Podcasts about Music education

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

Wales and England have had different education systems for more than 25 years now, so it's a weird coincidence that both countries published a ‘National Plan for Music Education' in the same year - 2022. This was an opportunity that Tom and friends of the podcast Dr Elizabeth MacGregor and Dr Viv John, all being music education specialists, couldn't pass up. They've published, and presented in various events, an analysis of the two plans. The analysis aims to spotlight the presumptions, values and hidden agendas underlying the documents from both governments, and there are some interesting conclusions to be had. If you're not a music education person, there's still something in this for you because the analysis uses a framework called What's the Problem Represented to Be, which is a great way of digging into, and uncovering the motivations behind, what might seem at first to be relatively uncontroversial policies and plans. Thanks to Dr Viv for joining Tom in the studio, and to Dr Elizabeth for appearing down-the-line, complete with honorary research team member, Walnut the Dog. If you haven't dipped a toe into the YouTube versions of the podcast, this might be the ideal moment to take a look!Finally, if you're someone with an interest in music education research, whether that's as an academic, research student or practitioner with an interest in research anywhere in the world, you may want to know about GRiME. Cardiff Metropolitan University's Group for Research in Music Education is a collective of academics at all stages of their research careers, and from several universities, who meet regularly to get things done in what can feel a very niche field. Why not get in touch with us via Tom: tbreeze@cardiffmet.ac.uk?————————————————————————Recorded in studio B2.15 at Cardiff Metropolitan University's Cyncoed Campus on 6th and 20th November 2025

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.

Download the free guide “5 Spells Every Composer Needs.” Spells are interval-based composition techniques that work like magic. In this guide, I explain 5 of my most-used spells with examples so that you can implement them in your compositions as well. https://musicintervaltheory.academy/spells/ In this episode of The Music Interval Theory Podcast, Frank shares why he refuses to join the “music theory police” and how the internet often turns helpful knowledge into gatekeeping. He explores the value of curiosity in learning, why asking questions should be safe, and how theory is best used as a creative tool—not a strict rulebook. If you're tired of rigid opinions and just want to make great music, this one's for you.

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!

New Partner LESSON WITH YOU We're excited to announce our partnership with Lesson With You, a trusted global music education provider offering live, one-to-one online lessons in 24 instruments and voice for students of all ages. Their 60+ expert instructors hold advanced degrees from top music schools, are fully background-checked, and teach only their primary instrument. To celebrate, we're offering all our followers/listeners a free 30-minute online lesson with a professional instructor—perfect for jump-starting progress, refreshing technique, or exploring a new instrument from home. Try your free, no-obligation lesson today!ABOUT THIS EPISODEOpera is a dramatic reflection of love and relationships.Valentine's Day can be celebrated in various ways, including self-love.Toxic relationships in opera mirror real-life dynamics.Carmen and Don Jose's relationship highlights obsession disguised as love.Tosca and Cavaradossi's love is complicated by political turmoil.Butterfly and Pinkerton's relationship showcases colonial delusion.Self-love is crucial for artists and individuals alike.Recognizing and celebrating small wins is important.Buying your own flowers is a form of self-care.Opera tells the truth about love and relationships loudly.   Host Bri Cooper Shop Harbour for the Arts™ NEW SPONSOR ALERT! Bonheur Jewelry Thanks to our partners at THRIVE MARKET! Join today and get 30% off your first order as well as a gift up to $60. Visit www.thrivemarket.com/bricoopermezzo What's up! https://linktr.ee/harbourforthearts Email: Harbourforthearts@gmail.com Instagram Harbour for the Arts Instagram Bri Cooper, Mezzo Soprano, MBA, BM (@bricooper.mezzosoprano) • Instagram photos and videos Spotify Playlists Harbour for the Arts Tik Tok Bri Cooper Mezzo Soprano SHOPPING Shop my merch!Harbour for the Arts™ Need a part-time job! Try Reflex app for retail assignments; use my referral code bcooper621 https://workreflex.com/?code=BCOOPER621 Use my Rakuten Code

Join our Thinking Out Loud w/ Friends of SoundBroker Zoomcast show hosted by Jan Landy and his knowledgeable affable panel of friends and colleagues for an entertaining robust discussion offering opinions on anything related to a working professional life in general.Our ZoomCast isn't just a fountain of knowledge; it's also a opportunity to laugh. Think of it as therapy, but with more jokes and fewer couches. Join us and share your thoughts. Stay updated on life and world events, and enjoy multiple good chuckles along the way.

“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

Send us a text and chime in!Professor and Faculty Program Director for Performing Arts at Yavapai College Christopher Tenney has a long track record with musical training and the performing arts. He performed and toured nationally and internationally with The Tucson Boy's Chorus starting at the early age of eight. He later pursued and received Highest Honors in his graduate studies, graduating with a master's degree, also in Music Education, from Boston University, where he is currently in his final semester of earning his Doctor of Musical Arts in Music Education. Tenney started teaching at Yavapai College in 2016, but he'd visited previously and the place... For the written story, read here >> https://www.signalsaz.com/articles/yc-professor-brings-lifelong-passion-for-music-to-campus/Check out the CAST11.com Website at: https://CAST11.com Follow the CAST11 Podcast Network on Facebook at: https://Facebook.com/CAST11AZFollow Cast11 Instagram at: https://www.instagram.com/cast11_podcast_network

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!

“There were a whole bunch of these women who were publishing music during their liftetime in 17th-century Italy. I find it's important that young women know that they were composers other than Hildegard and Fanny Hensel who were writing. These women's voices were buried for so many years, and yet they were writing in the same styles as their male contemporaries. We can learn about our times now by looking to the past and to think critically about who we're lifting up and whose voices we are amplifying now based on how things have progressed over history.”Dr. Meredith Bowen is an Assistant Professor of Choral Music at Michigan State University where she teaches graduate choral literature, conducting at both the undergraduate and graduate levels, and conducts the auditioned treble ensemble, Mosaic. Bowen works to expand the choral canon and amplify marginalized voices by editing, restoring, and publishing editions of historical music by women. She is an active guest conductor, presenter, and clinician and is founding singer and Artistic Administrator for mirabai, a professional women's ensemble dedicated to amplifying women's voices through commissioning, performing, and recording. Her editions of music by 17th-century composers are published by Boosey & Hawkes and MusicSpoke. Prior to joining MSU, Bowen was the Director of Choral Studies at Radford University in Radford, VA, taught public school in Lansing, MI, and led a variety of community choirs throughout MI. She earned her B.S. in Music Education from West Chester University, and both an M.M., and a D.M.A. in Choral Conducting from Michigan State University. To get in touch with Meredith, you can email her at bowenmer@msu.edu or find her on Facebook (@mybowen), Instagram (@emwhybee), or TikTok (@m.y.bowen).Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

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

Podcast PacketsIllustrationsLead SheetsKeywordsJazz Piano, Solo Piano Techniques, Music Education, Jazz Standards, Improvisation, Harmonic Analysis, Melodic Analysis, Jazz Skills, Piano Practice, Music TheoryTakeawaysSolo piano requires a commitment to mastering essential skills.The study of jazz piano is organized into four key areas.Time, harmony, and melody are the three non-negotiables in solo piano.Strum, stride, and slide are foundational techniques for solo piano.Listening to recordings is crucial for developing musical skills.Clear and intentional voicings are more important than complex ones.Melody should be treated with expression to convey jazz effectively.Practice should focus on small phrases rather than entire songs.The left hand's role is to support time and harmony, not fill space.Progress in jazz piano comes from consistent practice and application.SummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence explores the essential techniques for mastering solo piano, focusing on the three non-negotiables: time, harmony, and melody. The discussion includes practical applications of strum, stride, and slide techniques using the jazz standard 'Stars Fell on Alabama.' Listeners are encouraged to practice small phrases and emphasize listening to recordings to enhance their skills. The episode concludes with a reminder of the importance of consistent practice and the joy of discovering jazz piano.TitlesMastering Solo Piano TechniquesThe Essentials of Jazz Piano SkillsSound bites"Melody should be treated with expression.""The left hand supports time and harmony.""Progress comes from consistent practice."Support the show

Katie Robinette:Katie is an entertainment professional, vocalist, and entrepreneur from York, PA. She has built a 25-year career spanning live performance, artist development, and music-business leadership. In 2016, Katie co-founded Robin-Banks Entertainment, LLC with Amy Banks in Central Pennsylvania. Robin-Banks Entertainment is a 100% woman-owned company led by Katie as founder and CEO, serving clients throughout the Mid-Atlantic region. In addition to the business and fronting Central City Orchestra as a bandleader and vocalist, she mentors emerging musicians, serves on music industry advisory boards at York College of Pennsylvania and Harrisburg Area Community College.https://www.katierobinette.com/https://www.rbelive.com/Dan Brenner:2025 Educator of Note - Dan is the Director of Modern Music for Spring Grove Area High School with 24 years of dedicated instruction. His accolades include being a quarter-finalist for the Grammy Educator Award and earning recognition as an Outstanding Teacher by Shippensburg University. Dan has a dual bachelor's degrees in Music Education and Music with a focus on jazz and percussion, a master's degrees in Classroom Technology from Wilkes University and in Music Education from Lebanon Valley College. Dan performs live as a solo artist and in many bands; one of which, Dreadnoughts, has recorded 7 albums.You will be able to see Dan receive his Educator of Note Award at the 7th Annual CPMAs on March 4th, 2026 in Lancaster PA. Get your tickets now!https://www.facebook.com/DanBrennerMusic/https://www.sgasd.org/district-news/~board/district-news/post/dan-brenner-recognized-by-central-pa-music-hall-of-famehttps://cpmhof.com/educators-of-noteYou can find out more about the CPMHOF @ https://cpmhof.com/Brought to you by Darker with Daniel @ Studio 3.http://darkerwithdaniel.com/All media requests: thecpmpodcast@gmail.comWant to be on an episode of the CPMP? For all considerations please fill out a form @ https://cpmhof.com/guest-considerationJoin us back here or on your favorite audio streaming platform every other week for more content.

In this episode, I sit down with drummer David Northrup for a deep and wide-ranging conversation about groove, longevity, and serving the song. David has built an incredible career by doing precisely that, whether he's playing traditional country, blues, soul, or roots-based music. We start by talking about his current work with Joe Nichols, why it's such a musical and personal fit, and what it means to work for an artist who values authenticity, consistency, and real country music. David shares stories from the road and explains why being a good human is just as important as being a great drummer.We spend time digging into David's early musical influences growing up in central New York, where constant exposure to Motown, singer-songwriter records, pop radio, and classic albums shaped his musical instincts. David talks about learning by listening, studying album credits, and developing a deep appreciation for feel and style long before social media or online tutorials existed. He reflects on how that environment taught him to truly listen, absorb, and respect the music rather than chase trends.David walks through his path to becoming a professional drummer, from starting in school band programs to a pivotal moment when he saw Chuck Mangione perform while in college. That experience helped him realize music was the path he needed to take seriously. We talk about the importance of mentors, including teachers who challenged him when he wasn't ready and supported him when he was, and how discipline, fundamentals, and humility played a massive role in his development.We dive deep into David's years in Nashville, including his first five years building connections, studio work, and eventually landing his long-running gig with Travis Tritt. David explains how Nashville truly is a five-year town, why patience matters, and how preparation and professionalism keep you working once you get the call. We also talk about his deep admiration for drummers like Carlos Vega, Jeff Porcaro, Steve Jordan, Russ Kunkel, and others, and why groove, taste, and feel will always matter more than flash.A significant highlight of the conversation is David's time touring with Boz Scaggs. He shares what it was like to step into such an iconic musical legacy, learn to play with conviction at very low volumes, and work alongside world-class musicians night after night. We talk about why playing the room matters, how restraint can be more complicated than power, and why those lessons apply to every drummer at every level.We also spend time talking about David's solo record Shapes, including how it came together over many years, the musicians involved, and why recording live, organic performances was central to the album's sound. David explains his philosophy of making music that's groove-focused, accessible, and enjoyable for listeners beyond just musicians. We close by discussing teaching, clinics, the importance of shuffle feel, regional time concepts, and the soft skills that help musicians not just get gigs but keep them. It's an honest, thoughtful conversation packed with wisdom for musicians and music lovers alike.To learn more about David, visit his website. Music from the Episode:All Blues (David Northrup)Smooth (David Northrup)Bayou Chicken (David Northrup)Salty Crackers (David Northrup)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

“I remember when I performed at Carnegie Hall for the first time. It was transformative. I remember taking the stage and just being in complete awe. I looked out, and it was just incredible. When I heard the sound, it was even more incredible. I used to say that my favorite part of my job was standing right at the stage door and watching every choir singer come and take the stage for the first time. They would look out and just be in complete awe. Now that I'm production manager, my new favorite part of my job is when conductors come off the stage and I get to tell them, ‘turn around, go back, they're still clapping for you.'” - Eric Spiegel“Living abroad gave me a whole new perspective and appreciation for my home country. It taught me a lot about other cultures and how to work with different people and have a certain cultural sensitivity and sensibility. I could not recommend it enough. We're trying to grow and enhance the kinds of international opportunities that we provide. It's such a collaborative, educational experience that goes way beyond one or two concerts. We know for many people who travel with us, it might be their first time in Europe. We try to make sure that it's special in every possible way that we can.” - James RedcayA native of Allentown, Pennsylvania, James Redcay joined MidAmerica Productions in April of 2015. A graduate of New York University, Redcay spent years in New York City as an accomplished pianist, composer and teacher, performing and composing for numerous concerts and institutions. During this time Redcay also held the position of Composer-in-Residence at Stevens Institute of Technology in Hoboken, NJ. After graduating from NYU, Redcay moved abroad to Macao, where he taught music at the Conservatory of Macao and created and managed large-scale arts and entertainment programs and daily operations for Sands China Ltd., a subsidiary of Las Vegas Sands. After six fruitful years, Redcay relocated to the United States and now resides in Michigan.Eric Spiegel holds a Master of Music Education degree from the University of Illinois at Urbana-Champaign, as well as a Bachelor of Music degree from the University of Miami Frost School of Music, with experience teaching middle and high school vocal/general music. As a performer, Eric has sung and acted in choirs, jazz groups, a cappella ensembles, and musicals across the United States and around the world. Eric conducted the Brooklyn, NY chapter of HaZamir: The International Jewish High School Choir for seven seasons, including in performances at David Geffen Hall and Jazz at Lincoln Center, and has served as MidAmerica Productions' head of production for concerts at Carnegie Hall since 2023.To get in touch with James & Eric, you can visit midamerica-music.com or find MidAmerica on Facebook (@midamerica.productions) or Instagram (@midamericaproductions)Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Send us a text"Things work for a minute, and then you adapt." How do you maintain a steady business--and a steady income--in an industry that is continuously evolving? How do you successfully chase passion AND stability? How do you stay inspired with a demanding schedule?In this episode, Emmeline sits down with BW Bridger, an accomplished guitar player, composer, audio engineer, video engineer, producer, band leader, teacher, and rehearsal space manager in the DFW area. A jack of all trades--and a true creative chameleon--BW has built a career on adaptability and sustainability, finding creative ways to solve the problems he encounters in the creative industries. He talks about the entrepreneurial spirit that has led him to pivot his business multiple times, about learning how to do things oneself as a creative, and about how everything you learn as a creative will have a future application--even if you don't see it yet! He and Emmeline also unpack the insecurity that plagues most artists. Lastly, BW gives us a sneak peek at his brand new track, "Underwater Timeout."To learn more about BW Bridger, or to follow his musical and entrepreneurial journey, follow him on Instagram or check out his rehearsal space, Jam Station DFW. You can also stream "Underwater Timeout" on all of your favorite streaming platforms!For behind-the-scenes information and more about Journey of an Artist, visit the Journey of Series official webpage, or follow Emmeline on social media at @EmmelineMusic.

In this episode, I sit down with Dame Evelyn Glennie to talk about what listening really means and why it matters far beyond music. We start with the origins of the Evelyn Glennie Foundation and how her work evolved organically from teaching, performing, and asking people better questions so they can hear themselves more clearly. Evelyn shares how her own experiences shaped a broader philosophy of listening that encompasses sound, the written word, and the ways we communicate through email, texts, and social media. We also dig into how technology has changed our patience and attention, and why listening belongs at the center of education, wellbeing, empathy, and community.From there, we move into the performer's mindset and Evelyn's lifelong curiosity about sound. She explains why she starts new repertoire from the inside out, how the body becomes an essential listening partner over time, and why recordings are only frozen snapshots rather than definitive answers. I ask her about formative training, the balance of learning by ear and reading music, and how her early environments built a deep listening culture that still guides her today. Evelyn offers a powerful reminder that every performance is a world premiere for someone, and that familiar instruments can become brand new when we hear them in a different context.We also go down memory lane through landmark repertoire and collaborations. Evelyn talks about discovering and recording Paul Smadbeck's Rhythm Song, revisiting it years later, and even developing a creative version for marimba and strings. She reflects on the Bartók Sonata for Two Pianos and Percussion, including the intensity of working at a young age with Sir Georg Solti and the lessons that stayed with her. We then explore her long pursuit of John Corigliano's Conjurer, how the concerto's concept came together, and what it takes to tour a major work night after night, adapting to different instruments and acoustics. Finally, we discuss her experience performing Philip Glass's Double Timpani Concerto with Jonathan Haas, the logistics behind that project, and why she loves the energy of shared soloist roles.To close, Evelyn shares what she is creating right now, including writing for television and film, new books, wide-ranging collaborations, duo projects, and continued foundation work that invites people to slow down, listen deeply, and rethink what connection feels like. This conversation is a masterclass in curiosity, artistry, and attention, and I'm grateful to share it with you.To learn more about Evelyn and the Evelyn Glennie Foundation, visit her website. Music from the Episode:Joseph Schwantner - Velocities for Solo MarimbaPaul Smadbeck - Rhythm SongBéla Bartók - Sonata for Two Pianos and PercussionJohn Corigliano - Conjurer: Concerto for Percussionist and String OrchestraThank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

W/C 12th January 2026As an addition to the bit about things that we just pass-by all the time without really noticing, I went to Milton Keynes this week (go with me on this) because I had been asked to speak as part of a panel discussion on Music Education.Anyway, I stayed at the Hilton hotel which is incorporated into the Stadium MK complex, the homes of the MK Dons football team. Because of the nature of the development the entrance is a fairly small and basic, with just a Reception Desk, a sort of gathering space with a few chairs and the lifts. It starts to open out on Floor Two, when you get the first of the restaurants, a bar area, some meeting rooms and the gym (as well as the first of the bedrooms).All perfectly predictable then, until you get to floor three which just comprises of bedrooms. What I wasn't expecting was the fact that it does a complete loop of the football pitch, so whichever way you turn as you leave the lift, and provided you don't turn back) you can keep walking until you have been around all four corner posts and arrived back at where you started. There are also a number of windows along the route so you get a great view of the playing surface and the stadium itself.Now I have driven past this building on a number of occasions, and eaten in the restaurant, and yet I had no idea about that part of the design. And looking from the outside you equally probably couldn't have worked it out. Pretty cool, eh.Stay safe.Anxiety - Jason Isbell and the 400 UnitTherapy For Me (or TFM as I now refer to it) is a bit of an audio curiosity. It started out as a mechanism for me to clear my head, with the hope that by saying stuff out loud it would act as a little bit of self-help. It's remains loose in style, fluid in terms of content and raw - it's a one take, press record and see what happens, affair.If you want to keep in touch with TFM and the other stuff I do then please follow me on Facebook, Insta, Twitter or Patreon. Thanks for getting this far.

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

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills CommunityKeywordsJazz Piano, Melodic Analysis, Expressiveness, Music Education, Jazz Standards, Practice Strategies, Music Theory, Stars Fell on AlabamaSummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence delves into the melodic analysis of the jazz standard 'Stars Fell on Alabama.' He emphasizes the importance of understanding music conceptually to develop expressiveness in playing. The discussion covers the seven facts of music, the significance of storytelling in melodies, and practical strategies for practicing and interpreting jazz standards. The episode culminates in a detailed exploration of the melody, including fingerings, phrases, and various interpretative styles such as ballad, bossa, and swing.TakeawaysEstablish a well-thought-out practice approach.Music conceptually easy equals musical success physically.Expressiveness in jazz comes from clarity, not complexity.Professional musicians play melodies as musical phrases, not just notes.Understanding the story behind a tune enhances expressiveness.Target notes are crucial for capturing the essence of a melody.Different treatments of a melody can convey different emotions.Silence is an important aspect of musical expression.The harmony should support the melody, not overpower it.The melody of a tune tells you how it wants to be played.TitlesMastering Melodic Analysis in Jazz PianoThe Art of Expressive Jazz PlayingSound bites"We have a method to our madness.""Music conceptually easy equals musical success.""The melody tells you how it wants to be played."Speculative Fiction Writing Made Simple: Write, Edit, and Publish Your Debut NovelMost writing podcasts just inspire. This one teaches the craft skills that hook readers.Listen on: Apple Podcasts SpotifySupport the show

John Mlynczak is the President and CEO of NAMM, where he leads the world's largest music products trade association at a pivotal moment in its 125-year history. Appointed in 2023 as the industry emerged from the COVID era, John has focused on evolving the NAMM Show through a relationship-first, technology-driven approach that strengthens year-round engagement and meaningful connections for members and exhibitors.A lifelong musician, educator, and technology leader, John brings a rare blend of creative empathy and strategic vision to his role. Prior to NAMM, he served as Vice President of Music Education & Technology at Hal Leonard, overseeing global education strategy and leading platforms such as Noteflight and Essential Elements Interactive. Earlier in his career, he was Director of Education at PreSonus Audio, where he helped shape curriculum, products, and outreach for music education technology.John has spent many years in higher education as an adjunct professor at institutions including VanderCook College of Music, Louisiana State University, and the University of Louisiana at Lafayette, while also serving as President of the Technology Institute for Music Education (TI:ME). He is a Google Level 2 Certified Educator, a frequent speaker on music education and advocacy, and has served on numerous national committees supporting arts education.As a performer, John is an accomplished trumpeter with experience ranging from orchestral and pit work to jazz and contemporary ensembles. He holds a Bachelor of Music Education from Virginia Commonwealth University and Master's degrees in Music Performance and Education Leadership from Louisiana State University.At the core of his leadership philosophy is a belief that technology should enhance - not replace - human connection, and that relationships remain the most powerful force in the music industry.This Episode is brought to you by ETC and Main Light

Governor Kathy Hochul gave the 2026 state of the state address today. She spoke about the changes made in New York in the past year, including increasing the minimum wage, removing phones from schools, and investing in clean energy. On Monday, almost 15,000 people rallied at hospitals around New York City. WFUVs Sienna Reinders and Sonia Weliwitigoda went to one of the strikes. WFUV's Strike a Chord public service campaign highlights non profits in the Tri-State Area. This season, we focused on organizations that support arts and music education. WFUV's Alexandra Pfau spoke with Lou Chen. He's the CEO of Intempo, a Connecticut music school. Host/Producer: Alexandra Pfau Editor: Tess Novotny Reporter: Sienna Reinders Reporter: Sonia Weliwitigoda Theme Music: Joe Bergsieker

In this episode, I sit down with drummer, educator, speaker, and author Rich Redmond, and this conversation goes far beyond the drum set. From the moment we start talking, it's clear that Rich approaches music and life with an uncommon level of purpose, energy, and presence. We talk about why he plays every song like it might be the last one he ever gets to play, how longevity changes your perspective on time, and why being fully present matters just as much offstage as it does behind the kit. Rich reflects on nearly five decades of holding the sticks, what it means to love the work truly, and why every gig still feels like the best day of his life.We dig into Rich's background growing up in Connecticut and Texas, how Texas marching band culture shaped his musical foundation, and why music education in that state continues to produce world-class players. He shares stories from his early training, the classic method books that shaped his hands and mind, and how transcription became a survival skill when he moved to Nashville. Rich breaks down how charting, reading, and preparation quickly opened doors, why the Nashville number system is such a powerful tool, and how learning to create efficient charts can save gigs and careers.A significant focus of the conversation is Rich's belief in using all of your gifts. We talk about his work as an educator, public speaker, author, and podcast host, and how teaching reinforces your own understanding of music, communication, and purpose. Rich explains his CRASH philosophy, commitment, relationships, attitude, skill, and hunger, and how that framework shaped his life, his speaking career, and his approach to helping others succeed, whether they are musicians, students, or corporate audiences. He shares how blending drumming with storytelling keeps audiences engaged, why attention spans are shorter than ever, and how performance can make ideas stick in ways slides never will.We spend time unpacking his long-running work with Jason Aldean, including how studio and live drumming require different mindsets, how records are made efficiently at a high level, and why consistency, trust, and preparation matter more than flash. Rich explains how live drumming is about execution, confidence, and making everyone onstage feel safe, while still delivering energy to the back row. We talk about signature fills, macro rhythms, playing in food groups, and why honoring the record while amplifying the live experience is part of the job.Rich also walks through his teaching philosophy, from Drumtensives and masterclasses to clinics and one-on-one coaching. He explains why reading, time, left-foot independence, stylistic awareness, and charting are non-negotiables, and how meeting students where they are can unlock confidence and growth. We also dive into the soft skills of being a working musician, why being prepared, likable, and open to direction often matters more than chops, and how trust keeps you working long term.We close by talking about health, longevity, curiosity, and why Rich continues to challenge himself creatively through writing, speaking, podcasting, and new musical ideas. It's an inspiring, practical, and honest conversation about building a meaningful career, staying hungry, and using music as a vehicle to lift others along the way.Music from the Episode:Amarillo Sky (Jason Aldean)My Kinda Party (Jason Aldean)The Truth (Jason Aldean)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with drummer Paul Stewart for a conversation that starts with how music can connect people across oceans and turns into a deep dive on taste, touch, craft, and the long arc of a career. Paul and I talk about how I first discovered his band The Feeling years ago from a CD a friend handed me after a gig, and how that one listen turned into a long-term appreciation for the songs, the playing, and the production. Paul shares why so many musicians connected with that sound, and how their work pulled from both the 70s world of Supertramp, 10CC, Elton John, and Fleetwood Mac, and the deeper 60s roots that fed that era, like The Beatles, The Stones, The Kinks, and The Zombies. We get into drum sound, why that thuddy, dead 70s tone fits their music so well, and how those choices shaped the identity of the recordings.Paul walks me through his origin story, from being hooked on drum sound as a kid, to getting his first kit at 12, to saying yes to every playing opportunity he could find. He tells an incredible story about a middle school teacher who stayed late after school so Paul could get extra time in the drum room, and we zoom out on how mentors, parents, and supportive educators change the course of a life. From there, we talk about preparation, professionalism, and the responsibility you carry in an ensemble, including how the anxiety of being underprepared can be its own lesson in why doing the work matters. Paul also shares a regret he has about not keeping his reading chops sharper, and why playing along with records became his true north as a drummer.We dig into influences from both sides of Paul's musical world, from rock and early Chili Peppers and Rage Against the Machine, to the cassette tapes an uncle sent that opened the door to jazz, funk, fusion, and players like Vinnie Colaiuta, Dave Weckl, and the Tower of Power world. Paul explains how the UK acid jazz scene became a significant pull, and how an acid jazz band at music college eventually evolved into The Feeling. We also talk about what it's like working with major artists outside the band, including how touring logistics can lead to local musicians being hired, and how surreal it can be to play iconic songs with legendary voices while still remembering they're just musicians on stage doing the same job.A meaningful part of our conversation is about performance anxiety, stage fright, and the emotional extremes musicians ride before, during, and after gigs. We talk honestly about confidence, coping, and what it means to choose a healthier path, and we acknowledge that even global superstars can struggle with fear right before walking on stage. Paul and I also reflect on the approaching anniversary of The Feeling's first album, how those songs were originally recorded as a weekend friends project without any expectation of success, and how playing them now carries twenty years of growth, finesse, and perspective while still honoring the original parts that make the songs work. We close with what Paul has been up to recently, including work with Anastacia, Paul Young, The Voice UK, and the broader creative world around the band, and why music remains a powerful source of joy, balance, and hope for people everywhere.Music from the Episode:Never Be Lonely (The Feeling)Everyday and All of the Night (The Feeling)Sun Won't Shine (The Feeling)I Want You Now (The Feeling)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Composer Michelle DiBucci is a versatile artist whose work spans theater, opera, dance, and film. Michelle has made significant contributions to contemporary music, having collaborated with renowned ensembles like the Kronos Quartet and created works performed at prestigious venues such as Alice Tully Hall and the Komische Oper in Berlin. Her rich background includes studying under esteemed composers like Louis Andriessen and teaching at Juilliard since 1992, where she shares her passion for music and theater with aspiring artists.In this first part of our conversation, we explore Michelle's early influences, from her childhood experiences with television soundtracks to her pivotal moment of discovering the relationship between music and visual storytelling. She shares her journey from acting to composing, detailing how mentorship shaped her path and the lessons learned along the way. Michelle's insights into music composition reveal the intricate balance between creativity and the realities of the industry.[Subscriber Content] In the second part, we delve deeper into her composition approach and the collaborative process behind her compositions. Michelle discusses memorable projects, including her opera based on Charlotte Solomon's life, and highlights her thoughts on the changing landscape of music education and the impact of technology on future generations of musicians. This section offers valuable perspectives on navigating a career in music, alongside a reflection on the importance of live performances in an increasingly digital world.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!

KeywordsJazz Piano, Growth, Harmony, Improvisation, Melodic Design, Solo Piano, Music Education, Jazz Community, 2026 VisionSummaryIn this final episode of 2025, Dr. Bob Lawrence reflects on a year of growth within the Jazz Piano Skills community, emphasizing the importance of harmony, melody, and improvisation. He introduces the Four Pillars of Jazz Piano, which will guide the learning process in 2026, focusing on harmonic architecture, melodic design, improvisation development, and solo piano interpretation. The episode concludes with gratitude for the community's commitment and a vision for the upcoming year.TakeawaysThe final podcast of the year is a time for reflection.2025 was marked by growth in musical and educational aspects.Jazz Piano Skills emphasizes understanding over shortcuts.Harmony is essential for creating strong melodies.Improvisation is structured composition in real time.Emotional playing stems from harmonic awareness.Harmony serves as the musical map for melody.The Four Pillars of Jazz Piano will guide future studies.Each pillar supports the others in learning jazz piano.Community commitment is vital for musical growth.TitlesReflecting on a Year of Growth in Jazz PianoThe Importance of Harmony in Jazz MusicSound bites"This podcast is a special one for me.""Emotion comes from harmonic awareness.""Thank you for trusting the process."Support the show

In this episode of Music Ed Tech Talk, Robby sits down with Theresa Hoover to discuss AI guidance in music education, creativity in the classroom, task management for educators, and what's new in their professional lives. Topics include NAfME guidance on AI, next-gen Siri, automation workflows, and listener questions about sustaining creativity in a distracted world. Support Music Ed Tech Talk Become a Patron Buy Me a Coffee Show Notes & Links Intro & Community 00:00:00 – Hello and welcome 00:00:30 – Thanks to new Patreon supporter, Drew Ross News, Blogs, and AI Updates 00:01:23 – Theresa's newest blog on COPPA and FERPA** - https://offthebeatenpathinmusic.com/play-it-safe/ Affinity creative apps 00:10:30 – What's New in AI Next-gen Siri (expected 2026) Tim Cook provides update on next-gen Siri development Sky AI and the impact of OpenAI acquiring Sky AI Guidance in Music Education 00:16:15 – Released guidance in the music education world Yamaha: AI in the Music Classroom NAfME: Guiding Principles, Frameworks, and Applications for AI in Music Education Classroom policy framing Alignment language for administrators Practical classroom use cases Moises AI Studio — AI-generated, tempo- and harmony-aware accompaniment stems for student compositions and arranging Higher Ed & Classroom Practice 00:24:15 – What is emerging from Theresa's undergraduate classes? Automation Station 00:26:34 – Automation Station & task management Concert planning task templates Things 3: Organize Your Life Ask METT 00:32:21 – Listener question from Kate Bateman How do you manage teaching creativity and having opinions about music in a world where kids won't concentrate on anything for longer than a minute? Reference: Drive by Daniel Pink 00:41:51 – What is music for for kids? What's Up With Theresa 00:45:18 – New job update Wrapping up the doctorate 00:52:08 – Is it finally time for forScore and an Apple Pencil? What's Up With Robby 01:00:14 – New OS and first impressions of Apple Vision Pro The "wow factor" is actually wow Music Picks 01:13:38 Robby: The New Tango – Gary Burton & Astor Piazzolla Theresa: Afterglow – Saint Motel (Oct. 2025) Wrap-Up 01:17:39 – Where to find Theresa TheresaHoover.com Pass the Baton - https://passthebatonbook.com/pass-the-baton-podcast/ Book: Empowering Ensembles with Technology 01:20:20 – Farewell… plus Q&A on Theresa's dissertation on music teachers and educational podcasts Chapters 00:00:00 – Welcome & Intro 00:00:30 – Patreon Shout-Out 00:01:23 – COPPA, FERPA, and Blogs 00:10:30 – What's New in AI 00:16:15 – AI Guidance in Music Education 00:24:15 – Undergraduate Teaching Insights 00:26:34 – Automation Station 00:32:21 – Ask METT 00:41:51 – What Is Music For? 00:45:18 – What's Up With Theresa 00:52:08 – forScore & Apple Pencil 01:00:14 – What's Up With Robby 01:13:38 – Music Picks 01:20:20 – Final Q&A & Farewell Where to Find Us Robby: robbyburns.com Theresa: theresahoover.com

In this episode, I sit down with percussionist Doug Perkins for a wide-ranging conversation that starts with a few personal connections and quickly opens up into a bigger discussion about music, teaching, and the kind of “improbable events” that can change a person's life. Doug and I talk about our shared link through LSU and Brett Dietz, and Doug tells the story of how he learned bass guitar in the eighth grade to get into a jazz band, which led to rehearsals at home, a punk band with Brett called The Septic Creptics, and a deep early education in groove, feel, and listening. We dig into the teachers who shaped Doug's path, especially Jack DiIanni, and why fundamentals, sound, and real-life performing situations became such a foundation for everything that came next.Doug shares how his background in drum set and bass informs the way he plays and teaches, especially when it comes to music like Steve Reich, where micro-groove, ensemble feel, and knowing your role inside the bigger texture are everything. We also talk about how students learn now, how algorithm-driven listening can shrink context, and why so many young musicians feel pressure to avoid mistakes when everything can feel like a permanent record. Doug explains how he actively teaches context, lineage, and listening, and why basic production skills matter more than ever, including signal flow, microphones, sound reinforcement, and the simple confidence that comes from knowing how to set up a PA or wrap a cable correctly.From there, Doug takes us into his world at the University of Michigan, where he helps lead a large percussion studio with a faculty team that spans orchestral playing, contemporary music, improvisation, and drum set. We talk about the balance between performing and teaching, and how parenting an 18-year-old college student has changed the way he supports first-year undergrads. Doug also tells the story of his long relationship with composer John Luther Adams, including how a formative early experience with Strange and Sacred Noise eventually led to performances in the Alaskan tundra, floating stages in Central Park, and outdoor concerts where the audience hikes in and the environment becomes part of the piece. We wrap up with what's ahead for Doug, including significant projects, collaborations, performances, and the ongoing joy of bringing students into real work that proves their “crazy ideas” can matter in the world.Music from the Episode:Nagoya Marimbas (Steve Reich, composer - Todd Meehan & Doug Perkins, marimbas)XY (Michael Gordon, composer - Doug Perkins, percussion)Strange and Sacred Noise (John Luther Adams, composer - Morris Palter, Rob Esler, Steven Schick, & Doug Perkins - percussion)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

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/

In this episode of The Bandwich Tapes, I reconnect with conductor and educator Aaron Kula, who shaped my summers in the Chautauqua Youth Orchestra at the Chautauqua Institution in New York in 1994 and 1995. We talk about what it means to trust young musicians with major repertoire, including the time we took on Stravinsky's The Rite of Spring, and what that experience taught me about preparation, accountability, and confidence. Aaron shares his philosophy for building ensemble culture: learning every student's name, holding individuals responsible while serving the collective, and making the rehearsal process both rigorous and engaging. We dig into how his multi-genre musical life, from classical training to folk and ethnic traditions, and his deep connection to Jewish music, shaped the way he hears rhythm, style, and culture inside the orchestra. Aaron also explains how conducting changes when moving from the concert stage to ballet, how tempo becomes a real-time collaboration with dancers, and why a conductor has to know when to lead, when to release, and when to stay out of the players' way. This conversation is equal parts music, mentorship, and reflection, and a reminder that the seeds teachers plant can continue to grow for decades. I'm grateful for the chance to say thank you, and for the lessons from those summers that still guide how I work with students and teams today.To learn more about Aaron, visit his website. 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, Improvisation, Christmas Time Is Here, Music Education, Jazz Skills, Melodic Analysis, Harmonic Analysis, Music Practice, Jazz Checklist, Music LearningSummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence guides listeners through the intricacies of jazz improvisation, focusing on the classic tune 'Christmas Time Is Here.' The discussion covers harmonic and melodic analysis, the importance of a structured approach to improvisation, and the creation of a beginner's checklist to combat information overload. Listeners are encouraged to develop their improvisation vocabulary through melodic motifs and rhythmic variations, emphasizing the joy and process of learning jazz piano.TakeawaysWeek three focuses on improving jazz improvisation skills.The tune studied this month is 'Christmas Time Is Here.'Improvisation development is crucial for jazz musicians.A clear thought process simplifies music conceptually.The seven musical facts guide our approach to music.A beginner's checklist can help manage information overload.Melody is the starting point for improvisation.Rhythm and feel are foundational to playing music.Great solos are built from simple, developed ideas.Joy and curiosity are essential for progress in jazz.TitlesMastering Jazz Piano: Christmas Time Is HereImprovisation Essentials for Jazz MusiciansSound bites"We focus on improvisation development.""Improvisation begins with the melody.""Joy fuels progress in music."Support the show

As NAMM approaches its 125th year, the conversation around The NAMM Show 2026 centers less on products alone and more on the people, relationships, and creative energy that sustain the music industry. In this episode, John Mlynczak, President and CEO of NAMM, joins Sean Martin and Marco Ciappelli to frame the upcoming show as a moment shaped by resilience, adaptation, and shared purpose.Mlynczak positions NAMM's history as a long record of responding to disruption. Musical genres shift. Technologies rise and fall. Companies appear and disappear. Music itself remains. That continuity shapes how NAMM views its role today, particularly amid global trade pressures and ongoing debates around AI in music creation. These pressures are not framed as endpoints, but as forces the industry has encountered many times before, each eventually reshaped into opportunity.A major theme is the renewed emphasis on human connection. While innovation remains central, differentiation increasingly comes through artists, creators, and authentic storytelling. Product launches are no longer just technical showcases. They are expressions of identity, collaboration, and trust between musicians and the tools they choose. According to Mlynczak, this shift is driving a larger presence of artists and creators at The NAMM Show 2026, reinforcing the idea that brands are ultimately represented by people, not specifications.Education also plays a defining role. With more than 200 sessions planned, alongside new half-day and full-day summits, The NAMM Show 2026 expands its commitment to learning across experience levels and professional communities. Retailers, educators, engineers, marketers, and performers each have distinct paths through the show, designed intentionally rather than left to chance. Data-driven planning allows NAMM to understand how attendees engage, enabling more tailored experiences now and in the years ahead.Underlying it all is energy. Not hype, but momentum built through in-person connection. The NAMM Show is described as a space where competitors share ideas, musicians find inspiration, and creativity compounds simply by being present. For those who attend, The NAMM Show 2026 serves as a springboard into the year ahead, shaped by music's enduring ability to connect, adapt, and move people forward.The NAMM Show 2026 is taking place from January 20-24, 2026 | Anaheim Convention Center • Southern California — Coverage provided by ITSPmagazine — Follow our coverage: https://www.itspmagazine.com/cybersecurity-technology-society-events/the-namm-show-2026GUEST:Guest: John Mlynczak, President and CEO of NAMM | View Website | Visit NAMMHOSTS:Sean Martin, Co-Founder, ITSPmagazine and Studio C60 | Website: https://www.seanmartin.comMarco Ciappelli, Co-Founder, ITSPmagazine and Studio C60 | Website: https://www.marcociappelli.comNAMM Organization: https://www.namm.org/The NAMM Show 2026: https://www.namm.org/thenammshow/attendCatch more stories from NAMM Show 2026 coverage: https://www.itspmagazine.com/cybersecurity-technology-society-events/the-namm-show-2026Music Evolves: Sonic Frontiers Newsletter | https://www.linkedin.com/newsletters/7290890771828719616/More from Marco Ciappelli on Redefining Society and Technology Podcast: https://redefiningsocietyandtechnologypodcast.com/Want to share an Event Briefing as part of our event coverage? Learn More

Could this be peak Frank? Sinatra at the Sands captures the energy, the cool, and the incredible voice that made this crooner so iconic. Backed by the Count Basie Orchestra with arrangements by a young Quincy Jones, this live album still swings 60 years later!Sinatra at the Sands was recorded at a moment when Sinatra was emerging from a slump. Rock and roll dominated the airwaves, the Beatles were redefining popular music and crooning just wasn't cool anymore. But this album, recorded live in Vegas, shows a 50-year-old Frank sounding loose, confident, and completely at home in front of a band that swings like nothing else. Listen with us as we break down and react to the best of this swingin' album.Start your free Open Studio trial for ALLLLL your jazz lesson needs: https://osjazz.link/yhi   00:00 - Intro Jam: Fly Me To the Moon01:35 - The Sinatra-Basie Episode!03:45 - Is This Peak Frank?05:45 - The Mid-60s Culture Shift07:45 - "Come Fly With Me" 12:00 - The Quincy Influence14:45 - "I've Got You Under My Skin"17:30 - What To Listen For22:30 - "The Shadow of Your Smile"26:20 - Freddie Green's "Chunking" Technique28:15 - Sinatra's Vocal Gift33:30 - "Street of Dreams"35:50 - "One For My Baby (And One More for the Road)"38:40 - "Fly Me To the Moon"45:00 - "One O'Clock Jump"49:50 - Desert Island Tracks54:05 - Apex Moments59:05 - Categories1:03:20 - Coming Up Next Week

In Episode 89, Brennan is joined by Broadway's Russell Daniels as they talk about his journey from a degree in Music Education to being Josh Gad's standby in Gutenberg on Broadway! From sketch comedy, to hit parody shows, to Broadway itself, Russell has made a name for himself as one of the best comedic actors in the biz, and has a lot of wisdom to share of how he did it!Support the showHost/ Production/ Editing: Brennan StefanikMusic: Dylan KaufmanGraphic Design: Jordan Vongsithi@batobroadway on Instagram, Threads, and TikTokPatreon.com/batobroadway

In this episode, I talk with legendary timpanist, educator, and musical pioneer Jonathan Haas. Jonathan's journey weaves together St. Louis, Chicago, New York, Juilliard, Frank Zappa, Emerson Lake & Palmer, Philip Glass, and a powerful new project responding to the world we live in today.Jonathan tells the story of how a newspaper clipping from his mom led him to Washington University, where he studied with Rich O'Donnell, John Kasica, Tom Stubbs, and Rick Holmes—often taking four private lessons a week while subbing with the St. Louis Symphony.From there, he describes:Heading to Juilliard to study with Saul GoodmanSubbing with the New York PhilharmonicAuditioning for and touring with Emerson, Lake & Palmer (including opening Bolero in front of 50,000 people at Soldier Field!)A 20-year relationship and collaboration with Frank Zappa, sparked by a handwritten letterThe long road to commissioning the Philip Glass Double Timpani Concerto and why it had to become a double concertoHis work at NYU, including powerful new pieces by Lenny White and Tim Adams, connected to Black Lives Matter and the murder of George FloydJonathan is a phenomenal storyteller, and the combination of history, humor, honesty, and perspective makes this one of the most compelling conversations I've had.Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with bassist, producer, educator, and longtime Bacon Brothers collaborator Paul Guzzone. Paul and I first met backstage in Atlanta years ago when my band opened for the Bacon Brothers, and we bonded instantly over Aguilar rigs and the first U-Bass I had ever played.What starts as a fun reconnection becomes a deep exploration of Paul's multifaceted life in music. We talk about his early years with Tom Rush, his decades-long collaboration with Kevin and Michael Bacon, his extensive composing and jingle work, and his long career teaching Rock and Contemporary Culture at Pace University.Paul's warmth, humor, and decades of perspective make this a truly special conversation.To learn more about Paul, visit his website. Music from the Episode:Dance While I Can (Paul Guzzone)South of the Coconut Line (Paul Guzzone)All I Ever Wanted to Do (Paul Guzzone)Extra Innings (Paul Guzzone)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

There are some fascinating philosophical divides in Music Education. And we don’t discuss them enough. What does “inclusive” music education really look like? Shane Colqohoun is an instrumental music educator who possesses a rare super power. He can recognize areas where he both agrees AND disagrees with the philosophies of others, and is not scared … Continue reading "Episode 268: More Music for More Students with Shane Colquhoun"

This week on the New Music Business podcast, Ari sits down with acclaimed pianist and composer, Chloe Flower. Born in Pennsylvania, Chloe began playing piano at age two, later studying at the Manhattan School of Music Pre-College and London's Royal Academy of Music. A classically trained pianist turned genre-bender, she calls her unique style “popsical” (a fusion of classical, pop, and hip-hop). She has collaborated with major artists like Céline Dion, Babyface, Nas, and Cardi B (whose 2019 Grammy performance she helped elevate). Beyond music, Chloe is a passionate advocate for music education and anti-human trafficking efforts.In this episode, Ari and Chloe dive into her artistic journey. They discuss everything from rigorous classical training to creating a hybrid genre that seemed nonexistent before her. Chloe explains how she navigates the music business, and the lessons she's learned from bridging two very distinct worlds. Ari and Chloe talk about label strategy, collaboration with big-name artists and producers, and maintaining authenticity while scaling. Chloe shares her approach to building a personal brand (both musically and visually), her perspective on empowering women in the industry, and how she sees the future of genre-fluid music and education. https://www.instagram.com/misschloeflower05:00 – The Holiday Album and Women Composers10:30 – Understanding Public Domain and Classical Music Rights15:45 – YouTube Covers, Metadata, and Going Independent19:00 – Meeting Babyface and Blending Genres25:00 – The Viral Grammy Performance with Cardi B29:30 – Evolving Sound and the Role of Collaboration33:00 – Running an Independent Label and Revenue Streams36:00 – Pros and Cons of Major vs. Indie Labels47:00 – Music Education and Inspiring the Next Generation54:00 – Performing with Orchestras and ConductorsEdited and mixed by Peter SchruppMusic by Brassroots DistrictProduced by the team at Ari's TakeOrder the THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.com Hosted on Acast. See acast.com/privacy for more information.