Podcast appearances and mentions of nigel westlake

Dive into the fascinating world of Antarctic musicology in this episode of *South Pole*. Explore how music, soundscapes, and even silence shape our understanding of the icy continent. Dr. Carolyn Philpott, a senior lecturer and researcher, shares her journey into the interdisciplinary study of music, place, and environment. Discover the sounds of Antarctica—from cracking icebergs to the lively cacophony of penguin colonies—and learn how composers capture the essence of this remote landscape. Whether you're a music lover or an Antarctica enthusiast, this episode highlights how sound and art foster deeper connections with the natural world. Grab your headphones for an immersive auditory adventure into the heart of the silent continent.Episode Guest: Dr. Carolyn PhilpottLearn more about Dr. Philpott hereBrowse Dr. Philpott's Publications hereConnect with Dr. Philpott on LinkedInListen to Vaughn Williams' Scott of the Antarctic on YoutubeListen to Penguin Ballet by Nigel Westlake on Spotify Listen to Seals (Underwater) by Douglass Quinn on YouTubeListen to Antarctic Sound Recordings by Phillip Samartzis on YouTubeIceberg Crash by Almaz KhakimovEpisode Transcript and more information on the Pine Forest Media WebsiteFollow Pine Forest Media on Instagram @pineforestmediaHosted, produced, written, and edited by Clark Marchese Cover art and PFM logo by Laurel Wong. Theme music by Nela Ruiz Hosted on Acast. See acast.com/privacy for more information.

Met Brett Dean en Nigel Westlake ronden we onze reis naar Australië af. Dean vergeleek zijn manier van componeren wel eens met het werk van een schilder, laagje voor laagje bouwt hij de klanken op. Soms met filmische effecten, soms met een politieke boodschap. Overigens heeft Nigel Westlake vooral als filmcomponist naam gemaakt. Deans Epitaphs […]

Better late than never. Actually, I think this is the latest I've ever presented my year-end round-up program. I hope you enjoy it anyway. On today's new episode of THE FLAGSHIP SHOW on CINEMATIC SOUND RADIO NETWORK, Erik Woods presents music from some of his favourite scores written in 2022.  This is part one of a four-part series.  Today, you'll hear selections by such composers as Nigel Westlake, Tom Holkenborg, Michael Abels, Steve Jablonsky, Abel Korzeniowski, Olivier Deriviere, John Williams, William Ross, Michael Giacchino, Hesham Nazih and Danny Elfman. Part two will be online in a few days! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Alex Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Clint Morgan, Rudy Amaya, Eric Marvin, Stacy Livitsanis, Rick Laird, Carl Wonders, Michael Poteet —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

The country's largest chamber music conference was back this year after a three-year hiatus and Relevant Tones was there. One of the highlights of the conference was two days of incredible ensemble showcases at Drom in lower Manhattan. We feature audio recorded live at these showcases from Shouthouse, Interwoven, the Beo String Quartet and the Johnston Brothers plus a piece featuring Lucy Shelton, one of the conference honorees. Featuring music by Gabriela Ortiz, Thomas Osbourne, Liu Tianhua, Chan Yaoxing, Nigel Westlake, Will Healy, Daron Hagen and Paolo Bellinati.

Episode 257: The Crew's eating bacon while watching Chris Noonan's Babe. This is the rare family film that's also fun and enjoyable for the adults. The mix of real animals, animatronics, and CGI really bring the furry characters to life. And James Cromwell and Magda Szubanski deliver amazing performances as the main human cast. Baa Ram Ewe! If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: themoviecrewe@gmail.com

Welcome to part two of episode 27 of THE ARCHIVE on the CINEMATIC SOUND RADIO NETWORK Your host Jason Drury continues the show by playing "The Great Migration" from the recent expanded release of James Horner’s magical score to the animated adventure THE LAND BEFORE TIME (Intrada Records). Jason then continues with the first of two CINEMATIC SOUND RADIO exclusives starting with music from the recently released deluxe edition from the Varese Sarabande CD Club Series of LOONEY TUNES: BACK IN ACTION, which features the last ever score by Jerry Goldsmith with additional music by John Debney. Jason then presents more selections from THE LAND BEFORE TIME before continuing his "Best of British" segment with more music from the pen of John Addison featuring his score from his 1976 score THE SEVEN PER CENT SOLUTION (Quartet Records). Jason then ends the show with the 2nd of the latest Varese Sarabande CD Club Deluxe Edition releases; the wonderful score by Nigel Westlake for the 1995 classic family comedy drama, BABE. Enjoy —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Australian composer Alice Chance chats about various pieces that shaped her identity as a composer, synesthesia, and viola da gamba. Useful links:Spotify playlist for main pieces: https://open.spotify.com/playlist/3BRom90ebzqKrDudeVZtYoSpotify playlist for final question pieces: https://open.spotify.com/playlist/2rzB0a4C4nNjO0MR8VLQdQ Synesthesia: https://www.psychologytoday.com/intl/basics/synesthesiaViola da gamba: https://en.wikipedia.org/wiki/ViolModes described by a sweet British man: https://www.youtube.com/watch?v=wMftXzZrv3gAustralian composers mentioned: Ross Edwards, Paul Stanhope, Elena Kats-Cherinin, Nigel Westlake  Support Alice:Alice’s website: http://alicechance.com/Contribute to her interactive compositions: http://alicechance.com/infinityfordinner Get in touch with us!DONATE: PayPal.me/MusicBoxConcerts Facebook: @OutsidetheMusicBox Instagram: @outsidethemusicbox Twitter: @OutsideMusicBox Email: concerts.musicbox@gmail.comWebsite: www.musicboxconcerts.com

Australian Israeli Singer and Songwriter, Lior, joined David Barr on Drive Tuesday to discuss his upcoming concert, Leaving the Western Shadows with the Australian Youth Orchestra’s, Momentum Ensemble. The orchestra will be directed by conductor Nigel Westlake, whose previous endeavours with Lior have included the co-creation of the award-winning song cycle Compassion. Leaving the Western Shadows is […]

Skånes Dansteater i Malmö är ett kreativt centrum med sexton professionella dansare. Åsa Söderberg är vd och konstnärlig ledare. Här i Västra hamnen i Malmö, i Kockums gamla båghallar, skapar Skånes Dansteater sina föreställningar som bryter gränser och ger eko långt utanför Sveriges gränser. Nu arbetar man bland annat med det nya dansverket Nayrab som bygger en bro mellan en by i Syrien och Malmö. För koreografin svarar Laurence Yadi och Nicolas Cantillon. Föreställningens kompositör är Malmömusikern Tarek Alhadj. Skånes Dansteater har haft många framgångar, såväl hos kritikerna som hos publiken. I tre omgångar har man t ex spelat den största succén, Ben Wrights The feeling of going. Föreställningen spelades på Malmö Opera 2013, 2015 och på hösten 2017.  - Att hamna i det där tillståndet, att man gjort en blockbuster och blivit årets musikalsensation, det var överraskande och mycket glädjande, säger Åsa Söderberg. Kerstin Berggren träffade Åsa Söderberg för ett samtal om Skånes Dansteater och den moderna dansens magi.   I programmet spelas korta musikcitat från föreställningarna "The feeling of going" av den isländske artisten Jónsi med orkestrering av Jonas Nydesjö, från trailern till  "To see the world while the light lasts" av John Adams, och Nigel Westlake, samt  från"Something about wilderness" av Jean-Sebastién Côté . Vi hör också repetitionsmusik av Tarek Alhadj. I musikcitaten hörs också Malmö Operakör och Malmö Operaorkester.

In 2008, Australian composer Nigel Westlake's son, Eli, was killed in a tragic road rage incident. With the support of his family, and his son's friends, Nigel used his love for his son to establish a music and film program to support young indigenous Australians. In an interview in 2011, Nigel reflected that after the death of his son, "I really thought I was finished musically. There was nothing more to be said. The muse had disappeared."As children, our greatest fear is the death of our parents. As parents, that fear is the death of our children. An unimaginable loss. But so often, great loss is inspiration for great work, and for Nigel Westlake and his family, Eli's death led to the creation of the Smugglers Of Light Foundation - an organisation using music to help indigenous youth reclaim their heritage through music and film.So how did Nigel gradually deal with the loss of Eli and find the momentum to continue and find purpose."At that particular time (of Eli's death), that's how it felt. I didn't mean that I'd said it all musically, by any means. I meant that there was no incentive to write.""Looking back on it now, it's five years ago this week that we lost our son, Eli, I think for the first 12 - 18 months the thing that was most present in my mind was to keep memories of him alive.""It was like keeping him in a vault. I didn't want anything to come in or go out and I was so protective of those memories I couldn't give way to anything. I couldn't give way to the creative process and sit down and absorb my mind in a piece of music. My thoughts had to be with Eli.""That's what drove me to form the Smugglers of Light Foundation in his memory, to take those memories and the thoughts about his future, the life that he might have had, his qualities of empathy, compassion and so forth, and bundle them all up in to a package called the Smugglers of Light Foundation.""That gave me a good focus to get that on the road but starting something like that is a very big undertaking and I knew absolutely nothing about what I was doing, so it was a very steep learning curve. Musically, it didn't seem important at that time."The moment of decision, the catalyst for the foundation started at the family home when the house overflowed with Eli's friends and family, gathering together to share their grief."It was the week after Eli had been killed. Being a young man with so many young friends they all descended on our house and they actually lived with us for a week or so.""All these young people - some we knew quite well, others we didn't know so well. At night they'd stoke up the fire and find a place on the floor or couch and sleep the night. There were never less than 40 or 50 people in the house at any one time, a constant flow of young people and also close friends and family.""It was during that time that we got talking to these young people and they were saying, 'How can we remember him? How can we never forget him?' One of them said, 'Yeah, we should form some sort of foundation or charity or something' and I raised my glass and said, 'Yes! Well here's to Eli's foundation!'. I didn't have a clue what I'd let myself in for.""It was about three weeks later when the house was totally quiet and the chill of winter had set in and it was like a mausoleum, my wife and I were looking at each other thinking, 'What the hell have we done? How do you start a foundation?' But there had been about 40 people there who were witness to me raising my glass so I had to keep that promise.""I was actually sad to see them go because what had brought us together was our love for Eli and from that time we've maintained very close relationships with many of them.""Every year on the anniversary of his death a lot of them come up to the country where we laid him to rest and just be with us for a short time. So it's created a wonderful connection for us with a different generation.""There are so many things that I look to as positive outcomes from losing Eli because you can't wallow in the tragedy of it. You've got to find a way to use it as a catalyst to move on, and that's been a catalyst for re-connecting with those young people, that's a great thing."Having the idea to create a foundation in Eli's memory is one thing, doing it is surely another."The first thing I did was I went to APRA (the Australasian Performing Rights Association) of which I've been a member since the mid-80s. It's an agency for Australian composers and it's the lifeblood of Australian music because it's where all the residual payments for music usage on TV, film, radio, etc, is collected and distributed amongst members so it's pretty much how someone like myself, a freelance composer, can focus on that fulltime with those resources.""APRA have a wonderful history of connections with charities, they're very support of the Nordoff Robbins Music Therapy Foundation, they also are very involved in Support Act - a support mechanism for retired musicians and composers.""Brett Cottle, the CEO of APRA said, 'Come in and talk about this foundation thing' and I went in with a long list of questions, an incredible apprehension and lacking in confidence of not knowing what I was doing.""Brett said, 'Well that sounds great, APRA would like to be a partner of organisation and we'd like to supply you with all the accounting and legal facilities free of charge and just to kick off the foundation here's a grant'.""It was unbelievable. So it was through APRA and our connection with them that we've been able to get off to a fairly quick start.""We're still a very young organisation and we've got a long way to go, but we are doing stuff and I realise that in the bigger scheme of things it's kind of a drop in the ocean but at least it's something and it's something that we feel very passionate about and whenever I'm in indigenous communities I really do feel Eli looking down upon me, his eyes awash with tears of joy. It's a great feeling to be able to take that tragedy and turn it into something that is tangible evidence of him.""One of our main programs at the moment is called Song Nation. We have a team of three people, one of whom is Gail Mabo - daughter of the famous land rights campaigner Eddie Mabo - Gail has become the patron of the Smugglers of Light. She is a wonderful woman, very dear friend.""She saw what we were doing in Townsville a couple of years ago and said she wanted to be part of it, offering to do whatever she could to help. They go to remote communities and this year we're going to the Torres Straight and some far-flung communities in WA. We spend four or five days with the young children. ""The first thing we do is bring in elders of the community and we have them tell stories about the history of the culture, their origins and so on, and then we get the kids to encapsulate those stories into a form of music, whether that be hip-hop or a song.""We do an on-the-fly production number with the kids recording their song and then we do a choreographed film clip. Gail helps do the choreography because she studied at the Aboriginal Islander Dance Theatre some years ago.""It's basically getting the kids connected with their culture which in some communities is alarmingly fragmented.""The kids sometimes have no reason to speak to elders so they don't really have a handle on where they've come from or the heritage that they're sitting on top of.""It gets them involved in where they've come from and they get to express that through music and film.""The films inevitably have very powerful positive messages about reconciliation, about future aspirations, about dreamtime stories, and those clips go up on YouTube and attract tens of thousands of hits which in effect disseminates positive mantras throughout those communities.""When our team goes to communities, a lot of those kids already know most of the songs that we've written in other communities and they've got them as ringtones on their phones - it's amazing how they embrace it.""We've had school teachers coming up to us and saying that the kids are coming back to school, that they're interested in learning, some of them going to university next year, so it's a very small thing but it seems to have a very positive outcome.""We also have an annual scholarship for an indigenous film-maker or musician, a small amount of money to help them gain skills in their chosen fields and help them open doors for their future employment."

In 2008, Australian composer Nigel Westlake's son, Eli, was killed in a tragic road rage incident. With the support of his family, and his son's friends, Nigel used his love for his son to establish a music and film program to support young indigenous Australians. In an interview in 2011, Nigel reflected that after the death of his son, "I really thought I was finished musically. There was nothing more to be said. The muse had disappeared."As children, our greatest fear is the death of our parents. As parents, that fear is the death of our children. An unimaginable loss. But so often, great loss is inspiration for great work, and for Nigel Westlake and his family, Eli's death led to the creation of the Smugglers Of Light Foundation - an organisation using music to help indigenous youth reclaim their heritage through music and film.So how did Nigel gradually deal with the loss of Eli and find the momentum to continue and find purpose."At that particular time (of Eli's death), that's how it felt. I didn't mean that I'd said it all musically, by any means. I meant that there was no incentive to write.""Looking back on it now, it's five years ago this week that we lost our son, Eli, I think for the first 12 - 18 months the thing that was most present in my mind was to keep memories of him alive.""It was like keeping him in a vault. I didn't want anything to come in or go out and I was so protective of those memories I couldn't give way to anything. I couldn't give way to the creative process and sit down and absorb my mind in a piece of music. My thoughts had to be with Eli.""That's what drove me to form the Smugglers of Light Foundation in his memory, to take those memories and the thoughts about his future, the life that he might have had, his qualities of empathy, compassion and so forth, and bundle them all up in to a package called the Smugglers of Light Foundation.""That gave me a good focus to get that on the road but starting something like that is a very big undertaking and I knew absolutely nothing about what I was doing, so it was a very steep learning curve. Musically, it didn't seem important at that time."The moment of decision, the catalyst for the foundation started at the family home when the house overflowed with Eli's friends and family, gathering together to share their grief."It was the week after Eli had been killed. Being a young man with so many young friends they all descended on our house and they actually lived with us for a week or so.""All these young people - some we knew quite well, others we didn't know so well. At night they'd stoke up the fire and find a place on the floor or couch and sleep the night. There were never less than 40 or 50 people in the house at any one time, a constant flow of young people and also close friends and family.""It was during that time that we got talking to these young people and they were saying, 'How can we remember him? How can we never forget him?' One of them said, 'Yeah, we should form some sort of foundation or charity or something' and I raised my glass and said, 'Yes! Well here's to Eli's foundation!'. I didn't have a clue what I'd let myself in for.""It was about three weeks later when the house was totally quiet and the chill of winter had set in and it was like a mausoleum, my wife and I were looking at each other thinking, 'What the hell have we done? How do you start a foundation?' But there had been about 40 people there who were witness to me raising my glass so I had to keep that promise.""I was actually sad to see them go because what had brought us together was our love for Eli and from that time we've maintained very close relationships with many of them.""Every year on the anniversary of his death a lot of them come up to the country where we laid him to rest and just be with us for a short time. So it's created a wonderful connection for us with a different generation.""There are so many things that I look to as positive outcomes from losing Eli because you can't wallow in the tragedy of it. You've got to find a way to use it as a catalyst to move on, and that's been a catalyst for re-connecting with those young people, that's a great thing."Having the idea to create a foundation in Eli's memory is one thing, doing it is surely another."The first thing I did was I went to APRA (the Australasian Performing Rights Association) of which I've been a member since the mid-80s. It's an agency for Australian composers and it's the lifeblood of Australian music because it's where all the residual payments for music usage on TV, film, radio, etc, is collected and distributed amongst members so it's pretty much how someone like myself, a freelance composer, can focus on that fulltime with those resources.""APRA have a wonderful history of connections with charities, they're very support of the Nordoff Robbins Music Therapy Foundation, they also are very involved in Support Act - a support mechanism for retired musicians and composers.""Brett Cottle, the CEO of APRA said, 'Come in and talk about this foundation thing' and I went in with a long list of questions, an incredible apprehension and lacking in confidence of not knowing what I was doing.""Brett said, 'Well that sounds great, APRA would like to be a partner of organisation and we'd like to supply you with all the accounting and legal facilities free of charge and just to kick off the foundation here's a grant'.""It was unbelievable. So it was through APRA and our connection with them that we've been able to get off to a fairly quick start.""We're still a very young organisation and we've got a long way to go, but we are doing stuff and I realise that in the bigger scheme of things it's kind of a drop in the ocean but at least it's something and it's something that we feel very passionate about and whenever I'm in indigenous communities I really do feel Eli looking down upon me, his eyes awash with tears of joy. It's a great feeling to be able to take that tragedy and turn it into something that is tangible evidence of him.""One of our main programs at the moment is called Song Nation. We have a team of three people, one of whom is Gail Mabo - daughter of the famous land rights campaigner Eddie Mabo - Gail has become the patron of the Smugglers of Light. She is a wonderful woman, very dear friend.""She saw what we were doing in Townsville a couple of years ago and said she wanted to be part of it, offering to do whatever she could to help. They go to remote communities and this year we're going to the Torres Straight and some far-flung communities in WA. We spend four or five days with the young children. ""The first thing we do is bring in elders of the community and we have them tell stories about the history of the culture, their origins and so on, and then we get the kids to encapsulate those stories into a form of music, whether that be hip-hop or a song.""We do an on-the-fly production number with the kids recording their song and then we do a choreographed film clip. Gail helps do the choreography because she studied at the Aboriginal Islander Dance Theatre some years ago.""It's basically getting the kids connected with their culture which in some communities is alarmingly fragmented.""The kids sometimes have no reason to speak to elders so they don't really have a handle on where they've come from or the heritage that they're sitting on top of.""It gets them involved in where they've come from and they get to express that through music and film.""The films inevitably have very powerful positive messages about reconciliation, about future aspirations, about dreamtime stories, and those clips go up on YouTube and attract tens of thousands of hits which in effect disseminates positive mantras throughout those communities.""When our team goes to communities, a lot of those kids already know most of the songs that we've written in other communities and they've got them as ringtones on their phones - it's amazing how they embrace it.""We've had school teachers coming up to us and saying that the kids are coming back to school, that they're interested in learning, some of them going to university next year, so it's a very small thing but it seems to have a very positive outcome.""We also have an annual scholarship for an indigenous film-maker or musician, a small amount of money to help them gain skills in their chosen fields and help them open doors for their future employment."

On this week’s episode of CINEMATIC SOUND RADIO, we will be playing music from some new and recent releases.You’ll hear selections from VALERIAN AND THE CITY OF A THOUSAND PLANET by Alexandre Desplat, COLOSSAL by Bear McCreary, DIANE: HER LIFE AND LEGACY by Miguel d’Oliveira (download the album for FREE at http://migueldoliveira.com/Diana_OST_2017.zip), REBEL IN THE RYE by Bear McCreary, SMURFS: THE LOST VILLAGE by Christopher Lennertz, ARK: SURVIVAL EVOLVED by Gareth Coker, ALI’S WEDDING by Nigel Westlake and IT by Benjamin Wallfisch. Cinematic Sound Radio http://www.cinematicsound.net WROCK Radio http://www.wrockradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com Also available through Podtyrant http://www.podtyrant.com

In the behind the scenes vantage of the conductor's studio at the AYO rehearsal venue, Sascha had the privilege to talk to collaborators Nigel Westlake and Lior about their piece, Compassion - a startling and beautiful work that has to be heard.