Podcasts about new england conservatory

Caleb Quillen returns to the podcast to talk about the path that took him from growing up in Sugar Land, Texas, to principal bass of the Boston Symphony Orchestra. Along the way, he reflects on formative teachers, including Dennis Whittaker and Paul Ellison, the influence of the Boston bass tradition, and much more. Check out our text/media version of this conversation and our interview with Caleb from 2016 here, and learn more about Caleb on his Boston Symphony and New England Conservatory pages. Thank you to our sponsor! Carnegie Mellon University Double Bass Studio – CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   Connect with DBHQ Join Our Newsletter Double Bass Resources Double Bass Sheet Music Double Bass Merch Gear used to record this podcast Zoom H6 studio 8-Track 32-Bit Float Handy Recorder Rode Podmic Sony Alpha 7 IV Full-frame Mirrorless Interchangeable Lens Camera Sony FE 16-35mm F2.8 GM Lens Sony FE 24-70mm F2.8 GM Lens When you buy a product using a link on this page, we may receive a commission at no additional cost to you. Thank you for supporting DBHQ. Theme music by Eric Hochberg

This episode of The Other Side of the Bell, featuring trumpet composer, performer and producer Gabriel Johnson, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Gabriel Johnson Trumpet Interview" And, find the expanded show notes, transcript and more photos here --- Gabriel Johnson went to the Monterey Jazz Festival at 9 years old - by himself - and witnessed Dizzy Gillespie and Freddie Hubbard on stage. He went home, switched instruments to the trumpet, and the rest is history. Gabe learned to play the trumpet by ear, playing along to Miles Davis, learning "the excitement inside the sadness." A glimmer of hope for Gabe during a difficult childhood. Self taught until later in high school, it wasn't until he was at the New England Conservatory when he learned that what seemed second-nature all along was in fact perfect pitch. A chance encounter with Chris Botti on Gabe's last night in Boston before moving to Los Angeles led to a friendship of over 20 years, and pivotal connections including meeting the manager of Blood, Sweat & Tears, who invited him to be the band's musical director for a year. From hanging out with Clint Eastwood and Robert Redford, to learning recording techniques and producer psychology from David Foster, Gabe has built a remarkable career full of originality and spontaneity, covering soundtracks, jazz, pop and more. With AI creeping into musicians' livelihood, Gabriel has some pertinent advice: individual artist expression is something that can never be replicated, whether by artificial intelligence or another human. Be yourself, be creative, be original. The rest will follow. About Gabriel Johnson:  Gabriel Johnson is an American jazz trumpeter whose lyrical sound and deep musical fluency have earned praise from artists, including David Foster, Clint Eastwood, and Chris Botti.  Gabe studied at New England Conservatory and then moved to Los Angeles and built a wide ranging career as a solo artist, session musician and featured performer. Recording and performing with artists such as Gladys Knight, Steven Tyler, David Foster, Chris Botti , Andrea Bocelli, Lyle Lovett, and Burt Bacharach, he was featured by Clint Eastwood as a trumpet soloist on the film scores for Changeling and Invictus, and has released a substantial catalog of recordings on his Sunset Horn label, blending jazz tradition with cinematic electronic and modern production influences. Episode Links: Website: www.gabrieljohnsonmusic.com Bandcamp: https://gabrieljohnson.bandcamp.com YouTube: https://www.youtube.com/user/GJTrumpet Apple Music: https://music.apple.com/us/artist/gabriel-johnson/336452318 Instagram: https://www.instagram.com/gjtrumpet/?hl=en Bob Reeves Brass Events and Appearances: William Adam Trumpet Festival July 9-12, Southern Illinois University, Carbondale, Ill. Book your trumpet alignment here: https://trumpetmouthpiece.com/products/william-adam-trumpet-festival-valve-alignment-presale Podcast Credits: "A Room with a View" - composed and performed by Howie Shear Podcast Host - John Snell Photo Credits - Courtesty Brian Shaw and Equinox Publishing Audio Engineer - Ted Cragg

Jeff Lederer is a Saxophonist/clarinetist/composer who has been included in the Downbeat Critics' and Readers' poll each year since 2014.  He leads ensembles including the “Shakers n' Bakers”, “Sunwatcher Quartet,” and “Brooklyn Blowhards” and is the founder and director of the Visionary Youth Orchestra.  Mr. Lederer also plays in the groups of Matt Wilson, Bobby Sanabria, Allison Miller, Jimmy Bosch, and many others.  Lederer was named as a “Musician to Watch in 2017” by JazzWise magazine in London and has appeared in the North Sea, Molde, Monterey, Chicago, Earshot Seattle, Azores, and Guimaraes Jazz festivals, where he was the 2017 artist-in-residence.  Lederer is currently serving as Director of Jazz Studies and Professor of Jazz Saxophone at Long Island University.  Jeff's cross-stylistic composition/arranging projects include “Los Sazones”, a salsa reimagining of Vivaldi's “Four Seasons” which was commissioned by the Ravinia Festival for the Chicago Symphony and has been performed by many major orchestras, including the Los Angeles Philharmonic at the Hollywood Bowl. As an educator, Jeff is currently Director of Jazz Studies and MTEP (Music Technology, Entrepreneurship and Production) at Long Island University Post Campus.  Jeff has worked with Jazz At Lincoln Center Education programs and is the founder of the Visionary Youth Orchestra for the Vision Festival. He has taught workshops and residencies in jazz and saxophone at the University of Miami, New England Conservatory, Dartmouth College, SUNY Binghamton, University of Northern Iowa, and many other leading jazz departments. 

The jungle DJ and trumpeter talks about late-career popularity, jazz in Japan and what it means to build a life in music. You probably know Takuya Nakamura first and foremost as a viral sensation. The Tokyo-born, New York-based trumpeter has achieved minor internet fame in recent years for playing live trumpet over jungle records on The Lot Radio. But Nakamura was composing and performing for more than 30 years before becoming one of the most talked-about acts of the contemporary Jungle revival. In this RA Exchange, Nakamura dives into his musical journey: growing up in Tokyo, the Japanese jazz scene, and studying at the New England Conservatory of Music under the great composer and theorist George Russell. He also reflects on how jungle has evolved, why he loves performing in the UK, and how a new generation is breathing life into jazz. Listen to the episode in full.

The jungle DJ and trumpeter talks about late-career popularity, jazz in Japan and what it means to build a life in music.You probably know Takuya Nakamura first and foremost as a viral sensation. The Tokyo-born, New York-based trumpeter has achieved minor internet fame in recent years for playing live trumpet over jungle records on The Lot Radio. But Nakamura was composing and performing for more than 30 years before becoming one of the most talked-about acts of the contemporary Jungle revival.In this RA Exchange, Nakamura dives into his musical journey: growing up in Tokyo, the Japanese jazz scene, and studying at the New England Conservatory of Music under the great composer and theorist George Russell. He also reflects on how jungle has evolved, why he loves performing in the UK, and how a new generation is breathing life into jazz. Listen to the episode in full. Hosted on Acast. See acast.com/privacy for more information.

Dr. Molly Gebrian is a professional violist with a background in neuroscience. She is the author of Learn Faster, Perform Better: A Musician's Guide to the Neuroscience of Practicing. Holding degrees in both music and neuroscience from Oberlin College and Conservatory, New England Conservatory of Music, and Rice University, her area of expertise is applying the science of learning and memory to practicing and performing. Previously, Dr. Gebrian was the viola professor at the University of Wisconsin-Eau Claire and the University of Arizona. After a decade of teaching viola at the collegiate level, she joined the faculty at New England Conservatory of Music in Fall 2024 as the inaugural Teaching Artistry Scholar-in-Residence to teach about the science of practicing.   https://www.mollygebrian.com/ https://www.mollygebrian.com/music-and-the-brain https://www.amazon.com/Learn-Faster-Perform-Better-Neuroscience/dp/0197680070/ref=sr_1_1?crid=1419D… https://www.youtube.com/@DrMollyGebrian https://youtu.be/uN9TsKNAPeU We want to thank our sponsors ANNA and Alpensong

In Episode Nine, Jazz Podcast Host Dave Reis speaks with Carol Louro, daughter of the legendary clarinetist/saxophonist Lionel Soares, about her father's talent, passion, and dedication. Lionel performed professionally for six decades and was also the proprietor of Dartmouth Music. He studied at The New England Conservatory, Boston Conservatory, Berklee College of Music, and Southeastern Massachusetts University. He studied clarinet with Victor Polachek and Attilio Poto, both members of the Boston Symphony. He studied Theory with Jose DaCosta and studied composition with Hugo Norden and Ron Nelson. As a saxophonist/clarinetist, he worked with the bands of Tommy Reynolds, Al Donahue, Jack Nye, Florian ZaBach, and Mickey Sullivan, among others. Lionel also performed throughout the United States, Canada, and Europe. The Artist Index's jazz documentarian and Jazz Podcast Series host, Dave Reis, spent nearly 26 years as a Jazz radio show host, among his many other accomplishments. He was one of the original longtime DJs who worked at the former WUSM and its second life, radio station WUMD, 89.3 FM, on the University of Massachusetts Dartmouth campus. Dave Reis, AKA David Domingo Reis, began as our guest on In-Focus Podcast 154 and In-Focus Podcast 181. He returns once again as the host of our first-ever ten-part jazz podcast series underwritten by the Fiber Optic Center. There is no better host for this series than Dave Reis, a walking, talking jazz encyclopedia and local legend himself. Dave grew up surrounded by and hanging with many of the jazz greats. He will be presenting his ten-part Jazz Podcast Series, underwritten by the Fiber Optic Center. Podcasts are also available on your favorite media app, including Amazon Music / iHeart Radio / Libsyn / Podcast Page / Spotify / WebPlayer, and APPLE PODCASTS Please consider donating whatever you can to help and support our mission to continue documenting the legacies of South Coast Artists. If you would like to be a guest on The Artists Index or have a suggestion, please let us know!

A graduate of the New England Conservatory and The Juilliard School, Adewumi became the first jazz trumpeter to receive the prestigious Paul & Daisy Soros Fellowship in 2017. He went on to win 1st place at the 2019 Carmine Caruso International Jazz Trumpet Competition, the 2024 ASCAP Young Jazz Composer Award and Gregory Morris Composing Fellowship, and in 2025 received the NYSCA/NYFA Artist Fellowship. Adewumi has been voted a “Rising Star” in the DownBeat Critics Poll. The Flame Beneath The Silence is Adewumi's debut as a leader, after work with Moran, Halvorson, Dave Douglas, Frank Carlberg and others. It finds the trumpeter, born in New Hampshire to Nigerian immigrants, with three of the most important voices in modern jazz: vibraphonist Joel Ross, bassist Linda May Han Oh and drummer Marcus Gilmore. The album was recorded live at Brooklyn's Ornithology, an intimate and engaging showcase for Adewumi's skills as a composer, collaborator and conceptualist. Support the show

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

Filmmaker and director Ali Selim shares a story about his father, and the complicated weight of forgiveness without reconcilliation.  Dr. Emily Gaarder talks about her work in restorative justice, and explains why she sometimes refers to forgiveness as “the F-word.” Songwriter Carla Kihlstedt recalls her long relationship with Ali and his work, and shares a brand new song. Special thanks to FilmNorth for hosting the live event, and to New England Conservatory's Department of Recording and Performance Technology Services, and to audio engineer Collin Register.Chapters:00:02:38Ali Selim's story00:16:28Dr. Emily Gaarder's perspective00:42:29Carla Kihlstedt's "I Am a Fish"SongWriterPodcast.comInstagram.com/SongWriterPodcastFacebook.com/SongWriterPodcastTikTok.com/@SongWriterPodcastYouTube.com/@SongwriterPodcastSongWriter is a music and songwriting podcast that turns stories into songs. Host Ben Arthur invites writers, poets, and musicians to share a story or poem, then pairs it with an original song written in response. Along the way, the show explores the creative process through intimate conversations and performances. Guests have included Questlove, Susan Orlean, David Gilmour, David Sedaris, Joyce Carol Oates, and George Saunders. Distributed by PRX, SongWriter also appears on the syndicated radio program Acoustic Café and in Paste Magazine. Learn more at SongWriterPodcast.com. Season seven is made possible by a grant from Templeton World Charity Foundation

On this episode of The Bandwich Tapes, I sit down with singer, songwriter, and multi-instrumentalist Sarah Jarosz at a remarkable moment in her career, fresh off multiple Grammy wins, including recent recognition with I'm With Her. We talk about what it actually feels like to experience that kind of validation after years of nominations, and why the support she receives from her hometown of Wimberley, Texas, still means so much, especially with music that reflects on family, time, and staying connected to where you come from.Sarah shares how I'm With Her, her trio with Aoife O'Donovan and Sara Watkins, became a creative counterbalance to the pressures of solo work. What stands out is how naturally the collaboration works: three distinct musical voices, no ego battles, and an instinctive approach to arranging harmonies and deciding who carries each musical moment. It's a reminder of how powerful true musical trust can be.We also explore how her perspective on collaboration has evolved over the years. Early in her career, Sarah felt a strong need to protect her artistic voice. But as she gained experience, she realized that once you truly understand what you bring to the table, collaboration becomes less risky and far more rewarding.One of my favorite parts of the conversation is a deep dive into the next generation of acoustic musicians, artists with deep bluegrass roots who aren't confined by genre boundaries. Sarah traces that lineage through musicians like Chris Thile, Punch Brothers, David Grisman, Mike Marshall, Béla Fleck, and Edgar Meyer, framing today's scene not as a sudden movement but as a continuation of a long and evolving acoustic tradition.We also nerd out about her time at the New England Conservatory, why she chose it over Berklee, and how her early Kodály training gave her a powerful foundation in ear training and musical intuition. We wrap by talking about what's next: an upcoming I'm With Her live album, summer touring, and a rare pause in her solo career as she finds herself between record contracts for the first time. In a music industry constantly shifting, from streaming economics to AI, the grounded takeaway is simple: the real thing still matters, and people continue to show up for honest music played by real humans.Key TakeawaysWhat it actually feels like to win Grammys after years of nominations.Why Sarah Jarosz still feels deeply connected to her hometown of Wimberley, Texas.How I'm With Her works creatively—three voices collaborating without ego.Why collaboration becomes easier once artists understand their own musical identity.The lineage of modern acoustic music through artists like Chris Thile, David Grisman, Béla Fleck, Edgar Meyer, and Mike Marshall.How Kodály training and ear development shaped Sarah's musicianship early on.Why the “real thing”—human voices and acoustic instruments—still resonates in a rapidly changing music industry.Music from the EpisodeJealous Moon — Sarah JaroszWhen the Lights Go Out — Sarah JaroszRunaway Train — Sarah JaroszAbout 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

STANDARSEMANAL.-The Girl From Ipanema.-VINILOS MITICOS DEL JAZZ-.BUDDY DEFRANCO - And The Oscar Peterson Quartet.-JAZZACTUALIDAD.-.MARTINA SABARIEGO BIG BAND-FORCES AND BATTLEMENTS Bonifacio Ferdinand Leonard "Buddy" DeFranco (Camden, Nueva Jersey, 17 de febrero de 1923 − Panama City, Florida, 24 de diciembre de 2014)[1]​ fue un clarinetista de jazz estadounidense. De origen italiano, comenzó a tocar el clarinete en 1935 con sólo 12 años para ayudar a su padre ciego a mantener a su familia muy pobre que vivía en el sur de Filadelfia. A los 16 años ya era un músico que giraba a través de los Estados Unidos con varias bandas. Su carrera se desarrolló en lo que se considera la época dorada del swing jazz y las big bands, que tenía como principales clarinetistas a Artie Shaw, Benny Goodman y Woody Herman. Pero él fue el primero en dedicarse con su instrumento al bebop y a la música de Charlie Parker, y con Tony Scott se convirtió en uno de los pocos clarinetistas en ese tipo de la historia del jazz. También fue el primero en utilizar el clarinete bajo en el jazz con resultados extraordinarios. Entre sus colaboraciones más importantes se encuentran las que tocó con Count Basie, Sonny Clark y Tal Farlow. De 1966 a 1974 fue líder de la orquesta de Glenn Miller. También tocó con George Shearing, Gene Krupa, Charlie Barnet, Art Tatum, Oscar Peterson, Terry Gibbs, Art Blakey, Tommy Gumina y muchos otros. Se le dedicó una hermosa biografía en el libro: Una vida en la edad de oro del Jazz. También fue organizador del festival de jazz para jóvenes talentos Buddy DeFranco Jazz Fest y en 1996 como maestro y profesor publicó su versión del método Hanon para el aprendizaje de clarinete de jazz. Junto con su amigo de Tony Scott es considerado el más grande de todos clarinetista de jazz de su tiempo. Agotado desde hace mucho tiempo, este LP, reeditado por el sello «WaxTime» en 2018, presenta al brillante clarinetista Buddy DeFranco con el Oscar Peterson Quartet, o lo que es lo mismo, el trío habitual del orondo pianista de Toronto, con el añadido del baterista, Louie Bellson. Si bien las seis tomas son todas estándares, DeFranco y Peterson producen swing a raudales y con un ritmo alejado del habitual “tempo” de Oscar Peterson. DeFranco suena impecable en el clarinete, lo que hace que suene tan fácil de tocar como un rayo; pocos clarinetistas se han acercado alguna vez a esta velocidad. Disco muy recomendable para ver tocar el piano a Óscar Peterson fuera de su zona de confort, si es que alguna vez estuvo en ella. Martina Sabariego Big Band Forces And Battlements La compositora y multiinstrumentista de Xirivella, Martina Sabariego, presenta Forces and Battlements, su segundo álbum y el primero escrito y grabado para big band. Un trabajo con cuatro piezas que ponen el foco en la cultura valenciana, explorando nuevos paisajes sonoros con una mirada personal y valiente. El proyecto se ha materializado en Boston, gracias al apoyo del New England Conservatory, y consolida la proyección internacional de una artista que debutó con Xano Xano. Forces and Battlements ya está disponible en: https://martinasabariego.bandcamp.com/album/forces-and-battlements-2 --- Lista de temas: 1. Vida y Muerte de la Devesa 06:58 2. Muixeranga 04:15 3. Elvira 07:39 4. Alquería Coca 08:54 --- Repertorio y solos: 1. Vida y Muerte de la Devesa  Solos de Jason Ryu, Walker McSween, Nadav Brenner y Carlo Kind 2. Muixeranga 3. Elvira  Solos de Nick Isherwood y Joey DuBois 4. Alquería Coca  Solos de Pavle Zvekic, Juan Saus, Albert Climent y Carlo Kind --- Integrantes de la big band: Saxofón Alto 1 (a soprano): Lenka Molcanyiova Saxofón Alto 2 (a flauta): Juan Saus Saxofón Tenor 1 (a clarinete en Sib): Gabriel Nieves Saxofón Tenor 2: Ella Wilhemina Saxofón Barítono: Noa Zebley Trompeta 1: Shota Syamaguchi Trompeta 2: Joey DuBois Trompeta 3: Walker McSween Trompeta 4 Maddoc Johnson Trombón 1: Jason Ryu Trombón 2: Albert Climent Trombón 3: Aiden Coleman Trombón Bajo: David Paligora Guitarra Eléctrica: Nadav Brenner Piano: Pavle Zvekic Contrabajo: Nick Isherwood Batería: Carlo Kind --- Compuesto, arreglado y dirigido por: Martina Sabariego Ingeniero de grabación: Sam McCarthy Ingeniero de mezcla: Adrià Serrano Grabado en The Record Co., en octubre de 2024, Boston (MA) Agradecimientos especiales al New England Conservatory of Music por la beca EM.

246 - Alan Williams In episode 246 of “Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with guitarist and music educator Alan Williams. In their conversation Alan tells us about his new solo album “Floating on the Dreamline” and the personnel and production of the album it will be released on March 6th. Alan describes growing up in North Carolina studying piano and going to New England Conservatory in Boston and deciding guitar was also suited for his talent and Alan explains his major Ethnomusicology and how that relates to his interests. Alan tells us about his early band “Knots and Crosses” and how they got signed and why they broke up. Alan talks about gear both early keyboard synths and his guitars including his guitar made by Dave Schecter and a carbon fiber guitar made by Emerald guitars (emeraldguitars.com) in Ireland and he tells us why he fears taking his guitars on the road. Alan tells us about his career at university of Massachusetts at Lowell including a run as the chair of the music department and his current role as the chair of the music business department and some of the challenges of the ever changing music industry. Alan tells us about his previous albums including one that was not initially released and has recently been remixed and released. Alan tells us about his guitar tunings that he uses both on acoustic and electric guitars. And finally Alan describes to us about his touring plans, his retirement from teaching, his wife's work, a cottage he owns on the big island of Hawaii and returning to Asheville, North Carolina. To find out more about Alan you can go to his labels website: bluegentianrecords.com or his socials @alanwilliamsevidence Please subscribe, like, comment, share and review this podcast! #VintageGuitarMagazine #AlanWilliams #FloatingontheDreamline #KnotsandCrosses #SchecterGuitars #EmeraldGuitars #JamesPatrickRegan #NewEnglandConservitory #theDeadlies #UMassLowell #NEC #haveguitarwilltravelpodcast #HGWT #tourlife https://www.patreon.com/cw/HaveGuitarWillTravelPodcast Download Link

Alan Hovhaness: Unveiling One of the Great Composers of the 20th Century "He has been composing music since he was four years old and at the age of eight found it necessary to defend his original style against the criticisms of his piano teacher. Since then after study in the New England Conservatory; the winning of two Guggenheim grants; and recognition through a National Institute of Arts and Letters award, the critics and the public are mostly on his side. Downes of the New York Times pronounced him "one of the most individual and exotically expressive American composers of the rising generation." In his own words he was led to quote "search for an idiom more worthy of the wonderful tradition I had discovered." For boldness and delicacy of imagination, for originality and individuality without eccentricity, for a great number of compositions each fresh and distinctive, for fusing old melody with modern technique and spirit, in short, for making music to lift the hearts of men as only music can, Bates College wishes to confer upon Alan Hovhaness, the honorary degree of Doctor of Music." Thus reads the declaration read by Charles F. Phillips, the president of Bates College on June 7, 1959. Today it is my honor to present William Holst, Alan Hovhaness' stepson, who served as co-author and curator of the book, Alan Hovhaness: Unveiling One of the Great Composers of the 20th Century. Symphony No. 63, "Loon Lake", Op. 411 was performed by the Royal Scottish National Orchestra, directed by Stewart Robertson, and recorded in 2007 at Henry Wood Hall, in Glasgow, Scotland. "Macedonian Mountain Dance" featuring pianist Sahan Arzruni courtesy otherminds.org Hovhaness: Sonata for Harp & Guitar, Op. 374 "Spirit of Trees" - V. Andante appassionato https://youtu.be/CpaP5Et798A?si=24HqR-pdmKbItb_t Special thanks to Maestro Gerard Schwarz, Artistic and Music Director of the Palm Beach Symphony, Charles Amirkhanian, Executive & Artistic Director, and Liam Herb, Production Director for otherminds.org. Our fact checker was Steve Freides. Our theme music was played by ULULATION! Mister Radio is available wherever you get your podcasts, including iTunes and Spotify. Subscribe to our podcast and leave us a review, and don't forget to tune in for another episode of Mister Radio!

Here are a couple of ladies who span generations and genres. They can rock, swing, and croon like nobody's business, and are renown for their independence. Wanda Jackson is a founding mother of Rockabilly and still partying at 88; She started recording in 1954, and just recently retired. Although she forged the magical fusion elixir that we call Rockabilly, she has also scored hits in the Gospel and Country genres. Sarah Jarosz, 50+ years younger, studied at the New England Conservatory of Music, but remains pure Texas, like Nanci Griffith or Lyle Lovett - indie Americana artists who fuse country with jazz in an irresistible freshness. She has stated that she relishes expansion, collaboration, and experimentation, with a goal toward “honoring the song” and bringing it to life in the most exciting way possible. Both women are accomplished songwriters as well as vocal interpreters, but today we feature them in the latter position - Wanda, from 1962, keens the vertiginous “Whirlpool”, by Fred Burch and Marijohn Wilken, and Sarah crushes Tom Wait's “Come on Up to the House” with a  funky mandolin.SARAH JAROSZI first heard Sarah Jarosz about 10 years ago on Garrison Keillor's radio show, and was smitten immediately. Her tender, and at the same time fluid voice and funky mandolin charms completely - reminding me of the great John Hartford and how he transformed bluegrass to Newgrass.  She continued after Garrison left with successor Chris Thile, teaming up with Sarah Watkins, another star from that ensemble, and Aoife O'Donovan to form the trio I'm With Her. At 34, no longer a prodigy, she has become a contemporary bluegrass goddess, who keeps expanding her range. Here she essays Tom Wait's Come on up to the House, in which she manages to combine spirituality with sex appeal - brilliant. WANDA JACKSONWhirlpool is like a psychedelic Torch Song. Uncharacteristically, Wanda takes the role of a vulnerable, love damaged damsel instead of the Take No Prisoners, kick-ass Rocker she usually projects. Released on Capitol Records and produced by their A&R exec, Ken Nelson, this cut obviously is swinging for the bleachers of commercial Country appeal, but its weirdness kept it from charting. However, it remains a monument to her range and dramatic power. 

A classically-trained, New England Conservatory grad is helping the Boston orchestra A Far Cry kick off the new series, "Amplified." Yeemz plays her cello beautifully in the upright position, but she's also created a signature, indie-folk sound by turning her instrument on its side.

The Game Changers podcast celebrates true pioneers who inspire us to take the big step forward and up in education and beyond. In episode 206 (Part 3) of Game Changers, Phil Cummins joins in conversation with Dr Michael Stepniak for a holiday special! Dr Michael Stepniak is an Australian scholar, musician, and academic leader who returned home in 2025 after four decades abroad. He now serves as the ninth Master and Head of College at Queen's College, The University of Melbourne. His career has been shaped by intellectual rigour, artistic excellence, and institutional vision, spanning conservatoria, universities, and senior leadership roles in the United States and now Australia. He also holds the title of Honorary Principal Fellow at the Melbourne Conservatorium of Music. Educated at Harvard University as a Spencer Fellow, he holds both a Doctor of Education and a Master of Education, as well as two Master of Music degrees: in viola performance from the Peabody Institute of Johns Hopkins University, and in musicology from Northwestern University. He completed his undergraduate studies with distinction, and trained as a violinist at the New England Conservatory. As a chamber musician, he has performed as violist and violinist in major concert halls across North America and Europe, collaborating with artists as varied as Ann Schein, Arlo Guthrie, and John Patitucci. His performances have been broadcast on National Public Radio and praised by The Washington Post and others for their expressiveness and refinement. He is also the author of several books on leadership, education, and creativity in the arts. These include Don'ts for Deans and Academic Leaders (2023), Leading Change That Matters (2022), and Beyond the Conservatory Model (2019). He has spoken widely on cultural leadership, institutional change, and the future of education, and has held key governance and advisory roles, including serving on the Board of Directors of the International Council of Fine Arts Deans. Before returning, Dr Stepniak served as Executive Dean for Creativity and the Arts and Professor of Music at Shenandoah University in the United States, where he led strategic planning, launched new academic programs, and played a central role in philanthropic development. As Dean of Shenandoah Conservatory for 14 years, he helped elevate its international profile and built lasting partnerships with donors, international artists, and communities. Born in Springvale and raised in the Yarra Valley, he left Australia and his family as a teenager to pursue advanced music studies as a concert violinist in North America. He now returns with his wife, Dr Anne Schempp, and their daughter, Tilda. He is delighted to lead Queen's College into its next chapter; one that honours its remarkable heritage while preparing students to meet the challenges of a changing world with intelligence, imagination, and integrity. The Game Changers podcast is produced by Evan Phillips supported by a School for tomorrow (aschoolfortomorrow.com), and powered by CIRCLE Education. The podcast is hosted on SoundCloud and distributed through Spotify, Google Podcasts, and Apple Podcasts. Please subscribe and tell your friends you like what you are hearing. You can contact us at gamechangers@circle.education, on Twitter and Instagram via @GameChangersPC, and you can also connect with Phil via LinkedIn, Twitter and Instagram. Let's go!

In this episode of The Bandwich Tapes, I reconnect with conductor and educator Aaron Kula, who shaped my summers in the Chautauqua Youth Orchestra at the Chautauqua Institution in New York in 1994 and 1995. We talk about what it means to trust young musicians with major repertoire, including the time we took on Stravinsky's The Rite of Spring, and what that experience taught me about preparation, accountability, and confidence. Aaron shares his philosophy for building ensemble culture: learning every student's name, holding individuals responsible while serving the collective, and making the rehearsal process both rigorous and engaging. We dig into how his multi-genre musical life, from classical training to folk and ethnic traditions, and his deep connection to Jewish music, shaped the way he hears rhythm, style, and culture inside the orchestra. Aaron also explains how conducting changes when moving from the concert stage to ballet, how tempo becomes a real-time collaboration with dancers, and why a conductor has to know when to lead, when to release, and when to stay out of the players' way. This conversation is equal parts music, mentorship, and reflection, and a reminder that the seeds teachers plant can continue to grow for decades. I'm grateful for the chance to say thank you, and for the lessons from those summers that still guide how I work with students and teams today.To learn more about Aaron, visit his website. Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

The Game Changers podcast celebrates true pioneers who inspire us to take the big step forward and up in education and beyond. In episode 206 (Part 1) of Game Changers, Phil Cummins joins in conversation with Dr Michael Stepniak! Dr Michael Stepniak is an Australian scholar, musician, and academic leader who returned home in 2025 after four decades abroad. He now serves as the ninth Master and Head of College at Queen's College, The University of Melbourne. His career has been shaped by intellectual rigour, artistic excellence, and institutional vision, spanning conservatoria, universities, and senior leadership roles in the United States and now Australia. He also holds the title of Honorary Principal Fellow at the Melbourne Conservatorium of Music. Educated at Harvard University as a Spencer Fellow, he holds both a Doctor of Education and a Master of Education, as well as two Master of Music degrees: in viola performance from the Peabody Institute of Johns Hopkins University, and in musicology from Northwestern University. He completed his undergraduate studies with distinction, and trained as a violinist at the New England Conservatory. As a chamber musician, he has performed as violist and violinist in major concert halls across North America and Europe, collaborating with artists as varied as Ann Schein, Arlo Guthrie, and John Patitucci. His performances have been broadcast on National Public Radio and praised by The Washington Post and others for their expressiveness and refinement. He is also the author of several books on leadership, education, and creativity in the arts. These include Don'ts for Deans and Academic Leaders (2023), Leading Change That Matters (2022), and Beyond the Conservatory Model (2019). He has spoken widely on cultural leadership, institutional change, and the future of education, and has held key governance and advisory roles, including serving on the Board of Directors of the International Council of Fine Arts Deans. Before returning, Dr Stepniak served as Executive Dean for Creativity and the Arts and Professor of Music at Shenandoah University in the United States, where he led strategic planning, launched new academic programs, and played a central role in philanthropic development. As Dean of Shenandoah Conservatory for 14 years, he helped elevate its international profile and built lasting partnerships with donors, international artists, and communities. Born in Springvale and raised in the Yarra Valley, he left Australia and his family as a teenager to pursue advanced music studies as a concert violinist in North America. He now returns with his wife, Dr Anne Schempp, and their daughter, Tilda. He is delighted to lead Queen's College into its next chapter; one that honours its remarkable heritage while preparing students to meet the challenges of a changing world with intelligence, imagination, and integrity. The Game Changers podcast is produced by Evan Phillips supported by a School for tomorrow (aschoolfortomorrow.com), and powered by CIRCLE Education. The podcast is hosted on SoundCloud and distributed through Spotify, Google Podcasts, and Apple Podcasts. Please subscribe and tell your friends you like what you are hearing. You can contact us at gamechangers@circle.education, on Twitter and Instagram via @GameChangersPC, and you can also connect with Phil via LinkedIn, Twitter and Instagram. Let's go!

The Game Changers podcast celebrates true pioneers who inspire us to take the big step forward and up in education and beyond. In episode 206 (Part 1) of Game Changers, Phil Cummins joins in conversation with Dr Michael Stepniak! Dr Michael Stepniak is an Australian scholar, musician, and academic leader who returned home in 2025 after four decades abroad. He now serves as the ninth Master and Head of College at Queen's College, The University of Melbourne. His career has been shaped by intellectual rigour, artistic excellence, and institutional vision, spanning conservatoria, universities, and senior leadership roles in the United States and now Australia. He also holds the title of Honorary Principal Fellow at the Melbourne Conservatorium of Music. Educated at Harvard University as a Spencer Fellow, he holds both a Doctor of Education and a Master of Education, as well as two Master of Music degrees: in viola performance from the Peabody Institute of Johns Hopkins University, and in musicology from Northwestern University. He completed his undergraduate studies with distinction, and trained as a violinist at the New England Conservatory. As a chamber musician, he has performed as violist and violinist in major concert halls across North America and Europe, collaborating with artists as varied as Ann Schein, Arlo Guthrie, and John Patitucci. His performances have been broadcast on National Public Radio and praised by The Washington Post and others for their expressiveness and refinement. He is also the author of several books on leadership, education, and creativity in the arts. These include Don'ts for Deans and Academic Leaders (2023), Leading Change That Matters (2022), and Beyond the Conservatory Model (2019). He has spoken widely on cultural leadership, institutional change, and the future of education, and has held key governance and advisory roles, including serving on the Board of Directors of the International Council of Fine Arts Deans. Before returning, Dr Stepniak served as Executive Dean for Creativity and the Arts and Professor of Music at Shenandoah University in the United States, where he led strategic planning, launched new academic programs, and played a central role in philanthropic development. As Dean of Shenandoah Conservatory for 14 years, he helped elevate its international profile and built lasting partnerships with donors, international artists, and communities. Born in Springvale and raised in the Yarra Valley, he left Australia and his family as a teenager to pursue advanced music studies as a concert violinist in North America. He now returns with his wife, Dr Anne Schempp, and their daughter, Tilda. He is delighted to lead Queen's College into its next chapter; one that honours its remarkable heritage while preparing students to meet the challenges of a changing world with intelligence, imagination, and integrity. The Game Changers podcast is produced by Evan Phillips supported by a School for tomorrow (aschoolfortomorrow.com), and powered by CIRCLE Education. The podcast is hosted on SoundCloud and distributed through Spotify, Google Podcasts, and Apple Podcasts. Please subscribe and tell your friends you like what you are hearing. You can contact us at gamechangers@circle.education, on Twitter and Instagram via @GameChangersPC, and you can also connect with Phil via LinkedIn, Twitter and Instagram. Let's go!

This week, Alexa chats with the brilliant Ian Howell to explore how we really hear the singers we work with. From psychoacoustics and functional listening to timbre, bias and intention, Ian unpacks the hidden processes behind vocal perception—and how understanding them can transform the way we teach. A deep, fascinating conversation for any singing teacher wanting sharper ears and smarter tools. WHAT'S IN THIS PODCAST?  1:53 What is psychoacoustics?5:28 How is sound perceived by us?12:38 What impacts the way we perceive sound?20:46 Separating function from bias25:48 Belt scenario35:36 How do singers hear themselves?40:59 How to listen and observe with skill1:05:27 The relationship between intent and perception1:15:15 Using spectrograms1:19:57 The way Ian teachesAbout the presenter HERERELEVANT MENTIONS & LINKSHearing Singing - A Guide to Functional Listening and Voice Perception by Ian HowellJohan SundbergThe Acoustics of the Singing Voice by Johan SundbergScience of the Singing Voice by Johan SundbergIngo Titze‘Goodbye Yellow Brick Road' by Sarah BareillesJeannie LoVetriFeldenkraisSinging Teachers Talk Podcast - Ep.63 Developing a Singer's Self Awareness and Clarifying Intention with Robert SussumaCornelius ReidVoce VistaAdvice for Young Musicians by Ian HowellStructure of Singing by Richard Miller ABOUT THE GUESTDr. Ian Howell is the Founder and Chief Educator of the Embodied Music Lab, offering professional development and consulting for musicians and teachers. He is the author of Advice for Young Musicians (2023) and Hearing Singing: A Guide to Functional Listening and Voice Perception (2025). From 2013–2023, Ian served on the voice faculty at the New England Conservatory, directing the graduate voice pedagogy program and leading research in the NEC Voice and Sound Analysis Lab, where he and his students presented widely and contributed vital work during the SARS-CoV-2 pandemic.SEE FULL BIO HEREWebsite

New England Conservatory teacher, composer and musician Mehmet Ali Sanlikol has a new record out called “Lessons from Nightingales: Songs of Sufi Mysteries.” It features a local singing group called Blue Heron. He tells us why he feels a deep connection to these songs.

This episode of The Other Side of the Bell, featuring trumpet performer and recording artist Dave Adewumi, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Dave Adewumi trumpet interview"   About Dave Adewumi: Dave Adewumi is a trumpet player and composer recognized as one of the leading new voices in jazz. A graduate of the New England Conservatory and The Juilliard School, he went on to win 1st place at the 2019 Carmine Caruso International Jazz Trumpet Competition, the 2024 ASCAP Young Jazz Composer Award and Gregory Morris Composing Fellowship, and in 2025 received the NYSCA/NYFA Artist Fellowship. Adewumi has been voted a “Rising Star” in the DownBeat Critics Poll and has performed on some of the world's most celebrated stages, including Carnegie Hall and the Kennedy Center, and has appeared on The Late Show with Stephen Colbert and The Tonight Show Starring Jimmy Fallon.  His collaborations span a wide spectrum of artists, from Harry Connick Jr., Raye and Busta Rhymes, to Mary Halvorson, Jason Moran, Ingrid Laubrock and Dave Douglas.   Episode Links: Dave Adewumi website: daveadewumimusic.com Dave on Instagram (@str8outdawumi) Altus Band on Instagram (@altus.band) Altus Band website: altus.band   Upcoming Events: Greg Black Mouthpieces, November 7 & 8 North Carolina Music Educators Association Conference, November 9 & 10 Book your alignment here!   Podcast Credits: “A Room with a View“ - composed and performed by Howie Shear Podcast Host - John Snell Cover Photo Credit - Dave Adewumi Audio Engineer - Ted Cragg

Born in Texas to Chinese immigrant parents, Nancy Zhou began the violin under the guidance of her  father, who is from a family of traditional musicians. She went on to study with Miriam Fried at the New England Conservatory while pursuing her interest in literature at Harvard University.Nancy has collaborated with the Royal Stockholm Philharmonic Orchestra, Munich Symphony, Hong Kong Philharmonic, Hangzhou Philharmonic, New Jersey Symphony, Naples Philharmonic, San Diego Symphony, and Kansas City Symphony, among others.She is a regular guest educator at various international summer festivals, holding not only masterclasses but also workshops on fundamental training and well-being for musicians. Over the years, Nancy's interest in cultural heritage and the humanities manifested in a string of notable collaborations across the US and in China.Recently, she recorded her debut album, STORIES (re)TRACED, featuring four seminal and inextricably connected works for solo violin, including Béla Bartók's Sonata.

On this week's Fretboard Journal Podcast, we're joined by New York City-based guitarist and composer Vilray Bolles. Alongside Rachael Price of Lake Street Dive, he's one half of Rachael & Vilray, a duo with an uncanny knack for writing brand new songs that feel like they came straight from Tin Pan Alley. On their latest release, West of Broadway, the duo was inspired by both classic musicals and West Coast jazz. They even roped in Stephen Colbert for a cameo on the album. During our chat, we talk about Vilray's love for jazz, his days of busking (and the downside of cell reception at subway terminals), meeting Rachael at Boston's New England Conservatory of Music, how they recorded West of Broadway and so much more. Bonus: Watch Vilray perform “Forever Never Lasts” from West of Broadway on our Fretboard Journal YouTube channel: https://youtu.be/oL85JbQXV6c https://rachaelandvilray.com Our new, 57th issue of the Fretboard Journal is now mailing. Subscribe here to get it. Our next Fretboard Summit takes place August 20-22, 2026 at the Old Town School of Folk Music in Chicago. https://fretboardsummit.org We are brought to you by Peghead Nation: https://www.pegheadnation.com (Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout).

Living and working in groups is both a blessing and a curse. Too often, groups are in the news for all the wrong reasons: conformity, polarization, prejudice, conflict, and general mass stupidity. The secret is understanding how to work with the invisible forces of group dynamics instead of being mindlessly pushed around by them. In this interview, Dr. Colin Fisher shares his research on what leaders need to know and do in order to get their teams to perform up to their potential. He also shares how conformity can be used as an asset and competition can be detrimental to the way groups and teams operate. Because one of the methods of creating group cohesion is to create an “out” group, Dr. Fisher finishes with a conversation about ways in which the division plaguing many countries can be repaired.Dr. Fisher received his Ph.D. in Organizational Behavior from Harvard University, and previously worked as an Assistant Professor of Organizational Behavior at Boston University's School of Management. Prior to his Ph.D. he studied improvisation in the arts at New York University (M.A.) and jazz trumpet at New England Conservatory of Music (B.Mus.). In his prior career as a jazz trumpet player, Colin was a long-time member of the Grammy-nominated Either/Orchestra, with whom he toured extensively and recorded several critically acclaimed albums. Originally from Redmond, Washington in the USA, he now lives in Northeast London with his wife and two children. He can sometimes be found performing at jazz jams throughout London.

Dr. Molly Gebrian is a professional violist and scholar with a background in cognitive neuroscience. Her area of expertise is applying the research on learning and memory to practicing and performing music. Her book, Learn Faster, Perform Better: A Musician's Guide to the Neuroscience of Practicing was published in 2024 by Oxford University Press. As a performer, she prioritizes the works of living composers and those who have traditionally been excluded from the culture of classical music. After a decade of teaching viola at the collegiate level, she joined the faculty at New England Conservatory of Music in Fall 2024.www.mollygebrian.comhttps://www.youtube.com/@DrMollyGebrianhttps://www.instagram.com/mollygebrian/molly.gebrian@gmail.comMake sure you SUBSCRIBE to Crushing Classical, and maybe even leave a nice review! Thanks for joining me on Crushing Classical! Theme music by DreamVance.I help people to lean into their creative careers and start or grow their income streams. You can read more or hop onto a discovery call from my website.  https://jennetingle.com/work-with-meI'm your host, Jennet Ingle. I love you all. Stay safe out there! The Happiest Musician Visibility Lab is open for enrollment now! We begin on September 8. https://www.jennetingle.com/hmvl

Join Bass Singer Academy! https://basssingeracademy.com/ American bass-baritone and social media influencer, Daniel Brevik, is praised for having "a massive, focused, rich, warm timbre." Boasting an impressive following of over 500,000 monthly listeners on Spotify and 488,000 followers on TikTok. Brevik's singing and teaching channel extends even further, with a staggering 930,000 followers on Instagram with over 60 million views which have amassed over 15 years of total stream time, effectively captivating audiences on a global scale. A recipient of Opera Theatre of Saint Louis‘ Richard Gaddes Career Grant, and the Wendy Shattuck Presidential Scholarship from the New England Conservatory, Brevik was hailed by The Washington Post for having “an impressive, sonorous voice" while Opera Today claimed he could "rattle the rafters one moment and be lullingly conversational the next." Brevik was featured on the cover of Opera News for creating the role of Ernest Hemingway in the world premiere of Ricky Ian Gordon's Twenty-Seven. The album recorded with the Opera Theatre of Saint Louis and Saint Louis Symphony Orchestra is available on all major music platforms. Brevik later reprised his role with the orchestra of St. Luke's in his New York debut at City Center Theatre, and then again at Intermountain Opera in Bozeman, Montana. Notable venues Brevik has performed in include Boston's Symphony Hall, St. Louis' Powell Hall, Lyric Opera of Chicago's Civic Opera House, Amarillo Texas' Globe-News Center, Venice Italy's St. Marks Cathedral, and the Vietnam Opera and ballet in Hanoi Vietnam. In a recent collaboration with Bobby Bass, their cover of “Hoist The Colours” garnered over 13 billion streams on TikTok, 12 million streams on Spotify, and 7 million views on YouTube. In 2022, Brevik was showcased on stage in concert with Pentatonix legend Avi Kaplan in Boston, MA. Brev opened for Dustin Lynch in winter of 2024 to help fundraise for St. Jude's Children's Hospital for iHeart Radio's Unwrapped and Unplugged fundraiser. He looks forward to performing alongside his good friend Tim Foust at his “9th quasi annual birthday” bash at City Winery in Nashville this July. As a teacher and vocal coach, he's guided vocalists of all ages in multiple styles to free up their voice and hone their unique instrument for over ten years. In 2024, Brev was one of three selected to judge at the VanderLaan competition through Opera Grand Rapids. Brev co-runs a world-wide online vocal studio, StudioBrev, with his lovely and musical wife and vocal coach: Jen. Outside of singing, Brev loves weight lifting and spending time training his golden retriever, Wyatt.

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Amanda Stewart, of the St. Louis Symphony Orchestra. About Amanda: Amanda Stewart is currently the Associate Principal Trombonist of the St. Louis Symphony Orchestra, a position she began in the Fall of 2014. Born in Oakland, Maryland, she began playing the trombone at the age of six. Her studies started with Harold Hudnall and continued with Dr. H. Keith Jackson, current Dean of the College of Creative Arts of West Virginia University. She received her bachelor of music degree from The Juilliard School, studying with Joseph Alessi. As an orchestral musician, Ms. Stewart has played with numerous orchestras. She was Principal trombonist of the San Antonio Symphony for eight seasons, Assistant Principal trombonist of the Lyric Opera of San Antonio for four seasons, and Associate Principal trombonist of the New York Philharmonic for two seasons. Ms. Stewart has also been a regular substitute and extra player with the Boston Symphony and has toured with them internationally. She has also performed with the Baltimore, Cincinnati, Cleveland, Dallas, Houston, Kansas City, National, North Carolina, Philadelphia, Pittsburgh, and Toronto Symphonies. Ms. Stewart has also spent several summers performing in the Colorado Music Festival Orchestra. In other performing capacities, Ms. Stewart is a current member of the trombone ensemble, STL Trombones. She has also performed as a member of the Burning River Brass and the San Antonio Brass. During her tenure as a member, Ms. Stewart performed twice as a soloist with the San Antonio Symphony. She has also appeared as a guest artist at the International Trombone Festival and the International Women's Brass Conference. As an educator, Ms. Stewart currently teaches at Washington University in St. Louis, and has taught privately at several other universities, namely Our Lady of the Lake University, St. Mary's University, Rutgers University, Trinity University, and McKendree University. For part of the 2025 Spring Semester, she served as an adjunct Assistant Professor of Music at Indiana University's Jacobs School of Music. Also, Ms. Stewart has also given masterclasses at many national universities and conservatories, including the New England Conservatory, Rice University, and The Juilliard School. Ms. Stewart is an Edwards artist, performing on Edwards trombones and Griego Mouthpieces.

Laura Sinclair is an active performer, Suzuki teacher, speaker, and coach. She is passionate about helping musicians build successful and sustainable teaching studios that support their overall artistic goals.   Laura has presented talks around the country in conferences, lecture halls, and virtual spaces for higher education institutions like the New England Conservatory of Music, Lynn Conservatory of Music, the American String Teachers Association, the Suzuki Association of the Americas, and convenings across the country for Jazz Roads for South Arts. Laura also does this through her bespoke coaching program “Stress-Free Studio”.   She can be found on the concert stage with ensembles like the Naples Philharmonic, and Atlantic Classical Orchestra, in the pit with Hamilton and other National Broadway tours, and at private events with Elan Artists.   A 20-year veteran studio owner, Laura is a former Title I public school strings director. She is presently the music curriculum director for the Volta Music Foundation, providing educational training and support to their teachers and developing a diverse repertoire sequence. Volta just launched the first hybrid string program on the island of Anguilla.   Laura firmly believes that music can be a powerful tool for breaking down barriers and building good citizens of the world through the next generation. You can hear her on the Tales from The Lane podcast with Kate Kayaian, Time to Practice with Christine Goodner, and Tech Conversations at FIU's Ratcliffe Art + Design Incubator with guest host Neil Ramsey.   Thanks for joining me on Crushing Classical!  Theme music by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams.  You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!      

In this episode of The Bandwich Tapes, I sit down with William James, Principal Percussionist of the St. Louis Symphony Orchestra. We talk about his journey through the world of orchestral percussion, from early influences and summer programs to the high-pressure world of auditions. Will shares thoughtful insights on what it takes to succeed as a modern percussionist, both musically and administratively.We dig into the evolving expectations placed on orchestral players, the challenges of recording and venue acoustics, and how creativity, flexibility, and technology are reshaping the field. We also reflect on the importance of great teachers, the value of building a strong repertoire, and the ongoing role education plays in both our lives.Will's passion for percussion extends far beyond performance—he's a dedicated educator, chamber musician, and author. His contributions to the percussion community have had a lasting impact, and I was grateful for the opportunity to delve deeper into his story.About William James: William James is the Principal Percussionist of the Saint Louis Symphony Orchestra. He won the position at just 25, following studies at Northwestern University and the New England Conservatory. A versatile performer and educator, Will has played with top orchestras across the country, given solo recitals, taught masterclasses nationwide, and authored The Modern Concert Snare Drum Roll. You can learn more about William at: williamjamespercussion.comMusic from the Episode:Scirocco (Michael Burritt)Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.The theme song, Playcation, was written by Mark Mundy. 

Pianist Matthew Shipp makes music where free jazz and modern classical meet. In the early '90s, he played in the David S. Ware Quartet and soon began leading his own sessions, often with bassist William Parker. He has recorded many duets with musicians such as Roscoe Mitchell and Mat Maneri. He began playing piano at five and focused on jazz by age 12. He studied with Robert “Boisey” Lawrey and later attended the New England Conservatory after brief studies with Dennis Sandole. He moved to New York City in 1984, where he met William Parker, and has since recorded for labels including HatArt, Thirsty Ear, RogueArt, AUM Fidelity, ESP-Disk, and Tao Forms. Matthew was recently in the news for his comments on Andre 3000's recent 7 Piano Sketches album. In April he release a collection of essays and poems Black Mystery School Pianists and Other Writings.

What happens when a university rethinks the whole higher ed model rebuilds it around hands-on, project-based learning?Matt Kirchner dives into the bold model pioneered by Worcester Polytechnic Institute with Dr. Kristin Wobbe, Director of the Center for Project-Based Learning. A biochemist turned curriculum innovator, Kris has spent nearly two decades helping WPI embed real-world projects into every stage of a student's education.From first-year seminars on global challenges to immersive junior-year team projects with community partners around the world, WPI's model turns students into creators, collaborators, and critical thinkers from day one.Whether you're a university leader or an instructor in search of a better way to teach, this episode offers a masterclass in how to make learning stick.Listen to learn:Why students don't need to “know everything” before they dive into hands-on learningHow WPI redesigned its calendar and credits to prioritize deep project workWhat first-year students can accomplish when they take on global problemsHow project-based learning transforms both faculty culture and student confidenceWhy WPI students are more prepared for the workforce than their peers3 Big Takeaways from this Episode:1. Project-based learning works best when it starts early and is embedded across the entire student journey.At WPI, students can opt into the Great Problems Seminar in their first year—a two-course sequence that explores global issues like food security, energy, and AI through interdisciplinary teamwork. By senior year, every student must complete a Major Qualifying Project worth three full courses, often in partnership with faculty or industry, making project-based learning a requirement, not an add-on.2. The humanities directly enhance technical learning and student outcomes.WPI's alumni data shows students who complete their humanities and arts curriculum earlier perform better in technical coursework later on. These experiences sharpen communication, interdisciplinary research, and critical thinking skills—essential for identifying problems worth solving and communicating solutions effectively in STEM fields.3. Project-based learning is scalable far beyond polytechnic institutions.Through WPI's Center for Project-Based Learning, Kris and her team have supported schools ranging from the Air Force Academy to community colleges and liberal arts institutions like the New England Conservatory of Music. With 85% of WPI faculty incorporating projects into their courses—and over half of student work now project-based—the model proves adaptable across disciplines, schedules, and resource levels.Resources in this Episode:To learn more about the Center for Project-Based Learning at Worcester Polytechnic Institute, visit: https://wp.wpi.edu/projectbasedlearning/Other resources:Read Kris's book Project-Based Learning in the First YearBeyond All ExpectationsWe want to hear from you! Send us a text.Instagram - Facebook - YouTube - TikTok - Twitter - LinkedIn

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Robert Watt, former Assistant Principal Horn of the Los Angeles Philharmonic.   Robert Lee Watt was born in Neptune, New Jersey the 4th child of seven. His father, Edward Watt Jr. played trumpet professionally in a Jazz ensemble, “The New Jersey Squires of Rhythm.” When Robert was eight years old he got curious about his father's trumpet, kept high on a shelf. Too short to reach it, Robert conscripted his little brother Tony to help. But with Tony on his shoulders he lost his balance, causing both of them to fall to the floor, trumpet in hand.  Robert then attempted to fix the dents in the instrument by using a hammer. The badly damaged trumpet was the way Robert's father discovered his interest in horns. After a serious reproach, Robert's father tried to teach him trumpet. However, it wasn't until years later that Robert discovered the instrument he really wanted to play.    While helping his father clean out a room in the basement Robert discovered some old 78 recordings. The curious Robert gave the old recordings a spin. It was the “William Tell Overture” on hearing the French horns on that recording he asked his father what instrument came in after the trumpet. His father informed him that it was a “French horn” “A middle instrument that never gets to play the melody like the trumpet…why, do you like that horn?” His father asked. Robert replied, “It gives me chills when I hear it, I love it. That's what I want to play.” His father informed the young Robert that it really wasn't the instrument for him. Explaining that it was an instrument for thin-lipped white boys. “Your lips are too thick to play that small, thin, mouthpiece. You'd be better suited for the trumpet like you father.”  Upon reaching high school Robert seriously pursued the French horn. Approaching the band director of his high school in Asbury Park, Robert was again told that his lips were too thick to play the French horn. After being persistent, the band director gave Robert an old French horn that barely worked.  Nevertheless, Robert advanced quickly and was soon winning auditions for honor bands and orchestras throughout the state of New Jersey, bringing great honor to his high school. After high school Robert was accepted to the New England Conservatory of Music in Boston where he majored in music and studied French horn with Harry Shapiro of the Boston Symphony. Mr. Shapiro took great interest in Robert pushing him hard. At the end of his first year Mr. Watt was asked to perform the Strauss Horn Concerto No. 1, with the Boston Pops Orchestra under Arthur Fiedler. The following summer he received a fellowship to the Berkshire Music Festival at Tanglewood. Returning to the Conservatory for his third year Mr. Watt was informed by the president's office that the Conservatory had financial problems and that all scholarships would be canceled for the coming year. At the end of his junior year at the Conservatory Mr. Watt was informed by his French horn teacher that it was time for him to audition for a position in a major symphony orchestra. On the advice of his teacher, Mr. Watt chose Los Angeles and Chicago. When Mr. Watt returned from his audition journey, he had made the finals at both auditions. Two months later The Los Angeles Philharmonic offered him the position of Assistant First Horn. Making him the first African American French horn player hired by a major symphony orchestra in the United States. Mr. Watt joined the ranks of only a handful of African Americans playing in symphony orchestras in these United States. According to the American Symphony Orchestra League, that represented less than 2% of the total, out of twenty-six top orchestras. Mr. Watt held his position until 2007, a career spanning 37 years.  Mr. Watt performed several times as soloist with the Los Angeles Philharmonic under Zubin Mehta and several orchestras in the Los Angeles area as well as the Oakland Symphony performing the Richard Strauss Second Horn Concerto While a member of the Los Angeles Philharmonic Mr. Watt has performed with principal and guest conductors that included: Leonard Bernstein, Eugene Ormandy, Eric Leinsdrof, Carla Maria Giulini, Pierre Boulez, Zubin Mehta, Henry Lewis, James De Priest, Michael Tilson Thomas, Herbert Blumstedt, Andre Previn, Marin Alsop, Esa-Pekka Salonen and Christoph Von Dohnányi. Included among the many world renown artists he has performed with were:     Yo-Yo Ma, Luciano Pavarotti, Placido Domingo, Jose Carreras, Wynton Marsalias, Henry Mancini, Gladys Night, Isaac Hayes, Quincy Jones, Stevie Wonder, Ray Charles, Barry White, Rihanna, Paula Abdul, Herbie Hancock, Lalo Schifrin, The Carpenters, Benny Carter, Quincy Jones, Bon Jovi, Elton John and film composer, John Williams. He has played on film scores of: Spiderman II, Rush Hour, Mission Impossible, Spike Lee's “Miracle at St. Anna, Golf and many others.  Mr. Watt has played the music for the Twentieth Century Fox cartoons, The Simpsons, American Dad, Family Guy and King of the Hill for the past three years. He played on the five hour TV special “The Jacksons, an American Family” under Harold Wheeler, and played for several years for the TV program “Startrek Voyager.” In the late 80's Mr. Watt helped organize an African American Brass Quintet, “The New Brass Ensemble” which performed throughout the United States and abroad.  Mr. Watt has done public speaking lecturing on music and African history in the Los Angeles area. He was hired as guest professor at Los Angele City College teaching the course, “Music of Black Americans”. Recently Mr. Watt executive produced a short film in memory of his friend Miles Davis. The film is based on the musical composition “Missing Miles” by Todd Cochran, commissioned by Mr. Watt, for French horn and piano. The short film was chosen by the Pan African Film Festival and the Garden State Film Festival.  Mr. Watt is a licensed airplane pilot with an instrument rating. He is a saber fencer and he speaks German and Italian.

The Cello Sherpa Podcast Host, Joel Dallow, interviews Cellist Mike Block. Mike shares about his incredible multi faceted life working not just as a cellist who walks around on stage while playing, but also as a singer, composer, and educator. He also shares how he found success on such a non traditional classical music path, why he was motivated to go this direction in his career, and much more!  For more information on Mike Block check out his website: https://www.mikeblockmusic.com/For more information on 3D printed cellos: https://forte3d.com/For more information on Mike's cello strap: https://www.cellostrap.com/For more information on Mike's string camp: https://www.mikeblockstringcamp.com/You can also find Mike on Facebook, Instagram, and YouTube: @blockcello If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, TikTok, YouTube and Bluesky @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

Kate Kayaian is a career & mindset coach for artists and creatives. She runs her signature group program, The Creatives Leadership Academy, and maintains a small roster of 1:1 clients. Kate started her podcast, Tales from The Lane in 2023 as a career and lifestyle-focused resource geared towards creative entrepreneurs. Her first full-length book, Beyond Potential: A Guide for Creatives Who Want to Re-Assess, Re-Define, and Re-Ignite Their Careers is coming out on March 25th! A former professional cellist, she attended the prestigious New England Conservatory of Music and went on to have a thriving career–performing with several Grammy Award-winning groups and touring as a solo and chamber musician. When the pandemic hit in early 2020, she pivoted to the online space, and she's never looked back. She lives on the beautiful island of Bermuda with her husband and rescue pup, Tango, and spends her days working with clients, writing, running, gardening, and serving on several non-profit boards. She believes that everyone has the right to live exactly the kind of life they have always dreamed of living.   Check out Kate at her website or on Instagram @kkayaian. Listen to her podcast, Tales from the Lane, and absolutely read her NEW BOOK!       Thanks for joining me on Crushing Classical!  Theme music by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams.  You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!    

Jamey Haddad's career as a drummer and percussionist has spanned five decades, countless genres, and multiple continents. For over 25 years, he's had a close relationship with Paul Simon, playing alongside Steve Gadd on multiple records and live projects. He has appeared on over 170 recordings and has played with a wide range of artists from Joe Lovano to Yo Yo Ma, and his career as an educator has found him at Berklee, New England Conservatory, Oberlin Conservatory, and the Cleveland Institute of Music. In this episode, Jamey talks about: Playing with Paul Simon, and Paul's constant desire to rehearse and adjust how his music is presented Recording the album You're The One and collaborating with Steve Gadd to create the rhythmic and textural foundations for those songs Committing to representing the traditions he studied in the pop world  How a given style can be treated as both an academic subject or a folkloric tradition “Every generation needs its music.” How to make people you're playing with know you're listening to them

Pritesh Walia is a virtuoso jazz guitarist, accomplished composer, and dedicated educator hailing from the vibrant city of New Delhi, India. His musical journey began at the age of 13 when he immersed himself in the rich traditions of Indian Classical Music. Fueling his insatiable curiosity for music, Pritesh sought Western influences, pursuing a lifelong mastery of diverse musical styles. Armed with an Associate of Arts Degree from the Musicians Institute College of Contemporary Music, a Bachelor's Degree from Berklee College of Music in Contemporary Jazz Performance and Jazz Composition, and a Master's Degree in Jazz Performance from the New England Conservatory, Pritesh has honed his craft alongside some of the finest jazz musicians in the United States. Not only has Pritesh showcased his exceptional talent on global stages, but he has also formed collaborative partnerships with prestigious brands. During his tours of India from 2015 to 2017, he proudly represented leading musical instrument retailers. Sponsored by these industry giants, Pritesh conducted master classes and clinics across India, South America, and the United States, including two appearances at the esteemed Panama Jazz Festival. Pritesh's instructional prowess is further exemplified by his lessons and packages featured on renowned guitar instructional platforms such as Licklibrary. Currently endorsed by elite brands like Gruvgear, Chicken Picks, Collings Guitars, and Antelope Audio, Pritesh continues pushing his musical exploration's boundaries. His passion for education is evident in his role as a Jazz educator at institutions such as Bunker Hill Community College, Brookline Music School, and Excelsia College Sydney, where he guides master's students in the art of jazz. Pritesh is poised to make significant waves in the music scene with the upcoming release of his debut album, "Hope Town," scheduled for a fall 2023 release on all streaming platforms. This album, meticulously mixed and mastered by multi-Grammy winner engineer Dave Darlington, promises to be a testament to Pritesh's artistic vision. Additionally, Pritesh is set to unveil his organ trio, "PSA," in mid-2024, followed by a Big Band record featuring the Henry Godfrey Jazz Big Band and a modern Brazilian project with strings, both slated for release in late 2024. Recognizing his contributions to the jazz genre, Pritesh has been nominated for "Best Jazz Artist of the Year" at the Boston Music Awards alongside luminaries like Terry Lynn Carrington and Grace Kelly. Pritesh has had the privilege of studying under the mentorship of illustrious figures such as Scott Henderson, Russel Ferrante, David Fuze, Tomo Fujita, Tim Miller, Donny McCaslin, Jason Moran, Miguel Zenon, and esteemed composers like Frank Carlberg, Ben Scwendenner, and John Heiss. His collaborations include performances with the New England Jazz Orchestra, the Maria Schneider Orchestra at the New England Conservatory, and renowned jazz figures like Donny McCaslin, Bob Sheppard, and many others. Pritesh Walia's journey is a testament to his unwavering dedication to jazz, a genre that encapsulates not only his love for performance and composition but also his commitment to understanding its intricate harmony, theory, language, history, and voice. As he continues to evolve as a musician, educator, and collaborator, Pritesh's impact on the jazz world is poised to reach new heights.

The Cello Sherpa Podcast Host, Joel Dallow, interviews Blaise Dejardin, principal cellist of the Boston Symphony Orchestra. They talk about what he has been up to over the past 3 years, joining the faculty of his alma mater, the New England Conservatory, his teaching philosophy, filling three openings in the cello section, and much more.For more information on Blaise Dejardin check out his website www.BlaiseDejardin.comFor his cello arrangements:www.opuscello.comCopies of his book are also available here:https://www.blaisedejardin.com/shop/audition-day-book or Carriage House Violins https://www.carriagehouseviolins.com/cgi-bin/music/scripts/violin-viola-cello-music.cgi?itemno=BKDEJAAUDITIONOCor in person at Salchow and Sons BowmakersIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, TikTok, YouTube and Bluesky @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Richard Aaron. Richard joined the faculty of the San Francisco Conservatory in the fall of 2024. He shares his incredible journey from landing an orchestra position at the age of 18, to becoming one of the most sought after teachers of our generation! Having been on faculty at the University of Michigan, the Juilliard School, the Cleveland Institute of Music and the New England Conservatory., Richard shares the keys to success on the cello, what he looks for in potential students, and much more.For more information on Richard: https://sfcm.edu/study/faculty/richard-aaronIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out http://www.theCelloSherpa.comFollow us on Facebook, Instagram, TikTok, YouTube and Bluesky @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

AKI NAKAMURA began his professional journey as a quantum chemist, having graduated from the Department of Applied Chemistry at Yokohama National University. However, it wasn't long until he turned to the shakuhachi for his future career. Aki studied under numerous shakuhachi masters, including Katsuya Yokohama. He then went on to study composition and jazz theory at Berklee College of Music, USA, graduating summa cum laude. He finished his tertiary studies at the New England Conservatory of Music as a scholarship student in the Master of Music Composition and the Third Stream program. His compositions are diverse and include orchestral music, choral music, chamber music, big band music, and traditional Japanese music. He has established a performance method that makes full use of overtones, multiphonics, the traditional Japanese breathing technique of ‘Missoku', and his own originally developed method of ```, which involves exhaling and inhaling at the same time. While staying true to the traditions of the Komusō monks, collecting, analysing, and performing their repertoire, he is also active as a performer of rock, jazz and classical music. He has performed in more than 150 cities in over 40 countries, at events and venues such as the Montreux Jazz Festival, Queen Elizabeth Hall (London), the Lincoln Center (New York), Blue Note (New York), the Kennedy Center (Washington DC), the Berlin Philharmonic Hall, the Polish National Opera, under the auspices of the Ministry of Foreign Affairs and the Japan Foundation. His numerous performances have been shared worldwide through over 40 broadcasting platforms. Book: “Breathing with Missoku:The Undiscvered Zen Secret ofJapanese Culture”  

Looking for a challenging exercise? (Not for your students, but for you?) Business Expert Michelle Markwart Deveaux takes us through an essential training strategy to help you discover (or rediscover) the "WHY" in your business. What is Institutional Memory? Often informal and intangible, organizational memory constitutes the body of knowledge and know-how an organization has accumulated throughout its history. It is a repertoire of collective knowledge found in an organization's functioning, practices, events, decisions, and interpretation models, which ensures its harmonious and efficient functioning. To this end, title represents essential capital. Why is Institutional Memory important? Intention, intention, intention. Self-awareness. Better decision making. Culture building, brand building **Key takeaway:** More money with less anxiety. About our guest: Michelle Markwart Deveaux uses her background as a performer and director to make business less annoying. As a facilitator, coach, and consultant, she helps those in decision making roles re-discover their generosity and playfulness, while maintaining high standards of integrity, inclusivity, and sustainable business practice. Michelle has taught workshops and delivered keynotes for places such as University of Utah, New England Conservatory, San Francisco Conservatory, The Women's Networking Alliance, and the National Association of the Teachers of Singing. She is the founder of The SpeakEasy Cooperative®, a company dedicated to teaching artists how to own businesses in a culture of on-demand entertainment and embarrassingly awful residuals. Michelle and her husband are raising their two amazing kiddos to be deep thinkers and strong leaders through careful study of The Fugees, Star Trek, and the MCU. Find and Follow Michelle https://www.facebook.com/thespeakeasycooperative https://www.instagram.com/thespeakeasycooperative Thank you to all our listeners! Without you, we would have NEVER made it to episode 200.

Oh how I've longed to talk to Liv Greene. Every once in a while you come across a young artist that seems older and wiser than her 26 years. Liv's been giving me that impression since I met her in 2019 when she was at Club Passim waiting tables and breaking hearts on the stage at just 21 years. Ok enough about being young. Liv's been writing, studying music and going to music camps since she was 12. Arguably she's been studying music all her life with her Americana loving parents who were filling the house with the sounds of Patty Griffin, Emmylou Harris and Shawn Colvin, to name a few women In music in heavy rotation at the Greene house. Being the only of her friends that liked that kind of music, Liv attended many DC-area concerts with her mom, taking in the magic of live music at a very tender age. Speaking of tenderness, that's what Liv Greene is all about and she digs into it in our conversation. She started writing and playing shortly after she was inspired by a Taylor Swift concert. From there, she took off on the instrument and even sought out music education in camps like Miles of Music in New Hampshire. It was at that camp as well as the arts academy Interlochen High School, where she started meeting peers with similar interests. She found herself living for summers with her music camp friends. Prior to her senior year at Interlochen, Liv was a closeted queer at her all girls Catholic school mostly writing fictionalized stories into her songs because she could not deal with who she was.She attended and graduated from The New England Conservatory of Music and released her debut album (produced by Isa Burke) right in time for the pandemic in May of 2020. Shortly after that, she moved to Nashville and has spent the last several years on an intense path of self-discovery. Liv found her community, came out, wrote and self-produced her new album, Deep Feeler. On this album, you can hear the growth she's experienced and you can hear Liv thriving in her corner of the Nashville Music scene that includes the indie folk music scene. We talk about all of this including what it means to have a neurodivergent brain, music production, the roller skating community and her favorite Taurus personality traits.Follow Basic Folk on social media: https://basicfolk.bio.link/ Sign up for Basic Folk's newsletter: https://bit.ly/basicfolknews Help produce Basic Folk by contributing: https://basicfolk.com/donate/ Interested in sponsoring us? Contact BGS: https://bit.ly/sponsorBGSpods Advertising Inquiries: https://redcircle.com/brands

SynopsisToday's date in 1922 marks the birthday of Héctor Campos Parsi, one of Puerto Rico's finest composers.Campos Parsi originally planned to become a doctor, but after a meeting with the Mexican composer Carlos Chávez, ended up studying music at the New England Conservatory in 1949 and 1950 with the likes of Aaron Copland, Olivier Messiaen and Serge Koussevitzky, and between 1950 and 1954 with Paul Hindemith at Yale and with Nadia Boulanger in Paris.Returning to Puerto Rico, Campos Parsi pursued a dual career: as a writer, he contributed short stories, essays, poems to Puerto Rican magazines, and wrote music reviews and articles for island newspapers. As a composer, he wrote instrumental and vocal works for chamber, orchestral, and choral ensemble. Two of his best-known works are Divertimento del Sur, written for string orchestra with solo flute and clarinet, and a piano sonata dedicated to Puerto Rican pianist Jesús María Sanromá. As a musicologist, Campos Parsi wrote entries for music encyclopedias and served as the director of the IberoAmerican Center of Musical Documentation and as composer-in-residence at the University of Puerto Rico at Cayey, where died in 1998 at 75.Music Played in Today's ProgramHéctor Campos Parsi (1922-1998): Divertimento del Sur; Members of the Casals Festival Orchestra; Milton Katims, conductor; Smithsonian Folkways COOK-01061

On today's episode we have an inspiring conversation with Author, Musician, and Coach for High-Performing Creatives Kate Kayaian. In this special dual episode, recorded in collaboration with Kate's podcast "Tales from the Lane," we dive deep into themes of self-doubt, imposter syndrome, and the ever-evolving nature of personal and professional growth. Kate shares her journey from a busy freelance cellist in Boston to making the brave decision to pivot her career towards coaching and entrepreneurship. We discuss the importance of setting aside personal time, even amidst the hustle, and how creative problem-solving can be boosted by shifting from a "no because" to a "yes if" mindset. We'll also touch on the challenges and emotions surrounding career pivots, the value of self-care, and the necessity of adaptability in the arts. You will hear about how the pandemic forced diversification but also the change in our artistic social circles. Ultimately this episode is about shifting your mindset, aligning with your personal goals, and blooming where you are planted. Let's dive in.  A graduate of the prestigious New England Conservatory of Music, and a New World Symphony fellow,  Kate has performed in the world's top concert halls, including Carnegie Hall, the Musikverein, Concertgebouw, and London's Barbican and Royal Albert Halls. She has performed extensively as a soloist, chamber musician, and conductor, and was a member of the Grammy-award-winning group Boston Modern Orchestra Project for 20 years. She has worked with contemporary artists Jay-Z, Beyoncé, Alicia Keys, John Mayer, Josh Groban, and Peter Gabriel and can be heard on over 75 recordings, including her award-winning 2016 release, The French Cello.   Having pivoted into the online coaching space in 2019, she now helps other creatives expand their artistic vision and roles through her 9-month coaching program, The Creatives Leadership Academy as well as in 1:1 client work. She is the writer and host of the Podcast, Tales from The Lane, and was a contributing author to the 2023 best-selling book Business on Purpose. While she still occasionally performs as a cellist, she has taken up her baton again as Music Director of the Bermuda Philharmonic. She has been working this year to complete the manuscript for her first full-length book, Beyond Potential–due out in March of 2025. She lives with her husband Paul and their menagerie of cats, dogs, lizards, and tree frogs on the beautiful island of Bermuda.  Podcast Instagram  Podcast Patreon Podcast Merch  Podcast Youtube Channel   Kate Kayaian Website Instagram  Ayana Major Bey  Website  Instagram  Show Sponsors:  WeAudition: Get 25% off your membership when you use the code PIVOT, join at https://www.weaudition.com/ Host & Exec. Producer: Ayana Major Bey  Editor: Kieran Niemand  Theme Song: Lyrics co-written by Ayana Major Bey and Melissa Victor, with performance by Ayana Major Bey   Part of the Atabey & Co Network  Learn more about your ad choices. Visit megaphone.fm/adchoices

The author of the classic “Beyond Talent: Creating a Successful Career in Music,” Angela Myles Beeching is the former director of career and entrepreneurship programs at Manhattan School of Music, Indiana University, and New England Conservatory. Ms. Beeching maintains a thriving online coaching practice helping musicians get more of their best work out into the world so they can become the artists they are meant to be. Find her online and grab your copy of her Musician's Pathfinder Guide at http://AngelaBeeching.com.     Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. Join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams. You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!    

“Music is powerful because it touches the deepest places of one's memory ... Music is what makes my life feel full, meaningful, and rich,” said Katherine Park. Ms. Park made history as the youngest student accepted into the vocal study program at Boston's prestigious New England Conservatory of Music. She also stood out as the sole child singer in the choir at Cambridge's Longy School of Music. After earning her degree, she continued to immerse herself in the world of music by joining a rock band. In this episode, Steve talks to Ms. Park about the role of music in her personal growth and professional fulfillment, her experiences with music, and how it has influenced her identity. “I'm not a rich person, but my life is really rich ... You could make every day a masterpiece,” says Ms. Park. In addition to her musical accomplishments, Ms. Park has starred in several independent films and is set to make her feature-length motion picture debut in Rocky Capella's “Don't Shoot, I'm the Guitar Man!” Let's find out more in today's episode. ⭕️ Watch in-depth videos based on Truth & Tradition at Epoch TV

“One of the things I think about a lot is this. I vividly remember the desire throughout pretty much most of my twenties and certainly my teen years to be a famous artist and win big awards. And when you dig down into what you actually want from that, it's connection. The teen brain, in particular, is extremely geared toward connection and gets different brain chemical payouts for different things than adults. So certainly, when I think of like teenagers, I think of that drive for connection and fitting in and being accepted is so strong. And that was a part of my artistic output or desire as well was like, okay, if I write, you know, something world-changing, like then it could be like a really well-regarded composer and get that respect. Or if I go more of the songwriting and film route, I can be beloved or have people love my music and have this emotional experience with my music. There were all these dreams that I had that I think largely boiled down to just wanting to be accepted. And you can get that outside of your career and outside of the arts.”How can we learn to flourish because of who we are, not in spite of it? What is the sensory experience of the world for people with autism and ADHD? How can music help heal trauma and foster identity?Mattia Maurée is an interdisciplinary composer whose work centers around themes of perception, body, sensation, trauma, and resilience. Their scores for critically acclaimed films have been played in 13 countries. Their poems have been featured in Boston City Hall as part of the Mayor's Poetry Program, Guerrilla Opera, and Arc Poetry Magazine. Mattia composes and performs on violin, voice, and piano, and has taught music for over 20 years. They have received a Master's of Music in Composition at New England Conservatory and a Bachelor's of Music from St. Olaf College. They also are an AUDHD coach, host the AuDHD Flourishing podcast and help other neurodivergent folks heal and find their creative flow in their course Love Your Brain.http://mattiamauree.comhttps://studio.com/mattiahttps://mattiamauree.com/love-your-brainhttps://www.audhdflourishing.com/hellowww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How can we learn to flourish because of who we are, not in spite of it? What is the sensory experience of the world for people with autism and ADHD? How can music help heal trauma and foster identity?Mattia Maurée is an interdisciplinary composer whose work centers around themes of perception, body, sensation, trauma, and resilience. Their scores for critically acclaimed films have been played in 13 countries. Their poems have been featured in Boston City Hall as part of the Mayor's Poetry Program, Guerrilla Opera, and Arc Poetry Magazine. Mattia composes and performs on violin, voice, and piano, and has taught music for over 20 years. They have received a Master's of Music in Composition at New England Conservatory and a Bachelor's of Music from St. Olaf College. They also are an AUDHD coach, host the AuDHD Flourishing podcast and help other neurodivergent folks heal and find their creative flow in their course Love Your Brain.“One of the things I think about a lot is this. I vividly remember the desire throughout pretty much most of my twenties and certainly my teen years to be a famous artist and win big awards. And when you dig down into what you actually want from that, it's connection. The teen brain, in particular, is extremely geared toward connection and gets different brain chemical payouts for different things than adults. So certainly, when I think of like teenagers, I think of that drive for connection and fitting in and being accepted is so strong. And that was a part of my artistic output or desire as well was like, okay, if I write, you know, something world-changing, like then it could be like a really well-regarded composer and get that respect. Or if I go more of the songwriting and film route, I can be beloved or have people love my music and have this emotional experience with my music. There were all these dreams that I had that I think largely boiled down to just wanting to be accepted. And you can get that outside of your career and outside of the arts.”http://mattiamauree.comhttps://studio.com/mattiahttps://mattiamauree.com/love-your-brainhttps://www.audhdflourishing.com/hellowww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Is it an earworm or an icon? The Super Mario Bros. theme is the soundtrack to many childhoods and has remained resonant today. Recently inducted into the Library of Congress's National Recording Registry, the song was not easy to write. Video game composer Koji Kondo faced musical and technical challenges in creating the song. Columnist Ben Cohen talks to New England Conservatory musicologist Andrew Schartmann about how Kondo created this lasting and genre-changing piece of music. What do you think about the show? Let us know on Apple Podcasts or Spotify, or email us: FOEPodcast@wsj.com  Further reading: The Mind Behind the Music You Can't Get Out of Your Head  Learn more about your ad choices. Visit megaphone.fm/adchoices