eigenen kreativen Arbeit aufzuschütteln. (Gefilmt bei TEDxStanford.)

Mark Applebaum writes music that breaks the rules in fantastic ways, composing a concerto for a florist and crafting a musical instrument from junk and found objects. This quirky talk might just inspire you to shake up the "rules" of your own creative work.

Mark Applebaum, jazz pianist, composer, and Associate Professor of Composition and Theory in the Stanford Music Department, presents a mini-concert and lecture demonstration in which the basic principles of jazz and improvisation are explained. (May 9, 2009)

(November 8, 2007) Stanford faculty and members of renowned music ensembles join forces for a series of dorm salons and public lectures designed to reinvigorate the way audiences experience contemporary and classical music.