Podcasts about music faculty

John Maurer, Trumpet/Flugelhorn artist and music educator, speaking about his life in music and philosophy of teaching, in an interview in 2018 coinciding with the release of his album, "Songs For My Son." John Maurer will be joined by Dr. Rick Hoffenberg, piano, for a Music Faculty recital at Marywood University in Scranton in the Marian Chapel of the Swartz Center on January 25, 2025, at 2:00 pm.  The program will include music by Arthur Honegger; Oscar Boehme; Amy Dunker and more.  For information: www.marywood.edu/mtd or www.trumpetjm.com/

Faculty members from the various music degree programs will perform on the instrument they teach and show students and the community what the BYU-Idaho Music Department has to offer.

In this episode, co-hosts Andy Hibel and Kelly Cherwin continue a conversation with Warren Zanes, music adjunct faculty at Steinhardt School of Culture, Education, and Human Development at New York University. Zanes is the author of "Deliver Me from Nowhere: The Making of Bruce Springsteen's Nebraska," which is now being made into a biographical film about singer, songwriter, and guitarist Bruce Springsteen.In this second part of the interview, Zanes discusses his left turn in life that led him to a career in academia, following his time in Warner Bros. Recording act The Del Fuegos. He also talks about the importance of vulnerability in the classroom, letting things break down before rebuilding, and how his sons have embraced higher education.  Read more about his book in an op-ed, "What We Can Learn From Bruce Springsteen's Great Left Turn," he penned for The New York Times in May 2023. Zanes has a doctoral degree in visual and cultural studies from The University of Rochester. He is a New York Times best-selling author, and a Grammy-nominated documentary producer. Hibel is a co-founder of HigherEdJobs and serves as its chief operating officer. Cherwin is the director of editorial strategy at HigherEdJobs. Do you have a topic you would like us to discuss on the podcast? Send us your ideas, and you might hear them discussed on the HigherEdJobs podcast.

In this episode, co-hosts Andy Hibel and Kelly Cherwin talk with Warren Zanes, music adjunct faculty at Steinhardt School of Culture, Education, and Human Development at New York University.  Zanes is the author of "Deliver Me from Nowhere: The Making of Bruce Springsteen's Nebraska," which sets the backdrop for the conversation on taking the road-less-traveled in your career. The book is now being made into a biographical film about singer, songwriter, and guitarist Bruce Springsteen. In this first part of the interview, Zanes discusses the importance of taking risks in life and allowing yourself to be vulnerable, which can lead to the creation of great art. Read more about his book in an op-ed, "What We Can Learn From Bruce Springsteen's Great Left Turn," he penned for The New York Times in May 2023.  Zanes has a doctoral degree in visual and cultural studies from The University of Rochester. He is a New York Times best-selling author, Grammy-nominated documentary producer, and a former member of The Del Fuegos. Hibel is a co-founder of HigherEdJobs and serves as its chief operating officer. Cherwin is the director of editorial strategy at HigherEdJobs. Do you have a topic you would like us to discuss on the podcast? Send us your ideas, and you might hear them discussed on the HigherEdJobs podcast.

MacPhail Center for music has a program called the Spotlight Program, which encourages its teachers to create musical programs. That's what stimulated the creation of “It Takes Two”, an evening of Broadway musical-style songs with piano accompaniment to be performed at Crooner's Supper Club in Fridley next Thursday. MacPhail pianist Timothy De Prey tells of the group process that created “It Takes Two.”

This episode features my conversation with Boston based  drummer Dave DiCenso.  Known for his versatility and his dynamic mastery of the drum set, he began his studies at a young age under the direction of his father, renowned educator Dick DiCenso. Dave went on to establish a successful career working as a sideman for various artists in many different genres, in addition to focusing on his own musical projects. Dave is a highly regarded educator, and has been on faculty at the prestigious Berklee College Of Music for the last 30 years. He is also the author of 3 highly regarded books, with the most recent being “Fluid Fills & Musical Phrasing”. In our conversation, we talk about his personal journey through the different phases of his career. We also discuss the joys and challenges of finding artistic satisfaction as a sideman and why he has chosen to focus on education at this stage of his career.

 Follow Dave at  https://davedicenso.com/

In this session, we explore what Playford's publishing activities can tell us about how music was incorporated into different social environments in seventeenth-century English society and the role music played in peoples lives. Although The Dancing Master was one of John Playford's best-known and most widely distributed publications, it belonged within a music-publishing portfolio that provides something of a snapshot of the breadth of music-making activities in which people from different parts of society participated in the Commonwealth and Restoration periods. In this session, we explore what Playford's publishing activities can tell us about how music was incorporated into different social environments in seventeenth-century English society, from the tavern to the concert room to the royal court, and what the writings of people known to have used his books, such as Samuel Pepys, tell us about the role music played in their lives. Rebecca Herissone is Professor of Musicology at the University of Manchester and a Fellow of the British Academy. Her research focuses on the musical cultures of early modern England, particularly issues of creativity, reception and manuscript and print cultures, which has led her to work extensively on the publishing activities of John and Henry Playford, Thomas Cross and John Walsh, and to consider the complex relationships between musical notation and performance in the period. She has written three monographs, most recently Musical Creativity in Restoration England (awarded the Diana McVeagh Prize by NABMSA in 2015), and has had articles published in journals including the Journal of the American Musicological Society, Musical Quarterly, Journal of Musicology, Music & Letters, and the Journal of the Royal Musical Association. She co-edited Music & Letters from 2007–19 and is now a Vice-President of the Royal Musical Association, Chair of the Musica Britannica Editorial Committee, Series Co-Editor of Cambridge Elements in Music, 1600–1750, a General Editor of the Works of John Eccles, and a member of the Editorial Boards of the Purcell Society and Music & Letters. Her current research focuses on Purcell's reception, particularly the material traces we can uncover of the small network of individuals who preserved, performed and transformed his music in the 18th and 19th centuries. Alice Little is a Research Fellow at the Bate Collection of Musical Instruments, part of the Music Faculty of the University of Oxford. Her research focuses on collectors and collecting, particularly eighteenth-century tunebooks and their compilers, looking at what sources the collections were gathered from and what the selection of music says about the people and cultures that collected and used them.

This talk will consider how and why the frontispiece to this edition was different from those in earlier editions and place the image in relation to other images of ballroom dance bands before and after 1728. The music publisher John Playford built his success on the publication in 1651 of the first book to give tunes and dance instructions for country dances. He named it The English Dancing Master and in subsequent editions The Dancing Master. The frontispiece to the eighteenth and final edition of vol. 1 (c.1728) shows a trio of musicians – violin, oboe, bassoon – accompanying a group of country dancers in a ballroom. This talk will consider how and why the frontispiece to this edition was different from those in earlier editions and place the image in relation to other images of ballroom dance bands before and after 1728. The speakers will also examine Hogarth's print A Country Dance and what it tells us about decorum and licence in mid-18th century ballroom dancing. Jeremy Barlow specialises in English popular and dance music from 1550 to 1750, and also has a particular interest in the illustration of music and social dance over the centuries. He has lectured on a variety of subjects for organisations such as the The Arts Society, U3A, the Art Fund and National Trust. His books include The Enraged Musician: Hogarth's Musical Imagery (Ashgate) and The Cat & the Fiddle: Images of Musical Humour from the Middle Ages to Modern Times (Bodleian Library). The Bodleian Library has also published A Dance Through Time: Images of Western Social Dancing from the Middle Ages to Modern Times. Jeremy is well known for his work on Playford and has published an edition of Playford's dance tunes, The Complete Country Dance Tunes from Playford's Dancing Master (1651–ca.1728) (Faber Music). Alice Little is a Research Fellow at the Bate Collection of Musical Instruments, part of the Music Faculty of the University of Oxford. Her research focuses on collectors and collecting, particularly eighteenth-century tunebooks and their compilers, looking at what sources the collections were gathered from and what the selection of music says about the people and cultures that collected and used them.

Steven possesses a vast array of knowledge about writing for the contemporary jazz big band. His latest album with the Generation Gap Jazz Orchestra is up for Grammy consideration!!! You will not want to miss this episode.

Host: Coach Guests: Brian Krinke, Jason Pegis Air date: Oct 17, 2022    

It's always rewarding to see faculty perform what they teach. Randall Williams gets in tune at the annual Music Faculty Recital. Broadcast March 4th, 2022 on Stafford METV.HCC's music faculty presents music in many genres and styles online. February 22, 2022. Opening welcome by Music Program Coordinator, Dr. Kathleen Ruhleder “I'd like to welcome you to our spring 2020 (*2022) faculty recital. We're really hoping this is the last one that we're doing virtually and putting online. I would love to see you all at our events ??? and later this semester we've got lots of great in-person events coming up as well. But we're so glad that you're here to support HCC faculty as we share some really fantastic music with you.So on tonight's program, you're going to see, what we typically have on these recitals are some shorter pieces that really highlight some of the skills of the performers. You're going to hear some personal compositions being performed by the composer which is so exciting and then we have something a little different at the end of our program. We're going to have a much longer piece, about 17 minutes long, and really shows off the skills of one of our adjunct faculty members, Doug DeVries performing on the flute with a string quartet. It really shows how incredibly challenging and incredibly rewarding it can be to record a much longer piece. The type of focus required for that is pretty amazing so I hope you all will enjoy tonight's program.Next week is our annual Black History Month concert which will also be online and we'd love to have you join us for that on the 28th and after that check out the calendar of events for all the cool in-person concerts we have coming up later this semester.Enjoy."Viewing Link and program on EduTube https://edutube.hccs.edu/media/Music+Faculty+Recital+Spring+2022/1_m7jxb0s4

Madhup Mudgal was born in New Delhi to Professor Vinay Chandra Maudgalya, a renowned classical musician from the Gwalior gharana. His father started Gandharva Mahavidyalaya, New Delhi in 1939 from their home near Plaza cinema, Connaught Place. Professor Vinay Chandra Maudgalya is best remembered today for the lyrics of the song Hind Desh ke Niwasi in the animation film Ek Anek Aur Ekta by Vijaya Mulay which won the National Film Award for Best Educational Film.[6] Because of his father's interests, Madhup grew up in a musical environment, where veteran musicians like Pt. Omkarnath Thakur and Ali Akbar Khan would come by regularly for sangeet baithaks (musical sittings). The school moved to its present location at Deen Dayal Upadhayaya Marg in 1972 and today houses over 1200 dance and music students and a faculty of 60 teachers. Madhup completed his early schooling at Modern School, New Delhi. He holds an M.A. and a MPhil degree from the Music Faculty of University of Delhi for his research in the structure of Khayal. He received his early training in Hindustani classical music from his father, and went on to learn under the tutelage of musicians like Pandit Vasant Thakar, Pandit Jasraj and finally the musical stalwart Kumar Gandharva. --- Send in a voice message: https://anchor.fm/raag-giri/message

Flathead Valley Community College music faculty Nicole Sanford appeared on Glacier Bank Community Conversations on the KGEZ Good Morning Show with John Hendricks and Robin Mitchell on Monday October 18, 2021 to talk about the wonderful music program offered at FVCC. 

Part of the Humanities Cultural Programme, one of the founding stones for the future Stephen A. Schwarzman Centre for the Humanities. This panel discussion and conversation with artist Khaled Kaddal examines The Formula of Giving Heart as a piercing study of our contemporary socio-political environment. Drawing from a variety of theoretical and creative perspectives, the panellists variously explore such themes as the global increase in physical confinement(s), the rise of cybernetics and biodata, and the continued privileging of contemporary science/medicine as distinct from other historical practices of healing. Exploring these phenomena amid a backdrop of global precarity, The Formula for Giving Heart forges fascinating linkages between seemingly disparate phenomena. It demonstrates how spatial imprisonment exists in and through hyperlinked and technologized (global) networks, ancient Pharaonic languages map onto and exist as contemporary (computer) code, and apparently distinct socio-political events—from the Coronavirus pandemic to the 2011 Egyptian revolution—can feel familiar through the very extraordinary nature of their temporal and affective regimes. Exploring these themes through the world premiere of Kaddal's newest work, this panel broadly considers our present moment as well as the shifting nature of sonic and visual performance during a time of global crisis and ever increasing technologization. Christopher Haworth is a Senior Lecturer in the Department of Music at the University of Birmingham. His scholarly interests lie in the broad areas of electronic music and sound art, which he researches using a mixture of historiographic, philosophical, and ethnographic research methods. He is currently researching the short-lived 'cyber theory' moment that accompanied mid-1990s hype for the internet and World Wide Web in Britain, and he was previously an AHRC Early Career Leadership Fellow on Music and the Internet: Towards a Digital Sociology of Music. He also composes computer music, often incorporating principles from psychoacoustics, music psychology, and cybernetics. Khaled Kaddal is a Nubian visual artist and sound performer, raised in Egypt and currently resident in London. Allaying science and politics, spirituality and technology, he works with two interdependent abstractions; ‘Immortality of Time' and ‘Sovereignty of Space', in search for the imperishable balance between intelligence, emotions and moral judgments. Recent solo show at Overgaden Institut for Samtidskunst, Copenhagen; group exhibitions include ‘One the Edge' at Science Gallery, London; '10 Years of Production' at Sharjah Art Foundation, Sharjah; ‘What do you mean, here we are?' at Mosaic Rooms Gallery, London; ‘Art Olympics' at Tokyo Metropolitan ArtMuseum, Tokyo; Performances at ‘Keep quite and Dance' at Cairotronica Symposium, Cairo; Zentrum der Kunster Hellerau, Dresden; and ‘Daily Concerns' at Dilston Grove Gallery, London. Kaddal has an upcoming show at 5th Biennale Internationale de Casablanca, Morocco; and a Resident Fellow at Uniarts Helsinki, Finland. He studied Computer Science at AAST (EG), and Sound Art at the University of the Arts London (UK). Darci Sprengel is an ethnomusicologist and Junior Research Fellow in Music at St John's College, University of Oxford. Her research examines contemporary music in Egypt at the intersections of technology, capitalism, and politics. She is currently completing her first book, 'Postponed Endings': Youth Music and Affective Politics in Post-Revolution Egypt, which examines Egyptian independent music in relation to conditions of military-capitalism. She has two additional research projects. The first analyses music streaming technologies in the global South using a feminist and critical race approach to digital media. The second explores the influence of sub-Saharan African culture in Egyptian popular culture. Christabel Stirling is a musicologist specialising in ethnographic approaches to music and sound art in contemporary urban environments. She is currently a postdoctoral research fellow on the ERC-funded project ‘Sonorous Cities: Towards a Sonic Urbanism', based at the Music Faculty at the University of Oxford. Her research explores the social relations and coalitions that music and sound produce in their live forms, focusing particularly on the potential for such coalitions to transform or reinforce existing social and spatial orders. 

Part of the Humanities Cultural Programme, one of the founding stones for the future Stephen A. Schwarzman Centre for the Humanities. This panel discussion and conversation with artist Khaled Kaddal examines The Formula of Giving Heart as a piercing study of our contemporary socio-political environment. Drawing from a variety of theoretical and creative perspectives, the panellists variously explore such themes as the global increase in physical confinement(s), the rise of cybernetics and biodata, and the continued privileging of contemporary science/medicine as distinct from other historical practices of healing. Exploring these phenomena amid a backdrop of global precarity, The Formula for Giving Heart forges fascinating linkages between seemingly disparate phenomena. It demonstrates how spatial imprisonment exists in and through hyperlinked and technologized (global) networks, ancient Pharaonic languages map onto and exist as contemporary (computer) code, and apparently distinct socio-political events—from the Coronavirus pandemic to the 2011 Egyptian revolution—can feel familiar through the very extraordinary nature of their temporal and affective regimes. Exploring these themes through the world premiere of Kaddal's newest work, this panel broadly considers our present moment as well as the shifting nature of sonic and visual performance during a time of global crisis and ever increasing technologization. Christopher Haworth is a Senior Lecturer in the Department of Music at the University of Birmingham. His scholarly interests lie in the broad areas of electronic music and sound art, which he researches using a mixture of historiographic, philosophical, and ethnographic research methods. He is currently researching the short-lived 'cyber theory' moment that accompanied mid-1990s hype for the internet and World Wide Web in Britain, and he was previously an AHRC Early Career Leadership Fellow on Music and the Internet: Towards a Digital Sociology of Music. He also composes computer music, often incorporating principles from psychoacoustics, music psychology, and cybernetics. Khaled Kaddal is a Nubian visual artist and sound performer, raised in Egypt and currently resident in London. Allaying science and politics, spirituality and technology, he works with two interdependent abstractions; ‘Immortality of Time' and ‘Sovereignty of Space', in search for the imperishable balance between intelligence, emotions and moral judgments. Recent solo show at Overgaden Institut for Samtidskunst, Copenhagen; group exhibitions include ‘One the Edge' at Science Gallery, London; '10 Years of Production' at Sharjah Art Foundation, Sharjah; ‘What do you mean, here we are?' at Mosaic Rooms Gallery, London; ‘Art Olympics' at Tokyo Metropolitan ArtMuseum, Tokyo; Performances at ‘Keep quite and Dance' at Cairotronica Symposium, Cairo; Zentrum der Kunster Hellerau, Dresden; and ‘Daily Concerns' at Dilston Grove Gallery, London. Kaddal has an upcoming show at 5th Biennale Internationale de Casablanca, Morocco; and a Resident Fellow at Uniarts Helsinki, Finland. He studied Computer Science at AAST (EG), and Sound Art at the University of the Arts London (UK). Darci Sprengel is an ethnomusicologist and Junior Research Fellow in Music at St John's College, University of Oxford. Her research examines contemporary music in Egypt at the intersections of technology, capitalism, and politics. She is currently completing her first book, 'Postponed Endings': Youth Music and Affective Politics in Post-Revolution Egypt, which examines Egyptian independent music in relation to conditions of military-capitalism. She has two additional research projects. The first analyses music streaming technologies in the global South using a feminist and critical race approach to digital media. The second explores the influence of sub-Saharan African culture in Egyptian popular culture. Christabel Stirling is a musicologist specialising in ethnographic approaches to music and sound art in contemporary urban environments. She is currently a postdoctoral research fellow on the ERC-funded project ‘Sonorous Cities: Towards a Sonic Urbanism', based at the Music Faculty at the University of Oxford. Her research explores the social relations and coalitions that music and sound produce in their live forms, focusing particularly on the potential for such coalitions to transform or reinforce existing social and spatial orders. 

Our music faculty recital features an eclectic program of Romantic, Impressionist, and contemporary classical music. Back in the day, music was performed not only in large public venues but also in small private salons. You will get a taste of that as the artists invite you to the cozy confines of their homes, and to recital spaces and concert halls.April 08  |  To view the Spring 2021 Music Faculty Recital https://edutube.hccs.edu/media/Music+Faculty+Recital+Spring+2021/1_nwcaba9a

In this episode, The Piano Pod interviews Dr. Paolo Marchettini, a brilliant composer, clarinetist, and theory and composition professor at the Manhattan School of Music. He recently released an album, "The Months Have Ends," a compilation of his orchestral works. We talk to him about the new album, his compositional process and relationship with the piano, and growing up as a musician in Italy.

Pianist, arranger, author, and educator, Christopher Azzara has made important contributions to advancing the understanding of creativity and improvisation in the music learning process. An innovator in music teaching and learning, Dr. Azzara is Professor of Music Teaching & Learning and Affiliate Faculty of Jazz Studies & Contemporary Media at the Eastman School of Music. Teaching and performing internationally, he is the author of numerous articles, arrangements, and books, including Developing Musicianship Through Improvisation and Jump Right In: The Instrumental Series (GIA). His arrangements for instrumental and vocal ensembles include A la nanita nana for choir and chamber orchestra or piano (Oxford), and Concert Selections for Winds and Percussion (GIA). His research and publications are concerned with meaningful relationships among listening, creating, improvising, reading, composing, and analyzing music in vocal and instrumental settings. Dr. Azzara's work appears in journals such as the Journal of Research in Music Education, the Bulletin of the Council for Research in Music Education, the Music Educators Journal, Early Childhood Connections, and in The New Handbook of Research on Music Teaching and Learning (MENC/Oxford), and Oxford Handbooks Online. He performs as a soloist and in various ensembles, including the Chris Azzara Trio, and has played on and produced many studio and educational recordings. In Rochester, he performs with freelance musicians, members of the Eastman School of Music Faculty, and members of the Rochester Philharmonic Orchestra. An active teacher and clinician, he has presented and performed extensively throughout the United States, and in Canada, the Caribbean, France, Germany, Italy, Lithuania, Poland, Portugal, China, Japan, and Australia. He has presented clinics and workshops in a variety of settings, including TEDxRochester, the Pittsburgh Symphony Orchestra, Carnegie Hall, and leading music schools in this country and abroad. Christopher Azzara is a native of Virginia and attended public schools in Fairfax County. After receiving the Bachelor of Music degree from George Mason University, he taught instrumental music in the Fairfax County Public Schools and performed as a pianist in the Washington D.C. area. He later received a Master of Music and a Ph.D. in Music Education from the Eastman School of Music. Prior to joining the Eastman faculty, Dr. Azzara was a professor at The Hartt School of Music, Dance, and Theatre of the University of Hartford, CT. https://christopherazzara.com https://www.esm.rochester.edu/faculty/azzara_christopher/ --- Support this podcast: https://podcasters.spotify.com/pod/show/musicast-podcast/support

 I talk to Catherine Louise Geach on the Peace Projects. Catherine Louise Geach was born in England and began playing the violin at the age of 4, performing her first concert a year later. When she was 15 she won a scholarship to study violin at the Royal Academy of Music in London. Between July and September of 1990, she went to Cambodia at the age of 18, in order to compile a report on the violation of human rights by the Khmer Rouge and the devastating effect this was having on the civilian population of Cambodia. The “Aid and War Report” was sent to the UN, British Government and organisations concerned with peace and development. The report highlighted the suffering of people in Khmer Rouge zones and showed why the international community should not be supporting the Khmer Rouge, as well as the negative effect the International Aid and Trade embargo had on Cambodia. For the “Aid and War Report”, she was awarded the Bernard Brett Peace Bequest in 1991. During her research in Cambodia in 1990, she performed a concert for the Royal University of Fine Arts and was asked by the Dean of the Music Faculty to return to the University to help teach. From 1990 -1991 she studied Khmer as a private student at SOAS (School of Oriental and African Studies in London.)and Kompong Speu hospitals with civilians maimed by mines and rocket fire. She also did research on the Kreung and Tampuan ethnic minorities and their music in Ratankiri Province, she wrote an article for the Tablet about them and presented her research at the European Seminar of Ethnomusicology in 1992. She was a United Nations Election Observer in Ratanakiri Province for Cambodia’s first democratic elections in 1993. For video and more info go to the ThePeaceProjects.com

TORCH Goes Digital! presents a series of weekly live events Big Tent - Live Events! Performance Week​. Part of the Humanities Cultural Programme, one of the founding stones for the future Stephen A. Schwarzman Centre for the Humanities. Join us for an in-conversation with multi-award winning artist, Jamelia, as we explore themes related to music, performance, and what it means to be an artist on lockdown. Join Dr Yvonne Liao (Music Faculty, University of Oxford) and Dr Priya Atwal (Kings College London) as they discuss all things music, performance, representation, education, home schooling with Jamelia. Jamelia is a mutli-award winning musician, presenter and an advocate for women and girls. Her career has spanned over 20 years, beginning when she was just 15. ​ Jamelia has topped the charts in the UK, Australia, Thailand and Italy and toured the world with ​Usher, Destiny’s child and Justin Timberlake to name a few. ​She has received awards from The Mobo’s, Q Awards, Ivor Novellos and a Mercury Music Prize. ​Jamelia also models and has graced the covers of Elle, Cosmopolitain and Harpers Bazaar. ​Branching out into acting, presenting and writing, Jamelia uses her expansive career and life ​experience to empower, inspire and ignite those around her. ​ She has authored an array of documentaries including “Whose hair Is it Anyway” which she says ​was life changing for her, and the emotional “Shame About Single Mums” both for the BBC.​ As if the above wasn’t enough, Jamelia is a loving Wife, and describes her most important role as ​being “Mummy” to her 3 gorgeous Daughters and adorable Son. ​She sees her children as her greatest success!​ Jamelia is currently working on multiple projects, including a new album, TV show, book, haircare ​line, and her Girlz Club Programs in partnership with her daughters’ business, Magic Girlz. Dr Yvonne Liao is a Leverhulme Early Career Research Fellow in the Music Faculty at the University of Oxford. Yvonne is a music historian and during her career has also worked at Naxos Records and Universial Music Hong Kong. During her time in Oxford, Yvonne has also co-founded the Colonial Ports and Global Histories Network (CPAGH) and is a member of the TORCH Management Committee. Dr Priya Atwal is a Teaching Fellow in Modern South Asian History at Kings College London. In addition to her research as a historian, Priya has a lot of experience working in the areas of public engagement, history, museums and heritage, and University outreach particularly including her research on Queen Victoria, and most recently appearing as part of the BBC4 documentary on 'The Stolen Maharajah'. ​

TORCH Goes Digital! presents a series of weekly live events Big Tent - Live Events! Performance Week​. Part of the Humanities Cultural Programme, one of the founding stones for the future Stephen A. Schwarzman Centre for the Humanities. Join us for an in-conversation with multi-award winning artist, Jamelia, as we explore themes related to music, performance, and what it means to be an artist on lockdown. Join Dr Yvonne Liao (Music Faculty, University of Oxford) and Dr Priya Atwal (Kings College London) as they discuss all things music, performance, representation, education, home schooling with Jamelia. Jamelia is a mutli-award winning musician, presenter and an advocate for women and girls. Her career has spanned over 20 years, beginning when she was just 15. ​ Jamelia has topped the charts in the UK, Australia, Thailand and Italy and toured the world with ​Usher, Destiny’s child and Justin Timberlake to name a few. ​She has received awards from The Mobo’s, Q Awards, Ivor Novellos and a Mercury Music Prize. ​Jamelia also models and has graced the covers of Elle, Cosmopolitain and Harpers Bazaar. ​Branching out into acting, presenting and writing, Jamelia uses her expansive career and life ​experience to empower, inspire and ignite those around her. ​ She has authored an array of documentaries including “Whose hair Is it Anyway” which she says ​was life changing for her, and the emotional “Shame About Single Mums” both for the BBC.​ As if the above wasn’t enough, Jamelia is a loving Wife, and describes her most important role as ​being “Mummy” to her 3 gorgeous Daughters and adorable Son. ​She sees her children as her greatest success!​ Jamelia is currently working on multiple projects, including a new album, TV show, book, haircare ​line, and her Girlz Club Programs in partnership with her daughters’ business, Magic Girlz. Dr Yvonne Liao is a Leverhulme Early Career Research Fellow in the Music Faculty at the University of Oxford. Yvonne is a music historian and during her career has also worked at Naxos Records and Universial Music Hong Kong. During her time in Oxford, Yvonne has also co-founded the Colonial Ports and Global Histories Network (CPAGH) and is a member of the TORCH Management Committee. Dr Priya Atwal is a Teaching Fellow in Modern South Asian History at Kings College London. In addition to her research as a historian, Priya has a lot of experience working in the areas of public engagement, history, museums and heritage, and University outreach particularly including her research on Queen Victoria, and most recently appearing as part of the BBC4 documentary on 'The Stolen Maharajah'. ​

“Am I going to be able to learn in public, and am I going to be okay with that?” Trombonist, Blair School of Music Faculty, and dog dad Nick Laufer takes the wheel to interview KCA's Karen Cubides for this exciting episode, celebrating seven years of KCA, three iterations of the company, eighty episodes of the Musician's Guide Podcast, Karen's upcoming birthday, and Aldo and Reina's fourth birthday. Nick and Karen break open the challenges of creating and maintaining podcasts, such as performance anxiety in interviewing, balancing quality control against controlling everything, and elevating the podcast and the brand alike as she continues to bring exciting new professionals onto the show. Karen gets real about the unique pressure of feeling like a beginner when she started her podcast while also being a professional with clout. Karen also digs deep with some of the lessons she's learned along the way and in the current climates of the pandemic and of the social justice movement. She talks about what it's like to pivot and to bring artists of all walks of life onto the show, talking about their experiences with mental health, inequity in the arts and in arts education, women's rights, and more. In light of this, she discusses some of the plans for making the Musician's Guide Podcast an even greater guide for artists who are in need of direction in today's ever-changing world. How can I better elevate those around me? Who am I associating with? How can I better grow as a person to handle the next season of my professional life? Do I have to sacrifice my own well-being to meet a deadline in my career? What does it mean to show up for others -- or myself?If these kinds of questions are on your mind, then this episode is for you. 

En 2016 conversamos con el guitarrista regiomontano Oscar "Zensei" González, jazzista, promotor y profesor en la Facultad de Música de la Universidad Autónoma de Nuevo León (UANL), sobre el Festival de Jazz de Nuevo León, que también dirigió. El Pasado 24 de mayo falleció y aquí lo recordamos. ******************** In 2016 we spoke with the guitarist from Monterrey, Oscar "Zensei" González, jazz player, promoter and professor at the Music Faculty of the Autonomous University of Nuevo León (UANL), about the Jazz Festival of Nuevo León, which he also directed. Last May 24 he passed away and we remember him here.

Monday’s show (May 18) will include a focus on the unique challenges this coronavirus pandemic presents for college students. Graduating seniors are closing one chapter of life this spring and beginning a new one, during one of the most uncertain periods in all of our lifetimes. And as we look toward that segment next week, a project aimed at college students has caught our attention this week. On social media, a Zoom-style video making the rounds featured the music department at the University of Missouri-St. Louis. It’s their very own version of Carole King’s timeless song, “You’ve Got A Friend.” Instrumental and choral faculty alike lent their voices to different lines of the song. They also played violins and cellos and, in a few cases, shared some visual antics. Take a listen and hear the masterminds behind the project describe how they brought it all together as a gift for their students.

Prof. Dr. T. Unnikrishnan is a well known Vocalist and Internationally reputed voice trainer. He is a multifaceted personality as a Researcher, Administrator and Performer. He has done intensive study and research in Voice Modulation and developed many rare techniques to increase the quality of voice and also to eliminate various voice related problems. He has developed many rare techniques and exercises to prepare singers with increased range and a flexible voice. He is regularly invited in seminars of otolaryngology associations and ENT departments to deliver lectures on voice issues and ways for natural cure for functional voice disorders.A large number of singers from 16 countries have received online training through his website www.voicecultureindia.com (http://voicecultureindia.com) which includes professional vocalists, teachers and playback singers.He is holding Ganabhuhanam & Sangeet Vidwan Diplomas in Vocal Music, M.A in English Literature, Clinical Psychology and Doctorate in Music. Presently he is Senior Professor, Music Faculty at Indira Kala Sangit University, Khairagarh. He has also served the University as Registrar and Vice Chancellor. He is an expert member for UGC and many Universities. He is a visiting voice expert in ITC Sangeet Reearch Academy, Kolkata for the scholars of Hindustani Music. He has also served in Indira Gandhi Cultural Centre, Indian High Commission, Mauritius as a faculty on deputation by Govt. of India. Unnikrishnan has also guided many scholars pursuing their Ph D in music, voice modulation and related topics.He has widely travelled in India & many countries for vocal performances and workshops. He has sung for few South Indian movies. He is author of two books ‘The Singing Voice’ & ‘Institutionalized Teaching system of Carnatic Music’ and many articles. He is recipient of many awards like ‘NavarasaSangitaChakravarthy’ from Varanasi, Tagore Memorial’ award from Chattisgarh and ‘Sangeetha Bhaskara’ award from New Delhi.--- Support this podcast: https://anchor.fm/wordintime/support (https://anchor.fm/wordintime/support) Support this podcastSupport the show (https://www.patreon.com/witcast?fan_landing=true)

Coming up April 13th, 2018, a conference that integrates 3 diverse faculties - Information & Media Studies, Music, and Law - into the FIMULAW Graduate Interdisciplinary Research Day. A conference that facilitates a conversation between diverse experts and participants through panel discussions and musical performances. Join Navaneeth and Roger while they chat with Kelly Bylica, the Music Faculty's representative, who gave us a sneak-peak on what this conference has in store this time. Hosts: Roger Hudson & Navneeth Mohan Produced by: Chantal Lemire

Photos, video, event reflection, and a transcript of this podcast are available on the SUU website.

It was great to chat with Marlene Rosenberg for the podcast!  Marlene is a Chicago-based jazz bassist and educator and is one of the most active players in the local scene. More About Marlene: Marlene Rosenberg has emerged as one of the most talented and multi-faceted bass players on the scene today. She has played professionally throughout the United States, Europe, Latin America and Japan, performing with innumerable jazz luminaries, such as Kenny Barron, Frank Foster, Stan Getz, Albert “Tootie” Health, Joe Henderson, Marian McPartland, Cedar Walton,Wallace Roney, David “Fathead” Newman, Monty Alexander, Kevin Mahogony, Frank Morgan Frank Wess, Joe Williams and Nancy Wilson, to name a few. Her stylistic range encompasses everything from traditional Big Band to intimate experimental ensembles. Rosenberg was featured on the recording of the Ed Thigpen Quartet entitled “Easy Flight.” Thigpen believes, “What makes Marlene special is her strength and depth of understanding of music. In a world of clones, she has managed to emerge as her own person with her own sound and feel… her time feel is steady and swings like mad.” Rosenberg, who grew up in Illinois, began clarinet studies at the age of ten and took up the electric bass in high school, playing in the jazz band. She began acoustic bass in college at the University of Illinois, where she received the Smith Memorial Women’s Scholarship in 1977, and the University of Illinois Bass-Violas Scholarship two years in a row. Well versed in both the classical and jazz aspects of her instrument, she performed with the University’s main symphony orchestra as well as the prestigious U of Jazz Band, the top of six bands in University of Illinois, and a Masters of Music in Jazz Pedagogy from North western University in June of 1999. In 1985, Rosenberg received an National Endownment of The Arts Jazz fellowship grant,which she used for intensive private study with Ron Carter, Hal Galper, Milk Richmond and Jim Mcneeley. She also counts among her teachers Warren Benfield (Chicago Symphony), Jeff Bradetich (Northwestern University), Ed Krolick and John Gravey (University Of Illinois), and Karl Fruh (Roosevelt University).She also Studied for a 9 month period with Rob Kassinger from the Chicago Symphony (2010) Also, as mentors, Rosenberg counts Rufus Reid and Ray Brown,John Clayton and Buster Williams. In Addition to her versatility as a bassist, Rosenberg has developed a keen interest and capability in the performance of ethnic music. She has performed and recorded with the Balkan Rhythm Band, which focuses on traditional music from Yugoslavia, Serbia and Greece. Her enthusiasm for the drumming and dance of West Africa has promoted study with master drummers from Ghana as well as participation in an African drumming group in Chicago. Rosenberg has worked with numerous modern dance troupes, improvising on both bass and percussion. All this experience have added an extra dimension to Rosenberg’s Jazz work giving it a rare depth and range. Committed to imparting her knowledge to others, Rosenberg currently teaches privately in the Chicago area. She has given special workshops in high schools throughout the Chicago area and has been a clinician at the Saskatchewan School of the Arts in Canada. She has been involved with the Ravinia Jazz Mentors program in the Chicago public high schools.Rosenberg has given workshops on creating melodic bass lines at the International Society of Bassists conference.She was Adjunct Professor at Northern Illinois for 13 years University (1994-2007),teaching Bass Studio and Jazz History (1 Semester). Rosenberg was a full time professor at Western Illinois University, in Macomb, IL for 3 years from 2007-2010 (Teaching Bass, World Music, Popular Music & Jazz Combos)and currently is music faculty teaching jazz combos at Northwestern University (2009-current),in Evanston,Illinois. She also is on the Music Faculty at Roosevelt University, in Chicago.She has been working with students at the Gallery 37 Program in Chicago, Sponsored by the Thelonius Monk Intitute in Washington D.C. Rosenberg has recorded radio and television commercials for McDonald’s and Ameritech, among others. Rosenberg made her debut as a leader and composer on her compact disc “Waimea” (Bassline). Her latest CD “Pieces Of…”(Bassline) presents her as arranger as well as composer. PIECES OF… features pianist Cedar Walton and saxophonist Javon Jackson. Currently, (2011) she is a recipient of an Illinois Arts Council Grant which will help to complete her 3rd self Produced CD. Links to Check Out: Marlene's Website Northern Illinois University - Double Bassist's Guide to Colleges Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut. The Upton Bass String Instrument Company.  Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr.  Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. Check out this video of David Murray "auditioning" his Upton Bass! The Bass Violin Shop, which  offers the Southeast's largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Subscribe to the podcast to get these interviews delivered to you automatically!

In this, the final episode of our first season, Russ talks with Trumpeter Dave Douglas about finding inspiration at boarding school in New Hampshire, working around the country with different people and bands, and finding new ways to arrange traditional pieces. PMAC guitar instructor, Jim Dozet, leads off with a story about trying something new and discovering that it sometimes pays off.

In this episode, Russ talks with Portsmouth photographer and journalist Jay Schadler, PMAC's first lecturer in the West End Master Series which invites visual artists to present to the community in PMAC's Haas Family Gallery. They discuss his process, how his experiences as a journalist have shaped his perspective and his art, and his advice for young creatives. PMAC Music instructor Jonny Peiffer leads off the episode describing the inspiration behind his current multidisciplinary undertaking, The Adventures of Oliver Z. Wanderkook.

In this episode, Russ talks with legendary clarinetist Brad Terry about his learning to play, struggling to read, and loving to listen. PMAC drum instructor Mike Walsh introduces the episode with a story about a surprise encounter with someone he had long admired.

In this episode, Russ talks with visiting Serbian avant-garde composer and performance artist, Alen Ilijic about his first time in the United States and his work that pushes boundaries both visually and musically. PMAC instructor and Rock Program co-director, Nick Phaneuf, starts off the episode with an important message to students of all ages.

Russ talks with multimedia sculptor and one of PMAC's first West End Master Series guest artists about his artwork, his teaching philosophy, and his travels around the world with art and theatre students.

In this episode, Russ talks with his longtime mentor, classical saxophonist and Professor of Saxophone, Kenneth Radnofsky, who also gave a recent concert at PMAC, which he describes along with his thoughts on teaching and being a determined student himself. The episode begins with a story from PMAC faculty member Chris Klaxton about his unique mentor relationship with jazz trumpeter Clark Terry.

Short presentation by Dr Jason Gaiger (Ruskin School) followed by discussion. This seminar launched the Languages of Criticism project which brings together experts in literature, film, visual art and music to pursue a comparative investigation of criticism’s practices, their intellectual basis, and the potential for re-grounding and enriching them. We used examples from a variety of art forms to initiate questions regarding the creative possibilities of criticism. Among those present were Céline Sabiron, Ben Morgan, Mohamed-Salah Omri, Emma Ben Ayoun, Bryony Skelton, James Bond, Kamile Vaupsaite, Ellen Jones, Giovanni Mezzano, Xiaofan Amy Li, G. Lawson Conquer, Mia Cuthbertson, Junting Huang, Rafe Hampson, Joseph Jenner, Gail Trimble, Scott Newman, Julia Bray, James Grant, Robert Chard, Simon Palfrey, Philippe Roussin, Laurent Châtel, Emily Troscianko, Natasha Ryan, Charlie Louth, David Bowe, Lucy Russell, Jane Hiddleston, Marie Isabel Matthews-Schlinzly, Anita Paz, Harriet Wragg, Benedict Morrison, Kate Leadbetter, Katerina Virvidaki, Sarah Leyla Puells A, Thomas Toles, Lianjiang Yu, Carole Bourne-Taylor Andrew Klevan, University Lecturer in Film Studies, played a clip from The Magnificent Ambersons, read out a passage of criticism about it, and then explained why he felt the passage of criticism had value, paying attention especially to its style. Matthew Reynolds, a lecturer in the English Faculty, explored the borderline between perception and invention in literary criticism, discussing in particular Keats’s ‘On First Looking into Chapman’s Homer’ and a passages by Ali Smith and William Empson. Jason Gaiger, Head of the Ruskin School of Drawing and Fine Art, conducted a thought experiment in which works from Tate Modern were given away to people to keep in their homes. He asked what role criticism can play when a work’s context and situation are more significant than its intrinsic qualities. Martyn Harry, composer and lecturer in the Music Faculty, explored how pieces of music can themselves function as works of criticism Discussion probed many of the arguments made in the talks and raised new points, such as the relation between criticism and translation, and between criticism and commentary, and the different practices that might be thought of as criticism in different cultures.

Short presentation by Dr Martyn Harry (Music) followed by discussion. This seminar launched the Languages of Criticism project which brings together experts in literature, film, visual art and music to pursue a comparative investigation of criticism’s practices, their intellectual basis, and the potential for re-grounding and enriching them. We used examples from a variety of art forms to initiate questions regarding the creative possibilities of criticism. Among those present were Céline Sabiron, Ben Morgan, Mohamed-Salah Omri, Emma Ben Ayoun, Bryony Skelton, James Bond, Kamile Vaupsaite, Ellen Jones, Giovanni Mezzano, Xiaofan Amy Li, G. Lawson Conquer, Mia Cuthbertson, Junting Huang, Rafe Hampson, Joseph Jenner, Gail Trimble, Scott Newman, Julia Bray, James Grant, Robert Chard, Simon Palfrey, Philippe Roussin, Laurent Châtel, Emily Troscianko, Natasha Ryan, Charlie Louth, David Bowe, Lucy Russell, Jane Hiddleston, Marie Isabel Matthews-Schlinzly, Anita Paz, Harriet Wragg, Benedict Morrison, Kate Leadbetter, Katerina Virvidaki, Sarah Leyla Puells A, Thomas Toles, Lianjiang Yu, Carole Bourne-Taylor Andrew Klevan, University Lecturer in Film Studies, played a clip from The Magnificent Ambersons, read out a passage of criticism about it, and then explained why he felt the passage of criticism had value, paying attention especially to its style. Matthew Reynolds, a lecturer in the English Faculty, explored the borderline between perception and invention in literary criticism, discussing in particular Keats’s ‘On First Looking into Chapman’s Homer’ and a passages by Ali Smith and William Empson. Jason Gaiger, Head of the Ruskin School of Drawing and Fine Art, conducted a thought experiment in which works from Tate Modern were given away to people to keep in their homes. He asked what role criticism can play when a work’s context and situation are more significant than its intrinsic qualities. Martyn Harry, composer and lecturer in the Music Faculty, explored how pieces of music can themselves function as works of criticism Discussion probed many of the arguments made in the talks and raised new points, such as the relation between criticism and translation, and between criticism and commentary, and the different practices that might be thought of as criticism in different cultures.

Short presentation by Andrew Klevan, followed by discussion. This seminar launched the Languages of Criticism project which brings together experts in literature, film, visual art and music to pursue a comparative investigation of criticism’s practices, their intellectual basis, and the potential for re-grounding and enriching them. We used examples from a variety of art forms to initiate questions regarding the creative possibilities of criticism. Among those present were Céline Sabiron, Ben Morgan, Mohamed-Salah Omri, Emma Ben Ayoun, Bryony Skelton, James Bond, Kamile Vaupsaite, Ellen Jones, Giovanni Mezzano, Xiaofan Amy Li, G. Lawson Conquer, Mia Cuthbertson, Junting Huang, Rafe Hampson, Joseph Jenner, Gail Trimble, Scott Newman, Julia Bray, James Grant, Robert Chard, Simon Palfrey, Philippe Roussin, Laurent Châtel, Emily Troscianko, Natasha Ryan, Charlie Louth, David Bowe, Lucy Russell, Jane Hiddleston, Marie Isabel Matthews-Schlinzly, Anita Paz, Harriet Wragg, Benedict Morrison, Kate Leadbetter, Katerina Virvidaki, Sarah Leyla Puells A, Thomas Toles, Lianjiang Yu, Carole Bourne-Taylor Andrew Klevan, University Lecturer in Film Studies, played a clip from The Magnificent Ambersons, read out a passage of criticism about it, and then explained why he felt the passage of criticism had value, paying attention especially to its style. Matthew Reynolds, a lecturer in the English Faculty, explored the borderline between perception and invention in literary criticism, discussing in particular Keats’s ‘On First Looking into Chapman’s Homer’ and a passages by Ali Smith and William Empson. Jason Gaiger, Head of the Ruskin School of Drawing and Fine Art, conducted a thought experiment in which works from Tate Modern were given away to people to keep in their homes. He asked what role criticism can play when a work’s context and situation are more significant than its intrinsic qualities. Martyn Harry, composer and lecturer in the Music Faculty, explored how pieces of music can themselves function as works of criticism Discussion probed many of the arguments made in the talks and raised new points, such as the relation between criticism and translation, and between criticism and commentary, and the different practices that might be thought of as criticism in different cultures.

A talk given at Wolfson College as part of a lecture series entitled "The Work of Music". Eric Clarke is Professor of Music at the Music Faculty, University of Oxford and Professorial Fellow at Wadham College, Oxford.