Podcasts about melbourne conservatorium

Evangeline (Evie) is an award-winning violinist and entertainer with over 21 years experience in the music business.  She graduated from the Melbourne Conservatorium of Music and has built a career not only performing popular songs for weddings and football stadiums but also pieces of classical repertoire.  Her talents have been heard across Europe and Australia, including performances with the Orchestra Victoria, the National institute of Circus Arts and Cirque Du Soleil. She's shared the stage with the likes of Damien Leith, Conrad Sewell, Kygo and Tiesto.  A lot of you will know her from her viral performances at the stadiums of  A-League Melbourne Victory Team and the AFL's Carlton Football Club. With performances of Freed From Desire and Seven Nation Army which you can see on YouTube right now: https://youtu.be/ZkL6MvXxo6k?si=2lfHOzYBwT18epPf On top of this she recently finished a European Tour performing at weddings and other venues. If you missed her this year and wanted to book her for your special day don't despair! She is going back on the road in 2025, for more information check out her website below as well as her Instagram page.  www.evangelinevictoriamusic.com.au Evie discusses how she discovered the violin, how she prepares for weddings and some behind the scenes information about her viral football stadium performances. Great chat for anyone interested in learning the violin, wants to know more about it and how the best way to get your name out in the wedding scene is to crash one! Oliver Gower Spotlight Link: https://www.spotlight.com/9097-9058-5261 Instagram: @goweroliver For enquiries and requests: olliegower10@gmail.com

Em Collard is a super talented person who has already won two scholarships in their life to prestigious learning institutions. They have excelled in both sports and music, landing presently at Fitzroy Legal Service doing the important Night Service coordination while studying for their Juris Doctor. That's a law degree when you already have a degree - Em already has a Bachelor of Music degree from the Melbourne Conservatorium of Music which they started attending when they were just 17 years old. Em played trumpet there and reckons there was a bit of sexism around, just like they encountered when they were a youth cricket gun. Em hails from Newcastle and was born in 1996. They co-produce The Sporting Record on 3CR, covering sports issues the hosts would generally like to see in the world. Well, they are doing it themselves and winning sports and non-sports fans alike with the issues they discuss, including justice issues in the game. The show is weekly and broadcasts on Thursdays at 3:30pm for the full hour. It's a great effort producing a weekly show of fresh news and we congratulate the team on their second year of broadcasting on 3CR. Em is non-binary as well and they explain what that means for them. All in all, they are a stand-up decent person and a great ornament to the 3CR Christmas tree. Thanks so much for joining us this week, Em. Keep up the great work!www.3cr.org.au/thesportingrecord www.fls.org.au/how-we-can-helpEm stands outside 3CR in front of this year's Radiothon poster: Sound on for Solidarity.

Typically when people think of classical music, they envision composers like Mozart, Schumann, and Mendelssohn. But far too often, their female counterparts are overlooked.  Our next guest is an Australian composer of classical music. And from the age of five, she studied piano and music theory under her parent's tutelage and at eight began learning the cello which coincided with her first experimentations in composition. Dr Melody Eötvös, Senior Lecturer in Composition, Melbourne Conservatorium of Music, University of Melbourne share with us, her personal journey in the tough global industry of classical music.   See omnystudio.com/listener for privacy information.

In this latest episode of the Theatre Thoughts Podcast, host Justin Clarke sits down with the dynamic duo, Mel O'Brien and Samantha Andrew. Mel is a classically-trained creative with extensive experience in musical theatre, cabaret, and opera, while Samantha is a musical comedian, actor, and writer best known for her comedy skit videos on TikTok. Together, they've been coined by the Herald Sun as "the future of Australian comedy." During the episode, they dive into their collaboration on shows such as High Pony, Shit-Wrecked, and No Hat, No Play the Cabaret, as well as their popular Spotify podcast. They also discuss theatre activism, LGBTQIA+ representation, and the climate of theatre in Australia. Listeners can expect to hear about their experiences in drama school, their favorite productions, and what keeps them inspired and motivated as theatre artists. And of course, they'll share hilarious stories and delve into their thoughts with our One Minute Theatre Thoughts. Don't miss out on this exciting episode of the Theatre Thoughts Podcast! Follow us on Instagram @ttpod_official for more updates and exclusive content. Patreon subscribers can listen to the full episode by signing up to our growing community. And for a sneak peek, check out our preview on our YouTube channel. All links can be found in our Linktree. You can listen to the Mel & Sam Podcast here. Get the full video of the podcast by signing up to our PATREON! Don't forget you can find all our episode information on our dedicated podcast site. The Theatre Thoughts Podcast is proud to be hosting Meraki Arts Bar Main Stage's first post-show Q&A! Join us for a special event after the performance of Expiration Date on Tuesday 2nd May! See the awesome production and stick around afterwards for an exclusive Q&A recording with the cast and creative team. Get an inside look at the production and ask any burning questions you have about the show. Don't miss this unique opportunity to go behind the scenes of Expiration Date! Please note, this is a live recording that will be released as part of the Theatre Thoughts Podcast season, available on Spotify and Apple Podcasts. As such, audiences should be aware that this will be recorded on the evening. Those who wish to ask questions can do so on the night and may feature on the final release of the episode. For more information to the link here. About Mel O'Brien: Classically-trained creative based in Melbourne. Graduate of both NIDA and The Melbourne Conservatorium of Music  Most recently, starred in the critically acclaimed 'FANGIRLS' at the Sydney Opera House  Extensive experience across musical theatre, cabaret, opera, stage and screen About Samantha Andrew: A musical comedian, actor, writer, and content creator from Melbourne, best known for her comedy skit videos on TikTok, gaining over 300k followers and 12 million likes Graduate of the Victorian College of the Arts, she is a composer, lyricist and performer creating works such as Baby Bi Bi Bi, and collaborating with her creative partner to create shows such as High Pony, Shit-Wrecked and No Hat, No Play, The Cabaret. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's episode Emmanuella Grace shares how she's empowering speakers to deliver their message in a profound and impactful way. Listen in as Deborah and Emmanuella discuss curiosity and persistence, how to perform under pressure, how long-term memory is impacted by confidence, and the advantages of being able to thrive under tension. Emmanuella also shares a simple exercise for accessing your long-term memory under pressure.   Emmanuella Grace is a coach, speaker, and facilitator in the skills to communicate with confidence, and poise. With decades of worldwide performance and coaching experience, Emmanuella has helped thousands of people to find their voice. As a professional singer Emmanuella performed on some of the world's largest stages from Royal Albert Hall and the Barbican in London to Sydney Opera House and Hamer Hall in Australia. As the founder of Find Your Voice, Emmanuella's training and experience uniquely encompasses the fields of professional musicianship (MMus Performance Teaching - University of Melbourne Conservatorium of Music, BMus Hon - Kingston University, London, Undergraduate Jazz and Music Theatre - Griffith University Queensland Conservatorium of Music) and psychology (PostGradDip Psychology - University of New England). Emmanuella has been engaged with a myriad of exciting projects. From working with vulnerable youth and consulting for health care organisations to training leadership and communication for PwC, and umpires for The Australian Open.   You can connect with Emmanuella here: https://www.linkedin.com/in/emmanuellagrace   Create a personal career strategy that develops the leadership and communication skills you need to assess challenges, showcase your skills, and demonstrate your ability to be a C-Suite Leader. Learn more about the C-Suite Academy here: https://bit.ly/csawaitlist22 See omnystudio.com/listener for privacy information.

In this episode: How to promote the wellbeing of teenagers through positive music listening Music is not directly causative but has a powerful resonance in our lives - the dangers of teenagers using music in the wrong ways Using playlist construction as a tool to create optimism and change mood   Host: Andrew Fuller, Clinical psychologist and family therapist, speaker and creator of Learning Strengths Guest: Prof Katrina Skewes McFerran, Director, National Music Therapy Research Unit; Associate Dean, Victorian College of the Arts; Associate Director (Research), Melbourne Conservatorium of Music See omnystudio.com/listener for privacy information.

In this episode: Social and emotional benefits of music and how it can help children with their personal expression How educators can use music as a form of play to engage children and address their needs Long term benefits of music therapy Host: Andrew Fuller, Clinical psychologist and family therapist, speaker and creator of Learning Strengths Guest: Prof Katrina Skewes McFerran, Director, National Music Therapy Research Unit; Associate Dean, Victorian college of the Arts; Associate Director (Research), Melbourne Conservatorium of Music See omnystudio.com/listener for privacy information.

Jackson Harnwell is a former singer and conductor, having studied at the Melbourne Conservatorium of Music and worked with artists including Anthony Warlow, David Hobson, Helena Dix, Teddy Tahu Rhodes and Yvonne Kenny. Today, Jackson oversees the clinical training of medical and health discipline students at the University of Melbourne, following a 10-year career in higher education.QUOTES“Church choir was an amazing opportunity that connected with me. To be able to create on my own, bond with others, sing in a group and share the emotion.”“I have memories of my choir master having to settle me down because the church choir went to stand, they're all very stoic and grim faced as they sing perfectly constructed vowels and I wanted to dance. I wanted to move around and express that emotion that was inside me.”“I started to have some self doubt, maybe there's more work that I need to do that I didn't understand I needed to do.”“Going into university, my perspective was that I was very good. That changed quickly when I became part of a cohort of people that, in my mind, singing came easier to.”“No matter how hard I worked, how much I did, I couldn't seem to overcome some of these hurdles.”“People really identified that one of my skills was that I could jump into unknown territory and be really crystal clear on the outcome that I wanted to achieve.”“It's probably only in the last three or four years, I've been able to recognize and accept just how much my creative self influences the work that I do, and is valuable to the organization and that it's not something that should be kept separate.”“I realised if I was going to make a living from performing, I knew how much work that would be. But what did “making it” look like? It means taking gigs that you don't want because you need to pay the bills and you don't get to choose what performance opportunities come up. That wasn't for me. The idea of this thing that I loved  so much becoming a chore was terrifying.”“The pandemic has really brought to the fore my performing background. I've identified that I thrive in a crisis, because I'm so used to not knowing what's around the corner, not knowing what might happen on stage.”“The saddest thing that I have seen, with some incredibly talented, passionate musicians and performers, is that they leave it too late and lose the love of it. Eventually they're forced into a career transition and they cannot bring themselves to engage with their creative self anymore and that is an awful thing.”LINKSFind Jackson on LinkedIN“Think Again” by Adam GrantOpera Scholars AustraliaPODCAST TEAMProduction Support from Molly Jenkins Audio Engineering from Frazer RuddickTheme Music Composed by Danna YunTheme Music Performed by Jasper LyRECORDEDRecorded on 27 August 2021

Our monthly Trailblazer episodes are back and Rhiannon had the absolute pleasure of interviewing Janielle Beh for this month's episode! After completing her schooling at the Victorian College of the Arts Secondary School, Janielle graduated from the Melbourne Conservatorium with a Bachelor of Music in 2014, and then went on to complete her Master of Teaching (Music Education) at Monash University in 2017. Since then, she has taken her passion for music and combined it with social change and peacebuilding initiatives all across the globe. Janielle has run music workshops in Israel, Zimbabwe, Kenya, Rwanda, India and the United Arab Emirates, and was the Head of Piano at the Afghanistan National Institute of Music since 2018 into the period of the Taliban takeover in 2021. Janielle chats to Rhiannon about: transforming her creativity and passion for music into a global career path how she is developing programs for social change and peacebuilding through music her inspirations and motivations in her career teaching music during the Taliban takeover in 2021 Check out more of Janielle's work and experiences on her website. FOLLOW US: Follow Global Questions on Instagram, Facebook and Twitter for more content! Find more about Young Diplomats Society on our website. CREDITS: This episode is produced by the Young Diplomats Society on the lands of the Wurundjeri/Gadigal people. We pay our respects to the traditional custodians of the lands upon which we operate and live.

“Everything surprises me about my research. Every time I dive into a new archive or pick up a set of newspapers, talk to a person who I've just met, I'm constantly being surprised." So says Dr Nick Tochka, Senior Lecturer in Music and Head of Musicology and Ethnomusicology at the Melbourne Conservatorium of Music at the University of Melbourne. Dr Tochka researches popular, traditional and art musics in Europe and the Americas, with a particular emphasis on the politics of music-making since 1945. “In terms of how a political economic system like communism in Albania or the Soviet Union shaped music making, I look at the institutions and the kinds of political and economic logics that organise the activities of the musicians,” says Dr Tochka. Currently working on a book manuscript titled “Rocking in the Free World: Popular Music and the Politics of Freedom in Postwar America,” Dr Tochka is looking at how post-war politics influenced the reception and practice of rock genres in the US between the 1950s and 1980s. “There is an idea that music and especially certain kinds of popular music, might function as a form of self-expression or they might function as a form of therapy...in a way that we connect with on records or on MP3s or however we listen to that music. “One of the roots of this idea comes from the 1960s folk music movement where a guy or a girl with an acoustic guitar are singing into a microphone, that kind of unmediated presence, a live, first-take connection with an audience.” Episode recorded: January 28, 2021. Interviewer: Dr Andi Horvath. Producer, audio engineer and editor: Chris Hatzis. Co-producers: Silvi Vann-Wall and Dr Andi Horvath. Banner: Getty Images.

“Everything surprises me about my research. Every time I dive into a new archive or pick up a set of newspapers, talk to a person who I’ve just met, I’m constantly being surprised." So says Dr Nick Tochka, Senior Lecturer in Music and Head of Musicology and Ethnomusicology at the Melbourne Conservatorium of Music at the University of Melbourne. Dr Tochka researches popular, traditional and art musics in Europe and the Americas, with a particular emphasis on the politics of music-making since 1945. “In terms of how a political economic system like communism in Albania or the Soviet Union shaped music making, I look at the institutions and the kinds of political and economic logics that organise the activities of the musicians,” says Dr Tochka. Currently working on a book manuscript titled “Rocking in the Free World: Popular Music and the Politics of Freedom in Postwar America,” Dr Tochka is looking at how post-war politics influenced the reception and practice of rock genres in the US between the 1950s and 1980s. “There is an idea that music and especially certain kinds of popular music, might function as a form of self-expression or they might function as a form of therapy...in a way that we connect with on records or on MP3s or however we listen to that music. “One of the roots of this idea comes from the 1960s folk music movement where a guy or a girl with an acoustic guitar are singing into a microphone, that kind of unmediated presence, a live, first-take connection with an audience.” Episode recorded: January 28, 2021. Interviewer: Dr Andi Horvath. Producer, audio engineer and editor: Chris Hatzis. Co-producers: Silvi Vann-Wall and Dr Andi Horvath. Banner: Getty Images.

For this episode of Declassify we are joined by one of the most passionate people I know, Megan Steller. Megan is an artist manager, writer, speaker, and producer based in Melbourne. She is passionate about working with emerging artists and seasoned performers alike to help create fulfilling, diverse and creatively empowering careers in the classical music sector. As an artist manager, Megan has worked at Intermusica (UK) and Patrick Togher Artists’ Management (AUS). As a journalist, she has been published in Limelight Magazine, The Age, and The Music, and has worked in a freelance capacity for Melbourne Recital Centre, Melbourne Conservatorium of Music, Musica Viva, Melbourne Youth Orchestras, and Orchestra Victoria. With such an incredibly broad range of skills and experiences, this episode is all about the significance of community and resource-sharing across the classical music industry, the sometimes-unknown world of being an artist manager (or agent) and us asking, what about opera? Selected Resources (many more in the transcript):Megan Stellerhttp://www.megansteller.com/ Rehearsal Magazinehttps://www.instagram.com/rehearsal_magazine/?hl=en Opera Australia at a crossroadshttps://musicaustralia.org.au/2020/09/opera-australia-at-a-crossroads/As COVID wreaks havoc in the performing arts, do we still need a national opera company? https://theconversation.com/as-covid-wreaks-havoc-in-the-performing-arts-do-we-still-need-a-national-opera-company-145461Discrimination in Casting Black Singers at the Metropolitan Operahttps://www.middleclassartist.com/post/discrimination-in-casting-black-singers-at-the-metropolitan-operaOpera in a post-Weinstein World https://www.theparisreview.org/blog/2017/12/05/opera-post-weinstein-world/

Nicholas Williams is an Associate Professor of Music, Music Director and Conductor of the Wind Symphony and Concert Band at the Melbourne Conservatorium of Music. He joins the show to talk about growing up and starting his career in Texas and his recent move to Australia. Topics: Nick’s origin story growing up in Texas, the role of the church in his early musical development, and why his Mom wouldn’t let him play the clarinet. Going to the University of North Texas as an undergraduate and Nick’s first teaching job. Teaching only 9th and 10th graders at Clark High School in Plano, Texas. The story of how Nick ended up in Australia and his early observations about the differences between his experience there versus his experiences in Texas. Links: Nicholas Williams Melbourne Conservatorium of Music Persichetti: Symphony no. 6 for Band Barnes: Symphony no. 3, Lento Biography: Dr Nicholas Enrico Williams is an Associate Professor of Music, Music Director and Conductor of the Wind Symphony and Concert Band at the Melbourne Conservatorium of Music in Melbourne, Australia. Before moving to Melbourne, for sixteen years Dr Williams was the Assistant Director of Wind Studies, Conductor of the Wind Ensemble, Concert Band, and the Director of Athletic Bands at the University of North Texas. For a decade, he was the Conductor of the Greater Dallas Youth Orchestra Wind Symphony. In addition, he is a frequent guest conductor for the Dallas Winds (formerly Dallas Wind Symphony). As an advocate of chamber music, Dr Williams was the founder and conductor of the East Plano Brass and was the principal guest conductor for the Harmoniemusik chamber ensemble. In the wind band world, he has been a guest conductor with the United States Air Force Band; Dallas Wind Symphony; Lone Star Wind Orchestra; at the annual Midwest International Band and Orchestra Clinic in Chicago, Illinois; the College Band Directors National Association regional conference; the Texas Bandmasters Association Convention; and the Texas Music Educators Association Annual Clinic in San Antonio, Texas. Dr Williams is active in the United States, Australia, Canada, Europe, and Southeast Asia as a conductor, clinician, adjudicator, consultant, and arranger; his arrangements and transcriptions for wind band, percussion ensembles, drum corps, and school pagentry ensembles are performed by outstanding organizations throughout the world. Dr Williams is a sought-after recording session producer, associate producer, and editor, having been involved with numerous CDs and DVDs on the Klavier, Mark Records, GIA labels, as well as UNT projects. In addition to his work in the recording arts, he has written several conductor study guides that are published in the Teaching Music Through Performance in Band series. He is a primary consultant of Women of Influence in Contemporary Music and is an honorary member of Sigma Alpha Iota International Music Fraternity. His professional affiliations include the Australian Band and Orchestra Directors Association, Texas Music Educators Association, Texas Bandmasters Association, College Band Directors National Association, Phi Mu Alpha Sinfonia, and Phi Beta Mu, an international bandmasters fraternity.

Rachel Bullen studied with Emanuel Abbühl and François Leleux in Europe after her initial studies in Melbourne. Rachel performed as an orchestral musician in Europe in many orchestras including the Netherlands Radio Chamber Orchestra, South Jutland Symphony Orchestra, and Aarhus Symphony Orchestra and has toured as a soloist in many European countries and she was a full-time chamber musician from 2010 - 2016 with Esbjerg Ensemble in Denmark. In 2016, Rachel returned to Australia permanently and played as guest principal oboe with Melbourne Symphony Orchestra, Orchestra Victoria, and acting principal with Adelaide Symphony for most of 2019. Currently, Rachel teaches at the Melbourne Conservatorium of Music, and performs as a freelancer. We discuss interesting her musical influences and musical journey from Melbourne to Europe and interesting topics such as the importance of playing as naturally and effortlessly as possible, the importance of giving students the freedom to teach themselves, her most memorable chamber concert experience, the psychology behind peak performance, dealing with performance anxiety and overcoming professional setbacks that may arise while working as a foreign musician in Europe. Her website: https://www.rachelbullenoboe.com Study with Rachel: https://www.playwithapro.com/live/Rachel-Bullen/

Benjamin Northey is the Chief Conductor of the Christchurch Symphony Orchestra and the Principal Conductor in Residence of the Melbourne Symphony Orchestra. He has previously held the posts of Associate Conductor of the Melbourne Symphony Orchestra, Resident Guest Conductor of the Australian Pro Arte Chamber Orchestra and Principal Guest Conductor of the Melbourne Chamber Orchestra.Born and raised in Ballarat, he embraced music as an expression from an early age. Flute, clarinet and saxophone were instruments of choice. An appetite and enthusiasm for further exploration saw him develop skills in arranging; and pursue piano, trumpet and violin to add to his developing skills set.Northey graduated with performance studies in classical saxophone from the University of Melbourne Conservatorium of Music. He followed this promptly with a Master of Music study in Conducting, from the Victorian College of the Arts, and continued study abroad.With a progressive and diverse approach to repertoire he has collaborated with a broad range of artists and he is adept at a terrific range of musical styles. And Benjamin Northey likes nothing more than to lead an audience through a sensory experience of music. He does it with passion, pride and perfection.Benjamin Northey joined me in a passionate discussion that considers the musician’s process; and ponders the present performance pause and absence of an audience.

Emma Hunt began learning the violin at the age of five in her hometown of Geelong. She loved music from a young age, but it wasn’t until she began studying music at university that she embraced the violin as her passion. While at the Melbourne Conservatorium of Music, she studied with William Hennessy, who became one of her most important musical influences, and developed a love of playing orchestral and chamber music. Following her undergraduate studies, she attended the Australian National Academy of Music (ANAM), under the tutelage of Adam Chalabi. As a student, Emma played with the Australian Youth Orchestra, the Young Australian Concert Artists’ Program and the Sydney Sinfonia. She won the C.D. Hume Violin Scholarship and the Australian Youth Classical Music Regional Competition and was a finalist in the ANAM Chamber Music Competition. She currently works as a freelance musician in Melbourne, performing regularly with the Melbourne Chamber Orchestra, Melbourne Symphony Orchestra and Orchestra Victoria, is in demand as a violin teacher and orchestral tutor and loves to play quartets and other chamber music whenever she gets the chance. In her spare time, she tries to grow edible things in her garden and listen to as much folk music as possible.

The third annual Melbourne Conservatorium of Music Double Bass Day and Competition will be taking place Nov 26th.   Jason chats with University of Melbourne bass faculty Rob Nairn about the event.  Learn more on their Facebook page, and we'd love to see you at this event!

Whether we're listening through our headphones or in the local coffee shop, music is an irrepressible part of our daily lives – and it is so much more than just the sounds that enter our ears. In the latest Music on the Mind talk, recorded live from Melbourne Recital Centre, esteemed speakers share their fascinating perspectives: Dr Amanda Krause explores how music cannot be isolated from our everyday experiences. Solange Glasser explains how synaesthesia can lead people to see or taste music. Presented by Melbourne Recital Centre, engaged through The University of Melbourne-Melbourne Recital Centre Partnership. More about the speakers: Dr Amanda Krause is a post-doctoral research fellow at The University of Melbourne. She is interested in the social and applied psychology of music, and her research examines everyday music interactions, with an emphasis on considering listening technologies and the intersection of everyday music and well-being. Solange Glasser is a faculty member of the Melbourne Conservatorium of Music, and is the convenor of a new online breadth subject entitled Creativity, Genius, Expertise and Talent. Her research interests include multisensory perception and exceptional abilities, with an emphasis on the impact of neurological conditions such as synaesthesia and absolute pitch on musical development.

Tutorials, the bread and butter to our campus life. What do you think of yours? Are they engaging and thought provoking? fun? or long and boring? Ever wonder how tutors feel about them? In this episode, veteran tutor Olivia chatted to Arts Faculty students Linda and Jennis and found out how they manage their study in tutorials! Our guest speakers also shared an aspect of them not known by others at the end of the show!Host: Xia Guest speakers: Olivia, Linda, & Jennis Places mentioned in the episode: The Melbourne Conservatorium of MusicPassion Dance Studio Muji

Chiptune is the electronic music that was integral to the experience of playing the early computer games like Pac-Man and Donkey Kong. And the art of composing a chiptune was all about being innovative in the face of the constraints that came with using a simple sound chip. “One of the really nice things about Chiptune is because it is so raw and open and simple, you are forced into a situation where you have no option but to create,” says Professor Kenny McAlpine, a Melbourne Enterprise Fellow in interactive composition at the Melbourne Conservatorium of Music and author of Bits and Pieces: A History of Chiptunes. “Because of the constraints of the sound chip, because they could only do limited music, the composers, when they tried to step outside of those constraints and push beyond them, had to look for other ways of achieving complexity and that had to happen through code,” he says. The irony is that despite all the creativity and ingenuity that goes into making a great Chiptune, Professor McAlpine says the best soundtracks shouldn't be noticed. “They should get under your skin, they should affect you. All I want you to do is play and be in the moment.” Episode recorded: March 28, 2019. Interviewer: Steve Grimwade. Producer, audio engineer and editor: Chris Hatzis. Co-producers: Silvi Vann-Wall and Dr Andi Horvath. Banner image: Waring Abbott/Getty Images.

Chiptune is the electronic music that was integral to the experience of playing the early computer games like Pac-Man and Donkey Kong. And the art of composing a chiptune was all about being innovative in the face of the constraints that came with using a simple sound chip.“One of the really nice things about Chiptune is because it is so raw and open and simple, you are forced into a situation where you have no option but to create,” says Professor Kenny McAlpine, a Melbourne Enterprise Fellow in interactive composition at the Melbourne Conservatorium of Music and author of Bits and Pieces: A History of Chiptunes.“Because of the constraints of the sound chip, because they could only do limited music, the composers, when they tried to step outside of those constraints and push beyond them, had to look for other ways of achieving complexity and that had to happen through code,” he says.The irony is that despite all the creativity and ingenuity that goes into making a great Chiptune, Professor McAlpine says the best soundtracks shouldn’t be noticed.“They should get under your skin, they should affect you. All I want you to do is play and be in the moment.”Episode recorded: March 28, 2019. Interviewer: Steve Grimwade. Producer, audio engineer and editor: Chris Hatzis. Co-producers: Silvi Vann-Wall and Dr Andi Horvath. Banner image: Waring Abbott/Getty Images.

Associate lecturer Susan de Weger is a French horn player. In fact, she's a self-confessed “failed musician”, who walked away from music and went on to establish a multi-million dollar IT consulting practice in Europe. But music didn't walk away from her. Once she returned to Australia, she decided to change her internal narrative and tackle a Performance Master's degree at the Melbourne Conservatorium of Music, University of Melbourne. Now she teaches music entrepreneurship to a new generation of musicians, helping young performers build careers that are artistically and financially rewarding. Episode recorded: July 3, 2018 Interviewer: Dr Andi Horvath Producer, audio engineer and editor: Chris Hatzis Co-production: Dr Andi Horvath and Silvi Vann-Wall Image: supplied

Associate lecturer Susan de Weger is a French horn player. In fact, she’s a self-confessed “failed musician”, who walked away from music and went on to establish a multi-million dollar IT consulting practice in Europe. But music didn’t walk away from her. Once she returned to Australia, she decided to change her internal narrative and tackle a Performance Master’s degree at the Melbourne Conservatorium of Music, University of Melbourne. Now she teaches music entrepreneurship to a new generation of musicians, helping young performers build careers that are artistically and financially rewarding.Episode recorded: July 3, 2018Interviewer: Dr Andi HorvathProducer, audio engineer and editor: Chris HatzisCo-production: Dr Andi Horvath and Silvi Vann-WallImage: supplied

Bernadette Harvey, Marshall McGuire and staff and students of the Melbourne Conservatorium of Music present music of Australian composer Tim Dargaville.

Bernadette Harvey, Marshall McGuire and staff and students of the Melbourne Conservatorium of Music present music of Australian composer Tim Dargaville.

Brydie-Leigh Bartleet is Director of the Queensland Conservatorium Research Centre and Deputy Director (Research) at the Queensland Conservatorium Griffith University, Australia. She has worked on a range of national and international projects in community music, arts-based service learning with Australian First Peoples, arts programs in prisons, and global mobility. She serves on the Board of Australia’s peak music advocacy body, Music Australia, and has served as Chair and Commissioner of the International Society for Music Education’s Community Music Activities Commission. She is the co-founder of the Asia Pacific Community Music Network, and is Associate Editor of the International Journal of Community Music. This keynote lecture, ‘How Can Concepts of Love Inform Peacebuilding and Empathy in Intercultural Music Making?’, was delivered at a conference on ‘Peace, Empathy and Conciliation Through Music’ that was hosted by the ARC Centre of Excellence for the History of Emotions, together with the Faculty of the Victorian College of the Arts and the Melbourne Conservatorium of Music, at The University of Melbourne in September 2017.

Yes. It’s a hefty topic. With the world events going on at the moment, I have had this nagging feeling that I need to devote some of my attention to how my art can be a force for good. Divas, not only do I want to help you make it rain in your business but I want to help you change the world while you’re at it. This episode covers: 1) The motivation behind our "Change the World" music projects. 2) How to identify passions, pain-points, and purpose. 3) How can music influence the body to support fitness and rehabilitation? 4) How can music motivate the mind to promote academic achievement? Show Notes: - Olafur Eliasson | World Economic Forum “Why art has the power to change the world.” | https://www.weforum.org/agenda/2016/01/why-art-has-the-power-to-change-the-world/ - Elevator pitch formula: “I’m a ______ (profession) who is passionate about _______ (things you’re into.) My mission is to _______ (how you’re changing the game) by _______ (secret weapon.)” - Katrina Skewes McFerran, Professor at the Melbourne Conservatorium of Music | “How Music Can Change Your Life” | https://www.weforum.org/agenda/2016/01/why-art-has-the-power-to-change-the-world/ - Florence Cohen | American Music Therapy Association | https://www.musictherapy.org/about/personal_stories/ - ArtForceIowa | http://www.artforceiowa.org/

The Tale of Orpheus will be performed at the Meat Market Theatre in North Melbourne, 7-8 September 2017. In this podcast, Jane Davidson (Artistic Director) and David Greco (Orfeo) discuss Monteverdi, emotions and historical music performances. Tickets for the event can be purchased at: https://www.eventbrite.com.au/e/the-tale-of-orpheus-by-claudio-monteverdi-tickets-35869349189. The Tale of Orpheus reimagines Claudio Monteverdi’s baroque masterpiece L’Orfeo ‒ arguably the first ‘true’ opera ‒ for the twenty-first century. Known to his contemporaries as an 'oracolo della musica', Monteverdi was a musical visionary. His talent for communicating emotion, and using it as a powerful driving force, explains L’Orfeo’s enduring appeal today. This production explores the work’s creative potential even further, in a modern re-telling of one of the most influential and beloved stories in operatic history. The Tale of Orpheus has been produced by the Melbourne Conservatorium of Music at The University of Melbourne in association with the Australian Research Council Centre of Excellence for the History of Emotions.

TEM 71: Susan De Weger of IgniteLab on Why Selling Yourself as an Artist Is Not Selling out, the Danger of the Word "Should" and Her Specific Advice on Applying for a Grant Susan de Weger is a musician, entrepreneur, and music business consultant from Melbourne, Australia. She is also the director of IgniteLab at the Melbourne Conservatorium of Music. Show notes for all episodes of TEM including topics discussed, links to all books and websites referenced can be found at: http://www.andrewhitz.com/shownotes Want to help "keep the lights on" and make future episodes of TEM possible? Please visit our Patreon page to see how you can help:  https://www.patreon.com/tempodcast Produced by Joey Santillo