Podcasts about Music theory

Waltz for Debby is the sound that all "boring coffeehouse jazz" tries to imitate, but none can replicate. Featuring Bill Evans on piano, Scott LaFaro on bass and Paul Motian on drums, this 1962 live album has become the template for every AI jazz playlist. And yet, it stands apart as one of the greatest jazz piano trio albums of all time. Pianists Adam Maness and Peter Martin listen to the full album, track-by-track, describing what they hear in the music that lends this album its undeniable humanity.-------------------------------Learn to play tracks from You'll Hear It. Join the You'll Hear It Players Club: https://yhi.link/players-club-------------------------------Learn to talk like a jazz musician. Download the Liner Notes FREE today: https://yhi.link/linernotes-4-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/-------------------------------

In this week's episode, Dan interviews Jameson Foster as they discuss the complexities of defining Nordic folk music.------------------------------------------------Follow Jameson on Instagram:https://www.instagram.com/jamesonfoster.wavFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

Jazz pianists Adam Maness and Peter Martin take turns playing each other songs, and the goal is to get the biggest involuntary reaction out of the other guy. Along the way, they break down what's actually happening in the music. In a final round, they have to sit through their opponent's pick without cracking. Who gets the best reactions? You decide. Share your verdict in the comments.Listen to the playlist: https://tinyurl.com/3cmnby37-------------------------------Learn to play Led Zeppelin's "The Ocean". Join the You'll Hear It Players Club: https://yhi.link/the_ocean-------------------------------Learn to talk like a jazz musician. Download the Liner Notes FREE today: https://yhi.link/linerNotes-3-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/-------------------------------

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

New albums all hand-picked from jazz pianist Adam Maness for your listening pleasure. 00:00 - Intro01:51- Epiphanie - Domi & JD Beckhttps://store.bluenote.com/products/domi-jd-beck-who-asked?srsltid=AfmBOoqy83sYVjg7gWOWEPzDP1lzL0qSN3BWoiNb80SR6foAtB1hFJUi 05:45 - Solidarity Song - Terri Lyne Carringtonhttps://terrilynecarrington.bandcamp.com/album/trip-the-night-fantastic08:01 - Eye Level - Fathershttps://store.bluenote.com/products/fathers-fathers?variant=45730941010111&utm_source=Original&utm_campaign=KennyBeats20260610&utm_medium=direct&utm_referrer=https%3A%2F%2Fwww.bluenote.com%2F&utm_board=bluenote&utm_country=US&utm_linkurl=bluenote.lnk.to%2Ffathers&lf=09636c21c8ac71dedf000e172e87d2a610:37 - Tagore - Charles Lloydhttps://store.bluenote.com/products/charles-lloyd-sangam-friends?srsltid=AfmBOorf1UxNmnTthTwtn0_zwgRhQmgDPrf_q9bYi0JObJCE-vYEtzKg 12:58 - Tethered - Nduduzo Makahthinihttps://store.bluenote.com/products/nduduzo-makhathini-the-myth-we-choose?variant=45410756886719&utm_source=Original&utm_campaign=NduduzoMakhathini20260330&utm_medium=direct&utm_referrer=https%3A%2F%2Fwww.bluenote.com%2F&utm_board=bluenote&utm_country=US&utm_linkurl=nduduzomakhathini.lnk.to%2Fthemythwechoose&lf=eb502d0210407eb575699b99ef700288 15:28 - Stella By Starlight - Joey Alexanderhttps://joeyalexander.bandcamp.com/album/celestial-keeper 17:51 - Bem Querer - Curio Curiohttps://curiocurio.bandcamp.com/album/curi-curi19:43 - Out of the quiet - Richard Spavenhttps://richardspaven.bandcamp.com/album/light-of-day

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

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https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

You'll Hear It is a weekly listening party for people who love music ... a little too much. Every Monday, Jazz pianists Adam Maness and Peter Martin sit down with one great album and break it down track-by-track. They listen, demonstrate what they are hearing, and put words to the moments you have always felt and haven't been able to explain. You'll never hear your favorite albums the same way again.You'll Hear It returns with Season 15: August 2026. 

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

Ever wondered what it is really like to transition from a highly structured homeschool environment to a professional music career? In this episode of the Homeschool Your Kids podcast, we sit down with Catherine, the founder of Intertidal Conservatory, to explore her journey from a K-12 homeschooler to a successful online music school owner. Catherine shares the unique details of her upbringing, including the name tags and early start times that shaped her discipline and passion for piano.

Cory and Noah consider the surprisingly complicated impact of headphones on music culture, and the tectonic musical shifts that single piece of technology has left in its wake.Hear new episodes a month early on Nebula: https://nebula.tv/ghost-notes12tonehttps://bsky.app/profile/12tone.nebula.tvhttps://nebula.app/12tonehttps://www.youtube.com/c/12tonevideoshttps://www.patreon.com/12tonevideosPolyphonichttps://bsky.app/profile/polyphonic.nebula.tvhttps://nebula.app/polyphonichttps://www.youtube.com/c/Polyphonichttps://www.patreon.com/polyphonicSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

https://www.skool.com/circle-of-interval-magicians/about I teach you interval-based composition in 30 days (or less)! From the basics to advanced concepts, I'll guide you step by step. Start your free 7-day trial today, and after that, it's less than one coffee per week! If you're new here, my name is Frank, and I'm the co-founder of the Music Interval Theory Academy (MITA), which I've been running since 2015. I teach composers how to stop guessing and start creating music with real intention, using intervals as the foundation instead of chords. How I got here... ** 1993: Heard the Jurassic Park score in the theater and was blown away. ** 2000: Started to compose and learned traditional theory. Quickly, I hit the same wall most composers hit: the music I wrote was technically correct but forgettable. ** 2005 onwards: Started scoring professionally for animation, film, documentaries, and video games (Disney, Mattel, theme parks, and many others). Built a library of 700+ tracks for production and sync. ** 2015: Everything changed. A workshop with Thomas Chase Jones (TC) flipped the way I think about music. It was all about intervals, and composition got cleaner, faster, and more original. That shift became a system. The system became MITA. ** Since then: hundreds of composers have gone through the Academy. My business partner TC has credits on approximately 1,800 TV shows (Scooby-Doo, Batman, Dexter's Lab, Tom and Jerry — look him up). Together, we teach what most music schools don't. On this channel, I share the exact methods I use to help composers find their voice, work faster, and stop feeling stuck. If you've ever felt like your music sounds too generic, or like you understand theory but still can't quite control what you're creating, you're in the right place. Never stop composing, Frank

Our Top Picks of new jazz and jazz-adjacent releases from June 2026!

Check out the latest jazz and jazz-adjacent releases for June 2026 with host and jazz drummer Kaleb Kirby.

From the inside flap: “A rich resource of Deleuze's research that is unavailable in his published writing Includes summaries of 216 seminar sessions available in transcripts and recordings Summaries are based on research for the Deleuze Seminars project (co-directed by Charles J. Stivale and Daniel W. Smith), where full transcripts and translations, to which readers will have access for simultaneous or subsequent consultation, have been developed by an international team of scholar-translators Alongside summaries, an attached critical apparatus provides references to corresponding links within Deleuze's writings, seminars, and other sources to facilitate additional research The texts in this volume - summaries of the 216 seminars taught by Gilles Deleuze - provide unique insight into the latter half of Deleuze's teaching career. Deleuze understood his seminars as a laboratory for developing his ongoing research, and this volume is a guide to the creative becomings in the development of his philosophical works through teaching.From Anti-Oedipus (1972) to The Fold: Leibniz and the Baroque (1987), Deleuze examined a wide range of philosophical perspectives in pursuit of successive thematic topics. These summaries and commentaries serve as incitement for further research, allowing readers familiar with Deleuze's work to find new angles of approach and providing greater access to readers coming to his work for the first time." New Books Network: Stivale, Charles J., and Daniel W. Smith. (2025-10-21). "Gilles Deleuze, On Painting" Machinic Unconscious Happy Hour: Stivale, Charles J., Taylor Adkins, and Cooper Cherry. (2025-08-12). "Deleuze and Guattari – How Do You Make Yourself A Body Without Organs" Stivale, Charles J., Daniel W. Smith. (2023-06-29). "Deleuze on Painting and Cinema". The Deleuze Seminars: here Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

From the inside flap: “A rich resource of Deleuze's research that is unavailable in his published writing Includes summaries of 216 seminar sessions available in transcripts and recordings Summaries are based on research for the Deleuze Seminars project (co-directed by Charles J. Stivale and Daniel W. Smith), where full transcripts and translations, to which readers will have access for simultaneous or subsequent consultation, have been developed by an international team of scholar-translators Alongside summaries, an attached critical apparatus provides references to corresponding links within Deleuze's writings, seminars, and other sources to facilitate additional research The texts in this volume - summaries of the 216 seminars taught by Gilles Deleuze - provide unique insight into the latter half of Deleuze's teaching career. Deleuze understood his seminars as a laboratory for developing his ongoing research, and this volume is a guide to the creative becomings in the development of his philosophical works through teaching.From Anti-Oedipus (1972) to The Fold: Leibniz and the Baroque (1987), Deleuze examined a wide range of philosophical perspectives in pursuit of successive thematic topics. These summaries and commentaries serve as incitement for further research, allowing readers familiar with Deleuze's work to find new angles of approach and providing greater access to readers coming to his work for the first time." New Books Network: Stivale, Charles J., and Daniel W. Smith. (2025-10-21). "Gilles Deleuze, On Painting" Machinic Unconscious Happy Hour: Stivale, Charles J., Taylor Adkins, and Cooper Cherry. (2025-08-12). "Deleuze and Guattari – How Do You Make Yourself A Body Without Organs" Stivale, Charles J., Daniel W. Smith. (2023-06-29). "Deleuze on Painting and Cinema". The Deleuze Seminars: here Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

From the inside flap: “A rich resource of Deleuze's research that is unavailable in his published writing Includes summaries of 216 seminar sessions available in transcripts and recordings Summaries are based on research for the Deleuze Seminars project (co-directed by Charles J. Stivale and Daniel W. Smith), where full transcripts and translations, to which readers will have access for simultaneous or subsequent consultation, have been developed by an international team of scholar-translators Alongside summaries, an attached critical apparatus provides references to corresponding links within Deleuze's writings, seminars, and other sources to facilitate additional research The texts in this volume - summaries of the 216 seminars taught by Gilles Deleuze - provide unique insight into the latter half of Deleuze's teaching career. Deleuze understood his seminars as a laboratory for developing his ongoing research, and this volume is a guide to the creative becomings in the development of his philosophical works through teaching.From Anti-Oedipus (1972) to The Fold: Leibniz and the Baroque (1987), Deleuze examined a wide range of philosophical perspectives in pursuit of successive thematic topics. These summaries and commentaries serve as incitement for further research, allowing readers familiar with Deleuze's work to find new angles of approach and providing greater access to readers coming to his work for the first time." New Books Network: Stivale, Charles J., and Daniel W. Smith. (2025-10-21). "Gilles Deleuze, On Painting" Machinic Unconscious Happy Hour: Stivale, Charles J., Taylor Adkins, and Cooper Cherry. (2025-08-12). "Deleuze and Guattari – How Do You Make Yourself A Body Without Organs" Stivale, Charles J., Daniel W. Smith. (2023-06-29). "Deleuze on Painting and Cinema". The Deleuze Seminars: here Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

From the inside flap: “A rich resource of Deleuze's research that is unavailable in his published writing Includes summaries of 216 seminar sessions available in transcripts and recordings Summaries are based on research for the Deleuze Seminars project (co-directed by Charles J. Stivale and Daniel W. Smith), where full transcripts and translations, to which readers will have access for simultaneous or subsequent consultation, have been developed by an international team of scholar-translators Alongside summaries, an attached critical apparatus provides references to corresponding links within Deleuze's writings, seminars, and other sources to facilitate additional research The texts in this volume - summaries of the 216 seminars taught by Gilles Deleuze - provide unique insight into the latter half of Deleuze's teaching career. Deleuze understood his seminars as a laboratory for developing his ongoing research, and this volume is a guide to the creative becomings in the development of his philosophical works through teaching.From Anti-Oedipus (1972) to The Fold: Leibniz and the Baroque (1987), Deleuze examined a wide range of philosophical perspectives in pursuit of successive thematic topics. These summaries and commentaries serve as incitement for further research, allowing readers familiar with Deleuze's work to find new angles of approach and providing greater access to readers coming to his work for the first time." New Books Network: Stivale, Charles J., and Daniel W. Smith. (2025-10-21). "Gilles Deleuze, On Painting" Machinic Unconscious Happy Hour: Stivale, Charles J., Taylor Adkins, and Cooper Cherry. (2025-08-12). "Deleuze and Guattari – How Do You Make Yourself A Body Without Organs" Stivale, Charles J., Daniel W. Smith. (2023-06-29). "Deleuze on Painting and Cinema". The Deleuze Seminars: here Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

From the inside flap: “A rich resource of Deleuze's research that is unavailable in his published writing Includes summaries of 216 seminar sessions available in transcripts and recordings Summaries are based on research for the Deleuze Seminars project (co-directed by Charles J. Stivale and Daniel W. Smith), where full transcripts and translations, to which readers will have access for simultaneous or subsequent consultation, have been developed by an international team of scholar-translators Alongside summaries, an attached critical apparatus provides references to corresponding links within Deleuze's writings, seminars, and other sources to facilitate additional research The texts in this volume - summaries of the 216 seminars taught by Gilles Deleuze - provide unique insight into the latter half of Deleuze's teaching career. Deleuze understood his seminars as a laboratory for developing his ongoing research, and this volume is a guide to the creative becomings in the development of his philosophical works through teaching.From Anti-Oedipus (1972) to The Fold: Leibniz and the Baroque (1987), Deleuze examined a wide range of philosophical perspectives in pursuit of successive thematic topics. These summaries and commentaries serve as incitement for further research, allowing readers familiar with Deleuze's work to find new angles of approach and providing greater access to readers coming to his work for the first time." New Books Network: Stivale, Charles J., and Daniel W. Smith. (2025-10-21). "Gilles Deleuze, On Painting" Machinic Unconscious Happy Hour: Stivale, Charles J., Taylor Adkins, and Cooper Cherry. (2025-08-12). "Deleuze and Guattari – How Do You Make Yourself A Body Without Organs" Stivale, Charles J., Daniel W. Smith. (2023-06-29). "Deleuze on Painting and Cinema". The Deleuze Seminars: here Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

From the inside flap: “A rich resource of Deleuze's research that is unavailable in his published writing Includes summaries of 216 seminar sessions available in transcripts and recordings Summaries are based on research for the Deleuze Seminars project (co-directed by Charles J. Stivale and Daniel W. Smith), where full transcripts and translations, to which readers will have access for simultaneous or subsequent consultation, have been developed by an international team of scholar-translators Alongside summaries, an attached critical apparatus provides references to corresponding links within Deleuze's writings, seminars, and other sources to facilitate additional research The texts in this volume - summaries of the 216 seminars taught by Gilles Deleuze - provide unique insight into the latter half of Deleuze's teaching career. Deleuze understood his seminars as a laboratory for developing his ongoing research, and this volume is a guide to the creative becomings in the development of his philosophical works through teaching.From Anti-Oedipus (1972) to The Fold: Leibniz and the Baroque (1987), Deleuze examined a wide range of philosophical perspectives in pursuit of successive thematic topics. These summaries and commentaries serve as incitement for further research, allowing readers familiar with Deleuze's work to find new angles of approach and providing greater access to readers coming to his work for the first time." New Books Network: Stivale, Charles J., and Daniel W. Smith. (2025-10-21). "Gilles Deleuze, On Painting" Machinic Unconscious Happy Hour: Stivale, Charles J., Taylor Adkins, and Cooper Cherry. (2025-08-12). "Deleuze and Guattari – How Do You Make Yourself A Body Without Organs" Stivale, Charles J., Daniel W. Smith. (2023-06-29). "Deleuze on Painting and Cinema". The Deleuze Seminars: here Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Podcast PacketsIllustrationsLead SheetsForumsJazz Piano Skills CommunitySummaryIn this episode, Dr. Bob Lawrence explores the deep connection between melody and harmony in jazz piano. He emphasizes that hearing melody harmonically transforms solo piano playing from simple accompaniment into a complete musical experience.KeywordsJazz Piano, Harmony, Melody, Solo Piano, Music Theory, Improvisation, Music EducationKey TopicsThe relationship between melody and harmonyHow to see melody harmonicallyHarmonic shapes and structuresThe role of tension tones and colorTransforming lead sheets into musical storiesTitlesSeeing Melody and Harmony as One in Jazz PianoTransform Your Solo Piano with Harmonic ThinkingSound Bites"Improvisation develops by seeing harmony melodically""The melody note is part of the harmony""Harmony and melody are not separate musical events"Support the show

With her 1974 masterpiece Court and Spark, Joni Mitchell transforms from folk singer into something harder to define.Her piano playing matures. Her songwriting blossoms into one of the richest harmonic and melodic color palettes we've ever heard up to this point. Not to mention her incredible lyricism and melodies. And she brings a new production sensibility from her backing band: a group of jazz musicians called The LA Express.In this episode of You'll Hear It, Jazz pianists Adam Maness and Peter Martin break down Joni Mitchell's greatest artistic achievement (and her greatest commercial success) track-by-track. You'll never hear Court and Spark the same way again-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/------------------------------Blue: https://youtu.be/ly6ENKGV-S8------------------------------About You'll Hear It:In this popular music series, Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Sign up for the You'll Read It newsletter for little known stories about the artists you love:https://youllhearit.com/newsletter-------------------------------00:00 Court and Spark - Joni Mitchell00:32 New From Open Studio03:37 Joni's Sound Before Court and Spark10:04 Joni Starts Hanging Out With Jazz Musicians11:07

Cory and Noah consider the dueling myths of the starving artist and the sellout, ask where each one comes from, and explore the lessons each can teach us about what it means to be an artist.Hear new episodes a month early on Nebula: https://nebula.tv/ghost-notes12tonehttps://bsky.app/profile/12tone.nebula.tvhttps://nebula.app/12tonehttps://www.youtube.com/c/12tonevideoshttps://www.patreon.com/12tonevideosPolyphonichttps://bsky.app/profile/polyphonic.nebula.tvhttps://nebula.app/polyphonichttps://www.youtube.com/c/Polyphonichttps://www.patreon.com/polyphonicSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

“Our brain really prioritizes vocal signals. They're super important to the brain because human communication is a really big priority for us as a species. It's a deep signal in our brain, right? And so, we were seeing a stronger reaction to the screams than to the music, and that sort of makes sense. There were more intricacies to that, but I can't really remember the exact brain areas and all that. But it was cool to see that. Yeah, it is sort of mimicking, but our brain really separates them. You know, it may still get sort of a response, a same kind of fearful response, but it's not going to be as powerful as the voice, um, which makes sense because music is not real, right? There's a difference between a real stimulus and this sort of artistic one. Yeah, so it was interesting.” – Caitlyn TrevorThis episode's guest is an award-winning researcher and musician with over a decade of experience studying how people perceive and respond to sound. She holds a PhD in Music Theory from Ohio State University and has published her work in top journals. She was awarded a Marie Skłodowska-Curie Fellowship to study music and neuroscience, and she's professionally certified in user research. As a musician, she has a Master's in Cello Performance, has composed an award-winning short film score, and has designed sound for theater and film. At SonicUXR, she leads with both credibility and creative empathy, equipping sound teams with the tools to create more intentional, impactful audio.Her name is Caitlyn Trevor, and her work is reshaping how sound is understood, valued, and designed across industries. If you've ever wondered how sound really works on us, this conversation will change the way you listen.As always, if you have questions for my guest, you're welcome to reach out through the links in the show notes. If you have questions for me, visit audiobrandingpodcast.com, where you'll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available, along with other interesting bits of audio-related news. And if you're getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help, and I'd love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast's main page. I would so appreciate that.(00:00) – Lighting a Musical FireOur conversation starts with Caitlyn's early impressions of sound, particularly the moment that sparked her love of orchestral music. “I came across on the floor like a little cassette tape and a cassette player, and I popped it in and just hit play while we were chatting, and it was the Lord of the Rings soundtrack,” she recalls. “I was a little too young when it came out, the first one, and I was just captivated by it. I mean, I was like, ‘Wow, what is this?'” We discuss the chance encounter during her musical studies that turned her focus towards music cognition and the neuroscience behind sound. “There was a lecture I went to totally by chance,” she tells us. “It was a new music theory professor, and the lecture was about music cognition, and I had never heard of it before. And I was like, ‘This is just the coolest field I've ever heard of.' And I totally was on board after that.”(15:00) – Pianto Sighs and Psycho ViolinsOur discussion turns to her research on the connection between music and the brain's primal response to voices. “In sad music,” Caitlyn explains, “there's something called the pianto topic, which is essentially just a half-step falling motion, like, which is supposed to mimic a sigh. But, you know, that's quite abstract… Whereas the psycho violin, you know, sounds very much like a scream.” She tells us about the birth of her daughter and how her career shifted from academia to the private sector. “I think a lot of academics are scared that's going to happen, that it's going to feel like, I don't know, maybe they wasted all that time,” she says. “I was prepared that I may not be able to continue doing music cognition, and I'm very happy that that hasn't been the case. That was surprising.”(21:40) – Putting Audio Theory to PracticeCaitlyn tells us more about her work on UX research, and how it quickly and unexpectedly led to her focus on phone trees and hold-time experiences. “They hadn't thought about the phone tree for that,” she recalls. “They just mentioned it, like, ‘Oh, and we're also doing the phone tree and the on-hold music.' And I was like, ‘Wait, that would be great for me to work on… somebody needs to do UX on that [because[ it's the worst.'" She talks about the advantage of being able to put her findings to use, something that hadn't been so easy at the university. “What I like about my new position,” Caitlyn explains, “as opposed to working in academia, is synthesizing it in a way that's accessible… I never really did that in academia. It was always just about supporting your hypothesis, explaining the results. But now I get to say this research shows me that we should compose it this way.”Episode SummaryCaitlin shares her journey from Lord of the Rings to the science of sound.The evolutionary origins of music and its impact on the brain.Caitlin's work in UX research and creating a better phone-hold experience.Tune in for next week's episode as we discuss the results of Caitlyn's studies into on-hold UX design and phone trees, why unpleasant sounds are sometimes the better choice in automobile UX, and what she's learned about the long-term return on investment when it comes to sonic branding.Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals by visiting https://voiceoversandvocals.comConnect with me on Instagram - https://www.instagram.com/jodikrangle/Watch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a review at https://lovethepodcast.com/audiobranding (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

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

Most music theory education is built for nineteen-year-olds in a conservatory. If you're a working musician who's been gigging for years on ear, feel, and a handful of chord shapes, that path doesn't fit your life — and it doesn't have to. In this deep-dive, Robonzo breaks down a four-part framework for adult musicians who want to finally crack music theory and reading without quitting their job, abandoning their gigs, or pretending they're starting from zero. The framework comes from a conversation with drummer, vocalist, and podcaster Dave Hamilton from way back in Episode 13 — and it's the cleanest, most adult-friendly roadmap Robonzo has come across. The episode covers why piano is the right tool for the job (even if it isn't your instrument), how chord construction and the 1-4-5 unlock most of popular music, why guitar chord charts make brilliant practice material, and the concrete revenue case for learning to read music as a working musician. Support the Unstarving Musician The Unstarving Musician exists solely through the generosity of its listeners, readers, and viewers. Learn how you can offer your support at UnstarvingMusician.com/CrowdSponsor This episode was brought to you by Podcast Startup. Ready to launch your podcast or take it to the next level? Podcast Startup gives you the frameworks, systems, and insider knowledge to build a show that actually grows your audience and serves your goals. Whether you're just getting started or looking to improve your existing podcast, you'll get actionable strategies on equipment selection, content planning, audience building, and sustainable production workflows—without the overwhelm. Learn more at UnstarvingMusician.com/PodcastStartup. Join podcasters who are building shows that last. Resources The Unstarving Musician's Guide to Getting Paid Gigs, by Robonzo Dreamhost – See the latest deals from Dreamhost, save money and support the UM in the process. More Resources for musicians Pardon the Disclosure: Some of the links in this post are affiliate links. This means I make a small commission, at no extra charge to you, if you purchase using those links. Thanks for your support! Stay in touch! @RobonzoDrummer on  Instagram @UnstarvingMusician on Facebook  and  YouTube   

Cory and Noah explore the complicated history of narcotics in popular music, how they've affected the creation of art, and the dangers of telling those stories incorrectly.Hear new episodes a month early on Nebula: https://nebula.tv/ghost-notes12tonehttps://bsky.app/profile/12tone.nebula.tvhttps://nebula.app/12tonehttps://www.youtube.com/c/12tonevideoshttps://www.patreon.com/12tonevideosPolyphonichttps://bsky.app/profile/polyphonic.nebula.tvhttps://nebula.app/polyphonichttps://www.youtube.com/c/Polyphonichttps://www.patreon.com/polyphonicSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Could Parliament be the most important band of the 1970s? Jazz pianists Adam Maness and Peter Martin break down Parliament's 1975 masterpiece Mothership Connection track-by-track: Bootsy Collins bass lines that launched a thousand samples, grooves that lock you in and won't let go, and the New Orleans connection that George Clinton says started the whole thing. Plus: isolated bass and drums stems. You'll never hear Parliament the same way again.Chapters Legend:

On this episode of The Bandwich Tapes, I sit down with singer and songwriter Lila Forde for a conversation that feels like it's unfolding mid-song, equal parts instinct, craft, and heart. I actually discovered Lila in the most “Bandwich” way possible: while preparing for my episode with Larry Goldings, I heard her voice in a video and immediately texted a few musician friends saying, “You need to hear this singer.” That moment led to this conversation.Lila shares how her collaboration with Larry Goldings has been developing, and the creative process behind it: record everything, follow the spark, and build outward from the accidental moments that feel alive. Hearing her describe that approach, trusting discovery instead of forcing results, made me even more excited about what they're creating together.We spend a lot of time talking about voice, not range or technique, but identity. Lila recalls a powerful moment from John Legend during her time on The Voice: "Don't try to out-sing anyone… just be Lila." That idea opens up a deeper conversation about influence versus imitation, the pressure to fit into genre boxes, and the constant temptation to chase whatever sound the internet is rewarding in the moment.Lila's musical roots run deep, from classical piano at home to years in the Seattle Girls Choir, and later jazz studies that reshaped how she hears harmony and melody. She explains how ear training and solfege still influence her songwriting today, and why understanding just a little bit of theory can unlock creative freedom for singers.We also talk honestly about the gig-life reality that many musicians know well: some of your biggest growth happens when nobody is paying attention. For Lila, that meant years of hotel-lobby gigs, four hours a night, five nights a week, where she learned to experiment, take risks, and build a durable musical voice. We close by talking about her debut album Vessel, recorded live with the band in just three days, and how she's stepping into a bigger creative leadership role as she works on her next record.Key TakeawaysAuthenticity defines artistic voice — the goal isn't to out-sing others, but to sound like yourself.Creative discovery often comes from accidents — capturing and following spontaneous musical moments can lead to powerful ideas.Influence is different from imitation — artists grow by absorbing influences while protecting their own identity.Musical training builds creative vocabulary — ear training, harmony, and theory can open doors for singers.Gig experience shapes real musicianship — long, quiet gigs often provide the space to experiment and grow.Recording live captures energy — tracking Vessel with the band in three days preserved the immediacy of the music.Leadership evolves with each project — Lila is stepping further into the creative driver's seat with her next record.Music from the EpisodeTemptation - Lila FordeAll I Expected - Lila FordeBrick by Brick - Lila FordeAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

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

Take your seats, your TAs Joe and Kari are ready to go over this week's lecture by Professor Kinzer in Music Theory 101 all about drones, those unchanging pitches held for a number of beats or even notes repeated over and over for an extended amount of time. We'll talk about some prime examples, including one of Kari's favorite songs from the end of the decade and it's suave remix, a big UK hit from an female septet and the first pop hit from a legitimate mega singer-songwriter-producer superstar for the ages. And what does Indiana Jones have to do with it (no really, someone tell us).Plus, hear Joe and Kari's review of their recent Ladies' Night out!Send us Fan Mail

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

This week Danny and Mike dig into one of the most powerful and often overlooked tools in music: dynamics. Not just in how you play, but in your songs, your band, how a record is made and how a live show breathes. They pick up the guitar and work through some examples together before Danny plays Mike a number of iconic tracks that show dynamics done right. The kind of conversation that will genuinely change how you listen to music. Worth your time.Send us Fan MailSupport the show

Cory and Noah discuss how the practice of music theory has been changed, for better and for worse, by the rise of social media in the modern age.Hear new episodes a month early on Nebula: https://nebula.tv/ghost-notes12tonehttps://bsky.app/profile/12tone.nebula.tvhttps://nebula.app/12tonehttps://www.youtube.com/c/12tonevideoshttps://www.patreon.com/12tonevideosPolyphonichttps://bsky.app/profile/polyphonic.nebula.tvhttps://nebula.app/polyphonichttps://www.youtube.com/c/Polyphonichttps://www.patreon.com/polyphonicSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

AMDG. Today, Bonnie and Steven are joined by Kolbe teachers Olivia Knuffke and Carl Hasler to discuss music and music theory. They begin with a discussion of the importance of music and its place in a classical education and follow with an account of music from the perspective of Plato. We also discuss the role of the Church in understanding music and the role of music in the life of a Christian.   We discuss how the understanding of music theory helps to open our minds to the beauty that we hear in music, and the classes and resources that Kolbe offers to help students come to this understanding.   Be prepared for a litany of musical puns as you join us in this conversation.  Links mentioned & relevant:  Kolbe Academy course catalog for more information about the Music Theory course   Pope St. John Paul II's Letter to Artists  Related Kolbecast episodes  186 Full Circle of Fifths and 201 The Soundtrack of Life, the first two conversations in this musical series  242 Finish line in Sight with (among others) Ignatius, student co-founder of Kolbe's St. Cecilia music club  263 Exploring God's Cosmos: Astronomy for Everyday People  34 A Beauty-Linked Life with Professor Carol Reynolds  Have questions or suggestions for future episodes or a story of your own experience that you'd like to share? We'd love to hear from you! Send your thoughts to podcast@kolbe.org and be a part of the Kolbecast odyssey.   We'd be grateful for your feedback! Please share your thoughts with us via this Kolbecast survey!  The Kolbecast is available on Apple Podcasts, Spotify, and most podcast apps. By leaving a rating and review in your podcast app of choice, you can help the Kolbecast reach more listeners. The Kolbecast is also on Kolbe's YouTube channel (audio only with subtitles).  Using the filters on our website, you can sort through the episodes to find just what you're looking for. However you listen, spread the word about the Kolbecast! 

On this episode of The Bandwich Tapes, I sit down with guitarist and composer Stash Wyslouch for a conversation that moves easily between music, teaching, parenthood, and the deeper question of how artists actually learn. Stash has built a unique musical voice that draws from bluegrass, jazz, metal, and avant-garde traditions, and hearing how those influences intersect in his life and work makes for a fascinating conversation.We begin with a big life moment: Stash recently welcomed a newborn into the world. He reflects on how becoming a parent shifts perspective—not just personally, but creatively. Themes like humility, empathy, patience, and time suddenly carry new weight, and those ideas show up in how he approaches collaboration, teaching, and the creative process itself.From there, we trace his musical path—from early experiences in heavy metal to discovering bluegrass, jazz, and experimental music. Growing up in New England, studying at Berklee College of Music, and being part of a tight-knit musical community all helped shape his artistic voice. We also talk about the complicated role of labels like “avant-garde”—how they can be useful shorthand while also limiting how audiences hear the music.We spend real time on influences—Charles Ives, Arnold Schoenberg, Lennie Tristano, and Anthony Braxton—and how ideas from those composers intersect with improvisation, ear training, and creative freedom. And finally, Stash shares details about his upcoming duo record Matty and Debbie with drummer Sean Trischka, a project that pulls together bluegrass, jazz, metal, hymnody, and pure curiosity into one cohesive musical statement.Key TakeawaysParenthood reshapes perspective — becoming a parent can influence creativity, collaboration, and priorities.Musical identity can span genres — Stash's work draws from metal, bluegrass, jazz, and experimental music.Labels can both help and hinder — terms like “avant-garde” describe music but can also narrow how people hear it.Community shapes artists — New England roots and Berklee connections helped shape Stash's musical path.Learning the process matters more than chasing results — growth comes from patience and curiosity.Rhythm and feel take time — some musical skills simply can't be rushed.Creative projects thrive on curiosity — his upcoming duo record with Sean Trischka explores multiple traditions at once.Music from the EpisodeAcoustic Metal Party - Stash WyslouchStash's Turkey in the Straw - Stash WyslouchOver in the Gloryland - Stash WyslouchAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

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

Brooke and Tyler are joined by three musically gifted souls to break down their 16 creations for each of the Shards of Adonalsium. Plus the world-premiere of Retribution's never heard before track! At Dragonsteel Nexus 2025, the Music Meets Magic panelists went above and beyond to create multiple musical tracks for each of the Shards and several combinations. We wanted to share their creations with all as well as get their insights on how to create music for fantasy worlds. #AllSpoilers Follow the gang: Follow Shamaz and check out his new podcast Universal Vibrations Follow Krishna Patel Follow Paul Support this podcast by becoming a Patron on Patreon Original music by David Gruwier. "Radiant" by David Gruwier.

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Grace Humphries, and we talk about what it feels like to be at the very beginning of an artist's journey—while already carrying real life, real grief, and a clear sense of purpose into the music.Grace shares what it's been like arriving at Belmont University as a spring admit, stepping into music school life for the first time and suddenly being surrounded by people who truly understand the creative path she's on. For the first time, she's in an environment where songwriting, performing, and artistic ambition feel normal—and that shift has been energizing.We also trace her musical origin story. Grace has been singing since childhood, gradually teaching herself piano and guitar while learning how to shape songs with intention. Along the way, we talk honestly about the profound impact of losing her brother Liam, and how that experience reshaped her worldview, her faith, and ultimately the emotional center of her songwriting.There have also been some remarkable moments along the way. At just 16 years old, Grace recorded at Abbey Road Studios, an experience that helped solidify her commitment to pursuing music seriously. Since then, she's spent time searching for the right creative collaborators and has now begun recording new material at Soundstage Studios in Nashville alongside top-tier session musicians.We also talk about the craft of songwriting itself—learning to balance authenticity with the realities of the modern music industry. Grace reflects on how her faith influences her work without forcing it into a single genre category, and why she's focused on staying grounded in the music even as the industry continues to evolve. By the end of our conversation, it's clear she's an artist with both talent and a strong sense of identity about the path she wants to follow.Key TakeawaysWhat it's like entering Belmont University as a spring admit and finding a creative community.Grace Humphries's early musical beginnings—teaching herself piano and guitar while learning to write songs.How the loss of her brother Liam shaped her perspective, faith, and songwriting voice.The surreal experience of recording at Abbey Road Studios at age 16.Finding the right producer and beginning new recordings at Soundstage Studios in Nashville.How Grace balances authentic songwriting with commercial awareness.Why she remains focused on the work despite the rapidly shifting music industry.Music from the EpisodeWhy'd You Give Up — Grace HumphriesFor Years — Grace HumphriesAbout the PodcastThe Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.Connect with the ShowEmail: contact@thebandwichtapes.com

Ever wondered why a song can give you chills… or bring you to tears without a single word?In this episode of Conversations with Rich Bennett, Rich sits down with music expert Dr. Kurt Ellenberger to uncover the fascinating science behind why music affects us so deeply. From sound waves turning into electrical signals in your brain to the hidden math behind harmony and emotion, this conversation will completely change how you listen to music.Kurt Ellenberger, a professor of music, Fulbright Scholar, and former professional musician, shares insights that blend science, psychology, and real-world experience in a way that's both mind-blowing and easy to understand.What you'll learn: Why your brain predicts the next note in music  The real reason minor chords feel “sad”  How music can heal and regulate emotions  Why your taste in music changes over time  The surprising connection between math and sound Resources mentioned: KurtEllenberger.com  Miles Davis – Kind of Blue Beethoven – Symphony No. 7 If this episode makes you hear music differently, share it with someone who loves music as much as you do. And don't forget to subscribe, leave a review, and join the conversation.Send us Fan Mailhttps://www.dajennings.com/events-1Four Seasons Landscape & Construction SeWhile we perform the traditional lawn and landscape bed services, our passion is providing drainage Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showRate & Review on Apple Podcasts Follow the Conversations with Rich Bennett podcast on Social Media:Facebook – Conversations with Rich Bennett Facebook Group (Join the conversation) – Conversations with Rich Bennett podcast group | FacebookTwitter – Conversations with Rich Bennett Instagram – @conversationswithrichbennettTikTok – CWRB (@conversationsrichbennett) | TikTokSponsors, Affiliates, and ways we pay the bills:Hosted on BuzzsproutSquadCastSubscribe by Email

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

If you came to me for a lesson and said you wanted to work on music theory, my first reaction would be to do my happy dance. I admit it - I am a theory geek. I love talking about the building blocks of music and exploring the way composers use them to create the kaleidoscopic variety of music we love to play.  But after my happy dance, I would ask you this question: why do you want to learn music theory?  It's not a test question; there is no wrong answer. But I have often found that harpists make assumptions about what theory knowledge will do for them, and those assumptions, if they aren't completely wrong,  aren't always on the mark. Knowing more abut the inner workings of music, the nuts and bolts of it, is undoubtedly important for any musician. It is also certainly true that some elements of music theory are immediately applicable to our playing. Most harpists, for example, realize that if they understood more about how chords work, they would be able to learn their music more quickly, sight read more easily and memorize faster. That sounds like a superfood for your playing, and lots of harpists are ready, willing and eager to add that to their practice diet. But before chords will make sense to you, before they will be really useful, before you can become fluent with them, you need to know your major and minor keys. You need to know them cold, not have to figure them out, just know them as well as you know your alphabet. This is a step that too many harpists fail to take. They try to jump right into learning about chords without the foundation that makes their construction and sequences inevitable and logical.  So that's where we are starting today. I want to be sure that whatever your goals are with music theory, you have the knowledge that everything else in our system of music springs from: scales and keys.   One caveat - don't think this is going to be basic baby stuff. I promise unless you're a complete theory geek like me,  you'll learn something today that you didn't know before. Links to things I think you might be interested in that were mentioned in the podcast episode:  Blog post Musical Understanding Starts with Key Signatures Podcast Episode 6: Minor Keys [A Scale of a Different Color] Join us in My Harp Mastery. Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode? LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-254

Dr. Wes Flinn has not been a part of the Louisiana Tech faculty for a full year yet, but he's already integrated himself into the School of Music as its new director, and he knows he leads world-class instructors who shape the minds of future musicians. In this episode, he talks about growing up on a hog farm in southern Indiana and finding his love for music and teaching. He discusses his vision for the School of Music, and he emphasizes the importance of collaboration, work ethic, and the transformative power of music education. School of Music: latech.edu/liberal-arts/programs/school-of-music/ Website: 1894.latech.edu/beyond/ Email: 1894@latech.edu

Cory and Noah discuss what it means for a song to tell a story, what makes musical stories different from other mediums, and examine many of their favorite story songs.Hear new episodes a month early on Nebula: https://nebula.tv/ghost-notes12tonehttps://bsky.app/profile/12tone.nebula.tvhttps://nebula.app/12tonehttps://www.youtube.com/c/12tonevideoshttps://www.patreon.com/12tonevideosPolyphonichttps://bsky.app/profile/polyphonic.nebula.tvhttps://nebula.app/polyphonichttps://www.youtube.com/c/Polyphonichttps://www.patreon.com/polyphonicSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills Community  SummaryJoin Dr. Bob Lawrence as he explores the melodic analysis of 'Sweet Lorraine,' emphasizing the importance of phrasing, shaping melodies, and applying harmonic and stylistic treatments to enhance jazz improvisation and performance.KeywordsJazz Piano, Melodic Analysis, Sweet Lorraine, Phrasing, Improvisation, Jazz Education, Music Theory, Practice StrategiesKey TopicsPhrasing and shaping melodiesMelodic analysis of 'Sweet Lorraine'Application of harmonic voicingsStylistic reinterpretation of jazz standardsPractice strategies for jazz musiciansTitlesMastering Melodic Phrasing in Jazz: The 'Sweet Lorraine' Approach7 Facts of Music Every Jazz Musician Must KnowSound Bites"Melody should feel like a musical sentence with a destination""Approach each tune with a thorough, systematic process""Phrases in 'Sweet Lorraine' have a unique arc and structure"Support the show

Charlie Parker was punk rock before there was punk rock. His bebop was underground music: subversive, intellectual, and a major departure from popular music of the day (think: Nat King Cole, The Andrews Sisters, Perry Como). He was an intellectual heavyweight, nearly untouchable in his technical ability and pushing music to places no one else was daring to go. So where did Charlie Parker with Strings, his most accessible album, come from?It's not Bird going commercial, like some have claimed. Charlie Parker with Strings is an album he fought to make. He loved Bach and Stravinsky (even quoting the opening of Stravinsky's 'Firebird Suite' mid-solo in one legendary performance), and had longed to make a record where his jazz saxophone was accompanied by strings.The resulting record is music's greatest improviser at his best. Jazz pianists Peter Martin and Adam Maness listen to select tracks (like "Just Friends" and "Summertime"), breaking down the theory behind the music to understand what makes this album great. Jazz is the foundation of the most GENIUS music in recent history: Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo. In this popular music series, You'll Hear It, Adam and Peter break down the greatest albums of all time. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.Like the jam at the end of the show? Head to @openstudiomusic on YouTube for more.Visit openstudiojazz.com for ALLLLL your jazz lesson needs.00:00 - Intro: Charlie Parker with Strings01:10 - "Just Friends"04:40 - Want to Be a Great Musician? Study This Track10:20 - Early Recording: "Swingmatism" (1941)12:45 - The Secret to Charlie Parker's Genius: Practice15:20 - The Savoy Sessions: "Now's the Time" & Young Miles Davis18:20 - The Contrafact Built in Real Time21:45 - "Koko": Miles Davis Couldn't Play It?!24:30 - Musicians NEED to Listen to This27:15 - Think Parker Sold Out? Think AGAIN28:55 - "April in Paris": Parker's Chosen Tune33:55 - About Mitch Miller's Oboe ... 38:25 - "Summertime"44:10 - "Out of Nowhere"46:35 - We Have An Album! 47:20 - "East of the Sun"53:00 - "I'll Remember April"55:50 - Categories: Desert Island Tracks56:35 - The BEST Moments on Strings1:11:10 - Open Studio Plays "Just Friends"

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.