Podcasts about Music education

Craig Krolicki is a versatile and musical drummer playing a wide variety of styles. He is a graduate of Youngstown State University (The Dana School of Music), with a BA in Music Education. In 1997 Craig moved to Nashville TN, and has toured as a drummer with artist such as Curb Recording Artist Jeff Carson, Hank III, Sony Recording Artist Tammy Cochran, Singer/Songwriter/Producer Gail Davies, Singer/Songwriter Billy Yates, BNA Recording Artist Kellie Coffey. From 2006-2020, Craig drum teched for the country band Rascal Flatts. In recent years, Craig has been teching for Kent Slucher of Luke Bryan. Craig continues to freelance as a drummer in and around Nashville and has even started a new fitness coaching program. In this episode, Craig talks about: Unique tech challenges during CMA week in Nashville Essential gear for playing on Lower Broadway in nashville What a drum tech actually does Being the glue between the drummer and the engineer From Pennsylvania to Nashville Staying in shape on the drums in between performances His new fitness program Coach Craig Fitness (coachcraigfit@gmail.com) ⁠⁠⁠Here's our Patreon⁠⁠⁠ ⁠⁠⁠Here's our Youtube⁠⁠⁠ ⁠⁠⁠Here's our Homepage Learn more about your ad choices. Visit megaphone.fm/adchoices

Adam Maness brings you the freshest releases of May 2026!0:00 Intro0:50 Jeff Parkerhttps://intlanthem.bandcamp.com/album/happy-today3:45 Greg Hutchinsonhttps://www.allmusic.com/album/kind-of-now-mw0004778588 6:15 Chris Potterhttps://chrispotterjazz.bandcamp.com/album/alive-with-ghosts-today9:09 New Jazz Undergroundhttps://www.allmusic.com/album/hoodies-mw000479189111:04 Virginia MacDonaldhttps://virginiamacdonald.bandcamp.com/album/in-search-of13:00 Harry Skolerhttps://harryskoler1.bandcamp.com/album/echoes15:05 Laurie Anderson & Sexmobhttps://laurieanderson.bandcamp.com/album/let-x-x-live17:06 Alabaster DePlumehttps://intlanthem.bandcamp.com/album/dear-children-of-our-children-i-knew-epilogue19:31 Ben Wolfehttps://benjonah.bandcamp.com/album/any-time-after-now 21:30 Joe Lovanohttps://joelovano.com/recordings/paramount-quartet/

Episode 497 - Candice Hill Pete's Percussion Podcast Kansas City-based freelancing percussionist, educator, Steel Pan artist, composer and arranger Candice Hill stops by to talk about her career in KC and getting started there, along with her time performing with the Kansas City Chiefs drumline (03:45), teaching and performing in town, arranging and composing, and her work “Red City Calypso” (21:30), growing up in Columbia (MO) and her family musical background (34:45), her undergrad years at Missouri State University, marching band and lessons, getting into steel pan performance, and Music Education vs. Music Performance degrees (44:55), attending Northern Illinois University for her master's in Steel Pan Performance, studying with Liam Teague and Cliff Alexis, dealing with performance anxiety, and keeping up with her non-steel band percussion skills (01:04:15), and settles in for the Random Ass Questions, including segments on being a woman in the field of percussion, Pete getting to work with Candice and Emily Lemmermann for the Missouri Mass Steel Band performance last month, Dirty Dancing, Crafts and Baking, experiencing Panorama in Trinidad and Tobago, bad cleaning jobs, and the excellence of Steel Band all over the world (01:27:20).Finishing with a Rave on the 2026 film Michael (01:54:30).Candice Hill Links:Candice Hill's website“Red City Calypso” - Candice HillPrevious Podcast Guests mentioned:Emily Lemmermann in 2019Julia Gaines-Montag in 2016Scott Cameron in 2016Liam Teague in 2025Rich Holly in 2020Raychel Taylor in 2020Amanda Duncan in 2023Elizabeth DeLamater in 2019Other Links:Matt Arnet“Tornado” - Mitch MarkovichJohn PattersonBlast!Al O'ConnorCliff Alexis“Because” - The Beatles“Island in the Sun” - Len “Boogsie” SharpeYuko AsadaMia Gormandy-BenjaminRobert ChappellScott McConnellDirty Dancing trailerUnheard Voices - Myrna NurseCricut crafts“Pan by Storm” - Skiffle BunchBen YanceyRaves:Michael trailer

For the past few weeks, a group of young people in Duluth have been learning to write and perform music through the “That's a Rap!” program by the Music Resource Center and the Kako Foundation, which also provides music education programs in Haiti. They'll have their final performance Thursday night.Their instructor, Terrell Grier, and Rudy Perrault, president of the Kako Foundation, shared more about the program.

On this episode of The Bandwich Tapes, I sit down with percussionist, composer, and educator Michael Burritt for a wide-ranging conversation about teaching, performing, composing, and the responsibility that comes with shaping generations of musicians. Michael reflects on his years at Eastman, the path that brought him there, and the deep sense of purpose he feels in helping students grow not just as players, but as people.We spend a lot of time talking about mentorship and what it means to build a studio culture rooted in excellence, curiosity, humility, and trust. Michael shares thoughtful reflections on former students like Brett Dietz, Jake Nissly, and Peter Martin, and what makes it so meaningful to watch students go on to become artists, educators, and leaders in their own right. What comes through clearly is that for him, teaching has never been about producing one type of player. It has always been about helping each student become more fully themselves.We also dig into the evolution of percussion pedagogy and marimba playing over the last few decades. Michael talks about the opportunities and distractions that come with instant access to recordings, the increasing technical level of incoming students, and the importance of still building a strong pedagogical foundation. He speaks candidly about sound, time, phrasing, touch, and the long arc of helping a student develop an ear that demands more of their own playing.Along the way, we get into composition, repertoire, and how marimba literature has expanded over the course of his career. Michael shares how he approaches writing for the instrument, what happens when non-percussionist composers write for marimba, and why the best music still puts musical meaning ahead of technical display. By the end of the conversation, what lingers most is Michael's humility. For someone who has had such an enormous impact on percussion, he keeps coming back to gratitude, relationships, and the privilege of being part of an art form that is still growing.Key TakeawaysMichael sees teaching as both a musical and human responsibility, with equal emphasis on artistry, character, confidence, and humility.He takes great pride in building a studio culture where students are challenged, supported, and encouraged to develop their own distinct musical identities.Today's percussion students often arrive with higher technical ability and more exposure to recordings, but not always with the same step-by-step pedagogical grounding.For Michael, great playing starts with the ear: students have to hear the sound they want deeply enough that their hands learn how to produce it.He believes percussion pedagogy still needs more repertoire that bridges the gap between intermediate literature and major large-scale works.As a composer, he moves between the instrument and the keyboard, always trying to balance intuitive writing with musical structure and instrumental understanding.When he reflects on legacy, he returns less to accolades and more to relationships, student growth, and the chance to remain part of his students' lives long after they leave school.Music from the EpisodeMichael Burritt - Sweet Dreams and Time MachinesMichael Burritt - Burritt VariationsMichael Burritt - Into the AirMichael Burritt - White PinesAbout the PodcastThe Bandwich Tapes is a podcast where I sit down with musicians, composers, educators, and creative artists for thoughtful conversations about craft, collaboration, career, and the deeper stories behind a life in music. It's a space for honest dialogue, musical curiosity, and the kinds of conversations that go beyond the surface.Connect with the ShowEmail: contact@thebandwichtapes.com

Christopher Ramos is currently serving as Director of Bands and Assistant Professor of Music at Utah Valley University in Orem, Utah. He conducts the UVU Wind Symphony and directs instrumental studies within the music education area. He additionally teaches courses in conducting, music education, and music appreciation. He received the DMA in instrumental conducting at The Hartt School, studying with Glen Adsit and Edward Cumming. While at Hartt, he assisted in conducting Hartt's instrumental performing ensembles and the Greater Hartford Youth Wind Ensemble, and as part of the adjunct faculty he taught courses for graduates and undergraduates in conducting, brass methods, diversity and belonging, jazz pedagogy, and in the core music theory sequence. Before Hartt, Chris served as a band director at Dalat International School in Penang, Malaysia where he taught Western classical and jazz music in performing and theory courses across grades 6-12, and his students were invited to perform in international festivals across Southeast Asia. He is also an active scholar working at the intersection of musicology, wind band studies, and music education with his latest publications forthcoming in the Music Educators Journal (NAfME) and the Utah Music Educators Journal (UMEA). In 2022 he received the Goldstein Award from the University of Hartford, and in 2016 he received the Joanne Kealinohomoku Prize from the Society of Ethnomusicology Southwest for his scholarship. He holds additional degrees from the University of New Mexico where he studied with Eric Rombach-Kendall, and from East Texas A&M University (formerly Texas A&M University-Commerce) where he studied with Phillip Clements (conducting), Luis Sanchez (piano), and Mike Morrow (horn). In addition to his conducting, researching, and teaching, he actively performs both on the French horn and at the keyboard. He has produced, performed, and conducted on records for the Naxos, Summit, and Parma record labels, and he has performed in and conducted ensembles in concert halls, stages, forests, and patios across the United States and Asia. An avid supporter of new music, he has been part of numerous commissioning projects for solo horn, chamber ensembles, and wind ensembles. He is a second-place winner in The American Prize for conducting and in 2025-27 he holds the Harry Begian Conductor Scholar Award at Blue Lake Fine Arts Camp. He is an active member in the College Band Directors National Association, Utah Music Educators Association, Utah Bandmasters Association, National Band Association, American Musicological Society, and National Association for Music Education, and is an honorary member of the Phi Mu Alpha Sinfonia National Music Fraternity.

Today on conduct(her) Kyra and McKenna interview Dr. Angela Ammerman, Associate Professor of Music Education at Tennessee Knoxville and and music education consultant.

I am very excited to launch a very special series for Jake's Take with Jacob Elyachar. May is Jewish American Heritage Month (JAHM), which annually celebrates the history, culture, and contributions of Jewish Americans to the United States.  I am honored to welcome my dear friend and mentor, Joanne J-Bird Phillips, to the podcast. I first met J-Bird in New York City through our mutual friend and former guest, Beatrice Kimmel. She and I instantly bonded and became fast friends. I love her zest for life, and it was Beshert (Yiddish for “destiny”) that the stars finally aligned for her to come on the show for our third JAHM special.  Born in The Bronx and raised on Long Island, NY, Joanne Phillips grew up in a family of professional drummers and band leaders. Having a natural rhythm since childhood, Joanne's father taught her to play drums with brushes when she was seven, and her first song was "Come Fly with Me" by Frank Sinatra. She grew up listening to Swing, Motown, Bossa Nova, and Rock 'n' Roll, and honed her drum skills on a full orange sparkle drum kit that her family bought for her. At age sixteen, Joanne was asked to join a local garage band of teenage boys who needed someone to play their cover of "Wipeout" by The Surfaris correctly. She stepped in and nailed it.     Hence began Joanne's lifelong love of music and live performance.  Fast forward to the late 70's, after Joanne had moved to Long Beach, NY, and raised two children of her own in the arts -- her son, an alumnus of Upright Citizens Brigade Theatre in NYC, and one of the metro area's popular freelance Improv coaches, and her daughter, a SAG-AFTRA TV actress and comedian/comedy writer working in LA.Over the years, Joanne witnessed how many music and arts programs were evaporating and eventually terminated, due to a lack of funding and/or support from the government, as well as certain folks with no interest in keeping arts programs alive, resulting in the arts being put on the back burner in the education system. Joanne remained an avid supporter of an arts education platform for children. She saw how it created positive experiences for her own kids (and many other youths) and witnessed how even a basic arts education enriched lives of youths on many levels for years into their adulthood.   In 2012, Joanne founded J-Bird Music for the Arts, Inc., with the vision of reviving arts programs by providing much-needed equipment, instruments, and resources to enrich the lives of youth through arts education. She wanted to bring that same joy, excitement, and creativity to youth everywhere, especially in underserved or underfunded areas.    Through J-Bird Music for the Arts, Joanne brings her vision alive. From her tireless efforts as a brain tumor survivor with a second chance to live and continue on this mission, she has provided much-needed equipment and support to music and arts programs throughout New York State, including Still Waters In A Storm in Brooklyn, Long Beach High School in Long Island, and Goshen Central High School in Orange County, NY.   On this edition of The Jake's Take with Jacob Elyachar Podcast, Joanne spoke about her tenth anniversary of being associated with the US Press Association and revealed some of the J-Bird Music for the Arts' top accomplishments.Become a supporter of this podcast: https://www.spreaker.com/podcast/jake-s-take-with-jacob-elyachar--4112003/support.

Some conversations stay with you because of what a person has accomplished. Others stay with you because of who that person became along the way. Internationally acclaimed bassoonist Frank Morelli is both. His story is about far more than music. It's about what happens when a lifetime of dedication shapes not only an artist, but a human being.There's something deeply moving about a person who spends a lifetime devoted to music and still meets the world with humility and a genuine sense of wonder. In this heartfelt episode of Speaking of Travel, Frank reflects on the deeper journey behind a life in music and the ways it shaped not only his career, but his understanding of purpose and gratitude.For more than 60 years, Frank's path has carried him around the world, from concert halls and international performances to decades spent mentoring and encouraging young musicians. Yet what stands out most is not simply his remarkable career, but the kindness and sincerity he brings to every part of his life.There is a gentleness in Frank that immediately puts people at ease. Even after years of recognition and accomplishment, he remains deeply grateful for the experiences music has given him. His love for teaching shines throughout this episode, along with his belief that music can open hearts and create connection in ways few things can.This conversation moves beyond performance and into something far more human. It becomes a reflection on what happens when someone continues evolving through every season of life.“The longer I've lived with music, the less it feels like performance and the more it feels like gratitude.”Frank Morelli continues to inspire not only through his artistry, but through the quiet grace and humanity he brings to the world around him.

What happens when a researcher's own story becomes part of the data? And how do you ethically navigate moments when participants' emotions – joy, frustration – surface in the interview process?In this episode, Dr Hakan Ergül speaks with Stephanie Hoi-Ying Chan, a PhD student at IOE. Stephanie's doctoral research explores the lived experiences and professional identity development of primary music teachers in Hong Kong.Drawing on her background as a classically trained musician and former primary music teacher, Stephanie reflects on the ethical tensions of managing multiple identities in the field, handling emotionally charged interviews, and translating rich Cantonese narratives into English without losing meaning or voice.Full show notes and links: https://www.ucl.ac.uk/ioe/news/2026/may/between-identities-emotions-and-ethical-practice-fieldwork-research-ethicsMore IOE Insights podcasts: https://uclioe.info/podcastUCL Institute of Education: https://ucl.ac.uk/ioe

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills CommunitySummaryDr. Bob Lawrence explores the importance of forward motion in jazz piano development, emphasizing that moving on to new tunes enhances skills rather than signifies unfinished work. He discusses the core musical facts that underpin all jazz music and provides a detailed harmonic analysis of 'I've Got the World on a String,' including form, chord changes, and voicings.KeywordsJazz Piano, Music Education, Harmonic Analysis, Jazz Standards, Improvisation, Voicings, Music Theory, Jazz Practice, Skill DevelopmentKey  TopicsThe importance of forward motion in jazz practiceCore musical facts that underpin jazz musicHarmonic analysis of 'I've Got the World on a String'Voicing techniques and harmonic progressionsStrategies for skill development and ear trainingTitlesThe Power of Moving On: How Progress in Jazz Piano Is About Skills, Not TunesMastering Jazz Harmony: Analyzing 'I've Got the World on a String' with Dr. Bob LawrenceSound Bites"Progress doesn't come from staying in one place""Improvement in jazz doesn't always feel obvious""Progress is asking better questions about your playing"Support the show

Today on conduct(her) Kyra and McKenna interview Professor Cory Raven Morris who serves as Hinckley Assistant Professor of Music Education and Social Justice at Portland State University.

Robby chats with Evan Tobias (Associate Professor of Music Education at Arizona State University) about imagining new possibilities for music teaching in a rapidly shifting digital landscape–from rethinking what curriculum even means, to the everyday tools that power his research, writing, and thinking. Subscribe to the Blog… RSS | Email Newsletter Subscribe to the Podcast in… Apple Podcasts | Overcast | Castro | Spotify | RSS Support Music Ed Tech Talk Become a Patron! Buy me a coffee Chapters and Notes 00:00:00 Greetings first 00:08:41 Introductions second Evan Tobias, Arizona State University YouTube TikTok Instagram Podcast AT Protocol Cory Doctorow's Book 00:26:04 What possibilities that exist when music teachers use technology in different ways Obsidian Weight of Light: A Collection of Solar Futures 00:54:38 What is curriculum? Podcast Episode 4: Music Curriculum Perspectives with Brian Laakso Hal Leonard Modern Band Series littleBits 01:11:25 Research and writing tools: writing, interviews, reading…lots! Connecting ideas across many mediums… Scite.AI - used to scan across databases, answer questions Hazel - file management DEVONthink - store, organize, work zotero - collect, organize, annotate, cite, and share research PDF Expert - PDF editing TextSniper - extract text from images 01:26:07 Surveys Qualtrics - creating surveys Calendly - scheduler that integrates with calendars TextExpander - type a keystroke that fills in email body or other text Keyboard Maestro - automate applications or websites Fantastical - give your calendar superpowers Craft - you know it, you love it 01:42:35 Interviews Descript - record, edit, transcribe Snipd - AI-powered podcast app Airtable - database to help keep track of where people are in the project Notion - database in place of Google Doc OmniFocus - Task management ClickUp - Task and project management Readwise Reader - PDF reader Raindrop.io Speechify - listen to text/PDF files Please don't forget to rate the show and share it with others!

On this episode of Voices, Seneca Valley spotlights a one-of-a-kind music experience, bringing a living composer into the classroom to create an original work for students. Band Director Mr. Brian Croach and composer Rob Traugh share the story behind "Pillars of Gold," a commissioned piece written specifically for the Ryan Gloyer Middle School eighth grade band. Inspired by the school's positive behavior program, the work brings to life the core values of respect, responsibility and resilience, transforming them into a powerful and meaningful concert performance. IN THIS EPISODE, WE WILL REVIEWThe Seneca Valley Band Commissioning ProjectWhat is "Pillars of Gold"The value of students working with a living composerThe inspiration behind the piece, "Pillars of Gold"Where and when the concert will take placeFree concert - Thursday, May 7 at the Intermediate High School auditorium at 7 p.m.SPECIAL GUESTSMr. Brian Croach, Instrumental Music Teacher for grades 7-12 and Mr. Rob Traugh, American composer, conductor, collaborator, educator and performer.Mr. Brian Croach is in his ninth year of teaching and third year at Seneca Valley. He is a band director that works with students in grades 7-12 through various curricular instrumental ensembles such as the 7th grade band, 8th grade band, Symphonic Band, and Concert Winds. He is also the director of the Ryan Gloyer Middle School (RGMS) Jazz Ensemble and is one of the directors for the Roaring Raider Marching Band. Mr. Croach received he undergraduate degree in Music Education from Slippery Rock University and has continued his education through the Instructional Leadership program at Robert Morris University. Mr. Rob Traugh is an Assistant Professor of Composition (Music Technology) and Program Director of the Composition for Media Degree at the Mary Pappert School of Music and conducts the Wind Symphony at the Three Rivers Young Peoples Orchestra. Rob attended West Virginia University as a Provost Fellow, earning a Doctor of Musical Arts degree in 2026. He holds a Master of Music degree in Electronic Composition from Duquesne University in Pittsburgh, PA, and a Bachelor of Music degree in Music Education from The Dana School of Music in Youngstown, OH.

The state legislature is considering increasing funding for the La GATOR private school scholarship, which puts public funds towards private school education. The Advocate's Patrick Wall tells us more about the proposal and which students would be served by this initiative. The public dispute between Pope Leo XIV and President Donald Trump has escalated sharply in recent weeks. The feud — over global conflicts — has been on the minds of many Catholics across the U.S., including in Louisiana, where more than a quarter of people in the state identify as Catholic.Trump also won the state in the past three presidential elections.WWNO and WRKF's Morning Edition producer Mel Bridges spoke to residents about that dichotomy. Music education has always played an essential role in Louisiana schools, but it's not just marching bands that get students excited. LSU professor David Dockan is beginning the “modern band” movement, meant to teach music in the model of a rock band: learning about multi-instrumentalism, collaboration and technology.  Dockan, who was recently named to the Yamaha Music USA 40 Under 40 Music Educators, is an assistant professor of music education at the LSU School of Music. He joins us for more on rock band music education. Today's episode of Louisiana Considered was hosted by Adam Vos. Our managing producer is Alana Schreiber. We get production support from Garrett Pittman and our assistant producer, Aubry Procell.--You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, the NPR App and wherever you get your podcasts. Louisiana Considered wants to hear from you!Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

You've never heard Kid A like THIS. Jazz musicians Adam Maness and Peter Martin break down Radiohead's 2000 art rock MASTERPIECE track-by-track to uncover what's really happening in the music that makes this album so incredible. Why do we love Radiohead's Kid A so much? Watch to find out.PLUS - Jazz musicians play Radiohead's "Everything In Its Right Place". One shot, one take, no AI. FULL video: https://youtu.be/c5w9BHKe0rc-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/yhi-------------------------------About You'll Hear It:In this popular music series, Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Hidden artifacts from the albums we love:https://youllhearit.com/newsletter-------------------------------Chapters Legend:

Ahmad Baset Azizi is an Afghan-born American trumpeter whose journey is a remarkable testament to resilience and courage. Fleeing Afghanistan to escape the Taliban's ban on Western music, he pursued his musical dreams, achieving three degrees from the University of Kansas. Baset's story embodies not just his passion for music but also a deep commitment to helping others, aspiring to bridge cultures through his experiences. In this conversation, Baset shares his early life in Afghanistan, his connection to the trumpet, and the challenges he faced while pursuing his education in the U.S. He also reflects on the struggles of refugees today, the meaningful connections he's fostered, and his aspirations to make a difference through music and public service. As Baset movingly states, "If I only did things for myself and died today, that would be the end of me. But if I helped someone, and they could help the next person, I would live on through those actions."

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills CommunitySummaryDr. Bob Lawrence discusses the challenges of modern music education, emphasizing the importance of structured, foundational practice in jazz piano. He guides listeners through a detailed analysis of Gershwin's 'I Got Rhythm,' highlighting key concepts in harmony, melody, and rhythm, and shares effective study strategies.KeywordsJazz Piano, Music Education, Harmonic Analysis, 'I Got Rhythm', Practice Strategies, Music Theory, Improvisation, Jazz StandardsKey  TopicsChallenges of modern music educationImportance of foundational skills in jazzHarmonic analysis of 'I Got Rhythm'Practice strategies for jazz musiciansListening skills and musical understandingTitlesMastering Jazz Fundamentals: The 'I Got Rhythm' ApproachThe Essential Elements of Jazz: Harmony, Melody, RhythmSound Bites"Music at its core is not complex.""Listening is a skill that must be practiced.""Listen in two stages: macro and micro."Support the show

On this episode of The Bandwich Tapes, I sit down with bassist Chris Tordini for a thoughtful conversation about what it really looks like to build a sustainable life in music. Chris has quietly become one of the most respected bassists on the scene, known for his deep musicality, versatility, and the kind of collaborative spirit that keeps musicians coming back to work with him.We talk about his current role holding down a full-time Broadway chair with Hadestown, and how that kind of musical stability fits into a career that has largely been built around creative projects and collaboration. Chris shares what it's like stepping into that world—where consistency, preparation, and reliability are everything—and how it contrasts with the improvisational spaces he often inhabits as a jazz and creative musician.Along the way, we trace Chris's musical path—from early choir singing and piano lessons to discovering both electric and upright bass. His story is a great reminder that a meaningful career in music isn't always about chasing the spotlight. Often it's about serving the music, supporting the composer's vision, and learning to leave ego at the door.We also spend time talking about Chris's long-standing musical partnership with Becca Stevens. Their collaboration spans many years and projects, and hearing Chris reflect on how that band identity developed—through trust, chemistry, discipline, and shared musical values—is one of the most rewarding parts of this conversation.Key TakeawaysA sustainable music career often balances art and stability — work like Broadway can provide a foundation for creative projects.Serving the music matters more than serving the ego — great collaborators listen first.Versatility is essential — Chris's path from choir and piano to electric and upright bass shaped a wide-ranging career.Preparation and reliability keep musicians working — professionalism is as important as talent.Long-term collaborations deepen the music — partnerships like Chris's work with Becca Stevens grow stronger over time.Consistency builds reputation — careers are often built quietly through trust and dependability.Listening is the bassist's superpower — great bass playing starts with supporting the musical moment.Music from the EpisodeImperfect Animals (Becca Stevens)The Surge (Angelika Niescier)Transient Beings (Sebastiane Noelle)Attention Flaws (Chris Speed Trio)About the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

In this episode of The Rural Voice, Dr. Christopher Silver, Dr. Melissa Sadorf, and Dr. Bill Chapman welcome Dr. Daniel Johnson, Professor of Music and Music Education at the University of North Carolina Wilmington, where he coordinates the graduate studies program in music education. Drawing on more than 30 years of experience teaching across the K–16 spectrum in public, independent, and community-based settings, Johnson brings both scholarly depth and practical insight to a conversation focused on rural education. A graduate of the New England Conservatory of Music, the University of Arizona, and Emory University, his work spans rural music education, interdisciplinary arts education, and teacher professional development. An internationally recognized authority on classroom music instruction and assessment, he has presented widely to organizations such as the National Association for Music Education, the International Society for Music Education, and the College Music Society. He is also the editor of the new two-volume publication, Music Education in Rural America, as well as other works such as Holistic Musical Thinking and Musical Explorations: Fundamentals Through Experience. The episode begins with Johnson reflecting on his early teaching experiences in rural Vermont, New Hampshire, and Massachusetts, where he developed a lasting appreciation for the importance of community connection, local context, and the role of music as a vehicle for human engagement in small-town schools. These formative experiences directly inform his current work, including his latest project, a two-volume book developed in collaboration with 20 rural teachers and teacher-educators from across the country. Designed as both a policy-oriented and practice-oriented resource, the project represents one of the first comprehensive efforts to center rural music education as a distinct and valuable area of study. The conversation then turns to key themes emerging from this work, including a critique of “urban normativity,” or the assumption that urban-centered models define educational quality. Johnson argues that such assumptions can obscure the strengths of rural schools and constrain how success is understood. Instead, he advances an asset-based framework that emphasizes what rural educators and communities already do well, encouraging a shift away from deficit-oriented thinking. Throughout the episode, the group explores the realities of rural music teaching, including the demands of serving as a generalist across grade levels and content areas, as well as the professional isolation that can accompany these roles. At the same time, Johnson highlights the unique opportunities rural contexts offer, including programmatic flexibility, sustained relationships with students, and a central role in fostering community identity and engagement. The discussion also addresses interdisciplinary arts integration, emphasizing how music can be meaningfully connected to other subject areas through shared conceptual frameworks rather than being treated as a supplementary or “special” subject. The episode concludes with practical implications for educators, school leaders, and policymakers, underscoring the importance of supporting music teachers, valuing locally grounded approaches, and creating space for innovation that reflects the realities of rural communities. Overall, this conversation offers a clear and applied perspective on how music education can serve as both a pedagogical tool and a community-building force, while challenging dominant assumptions about what constitutes quality education in rural settings.

Middle Ground with JLE L.L.C. "Where We Treat You Like Family" on MIDDLE GROUND WITH JLE NETWORK welcomes Motivator, Musician, DJ, Teacher, Entrepreneur, Violinist, & Full Engagement Experience Owner/Founder Rodney Lamar Page as he shares his journey from Music Education to an in demand Event Performer.

Podcast PacketsIllustrationsLead SheetsForumsJazz Piano Skills CommunitySummaryThis episode explores the art of solo jazz piano, focusing on harmonic and melodic analysis, improvisation, and practical approaches to playing solo. Dr. Bob Lawrence shares structured methods to develop mastery, emphasizing understanding music fundamentals and applying them creatively.KeywordsJazz Piano, Solo Piano, Harmonic Analysis, Improvisation, Music Education, Jazz Techniques, Practice StrategiesKey TopicsStructured educational process in jazz pianoHarmonic and melodic analysisImprovisation development and motifsSolo piano approaches and harmonic motionTakeawaysMastery is built on structure, not just information.Focus on understanding music fundamentals deeply.Use harmonic neighbors and half-step approaches for motion.Practice with intention and clarity, not complexity.TitlesMastering Solo Jazz Piano: 4 Essential ApproachesThe Art of Solo Jazz Piano with Dr. Bob LawrenceSound Bites"Information alone is not mastery.""Master less, do better.""Practice with intention, not complexity."Support the show

Thelonious Monk Plays Duke Ellington: The musicians on this album were already legends when it came out in 1955. Each of them completely reinvented how people play their instruments. Drummer Kenny Clarke: the originator of so much of modern drumming language. Bass player Oscar Pettiford: possibly the greatest bass soloist in the history of the instrument. And then there's Monk, one of the singular greatest pianists of all time. And here they are playing the music of Duke Ellington: an untouchable legend. The result is an album that brought Monk's genius to the masses. And it may just be one of his best. In this LIVE episode of You'll Hear It, jazz pianists Adam Maness and Peter Martin break down this remarkable moment in music history, playing Monk's interpretations next to Duke's originals. If you've never really got Monk, this album is your gateway into his music. And if you're already a fan, you'll never hear this album the same way again.-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs: https://openstudiojazz.com/yhi-------------------------------About You'll Hear It:In this popular music series Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Sign up for the You'll Read It newsletter for little known stories about the artists you love: https://youllhearit.com/newsletter -------------------------------0:00 - "It Don't Mean a Thing (If It Ain't Got That Swing)"2:07 - You'll Hear It Live at Jazz at Lincoln Center6:02 - The Story of Thelonious Monk8:24 - First Official Recording: Coleman Hawkins Quartet (1944)10:21 - Keepnews Big Idea to Bring Monk to the Masses14:46 - "It Don't Mean a Thing": Duke's original vs. Monk's version20:40 - Bassist Oscar Pettiford's Sophisticated Musical Language24:10 - Louis Armstrong & Ella Fitzgerald's Version27:38 - "Sophisticated Lady"31:44 - "I Got It Bad and That Ain't Good" 35:08 - Bet You Can't Guess This Singer39:10 - "Black and Tan Fantasy": Duke (1927) vs. Monk42:30 - Oscar Pettiford Plays "Basso Profundo" with Duke Ellington45:00 - "Tricotism" - Oscar Pettiford 45:55 - Kenny Clarke deep dive47:48 - "Mood Indigo" 49:50 - "I Let a Song Go Out of My Heart": Duke's original vs. Monk's version52:30 - "Solitude"55:00 - "Caravan": Duke's original vs. Monk's version 58:35 - Categories: Desert Island, Apex Moments, Bespoke Playlists, Quibble Bits59:50 - Drummer Kenny Clarke's Brush Master Class1:04:00 - Is This Better than Kind of Blue?1:04:55 - What to Listen to Next

D'Angelo's Brown Sugar sounded like nothing else in 1995. R&B was slick, polished, and built for clubs. D'Angelo later said the "deeper consciousness" had gone out of contemporary music. Questlove later wrote that contemporary R&B had become "trite" and "soulless" ... and then there was Brown Sugar, D'Angelo's debut album. It sounded more like the '70s than the '90s. More like church than the club. On this episode of You'll Hear It, jazz pianists Adam Maness and Peter Martin go track by track through D'Angelo's debut, pulling apart the vocal stems, naming the jazz chords underneath the soul, and tracing every influence back to its root. They also bring in the archival recordings you might have missed: a live set from the Jazz Café London that gives the album a whole second life, and a J Dilla remix.-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs: https://openstudiojazz.com/yhi-------------------------------Related You'll Hear It episodes:Voodoo: https://youtu.be/AYqmFNF2s0U-------------------------------About You'll Hear It:In this popular music series Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Sign up for the You'll Read It newsletter for little known stories about the artists you love: https://youllhearit.com/newsletter -------------------------------00:00 - D'Angelo's Brown Sugar01:11 - Let's Go Back to 1995 05:35 - "Brown Sugar"08:30 - Engineer Bob Power's Influence 09:13 - "Brown Sugar" Felt Different From Anything Else in 199516:57 - D'Angelo on Why He Picked Bob Power19:30 - "Alright" 28:57 - Isolated Vocal Stems on "Alright"31:27 - "Jones in My Bones" 33:20 - The Little-Known D'Angelo Album36:25 - "Me & Those Dreamin' Eyes of Mine"40:30 - The J Dilla Remix (1997)44:18 - "Shit, Damn, Motherfucker" 46:30 - Live at the Jazz Cafe - "Shit, Damn, Motherfucker"48:10 - "Smooth" 50:20 - D'Angelo Could Have Been a Jazz Pianist53:04 - D'Angelo and Peter's Ellis Marsalis Connection56:21 - "Cruisin'" 59:25 - Ad Break: Learn To Play Like D'Angelo1:00:37 - "When We Get By"1:04:44 - "We Were Just Mocking Dilla": Raphael Saadiq on How "Lady" Was Made1:06:20 - "Lady"1:11:02 - "Higher"1:15:28 - "Brown Sugar" Hits Different 30 Years Later1:17:00 - Our Favorite Moments1:23:45 - Quibble Bits, Snob-O-Meter & Accoutrements1:27:26 - Up Next + Listener Reviews1:29:45 - Open Studio Plays "Lady"

“This is a way to understand how the voice operates in all its parts – perceptually, physiologically, and acoustically -- so that we can learn to stop doing things that are unnecessary for a particular outcome. A lot of people get worried when they hear anything talking about muscles or working the voice or effort, that we're talking about doing it all all the time. Why do we do what we do in this profession, and how can we utilize some of this science- and evidence-based knowledge to help ourselves not eliminate the things we say but inform them?”Dr. Brian J. Winnie is the Director of Choral Studies at Western Illinois University, where he supervises the graduate choral conducting program, teaches undergraduate and graduate courses in choral conducting and choral literature, and conducts the Chamber Singers and the flagship ensemble, the University Singers. He previously served as the Director of Choral Activities & Voice and was chair of the music department at Southwestern College in Winfield, KS. Prior to his tenure in higher education, Dr. Winnie was the Artistic Director of ChoralSounds NW, a community choir based in Burien, WA, and he taught for seven years in public education at both the middle and high school levels.An active festival conductor and adjudicator, Dr. Winnie has been artist-in-residence in Ekaterinburg, Russia and has worked with festival choirs throughout the United States. He is a frequent guest lecturer/workshop leader and has presented on "Contemporary Vocal Technique in the Choral Rehearsal," "Redefining the Choral Warm-Up," and "21st-Century Choral Pedagogy." Dr. Winnie has published articles in the Voice and Speech Review, Choral Journal, Voice Foundation Newsletter, International Choral Bulletin, and ChorTeach, and he is the editor and contributing author to The Choral Conductor's Companion and The Voice Teacher's Cookbook: Creative Recipes for Teachers of Singing both published by Meredith Music Publications and distributed by GIA Publications.Choirs under his direction have performed at state conventions and received accolades in both international and national competitions. A native of Pennsylvania, Dr. Winnie received his B.S. in Music Education from the Pennsylvania State University, Master of Music Education from the University of Illinois Urbana-Champaign, and his Doctor of Musical Arts in Choral Conducting from the University of Washington. He is a certified Estill Master Trainer, Mentor, & Course Instructor. To get in touch with Brian, you can visit his website or With One Voice's website or find him on Facebook (@bwinnie2).Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Fischer, Anke www.deutschlandfunkkultur.de, Fazit

How can music change people's lives? In Music Refuge: Living Asylum Through Music (Oxford UP, Press 2025) Ailbhe Kenny, an Associate Professor in Music Education at Mary Immaculate College Ireland, explores music programmes for, with and by people seeking asylum in Ireland and Germany. In doing so, the book offers new understandings of the use, practice and meaning of music in people's lives, whether as musicians or as listeners. Exploring a range of settings for music, from listening on phones and shared music making experiences, to parties and performances, the book demonstrates music's profound impact. Filled with stories of refugees' experiences, alongside rich and deep analysis, the book is essential reading across the arts and social sciences, as well as for anyone interested in music's place in promoting our shared and common humanity. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How can music change people's lives? In Music Refuge: Living Asylum Through Music (Oxford UP, Press 2025) Ailbhe Kenny, an Associate Professor in Music Education at Mary Immaculate College Ireland, explores music programmes for, with and by people seeking asylum in Ireland and Germany. In doing so, the book offers new understandings of the use, practice and meaning of music in people's lives, whether as musicians or as listeners. Exploring a range of settings for music, from listening on phones and shared music making experiences, to parties and performances, the book demonstrates music's profound impact. Filled with stories of refugees' experiences, alongside rich and deep analysis, the book is essential reading across the arts and social sciences, as well as for anyone interested in music's place in promoting our shared and common humanity. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

How can music change people's lives? In Music Refuge: Living Asylum Through Music (Oxford UP, Press 2025) Ailbhe Kenny, an Associate Professor in Music Education at Mary Immaculate College Ireland, explores music programmes for, with and by people seeking asylum in Ireland and Germany. In doing so, the book offers new understandings of the use, practice and meaning of music in people's lives, whether as musicians or as listeners. Exploring a range of settings for music, from listening on phones and shared music making experiences, to parties and performances, the book demonstrates music's profound impact. Filled with stories of refugees' experiences, alongside rich and deep analysis, the book is essential reading across the arts and social sciences, as well as for anyone interested in music's place in promoting our shared and common humanity. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

How can music change people's lives? In Music Refuge: Living Asylum Through Music (Oxford UP, Press 2025) Ailbhe Kenny, an Associate Professor in Music Education at Mary Immaculate College Ireland, explores music programmes for, with and by people seeking asylum in Ireland and Germany. In doing so, the book offers new understandings of the use, practice and meaning of music in people's lives, whether as musicians or as listeners. Exploring a range of settings for music, from listening on phones and shared music making experiences, to parties and performances, the book demonstrates music's profound impact. Filled with stories of refugees' experiences, alongside rich and deep analysis, the book is essential reading across the arts and social sciences, as well as for anyone interested in music's place in promoting our shared and common humanity. Learn more about your ad choices. Visit megaphone.fm/adchoices

How can music change people's lives? In Music Refuge: Living Asylum Through Music (Oxford UP, Press 2025) Ailbhe Kenny, an Associate Professor in Music Education at Mary Immaculate College Ireland, explores music programmes for, with and by people seeking asylum in Ireland and Germany. In doing so, the book offers new understandings of the use, practice and meaning of music in people's lives, whether as musicians or as listeners. Exploring a range of settings for music, from listening on phones and shared music making experiences, to parties and performances, the book demonstrates music's profound impact. Filled with stories of refugees' experiences, alongside rich and deep analysis, the book is essential reading across the arts and social sciences, as well as for anyone interested in music's place in promoting our shared and common humanity. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

From Clifton Chenier to Buckwheat Zydeco, Creole Zydeco music has been a part of the cultural definition of Louisiana for generations. Like many young people, 18 yr old artist Zydeco Izreal is doing what he can to preserve our history and educate both young and old about the music and culture of our great state. For the last year, he has been bringing Zydeco Jams to south Louisiana and has started a new Jam program with NuNu Arts and Culture Collective in Arnaudville.  

Podcast PacketsIllustrationsLead SheetsForumsJazz Piano Skills CommunityKeywordsJazz Piano, Solo Piano, Music Education, Harmonization, Jazz Skills, Improvisation, Melody, Chord Progressions, Music Theory, Jazz TechniquesSummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence discusses the structured approach to learning jazz piano, emphasizing the importance of a systematic educational process. He introduces the seven facts of music, explores various solo piano approaches, and provides insights into harmonizing melodies. The episode highlights the significance of clarity and simplicity in mastering jazz skills, and encourages listeners to focus on foundational techniques before advancing to more complex styles.TakeawaysJazz Piano Skills focuses on a structured educational process.Mastery in jazz is built on a solid foundation, not novelty.Understanding harmony is crucial for improvisation and melody.Listening to various artists is essential for developing skills.Simplicity in harmonization accelerates mastery.Clarity in musical concepts is vital for effective learning.Harmonizing melodies requires a strong grasp of chord scale relationships.The stair-step approach aids in developing right-hand harmonization skills.More complex voicings should come after mastering simpler ones.Building a solid foundation is key to becoming a proficient jazz musician.TitlesMastering Jazz Piano: A Structured ApproachThe Seven Facts of Music ExplainedSound Bites"Simplicity accelerates mastery.""Listening leads to imitation.""More is not always better."Support the show

The song “Hey Baby” was performed in University of Montana classrooms 40 times through “Singing Valentines” to help fundraise for the National Association for Music Education. Students played instruments and sang to deliver love to students and professors for Valentine's Day.   Episode by Grace Golbach / Montana Kaimin   Full transcripts of this episode and all others are available online at www.montanakaimin.com/the_kaimin_cast/ Questions? Comments? Email us at editor@montanakaimin.com A podcast from the Montana Kaimin, the University of Montana's independent, student-run newspaper.

Host Jeremy C. Park interviews Jenny Davis, Executive Director of the Memphis Youth Symphony Program (MYSP), who shares her personal connection to the program as a former participant, and how the nonprofit organization serves as the premiere youth symphony program in the Mid-South and celebrates musical development in a fun, inclusive, and collaborative community. During the interview, Jenny details the organization's history, structure, and impact, highlighting its inception in 1966 under the Memphis Symphony Orchestra to its growth and evolution becoming an independent nonprofit in 2006. She explains the MYSP's various ensembles, ranging from beginner to advanced levels, and emphasizes its focus on musical education, teamwork, and character development. She discusses the organization's operations, including rehearsals, concerts, and collaborations with professional musicians. Jenny also outlines ways the community can support MYSP through financial contributions, volunteering, and spreading awareness about the program.SummaryThe Memphis Youth Symphony Program (MYSP) is building on a 60-year legacy of music education and celebrating its 20th anniversary in 2026 as an independent nonprofit. The program serves over 300 youth from more than 80 different schools, offering ensembles ranging from beginner to advanced levels, including two bands, three string orchestras, and two full orchestras. MYSP's administrative team includes Jenny Davis, who teaches flute at Rhodes College and performs with Blue Shift Ensemble, along with Courtney Fly as Operations Manager and Conductors who specialize in working with young musicians.Music Education's Impact on Students - During the interview, Jenny discusses the benefits of music education and mentorship through MYSP, highlighting how students develop skills, character, and confidence through music. Jenny emphasizes the importance of teamwork, collaboration, and personal growth in musical performances, particularly in orchestra settings where students learn to take ownership of their parts and contribute to the overall piece. She notes that while musical progress is visible and concrete, these skills transfer to broader life experiences, including perseverance through challenges and the development of empathy and leadership qualities.Youth Music Program Structure Overview - Jenny details the structure of their programs, starting with how they conduct auditions in May for ensemble placement and begin rehearsals in late August at the University of Memphis. The program holds four public concerts annually and organizes chamber music performances at community events, with rehearsals taking place every Sunday. The programs aim to develop character and leadership skills alongside musical abilities, with Conductors assigning students to ensembles based on their skill level.Memphis Youth Symphony Support Opportunities - Jenny discusses ways the community can support the Memphis Youth Symphony Program (MYSP). They highlight upcoming concerts, including the Spring Concert on March 8, 2026, along with the importance of financial contributions and volunteerism. Jenny explains that students of all skill levels, including beginners, can participate as long as they can read music, and she stresses that the program is not just for future professionals but for anyone passionate about playing music. She encourages interested individuals to visit MYSPMusic.org or follow their social media accounts for more information.Visit https://www.myspmusic.org to learn more about Memphis Youth Symphony Program.

Is Steely Dan's Gaucho more perfect than Aja? Maybe even ... too perfect? Two years in the studio. The greatest session musicians alive asked to play take after take after take until it was exactly right. And sometimes that STILL wasn't enough for Donald Fagen and Walter Becker.On today's episode of You'll Hear It, jazz pianists Peter Martin and Adam Maness are breaking down the 1980 album track by track: the jazz harmony hiding inside those smooth grooves, the abstract poetry of the lyrics, and the insane stories behind how this thing got made. Including the $150,000 drum machine invented specifically for this record, the interview quote that cost them a third of a song, and the drum track that took 85 takes and 35 tape edits to piece together.And after all that, we didn't get another Steely Dan record for 20 years.Was it worth it?Read about the simple mistake that would haunt Steely Dan for 44 years in this week's edition of the You'll Read It newsletter: https://youllhearit.com/newsletterWatch our FULL breakdown of Steely Dan's Aja: https://youtu.be/G10mYohR6T400:00 - Steely Dan's Gaucho: A Monument to Perfect01:15 - "Babylon Sisters"11:00 - What Makes Steely Dan Genius13:35 - The Precision of Purdie's Drums on Babylon Sisters16:10 - Abstract Lyrics19:35 - "Hey Nineteen"22:25 - Pristine Rhodes25:25 - Isolated Vocal Stems on "Hey Nineteen"33:00 - "Glamour Profession"38:55 - The Mingus Influence40:10 - "Gaucho"43:20 - The Keith Jarrett Lawsuit48:50 - Gaucho Chorus Deep Dive54:10 - "Time Out Of Mind"57:50 - Monument to Perfectionism (Lead Boots)1:01:35 - Perfectionism and Jazz1:05:05 - Is Gaucho More Perfect Than Aja?1:06:25 - "My Rival"1:10:40 - Bowie / Steely Dan Side-By-Side1:14:00 - Too Fussy?1:19:05 - Open Studio Plays "Glamour Profession"

In this episode of the Crazy Wisdom podcast, host Stewart Alsop interviews John von Seggern, founder of Future Proof Music School, about the intersection of music education, technology, and artificial intelligence. They explore how musicians can develop timeless skills in an era of generative AI, the evolution of music production from classical notation to digital audio workstations like Ableton Live, and how AI is being used on the education side rather than for creation. The conversation covers music theory fundamentals, the development of instruments and recording technology throughout history, complex production techniques like sidechain compression, and the future of creative work in an AI-assisted world. John also discusses his development of Cadence, an AI voice tutor integrated with Ableton Live to help students learn music production. For those interested in learning more about Future Proof Music School or becoming a beta tester for the AI voice tutor, visit futureproofmusicschool.com.Timestamps00:00 Future Proofing Musicians in a Changing Landscape03:07 The Role of AI in Music Education05:36 Generative AI: A Tool for Musicians?08:36 The Evolution of Music Creation and Technology11:30 The Impact of Recording Technology on Music14:31 The Fragmentation of Culture and Music17:19 Exploring Music History and Theory20:13 The Relationship Between Music and Memory23:07 The Future of Music Creation and AI26:17 The Importance of Live Music Experiences28:49 Navigating the New Music Landscape31:47 The Role of AI in Finding New Music34:48 The Creative Process in Music Production37:33 The Future of Music Theory and Composition40:10 The Search for Unique Artistic Voices43:18 The Intersection of Music and Technology46:10 Cultural Shifts in the Music Industry49:09 Finding Quality in a Sea of ContentKey Insights1. Future-proofing musicians means teaching evergreen techniques while adapting to AI realities. John von Seggern founded Future Proof Music School to address both sides of music education in the AI era. Students learn timeless production skills that won't become obsolete as technology evolves, while simultaneously exploring meaningful creative goals in a world where generative AI exists. The school uses AI on the education side to help students learn, but students themselves aren't particularly interested in using generative AI for actual music creation, preferring to maintain their creative fingerprint on their work.2. The 12-note Western music system emerged from mathematical relationships discovered by Pythagoras and enabled collaborative music-making. Pythagoras demonstrated that pitch relates to vibrating string lengths, establishing mathematical ratios for musical intervals. This system allowed Western classical music to flourish because it could be notated and taught consistently, enabling large groups to play together. However, the piano is never perfectly in tune due to necessary compromises in the tuning system. By the 1920s, composers had explored most harmonic possibilities within this framework, leading to new directions in musical innovation.3. Recording technology fundamentally transformed music by making the studio itself the primary instrument. The invention of audio recording in the early-to-mid 20th century shifted music from purely instrumental composition to sound-based creation. This enabled entirely new genres like electronic dance music and hip-hop, which couldn't exist without technologies like synthesizers and samplers. Modern digital audio workstations like Ableton Live allow producers to have unlimited tracks and manipulate sounds in infinite ways, making any imaginable sound possible and moving innovation from hardware to software.4. Generative AI will likely replace generic music production but not visionary artists. John distinguishes between functional music (background music for films, work, or bars) and music where audiences deeply connect with the artist's vision. AI excels at generating functional music cheaply, which will benefit indie filmmakers and similar creators. However, artists with strong creative visions who audiences follow and identify with won't be replaced. The creative fingerprint and personal statement of important artists will remain valuable regardless of the tools they use, just as DJs created art through curation rather than original production.5. Copyright restrictions are limiting generative music AI's quality compared to other AI domains. Unlike books and visual art, recorded music copyrights are concentrated among a few companies that defend them aggressively. This prevents AI music models from training on the best music in each genre, resulting in lower-quality outputs. Some developers claim their private models trained on copyrighted music sound better than commercial offerings, but legal constraints prevent widespread access. This situation differs significantly from other creative domains where training data is more accessible.6. Modern music production involves complex technical skills like sidechain compression and multi-track mixing. Today's electronic music producers work with potentially hundreds of tracks, each with sophisticated processing. Techniques like sidechain compression allow certain elements (like kick drums) to dynamically reduce the volume of other elements (like bass), ensuring clarity in the final mix. Future Proof Music School teaches students these complex production techniques, with some aspiring producers creating incredibly detailed compositions with intricate effects chains and interdependent track relationships.7. Culture is fragmenting into micro-trends, making discovery rather than creation the primary challenge. John observes that while the era of mass media created mega-stars like The Beatles and Elvis, today's landscape features both enormous stars (like Taylor Swift) and an extremely long tail of creators making niche content. AI will make it easier for more people to create quality content, particularly in fields like independent filmmaking, but the real problem is discovery. Current algorithmic recommendations don't effectively surface hidden gems, suggesting a future where personal AI agents might better curate content based on individual preferences rather than platform-driven engagement metrics.

I got to sit down with Alison Prestwood, an A-list bassist, singer, and bandleader whose playing has been anchoring records and stages for decades, and it felt like catching up with someone I should've known for years.We talked about her leap from Atlanta to Nashville in the early '90s, what it's like leaving steady work to chase the next chapter, and how those five-to-six-nights-a-week club years built the kind of chops and confidence that translate anywhere. Alison shares the winding path that led her into Nashville's session world (including a wild early moment overdubbing on a Ronnie Milsap master), and how hearing players like Glenn Worf and Michael Rhodes up close pushed her into that “forever climbing” mindset that great musicians live in.She also goes deep on her musical north stars: Paul McCartney, James Jamerson, Willie Weeks, Lee Sklar, and especially Carol Kaye, including an incredible story about spending a full weekend at Carol's house working on pick technique and soaking up stories and wisdom.From there, we get into the nuts and bolts: how Alison thinks about the difference between R&B feel vs. country feel, note length, subdivisions, and the “rules” you learn in Nashville, plus when to break them. She's also launching a brand-new Merle Haggard tribute band called We Are the Merle.We also talk about her time touring with Peter Frampton, how that gig came together, what it's like playing major stages (including the Rock & Roll Hall of Fame experience), and the weight and gratitude of watching a legend keep doing the work.And because Alison is also a fellow podcaster, we dig into her show “Hey, Good For You”, a funny, honest, and sharp look at life as a working bassist (and the absurd things people say to women musicians).It's part career map, part hang, part deep musicianship chat, and by the end, we basically agree this needs to be part one.Music from the Episode:Nadine (Is It You) (George Benson)Turning Waylon Down (Alison Prestwood)Austin (Blake Shelton)Beautiful Man (Alison Prestwood & Rodney Crowell)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Jasmine Choi, praised as “The Goddess of Flute” by the Korea Times, has made a remarkable impact on the classical music world with her extraordinary talent and innovative approach to the flute. From her early days in a family steeped in music to her groundbreaking role as the first Asian woman to serve as Principal Flute of the Vienna Symphony, Jasmine's career has been marked by significant achievements. She has performed with prestigious ensembles worldwide and is celebrated for her acclaimed recordings and strong mentorship of young musicians.In this conversation, we explore Jasmine's journey from a young girl in Korea to a global soloist, her experiences at the Curtis Institute of Music and Juilliard, and the challenges she faced in pursuing her passion. Jasmine shares insights into her unique teaching style, her approach to social media, and her deep commitment to making classical music accessible to a broader audience. With stories that resonate deeply, her journey offers inspiration and valuable lessons for anyone pursuing their dreams in the arts.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!

“Be curious, not judgmental.” In this episode, Nick speaks with Patrick Boylan about the importance of curiosity in understanding others and navigating judgment. They discuss how asking questions can lead to empathy and a broader perspective, allowing for a more nuanced view of people’s beliefs and actions, all while highlighting the balance between judgment and understanding, advocating for a thoughtful approach to interpersonal relationships. What to listen for: Curiosity leads to empathy and understanding How we learn and understand is different from each other People's beliefs aren't inherently wrong; they're different. Asking questions helps us bridge the gap between our understanding and their beliefs. Life can be painful and confusing; let's not add to the chaos “At the end of the day, it’s curiosity. Why do you think that? That’s the biggest question that anybody can ask.” Being open to external information only allows us to consider it When we're curious, we're seeking to understand Intention is a major part of curiosity to better understand others and our surroundings “We need to come together as a species and tackle our world’s issues together.” We aren't meant to do life alone. Community is a huge part of this journey we're on There's hope in this that we, as a race, can come together for a common goal, our overall health and survival Community is more important than we realize About Patrick Boylan Patrick Boylan is a skilled multi-instrumentalist and co-founder of MuseFlow, a groundbreaking music EdTech platform often called “The Duolingo of Music Education.” Frustrated by the limitations of traditional music education, Patrick began exploring self-directed practice, which reignited his passion for music and led him to focus on sight reading as an engaging learning tool. MuseFlow teaches bite-sized skills through sight reading, allowing students to master new concepts efficiently and enjoyably by focusing on reading and playing music at first sight, then applying those skills to songs that get unlocked. Patrick loves to share his insights on learning and EdTech, inspiring parents, teachers, and self-learners to help students and themselves achieve flow state through MuseFlow's unique approach. https://museflow.ai – Use promo code **”MINDSET50″** to get 50% off any subscription you’d like, FOR LIFE! https://www.linkedin.com/in/patrick-boylan-6b133248/ https://www.instagram.com/museflow.ai/ Resources: Check out other episodes about curiosity The Magical Journey of Discipline and Curiosity With Wayne Faulkner Trauma, Curiosity, Core Beliefs And Conscious Recovery With TJ Woodward Interested in starting your own podcast or need help with one you already have? Send Nick an email or schedule a time to discuss your podcast today! nick@themindsetandselfmasteryshow.com Thank you for listening! Please subscribe on iTunes and give us a 5-Star review! https://podcasts.apple.com/us/podcast/the-mindset-and-self-mastery-show/id1604262089 Watch Clips and highlights: https://www.youtube.com/channel/UCk1tCM7KTe3hrq_-UAa6GHA Guest Inquiries right here: podcasts@themindsetandselfmasteryshow.com Your Friends at “The Mindset & Self-Mastery Show” Click Here To View The Episode Transcript 00:00The one thing in my opinion that would turn the tides of humanity and make people more empathetic and connected to every person on this earth, that we need to come together as a species and tackle our world’s issues together. 00:23Hello and welcome to the Mindset and Self-Mastery Show. I’m your host, Nick McGowan. Today on the show we have Patrick Boylan. Patrick, how you doing, man? Doing great. How you doing, man? I’m good. I’m excited you’re here. I think I say that a lot in the intros of shows because I’m having conversation with somebody and there are certain times where like lead time to get onto the show can be maybe a month, maybe two months. Then there are people like you, my friend, who… 00:48I joked earlier and was like, well, when you first sent your stuff in in 2009. Yeah, but it’s kind of what it felt like though, honestly. But some of those are the best. And truthfully, I’ve had two of you this week. I had one guy a couple of days ago who does drum circles and so much music. And he just disappeared at one point like two years ago and then came back. And I was like, yes, I was hoping you’d come back. So I’m glad that you’re here too. I want us to be able to touch on music, obviously, because of the business that you have and the thing that you’re doing. 01:18but I want us to be able to get into really how all of it has worked for you over the course of life and how it’s all shaped you to lead you to where you’re at today. Before we get there though, why don’t you get us started? Tell us what you do for a living and what’s one thing most people don’t know about you that’s maybe a little odd or bizarre? I’m the co-founder of a music education app called Museflow. We teach piano in a very different way. We’re expanding to all common instruments in the next couple of years. So it’s growing, people are loving it. 01:47and I’m super stoked about it. Something that’s weird or that most people don’t know about me, I have two tattoos. I’ve got one on my butt, on my left butt cheek, it’s called, it’s just a family emblem that my dad drew on all of our napkins for lunches and uh Christmas cards and stuff like that. It’s four bunnies on two hills overlooking a sunset, and it’s our family. It’s me and my dad and my mom and my sister. 02:14and our cats and our dogs and all that stuff. It’s a really cute little tableau thing, right? The other one is on my upper hip and I got it in college. I got it when I just decided that truth and honesty are going to be the most important things in my life, okay? And so I got a whistleblower. I got a guy blowing a whistle. Didn’t realize how phallic that was when I got it on my upper thigh, you know? 02:43So it’s a little weird, but like I didn’t recognize that at the moment. What I was going for was like truth and honesty, right? And then I just, got it. And then I started doing, just being blunt, being like kind of mean about it. And like, wasn’t thinking about tact and I wasn’t thinking about like what my friends would be hurt by or if they, I didn’t care. I was just like, truth and honesty. This is just so important to my life. And like, I was being brutal about it. 03:12And so one of my friends pulls me aside one day and he says, Pat, you got to stop this. You’re just being a jerk. You’re being an asshole about this. Like, yes, truth and honesty is important. Okay. But you got to blend it with everything else. All right. Sometimes tact and holding your tongue is the right call. Cause I got to tell you, you’re ruining friendships right now. I know a couple of people that have talked about this already and they’re saying you’re just being an asshole and they don’t want to be friends with you anymore. So you got to fix yourself or 03:42you’re going to start losing friends. And I really trusted his opinion. He was one of my best friends. And so I listened to him and I pulled it back a bit. I pulled it back. I find it really interesting how your friend will lovingly say a thing to you, but also that you trust your friend. You know, like they’re the people that, um, they feel like they trust somebody out of, uh, I guess, systemic approach. Well, my family system tells me I should trust my parents. 04:09or I should trust my brother and sister, or I should take whatever they say, kind of as gospel in a sense. People obviously like shit upon people with their dreams or whatever else, but it’s sometimes in those small things where it’s like, that person is upset that you’re being an asshole about a thing, but for you to be aware of you were being an asshole about it. Like if you didn’t feel you were, you probably wouldn’t have accepted it. You’d have been like, what do you mean? No, I’m just being a little bit of a boast or a little bit of this, but there was a hint of you back there was probably like, 04:38The power feels good. You know, you’re like, yes, this is wonderful. Two things there, right? Number one, this is a historical relationship. This guy has been one of my good friends for, you know, years. And I’ve been working with him in very close contact throughout many different creative projects. He was a, he’s a director and I’m an actor. And so we worked on like seven or eight shows up until that point. And so I’ve worked with him. 05:07deeply and very closely and I really appreciate his judgment and his kind of pulse on people. Yeah, you know and so both of those things like I trust the guy with my life and I’ll I’ll I’ll do whatever he wants when it comes to a show I know he has my best interest at heart and and that’s the biggest thing, you know number two I’ve always tried my best to take criticism with as much humility as possible and 05:37regardless of if it’s accurate or wrong or true to myself or untrue, it doesn’t matter. That’s still your opinion. And your opinion weighed against mine. It just depends on our relationship, but it also depends on how much I trust you and all of that stuff. But like, I will take any and all criticism and I will implement it or not implement it based on the weight that I give it. And if I believe, and I do weigh it against myself, but that being said, it’s one of those things that I… 06:06pride myself on. I pride myself on my ability to say, well, what do you think to everybody and anybody? And I don’t, doesn’t mean that I have to take it. That’s critical though. You’re two different entities, you know, and even within yourself to be able to say, well, I’m going to take that and you will accept that level of information because of the context. Like context is so important in everything. Everything. But also you can still get things from people like, uh, even if somebody 06:36walking down the street, they was like, Hey, stop being an asshole. You’re like, well, maybe I can take something from that. Am I being an asshole right now or am I not being an asshole right now? And you get to do something with it. There are, think a lot of times where we as people, and this is where the mindset and self mastery stuff comes into play, where we will take things like, Oh, who’s this random fucking person across the street yelling at me? Why are they yelling at me? And this reminds me of when I was a little kid getting yelled at and these things and that. 07:05If you take the approach of I wanna take on information and have it my little bucket and go, I don’t want this, I don’t want that, this is kinda cool. And like, okay, you get to do something with it. That’s a level of self-awareness that comes from being healthier, maybe just in that sect of your being. Because you’re like, this is what I’ve dedicated myself to. We also have gotten a little farther away from you have principles in place of trust and truth and. 07:33honesty and these things that are critical to your being where honestly man kind of makes sense where you’re like I’m putting my foot so far in the fucking ground it’s anchored in there and I think sometimes people will go through that almost like the people how they become evangelical about things like it can be easy to think about uh people getting a multi-level marketing company say drink the kool-aid and go ham somebody who just got into religion god forbid you talk to somebody who was vegan and or in CrossFit 08:02And all of that, you know what I mean? And it’s like, whoa, it’s like a stage that you can go through where you’re testing it out. You’re trying it out. There is still a little bit of that. I’m sure the power felt great because you’re like, man, I’ve been wanting to say these things for a few years and one more motherfucking thing. Yeah, it was free. It was a sense of freedom for sure. Like I don’t have to I don’t have to abide by any cultural norms of tact. You know, like it felt really great. But. 08:29Yeah, but then I just realized like, no, sorry, I was just being an asshole about it. was taking it to the nth degree and everything needs to be in balance with other things. You can say truth and honesty are your biggest tenants of life and you can strive for the absolute excellence of that, 100%. But you also have to keep all of these other things aligned as well while you’re doing that. Anything farther on the far ends of any sort of spectrum, whether that’s… 08:57on the left side or the far, know, whatever it may be, everything is a spectrum. And if you take it way too far and out of context in isolation, it can become toxic. It really can. One of the things I try to do on the show is have these conversations where we break up these big, big pieces, turn them much larger. Like we just explode them, but then also pull them back to smaller pieces without being like, here’s two or three things for you to take away for the week and just chill out these. 09:24But in all reality, there are certain pieces of that that even in the balance can be really difficult if there are other things that are off balance. If you are triggered by certain things that happened, you can then sometimes get stuck in those triggers. I joke with people on the show pretty fucking often at this point. The more self-aware you become, the more fucking self-aware you become. And the more crazy making it can be while you go through the healing of that stuff because you can’t not see those things. 09:53And think about what you deal with as an entrepreneur, as a business owner, somebody managing other people, managing yourself. You said you’re married. I don’t know if you have any children, but there’s like all these things. And sometimes people can say, but you don’t understand because boom, boom, boom, boom, boom. They make this major list. Other people will use that and say, yes, it’s because of these things that I have to do these other things. And therefore others will still go, 10:23but I then get to and it’s all our perspective with doing it. So your perspective came from something that happened years and years and years ago. That’s why you put your foot so far into the ground and almost into people’s asses about just truth and honesty. But when we sit back and think about that a little bit, let’s break that down. Like what, what is it about what you’ve gone through and what you’ve seen? Like, why do you actually care what other people think to be able to then put it your own context? It’s curiosity. 10:53For me, at the end of the day, it’s curiosity. Why do you think that? That’s the biggest question that anybody can ask. Cool, you believe that about me? Great, what about me makes you believe that? And it’s just curiosity over, and you say that you’re judgmental, like don’t get me wrong, I’m judgmental too. But a lot of my judgment comes from this place of like, well, okay, why would they believe something like that? 11:23And then it allows me to still empathize with them while still being judgmental and being like, well, you can still be wrong regardless of your history, you know, or you could be cruel or not thinking about something else when you probably should be thinking about something else. And you’re like in the weeds of something here. And you’re really thinking about the reason why the thing should be this is because of all of these other things. But then see, you forgot perspective, see the forest through the trees. And so if I can understand from where you’re where you’re coming from. 11:53If I get it, if I can get into that, be curious, not judgmental, right? That is something I always try to remind myself. And it is a motto that I like to live by, be curious, not judgmental. I try my best, granted judgment still comes, you know? Well, it’s also a fine line and judgment can have a negative connotation to it, where even judging something, you’re just judging it based on what you know, the information you have, et cetera. It’s what you then do with it. 12:21you know, if we can get real shitty with it. I know there are times where I get shitty, like it’s easy for me to talk about people driving on the road, because there are certain times you’re like, I don’t even know if you have a license. I don’t know. Are you driving from the passenger seat? Like what the fuck are you doing? But part of me is judging of like, is it safe for me to get past your dumb ass? Is it safe for me to do whatever? And I think there are things that happen within us that are almost mechanical that we’re unaware of. 12:50Even breathing. Like everybody knows that you’re breathing and then when you actually concentrate on your breathing, you’re like, oh, I’m concentrating on it. We don’t have to think about that. There are other things that happen that we don’t think about because subconscious is there just to keep us fucking safe. And something happened back in the day or back when we were a little kid or something like that. So for you growing up, were there experiences that you had where you were like, man, this is one of those experiences that like rocked my world and changed me. Like that was one of them where your friend was like, 13:19You’re being an asshole, other people are gonna leave you and stop. Somebody could have taken that, been like, yeah, my buddy Jimmy told me not to be a dick anymore and then everything was cool. And you took that as a critical moment where you’re like, oh, I should do something with it. Were there any others that really stand out? I think my dad was really, really great at teaching us these kind of like critical thinking skills kind of thing, or just understanding context or being creative. 13:47But there’s two in particular that I’d love to share. And I’m curious what you think about them. Because I think you’d love them. Number one, um when we were like maybe, God, I was like maybe eight or something like that, eight or nine, I was bored. It was like summer break or something, and I was bored. And I was like, Dad, I’m bored. What can I do? uh And he’s like, oh, OK, great. One second. Hold on. Give me a second. And he leaves. And then he comes back with a mop and a bucket. 14:16And he says, do you know what would be really, really fun? If you mopped the kitchen floor. You know it’s something to do, it’s effective. is, you know, what do you think? Like, do you want to mop the floor? That’s what I got for you. If you want to do that, go for it, please. Otherwise, find something to do. And I was like, that’s actually, that’s great. know, like, touche. You want me to mop the floor? I’m not gonna mop the floor. 14:41But I will find a way to entertain myself. And ever since then, I don’t think I’ve ever been bored. I’ve always been able to entertain myself. And the other kind of critical, that was such a great thing that he did when we were younger, we did this kind of series of dinners where we did caveman dinners, which were, just made a 15:11big, big thing of pasta, okay? Pasta and some meat sauce or something like that. And he had a big old butcher block table that we always ate dinner around. So he put a big old tarp, plastic tarp down on the table and onto the floor, kind of drooping down onto the floor. And he got us into our underwear, me and my sister, and we were very young, and he just slopped this big old pot of pasta on the butcher block table in the tarp and he said, 15:41Go to town. You’re gonna eat with your hands. You’re gonna get dirty and it’s gonna be a lot of fun. We’re calling this caveman dinner, okay? Go wild. And we had a great time. Now the next night, he put us in our fanciest clothes and we sat down for a nine course meal. And he gave us all of the directions on all the silverware, right? And all the different plates and how we do it. And we had to sit there and be proper. 16:09and have our napkins in our lap and our combed hair and use the silverware properly, right? And so I think it’s one of those things of like balance and context, balance and context, right? You can have the caveman dinner, great, but understand the context of when you need to actually sit straight and have a towel on your lap and eat with the proper silverware. Like you gotta know both those contexts and everything in between to live a happy and healthy life in our society, in my opinion. And so, 16:38That was one of those things that he was really good at, giving us context and freedom and play, through play and freedom. While still also controlling the situation. Yes, In a beautiful way. Yeah. And educating. Think about what you do now. You have a music education company where you’re teaching people how to play music in a fun way. I wonder who in your life would have led you to do any of that. 17:07It’s true. 100 % my father. Yeah. And well, think about like, even as you talk about, you know, I’m bored. I remember saying to my dad, dad, I’m bored. He was like, get the fuck outside, go do something. Go do this, go do that. And he would make up all these things that were really exciting to him. And I am not the mechanical engineer type or the one who wants to go out and lift heavy things and like remove shit from people’s backyards or whatever. 17:35I wanted to go play music or create art or something like that. And there was a disconnect there. There were times where my mom or my stepmom or even my dad at times would go, well, why don’t you go draw or something? I’d be like, yeah, cool, why not? I could have thought of that, but whatever. Like, they gave me a good idea. I’d go do it as a little kid. Or like finger pain or something. But being able to understand context, understanding how people best learn, understanding about those people does come from curiosity, I appreciate that you look at it and go, well, why do you think that way? 18:05Or why do you look at it that way? I think there’s also much deeper levels that we can get to with that. Like you’re not just curious. I’m assuming this, but I’m also, think we’re of the same elk. Where it’s not just basic curiosity to be curious. There’s a reason. Like we want to understand, like, why do you think like that? How did you get there? Who led this thing to you? How does that make sense in my head? Why does that not make sense in my head? Like what is, the fuck did we do with this information? 18:33It’s not just the curiosity of it. I mean, it’s really just like, it’s curiosity. I think it’s just, one of those people that is just a student of humanity. I’ve always been curious about human behavior and the motivations behind it. And it’s because I grew up as an actor. was what the thing that I did after college for seven years and… 18:56and now I’ve pivoted into a career that I really, really love, the co-founder of this music education app that’s basically built on the way that I’ve taught myself how to play piano. And now I’m a professional pianist and I’m doing the app during the day. And you’re like, oh, what a weird life. But I still think that my curiosity comes from being a student of humanity because I was an actor. And you have to get really deep into people’s motivations. 19:24when you are trying to replicate them in a realistic way. And it’s for outside in and inside out. It’s what are the institutions around them that make them feel and think that way? And do those themes tie into whatever piece that you’re performing in? But it’s also inside out. It is what about their childhood? What about their life? What about their perspective that has really made them behave this way? And so it’s always just been a fascination of mine. Why do people act the way that they act? 19:53I love that your level of curiosity is at, let’s say a 10 and other people may just be slightly curious. But even if we all just take that a little bit and say, well, how can I be a little bit more curious, little less judgmental, but understand why I’m curious about this thing. Somebody says anything and I go, well, what is it? It’s not just the curiosity or even the answer back. It’s, oh, I really want to know because of whatever it is for each person. So for those people that are 20:21on their path towards self mastery and along with curiosity, just everything else you’ve been through, what’s your advice for those people? The one thing in my opinion that would turn the tides of humanity and make people more empathetic and connected to every person on this earth, because we’re going to kill ourselves otherwise, that we need to come together as a species and tackle our world’s issues together. Climate change, economic justice, like so many things are global these days. 20:51And it’s because there are almost 10 billion people on this earth. are so just, and we are a part of the earth. We need to shepherd it to the correct place and we need to be in service of the earth to really let our species just grow and evolve the way it probably should, you know? So with that comes a deep amount of empathy that we need to have for every human on this earth, regardless of culture, race, religion. It is one of those things I need to feel connected. 21:21to somebody that lives on literally the other side of the earth. And how are we going to do that? It’s through curiosity. What makes you you? Describe it to me, show me. Show me your world. I’m so curious. so, be curious, not judgmental. Granted, judgment does inevitably come. I look, I judge people all fucking day. But it’s also one of those things of like, well, if I really want to know and care, 21:51Get to the heart of who they are and their behavior and you’ll allow connection to just flourish. And for people that are naturally sort of judgmental or really hyper curious, I think the judgment comes from the bias or a situation that happened to us or just a deep, I don’t understand why you’re doing such a thing. Like I’ve joked to people before, I’ve said, I don’t understand why they’re doing it. I believe myself to be an intellectual and I thought a different way. So why the fuck are you doing it that way? 22:20And some of it just has a little bit more air of a judgment to it, where it’s like a deeper curiosity. It’s a spectrum, as you put it. Everything’s a spectrum. Understanding ourselves and what we’re looking at, what we want, what we’re trying to do, and the reasons why we do those things, it’s also part of the balance, and we have to take it bit by bit. So man, I appreciate you being on today. It’s been great talking with you. I’m sure this is not the last time we’re gonna talk. 22:48ah And before I let you go, where can people find you and where can they connect with you? Yeah, just go to my website musflow.ai. If you want to learn how to play piano in a different way, maybe traditional lessons didn’t work for you. We teach with sight reading first. It’s the act of reading music at first sight. We teach the fundamentals through that, through that skill, through that lens, let you master it without any repetition. 23:14It’s always new music that is being generated for you at a very specific level and then you beat that level and then songs get unlocked after that. So we’re incorporating technology in and flow state and sight reading and gamification. We’re really bringing it all together into this one new methodology of teaching an instrument and eh it’s fundamentally different and it engages you in a much more holistic sort of way. So if you’re interested in that go to museflow.ai 23:41Shoot me an email, info at museflow.ai and don’t put that in the show notes, just like, know, it’s for the people who are listening. Yeah, like we would love to hear what you think. I’d love to give your audience a coupon code if they want it. Let’s call it mindset, mindset 50. Anybody who uses it 50 % off for life. Look, we’re still growing. We’re still adding new features as we go. We’re not finished at all. We’re still expanding. 24:09our accessibility. We’ve got iPad, we’ve got Android tablet, but we’re building it out for phones and any desktop app. so we’re slowly but surely growing this. We’re adding new instruments, uh adding new parts of the app. And if you want to get in that kind of on the ground floor, we just hit a really great marker. are now being able, we can pair overhead with subscriptions. And so the engine is going and it’s rolling and people aren’t churning. It’s like, 24:38It’s actually doing it and we’re getting incredible feedback from our users. so that being said, we’re still very new. So I’d love to give your audience 50 % off for life if they want it. So it’s mindset 50. It’s great for anybody who is also just, if you’re really, really good, but maybe your sight reading is terrible. There’s a lot of professional pianists that are very good at just like the songs that they know. They have 700 songs and they’re really good at them. A lot of classical musicians are out there that do that, but they’re not. 25:07good at sight reading. And so they use our app to get better at sight reading. So yeah, it’s good for everybody. It’s good for young people. It’s good for old people. It’s good for new people. It’s good for people that have been doing this for years. Awesome, man. I appreciate that. And I appreciate you being on. Thank you so much for your time today. Vice versa. Thank you,

Send a textIn this electrifying episode of Living the Dream with Curveball, we chat with Steve Sxaks, a punk rocker turned audio engineer, award-winning educator, and published author. Steve shares his incredible journey from the Philadelphia punk rock scene to founding Marston House Recording, a studio that has become a cornerstone for artists across genres. With over 16 years of experience producing music, Steve reveals the unique connection he found between punk rock and hip hop, and how this fusion has influenced his work. He discusses the importance of artist trust, the creative process behind the Marston House Ciphers, and the valuable lessons he learned from his time in the military that shaped his approach to music education and leadership. Steve also dives into his new book, *Invasion of the Punk Rockers Who Drink Blood*, offering insights into its relatable themes and the lived experiences that inspired it. Tune in for an inspiring conversation that celebrates creativity, authenticity, and the power of community in the music industry. Don't miss out on Steve's upcoming projects and collaborations that are sure to make waves in the underground scene!mosaic: Exploring Jewish Issuesmosaic is Jewish Federation of Palm Beach County's news magazine show, exploring Jewish...Listen on: Apple Podcasts SpotifySupport the show

On his episode of That Tech Pod, Kevin and Laura sit down with Ray Biederman, CEO and Co-Founder of Proteus Discovery Group, to talk about what actually happens when legal theory, technology, and human behavior collide. Ray walks through his unusual path from music education to law to legal tech, and how that background shaped the way he thinks about systems, judgment, and risk. Rather than chasing hype, he explains why Proteus focuses on defensible outcomes and practical decision-making in a crowded eDiscovery market.The conversation gets into lessons Ray has learned by wearing every hat, product builder, services leader, and still-practicing attorney. He shares what courtroom experience teaches that product teams often miss until something breaks, especially around context, intent, and how small mistakes compound once data starts moving. Ray also offers a measured take on AI-driven review, warning against the industry's tendency to overcorrect by trying to remove human judgment entirely, and highlights the ethical tensions that surface when AI reveals patterns no one anticipated. The episode closes with a forward-looking discussion on deepfake evidence, verification challenges, and the growing risk posed by data traveling across too many systems without enough accountability. Ray Biederman, Chief Executive Officer and Co-Founder of Proteus Discovery Group, LLC, has worked in every phase of electronic discovery for more than two decades. He is a Super Lawyer in the area of eDiscovery, has been cited in multiple court opinions as an expert witness, and is adjunct faculty for eDiscovery at the IUPUI School of Informatics and Computing. He consults on Information Governance policies and procedures related to cybersecurity and its intersection with government regulation and industry-specific best practices. Outside of his eDiscovery experience, Ray is an active litigator representing clients in product liability work, business valuation disputes, and contract disputes. He is also a founding partner in Mattingly Burke Cohen & Biederman. He was previously an associate at Barnes & Thornburg, LLP. He holds a B.M. in Music Education from Butler University and a J.D from Indiana University, the Robert H. McKinney School of Law.

While the Whale Rock Music Festival is renowned for rocking the Central Coast every year with live music and family-friendly activities. The event has an even greater purpose: supporting Templeton High School musicians through the parent-volunteer organization, TIMBA.  Resources:  *** Tell Your Sustainable Story Online Course ***  Apply for SIP Certified Wine Marketing Tips eNewsletter Supporting Arts & Community | Castoro Cellars Sustainable Story Worksheet   Print   Electronic   Vineyard Team Programs:  Juan Nevarez Memorial Scholarship - Donate  Online Courses – DPR & CCA Hours  SIP Certified – Show your care for the people and planet    Sustainable Ag Expo – The premiere winegrowing event of the year  Vineyard Team – Become a Member  

In this episode, I sit down with percussionist Colin Currie for a wide-ranging conversation about curiosity, originality, live performance, and the lifelong pursuit of musical meaning. Colin is one of the most influential percussionists of our time, known for his deep commitment to contemporary music, his close collaboration with composers, and his transformative interpretations of Steve Reich's work. This conversation explores how curiosity, patience, and listening have shaped his career and his approach to music-making.We begin by talking about technology, access to recordings, and the changing landscape of music education. Colin reflects on growing up in a time when discovering music required effort, intention, and physical presence in libraries and record shops. He shares concerns about students learning pieces by copying online performances rather than developing their own ideas, and he speaks passionately about the importance of solitude, curiosity, and learning music on one's own terms.Colin traces his musical beginnings back to early childhood, from piano lessons at age five to his first drum lesson at six, describing the joy, excitement, and physical energy that initially drew him to percussion. He talks about how that sense of wonder has never left him and why live performance remains a magical, irreplaceable experience. We explore why percussion continues to evolve so rapidly, how technique has advanced across the field, and why musical intent always matters more than virtuosity alone.A significant portion of the conversation focuses on Colin's connection to contemporary music and the composers who shaped his artistic identity. He describes hearing The Rite of Spring as a teenager, discovering post-war modernist composers through library scores, and developing an instinctive attraction to music that felt strange, challenging, and unfamiliar. Colin shares how his love for new music was never about understanding it intellectually, but about responding to it emotionally and instinctively.We also dive deeply into Colin's relationship with Steve Reich, including their first meeting, their long-standing collaboration, and the formation of the Colin Currie Group. Colin reflects on recording Music for 18 Musicians at Abbey Road Studios, explaining how the goal was to capture the intensity and emotional risk of live performance rather than create a polished studio artifact. He talks about groove, sonority, emotional depth, and why Reich's music demands both precision and expressive freedom.Colin discusses his growing role as a conductor and how stepping onto the podium has changed the way he listens, leads, and collaborates with ensembles. He shares stories from recent performances, lessons learned from orchestral musicians, and how listening remains the central skill, whether playing or conducting. We also talk about his record label, Colin Currie Records, crowdfunding new projects, and the upcoming release of a Steve Reich album featuring Sextet, Double Sextet, Six Marimbas, and Dance Patterns.As we look ahead, Colin reflects on 2026 as a landmark year, including Steve Reich's 90th birthday, dozens of performances of Reich's music worldwide, and the premiere of Colin's 40th percussion concerto. This is a thoughtful, inspiring conversation about curiosity, commitment, and the lifelong responsibility of serving music.Music from the Episode:Mallet Quartet (Steve Reich - Colin Currie Group)Music for 18 Musicians - Section VI (Steve Reich - Colin Currie Group)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills CommunityKeywordsJazz Piano, Embraceable You, Jazz Harmony, Music Education, Jazz Techniques, Improvisation, Music Analysis, Jazz Standards, Piano Skills, Music PracticeSummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence introduces a new tune study focusing on the jazz standard 'Embraceable You' by George Gershwin. The discussion covers the importance of intentional study, the seven facts of music, and a deep dive into harmonic and melodic analysis. Dr. Lawrence emphasizes the significance of movement in jazz harmony and provides practical techniques for voicings and improvisation. The episode concludes with a call to action for listeners to engage with the material and continue their jazz piano journey.TakeawaysA new month signals a new tune study.The study system allows for a huge return on investment.Real practice involves exploring essential jazz skills.Jazz harmony is defined by the movement of notes.Listening to various artists is crucial for learning.Understanding harmonic function enhances musicality.Common progressions are foundational in jazz standards.Voicings can be simplified for clarity and movement.Two-handed voicings are essential for ensemble playing.Engagement with the material leads to meaningful growth.TitlesUnlocking Jazz Piano Skills: Embraceable YouThe Art of Jazz Harmony: Movement Over NotesSound bites"Incorrect thinking leads nowhere.""Movement gives us music.""Listening is so important."Support the show

Rob Schwimmer is a dynamic composer-pianist and renowned theremin virtuoso whose performances have captivated audiences worldwide. With accolades from The New York Times for his blend of “virtuosity, magic, and humor,” Rob's diverse talents shine through in his solo CD "Heart of Hearing," which features the theremin, Haken Continuum, and solo piano. He has collaborated with an impressive lineup of artists, including Bobby McFerrin, the New York Philharmonic, and Simon and Garfunkel, showcasing his unique ability to hang in multiple genres.In this episode, Rob shares his insights into the theremin's unique sound and its long-standing connection to sci-fi and other film genres. He recounts memorable performances—including a recent debut with the New York Philharmonic—and discusses the intricate relationship between improvisation and formal music training. Rob also demos some of the nuances of the Haken Continuum and the theremin. He shares several engaging stories about working in a variety of  musical settings, from Carnegie Hall to hanging out with Willie Nelson.(Headshot photo by Michael Weintrob)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!

How can music help us get in tune with ourselves, our stories, and our communities? What is cathartic and healing about certain sounds? What can the musical traditions of indigenous cultures teach us? My guest on this episode, Kenny Kirkwood, discusses these questions with me and more. Kenny Kirkwood is a musician, educator, and folktivist. A Juno award-winning Canadian musician, he has toured internationally. Kenny spent his childhood in Zambia. This experience influenced his songwriting, his craft, and immersed him in the communal and spiritual aspects of music. We talk about:Why certain songs are cathartic to usThe lost art of music as an oral traditionHow music can help us tell our storiesTips for learning how to play a musical instrument as an adult What we can learn from the indigenous cultures in our areaWhy humming can help us learn rhythm, increase awareness, and keep us in the present momentHow trauma from early musical education as a youth can impact us as adult learnersFind out more about Kenny and his music at kennykirkwood.com

It's NAMM Show season, with Sean and Andy kicking it off with a bang in Episode 313 by getting the scoop on everything NAMM (National Association of Music Merchants) from CEO and president John Mlynczak. He provides a crash course on NAMM, what he's looking forward to at the show in Anaheim this year, the NAMM Foundation educational program, and more. This episode is sponsored by Allen & Heath and RCF.Prior to NAMM, John served as president of Music Education & Technology at Hal Leonard, where he oversaw worldwide education market strategy. He also managed Noteflight, Essential Elements Interactive and Essential Elements Music Class, and collaborated on all music education technology related initiatives for Hal Leonard. Previously, he was managing director of Noteflight, and he's also the immediate past-president of the Technology Institute of Music Educators (TI:ME).John has taught online graduate courses at VanderCook College, served as advocacy chair of the Massachusetts Music Educator's Association, served on the NAMM SupportMusic Coalition, and on the NAfME Advocacy Leadership Force. He is a Google Level 2 Certified Educator and a frequent clinician on education technology and music advocacy.​Before his career at Hal Leonard, John served as director of Education at PreSonus, where he developed curriculum, products, and marketing strategies for music education technology. ​In addition, he taught general music, band, choir, marching band, and music technology, starting the first music technology course in Louisiana and writing the state curriculum for an official approved course. From 2011 to 2013, He served as chairman of the Creative Arts Assessment Committee in Louisiana, and provided model assessment for the creative arts.On top of all that, John has enjoyed a long career of performing as a solo artist and in symphony orchestras, pit orchestras, and Top 40 bands.Episode Links:NAMMNAMM ShowNAMM FoundationJohn Mlynczak OnlineEpisode 313 TranscriptConnect with the community on the Signal To Noise Facebook Group and Discord Server. Both are spaces for listeners to create to generate conversations around the people and topics covered in the podcast.Also please check out and support The Roadie Clinic, Their mission is simple. “We exist to empower & heal roadies and their families by providing resources & services tailored to the struggles of the touring lifestyle.”The Signal To Noise Podcast on ProSoundWeb is co-hosted by pro audio veterans Andy Leviss and Sean Walker.Want to be a part of the show? If you have a quick tip to share, or a question for the hosts, past or future guests, or listeners at home, we'd love to include it in a future episode. You can send it to us one of two ways:1) If you want to send it in as text and have us read it, or record your own short audio file, send it to signal2noise@prosoundweb.com with the subject “Tips” or “Questions”2) If you want a quick easy way to do a short (90s or less) audio recording, go to https://www.speakpipe.com/S2N and leave us a voicemail there

What does it really mean to live a musical life?As we look ahead to 2026, Adam and Peter talk about music as a way of being. Not a checklist, or a finish line, or something reserved for “professionals.” They share why they believe everyone is a musician, and why taste and curiosity matter more than optimization.Whether you're a musician, or a lover of music, anyone can lead a musical life.00:00 - How to Live a Musical Life in 202607:00 - There is No Finish Line08:45 - All Humans Are Musicians19:10 - Find Your Own Taste28:00 - How We Choose Topics for You'll Hear It Play better in 2026 and beyond at Open Studio. Join today with our last BIG savings of the year at openstudiojazz.com/yhi

— Music is a remedy of the soul, a bridge between cultures, languages, and a range of emotions. Music Therapy is a clinical and evidenced-based healthcare profession that combines the power of music with skilled therapeutic interventions to address the physical, emotional, cognitive, and social needs of individuals. Through musical involvement in the therapeutic context, clients' abilities are strengthened and transferred to other areas of their lives. Music therapy also provides avenues for communication that can be helpful to those who find it difficult to express themselves in words. The expressive nature of music can bring self-awareness and insight to individuals who desire increased wellness in their lives, and can be a powerful mode of therapy for anyone interested in exploring their inner world through music. Valeria interviews Alon Yizhak  — He is a PLPC clinical counselor and a Board Certified Music Therapist MT-BC based in New Orleans, LA grounded in mindfulness, present based approaches & wisdom traditions. Alon holds a bachelor degree in Psychology from the Open University in Tel-Aviv (2008), associates degree in Music and Movement Therapy from Levinsky College of Music & Education (2012), and MA in Mindfulness Transpersonal Based Clinical Counseling from Naropa university in Boulder, CO (2025). Alon has served as student supervisor and adjunct professor teaching music therapy at Loyola University in New Orleans (2022-2024). His professional and personal focus is to enable space for growth, healing and expansion of awareness through present based approaches, creativity and genuine self-expression. Alon has worked with individuals experiencing mental health challenges, anxiety, depression, neurodiversity, substance use and life transitions.In his sessions Alon holds an integrative approach that supports people through present-based and mindfulness practices, music therapy, trauma-informed lens as well as enabling space to re-connect with inner wisdom & resourcing. To learn more about Alon Yizhak and his work, please visit: https://www.alonmusictherapy.com/