Podcasts about overtones

MAKE HISTORY WITH US THIS SUMMER:https://demystifysci.com/demysticon-2025PATREON https://www.patreon.com/c/demystifysciPARADIGM DRIFThttps://demystifysci.com/paradigm-drift-showPATREON: get episodes early + join our weekly Patron Chat https://bit.ly/3lcAasBMERCH: Rock some DemystifySci gear : https://demystifysci.myspreadshop.com/allAMAZON: Do your shopping through this link: https://amzn.to/3YyoT98SUBSTACK: https://substack.com/@UCqV4_7i9h1_V7hY48eZZSLw@demystifysciDr. Jack Bagby is a professor of Philosophy, Cosmology, and Consciousness at the California Institute of Integral Studies who is one of the world's foremost experts on the philosophy of Henri Bergson. Bergson was an early proponent of the absolute importance of context when trying to understand nature. This is nowhere more apparent than in the world of music, where the rhythm, interval, and mode of the songs being played creates wildly different sensations even when the same pure tones are in play. Bagby has extensive experience with novel musical instruments, strange tunings, and alternative scales, which he deploys as evidence of Bergson's deep insights in the nature of perception and reality. (00:00) Go! Bergson's Influence(00:06:45) Defining Metaphysics(00:11:38) Creativity and Consciousness(00:14:22) Science v. Metaphysics(00:20:13) Sensation and Perception in Music(00:24:07) Critique of Artificial Intelligence(00:27:18) Metaphysics and Movement(00:30:24) Music and Inner Experience(00:35:01) Resonance Theory and Consciousness(00:50:09) Sensation, measurement, and subjectivity(00:58:07) Metaphysics, morality, and creativity(01:01:26) Music as a metaphor for existence(01:05:11) Technological expansion and consciousness(01:12:51) Building Musical Scales Through Overtones(01:14:13) Tuning and Musical Expression(01:17:38) Scales and Tuning Variability(01:21:02) Keyboard Innovations and Intonation(01:26:42) Perfect Fifths and Harmonic Construction(01:35:23) Harmonic Series and Interval Challenges(01:37:43) Harmony v. Dissonance(01:42:18) Expressive Dissonance and Temperament(01:46:02) Overtones and Consonance Explained(01:49:47) Measuring and Adjusting Temperaments(01:55:06) Historical Perspectives on Musical Tempering(02:11:29) Cultural Perception and Universality in Music(02:19:13) Experiential Nature of Music and Counterpoint(02:21:17) Demonstration of Microtonal Guitar(02:27:15) Rhythm and Its Temporal Nature(02:31:08) Metaphysics of Matter and Sensory Experience(02:35:10) Interpretations of Reality in Theory v. Experience(02:39:10) The Intersection of Science and Metaphysics(02:44:08) Continuous Dialogue Between Concepts and Reality #philosophy, #stoicism, #arttheory, #spiritualevolution , #musictheory, #Bergson, #aesthetics , #harmony , #consciousness , #creativitydevelopment , #existentialism, #philosophypodcast, #sciencepodcast, #longformpodcastCheck our short-films channel, @DemystifySci: https://www.youtube.com/c/DemystifyingScience AND our material science investigations of atomics, @MaterialAtomics https://www.youtube.com/@MaterialAtomicsJoin our mailing list https://bit.ly/3v3kz2S PODCAST INFO: Anastasia completed her PhD studying bioelectricity at Columbia University. When not talking to brilliant people or making movies, she spends her time painting, reading, and guiding backcountry excursions. Shilo also did his PhD at Columbia studying the elastic properties of molecular water. When he's not in the film studio, he's exploring sound in music. They are both freelance professors at various universities. - RSS: https://anchor.fm/s/2be66934/podcast/rss- Donate: https://bit.ly/3wkPqaD- Swag: https://bit.ly/2PXdC2y SOCIAL: - Discord: https://discord.gg/MJzKT8CQub- Facebook: https://www.facebook.com/groups/DemystifySci- Instagram: https://www.instagram.com/DemystifySci/- Twitter: https://twitter.com/DemystifySciMUSIC: -Shilo Delay: https://g.co/kgs/oty671

This is our 100th episode of Working In Yoga! Find out a little bit about Rebecca's life since starting the podcast, and what is coming next for Working In Yoga in 2025. RESOURCES Working In Yoga Website Working In Yoga Newsletter

In this episode of Dark Overtones, Kurt seeks to explore the symbols that inspired this very podcast -- the runes and symbols embedded in Ari Aster's horror masterpiece, Midsommar. Throughout the film, Aster places runes of Elder Futhark at key points, from the barracks where the main characters sleep to the cliff from which the Harga elders leap to their deaths. It seems that these symbols may have deeper meaning in the plot of the movie and its characters. In this episode, Kurt speaks with expert rune reader Wayne Brekke, as well as one of his best friends (and tarot expert) Becca Fanali to explore that possibility. This episode also includes a special event -- an actual rune reading for one of my guests, to expand the meaning of the runes from our interpretation of Midsommar to my guest's life and history. The runes cast for this reading can be seen at this link.You can see all the Elder Futhark runes discussed in this episode here.Wayne Brekke is a Renaissance man in every sense of the word. A man of many talents, Wayne is an expert rune reader (mentored by Kaedrich Olsen), with a concerted knowledge on Elder Futhark and the interpretations of the runes within it. Wayne's rune work (and other work) can be found all over the place, including his podcast Rune Ways (available on Spotify, Apple, and anywhere you get podcasts) and his YouTube channel of the same name. Wayne is also an unapologetic decades-long RPG fan, evidenced by his fantastic website, Dungeon Crate.Rebecca Fanali is a licensed acupuncturist, expert in herbal medicine, and practitioner of different elements of witchcraft. Becca has a long history of interest in the metaphysical, leading her to perform tarot readings and nature-centered rituals and practices. Though not a fan of labels, Becca has an encyclopedic knowledge of issues related to witchcraft, with a particular interest in human connection to nature.Apologies for the few audio changes throughout the episode; they're due to changing devices. Don't worry, you don't lose any of that sweet forbidden knowledge related to Midsommar.All audio clips were taken from Midsommar itself, property of Square Peg Films, B-Reel Films, and A24 Films, all rights reserved.

This week, Kurt briefly discusses how the world messes up his best-laid episode plans. Unfortunately, as a researcher of political violence, the complete [looks up the scientific term] shitshow of the last week has forced him to field questions and advise on issues related to security.Fear not, though, dear listener! Next week, a new episode returns, along with announcements related to social media presence for Dark Overtones as well as how YOU can get involved with the podcast. I don't want to spoil anything, but your input is going to become part and parcel of the pod in the coming seasons. Yes... there will be future series. Your enthusiasm has made this passion project all the more fun.So, until next week, maybe watch a classic horror movie you enjoy. Anything to get your mind off the general chaos of.... well...[generally points at everything]

Plus, Smug Trump due for rude awakening as special counsel Jack Smith regroups

In the second episode of Series 1, Kurt delves into the 2015 pressure cooker, The Invitation. Part awkward dinner party, part reverse home invasion, part cultish terror, The Invitation challenges us to consider the psychology of grief and how to remain polite... even if we suspect our hosts want us dead.In this episode, I am joined by Mary Wild, who is kind enough to come back after Episode 100, in which she helps review all the films I cover in this first series. I am also joined by my brother Eric Braddock, who is just as big a horror fan as I am.Mary Wild is the creator of the Projections lecture series, applying psychoanalysis to film interpretation. She contributes to the Evolution of Horror podcast and posts exclusive content at patreon.com/marywild. You can also find her as @psycstar on Twitter and Instagram.Eric Braddock (@ericbraddock) is a Senior Artist at Notorious Studios. He is also my brother. We spent many years in our family home watching scary movies and pretending not to be scared by Pennywise or Zelda from Pet Sematary. He is also the only one that can match my skill in Mega Man 2.

CONTENT WARNING: Discussion of rape and sexual violence is prevalent throughout this episode.In the first real episode of Dark Overtones, Kurt is joined by two communication professors from Baylor University, Leslie Hahner and Scott Varda, to discuss It Follows. Countless articles on It Follows interpreted it as a story about STDs/STIs; but Hahner and Varda have a different interpretation - one that highlights the sexual violence that perpetuates the curse and the trauma of those affected. In this discussion, we dive into how "It" can be much darker than it seems upon first watch...Dr. Leslie Hahner is a Professor in the Department of Communication at Baylor University, where she researches how different texts (including horror films) intersect with pop culture and help us interpret the world around us. You can visit her faculty page here.Dr. Scott Varda is an Associate Professor in the Department of Communication, also at Baylor University. Scott researchers how movies can shape our cultural understanding of race, class, gender, and other social categories. His faculty page is also available, and you can find it here.The article this episode is based on can be found in Volume 40, Issue 3 of the journal Women's Studies in Communication. The full article citation is:Hahner, L., & Varda, S. (2017). It Follows and rape culture: Critical response as disavowal. Women's Studies in Communication, 40(3), 251-269.

In the first episode of Dark Overtones, Kurt is joined by Freudian psychologist and horror expert Mary Wild to discuss the 12 films to be covered in the first series of Dark Overtones. The films to be discussed (in brief, with no spoilers!) are: The Witch, It Follows, The Invitation, The Killing of a Sacred Deer, It Comes at Night, Get Out, A Dark Song, Hereditary, Mandy, Midsommar, Pet Sematary, and Saint Maud. The "Horror Renaissance" gave us adult scares, and stuck in our minds well after we left the theater. Mary Wild and I begin the conversations about why...Mary Wild (@psycstar) is the creator of the Projections lecture series, applying psychoanalysis to film interpretation. She contributes to the Evolution of Horror Podcast, and posts exclusive content on patreon.com/marywild. You can also find her as @psycstar on Twitter and Instagram.

Audio Clips: Once in A Lifetime - The Talking Heads Psycho Killer - The Talking Heads Burning Down the House - The Talking Heads Strange Overtones - Poolside Strange Overtones - Whitney Gurdy's Green - Patty Gurdy https://www.youtube.com/watch?v=rGfnlO_z97E Paperboy Theme - Hal Canon The Sims Soundtrack: Neighborhood 3 - Jerry Martin & Marc Russo https://www.youtube.com/watch?v=rsW1LL2j7Lc#:~:text=The%20Sims%20Soundtrack%3A%20Neighborhood%203,Jerry%20Martin%20and%20Marc%20Russo --- Send in a voice message: https://podcasters.spotify.com/pod/show/igotasong/message

    To get the most benefit from this episode, listen at 1X playback speed.  You've probably experienced how music can change your mood and overall state with just one song. Have you wondered how you can enhance those benefits of music listening ?  By applying the principles of Active Listening, you can completely transform the way you experience music and sound. On this episode, experiential sound designer and co-founder of the Overtones app, Josh Peck, teaches about several key principles we can apply today to start receiving more of the transformative power of music.  Here are the 3 key highlights : Learn about the power of 3D/Spacial sound - experience first-hand what it is and how you can benefit from it  Learn the key principles of Active Listening - Josh will walk us through and demonstrate to us experientially how to apply each principle Receive a live-recorded guided sound experience applying the principles of Active Listening.  If you're a lover of music or if you are curious about how you can use sound to change your state, you don't want to miss this episode. Enjoy !  Referenced Links :  https://www.thedojoupstate.com    

Shoot Your Shot parts 2 & 3 Monday 3/4/24

Shoot Your Shot part 1 Friday 3/1/24

It's a Christmas cracker of a podcast this week, with Rylan in for Scott and a feast of festive guests.Olly Alexander pops in, as he's announced as the UK representative at Eurovision 2024 in Sweden. There's more from Rylan's chat with Cher and she has a a couple of huge revelations.Plus, Michelle McManus is celebrating 20 years since she won Pop Idol and there's a Christmas KaRYoke with singing sensations The Overtones.Oh and there's a surprise call for Rylan... from someone close to his and Scott's hearts!Hit subscribe to get Scott's latest podcast every Friday, or listen live weekdays 2-4pm on BBC Radio 2.

Immerse yourself in the soothing soundscape of a rainy night with our latest episode. "9-13 8 Hours of Rainy Night Ambience with Thunder Overtones" offers an extended auditory escape into a steady downpour complemented by the occasional rumble of distant thunder. Perfect for meditation, sleep, or deep focus, this episode is your personal sound retreat to help calm the mind and wash away stress.As we delve into the benefits of acoustic nature therapy, discover how the rhythmic patter of rain and the grounding booms of thunder can create a serene environment for you. Let the hours of ambient noise provide a backdrop to your relaxation or productivity sessions.Remember, dedicating time to unwind and recharge is vital. Allow this episode to be your companion in creating a restful sanctuary within your day or night.Stay tuned for more episodes that bring nature's most harmonious tones right to your ears, as we journey further into relaxation and mental clarity together.=======DISCLAIMER:This episode may be ad-supported and you can support us financially by subscribing as little as $5 a month on our Patreon page or on Apple Podcast Subscriber-Only Audio.This subscription plan comes with an ad-free weekly podcast, plus a few more extras like exclusive Podcast promos and early access to certain episodes that are not published everywhere till the following week.Check our Patreon here: http://go.thehustle.studio/patreonor in Apple Podcasts app, just click here: http://go.thehustle.studio/subscribeThank you so much for your generosity!Connect with Us:https://www.facebook.com/hustlestudiosincSupport this podcast at — https://redcircle.com/sleep-calming/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Episode 496:  This is a very special collaboration episode with 2 of the hottest radio programs at Radio Lex. Off The Cuff & Overtones Live! You folks obviously know what Off The Cuff is all about. This show, hosted by Adam Banks, covers topics in pop culture, current events, life in general, and occasionally special guest interviews.  Overtones Live! Is a music show hosted by Renee Cobb, that features many local artists from the Kentucky area.  We wanted to do this collaboration episode to get these certain musical artists more exposure and we both truly believe, that when you cross-promote 2 radio shows together, it can open up opportunities for both shows and it gives us a chance to introduce both of our products to a whole new audience.  We are thrilled to have the theme of this special Collab episode to be our “Josie Music Awards Kentucky Recap Part 1.On this episode Adam Banks and Renee Cobb Talk about the following:1.  Renee and her husband receiving the Josie Award for Best Live Performance Video Production 2. Interview with Country Musician, Robert Eskridge 3. The Music of Rock/Folk Artist,  Stace & Cassie4.  Interview with Country Musician, Trudy Sosbe Rose 5.  Interview with Country Musician, Savannah Dean Reeves6. Interview with Country Artist, Trish Torline 7. The Music of Rock/Folk Artist,  Taylor Hernly8. The Music of D Boone Pittman All 4 Interviews will include songs from each performer off their albums, as well as discussions over their recent Josie Music Award Wins/Nominations and their musical careers. -More Info of Overtones Live can be found at: https://www.overtoneslive.com/-Overtones Live! can be heard on Radio Lex every Tuesday at 7pm.-Off The Cuff with Adam Banks can be heard on Radio Lex every Thursday at 4pm.Follow OFF THE CUFF WITH ADAM BANKS:FB: @offthecuffwithadambanksIG:@offthecuffwithadambanksTwitter:@theadambanksIG:@theadambanksSubscribe on Apple Podcasts, Spotify, YouTube!**and all other major podcasting platforms**http://linktr.ee/offthecuffwithadambanksFollow OFF THE CUFF WITH ADAM BANKS:FB: @offthecuffwithadambanksIG:@offthecuffwithadambanksTwitter:@theadambanksIG:@theadambanksSubscribe on Apple Podcasts, Spotify, YouTube!**and all other major podcasting platforms**http://linktr.ee/offthecuffwithadambanks

It's not everyday you meet someone with a heart like Jay James. The X Factor finalist, one quarter of platinum-selling group The Overtones, songwriter, radio presenter, artist manager and former Royal Navy physical trainer, it's fair to say that Jay has experienced a lot of what life has offer. Jay's first introduction to type 1 diabetes had come early in 2022 when he started to manage singer and fellow type 1 diabetic Tom Ball, after he shot to recognition on Britain's Got Talent. But nothing could have prepared Jay's family for the shock of his son Franklin's rollercoaster type 1 diabetes diagnosis just a few months later. There's a lot of emotion in this episode, as Jay openly admits to still processing not only the diagnosis itself but the longevity of the condition and what it means for Franklin, now 4. But there's an incredible amount of hope too, as between the dad guilt, the grief and the pressure to get things right, Jay continues to lead with heart while taking a practical approach to making things better - not only for his family, but for others in the community. And today, Jay is launching mydiabetesstory.org to do just that - a platform designed to bring people together and show the power of community. FIND JAY AND THE OVERTONES: Get tickets to see The Overtones Christmas 2023 UK Tour (use code GOODTIMES23 for a discount!)Check out My Diabetes Story on Instagram.Follow The Overtones on Instagram.Follow Jay on Instagram. SPONSOR MESSAGE: Thanks to my episode sponsors Dexcom. Pioneer and leader in Real-Time continuous glucose monitors, Dexcom's goal is to simplify and improve diabetes management for every possible person with diabetes. They have a choice of systems, so you can find the right one for your lifestyle at https://www.dexcom.com/

by Charles Lear, author of “The Flying Saucer Investigators.”Bowles and PrattThis is the third part in a series looking at two separate encounters in Winchester, England, with UFOs and humanoids reported by two friends, 42-year-old Joyce Bowles and 58-year-old Ted Pratt. They reported that as Bowles was driving with Pratt in the passenger seat prior to their first encounter, Bowles's Cooper Mini Clubman travelled diagonally as if it was floating after the steering wheel locked, and the car came to a rest on a strip of grass (known as a “verge” in England) next to the road. They said they then saw a craft hovering 18 inches above the ground with 3 humanoids behind a window or windows sitting lined up as if they were on a bus. A creature left the craft, possibly by walking through it, came up to the car, and seemed to have put its hand on the roof as it looked in Bowles's window. It was said to have been wearing what looked like a silver “boiler suit” and to have had long hair that curled up in the back, sideburns that came down to a pointed beard, and brilliant red eyes with no pupils or irises. They said that during their second encounter, they found themselves standing next to Bowles's car inside what they assumed was a spaceship. The creatures spoke with them, said they weren't there to invade and that they'd be back. Their case got the interest of researchers from various organizations and there is one article examining it in the March/April 1977 BUFORA Journal and FOUR articles in the February 1977, Vol. 22, No. 5 Flying Saucer Review. In the course of the investigation, it came out that there were after-effects and that Bowles had a history of reported paranormal experiences and well as healing and psychic abilities. One of the researchers, Lionel Beer, reported in his article in the BUFORA Journal that Bowles's history made him dubious, but he and the others didn't discount her claims, possibly due to the influence the ideas of John Keel and Jacques Vallée were having on researchers at the time. Leslie Harris makes a reference to Vallée's 1969 book “Passport to Magonia” in his article covering the case in Flying Saucer Review. Read more →This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5922140/advertisement

In last week's blog, we looked at a case involving two friends, 42-year-old Joyce Bowles and 58-year-old Ted Pratt, who reported an encounter on November 14, 1976, in Winchester, England. They claimed they saw a cigar-shaped craft hovering 18 inches above the ground with three humanoids, sitting lined up as if they were on a bus, visible behind a window or windows. One creature was said to have left the craft, possibly by passing through it, and then to have walked towards Bowles and Pratt, who were sitting in Bowles's Cooper Mini Clubman. The creature was described as human-looking, with long hair that curled up in the back and sideburns that went down to a pointed beard, but its eyes were said to be “piercing pink” with no pupils or irises. Bowles said when she looked away from them, she saw spots as if she had been looking at the sun. The case got the interest of many researchers, mostly from the British UFO Research Association. There is one article (page 12 of the pdf) covering it in the March/April 1977 BURORA Journal, and four in the Volume 22, Number 5, 1976 Flying Saucer Review, published in February 1977. What makes this case unique is that it involves two witnesses who described two encounters. This week we're looking at the second encounter described. Read more →This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5922140/advertisement

On November 15, 1976, 42-year-old Joyce Bowles, and her 58-year-old friend, Ted Pratt, appeared on the BBC television program South Today. They were interviewed about their reported encounters with UFOs and humanoids the night before. Their case got the interest of researchers from various organizations and there are FOUR articles examining it in the February 1977, Vol. 22, No. 5 Flying Saucer Review: an article by Bournemouth Unexplained Phenomena Research Group Investigator Leslie Harris headlined “UFO & Silver-Suited Entity Seen Near Winchester,” an article by British UFO Research Association Investigator Richard Nash that consists mostly of a transcription of a tape recorded interview with Bowles and Pratt conducted by Nash, “Questions and Comments on the Nash Interview” by BUFORA Research Coordinator Jenny Randles, and an article by BUFORA Investigator Frank J. Wood based on two reports prepared by him headlined “Alleged CE-III at Winchester: Vehicle Examination,” with the subheading “Together with a few other matters of interest.” There is also an article by Lionel Beer in the March/April BUFORA Journal headlined “The Winchester Encounters. There are several sensational claims in this case, and while it is based on the testimony of two witnesses, Mrs. Bowles had a history of reporting other paranormal encounters, which caused some doubt among researchers. However, Jacques Vallée's 1969 book, Passport to Magonia, had an impact on the thinking of researchers at that time, as did the work of John Keel, an FSR contributor, and an increasing number were considering the idea that UFOs might be more paranormal in nature than physical craft being piloted by extraterrestrials.Read more →This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5922140/advertisement

Episode 486:  This is a very special collaboration episode with 2 of the hottest radio programs at Radio Lex. Off The Cuff & Overtones Live! You folks obviously know what Off The Cuff is all about. This show, hosted by Adam Banks, covers topics in pop culture, current events, life in general, and occasionally special guest interviews.  Overtones Live! Is a music show hosted by Renee Cobb, that features many local artists from the Kentucky area.  We wanted to do this collaboration episode to get these certain musical artists more exposure and we both truly believe, that when you cross-promote 2 radio shows together, it can open up opportunities for both shows and it gives us a chance to introduce both of our products to a whole new audience.  We are thrilled to have the theme of this special Collab episode to be our “Josie Music Awards Kentucky Preview part 6.On this episode Adam Banks and Renee Cobb Talk about the following:1.  Interview with Rock Musician, Tiffaney Nesbeth 2. Interview with Pop Duo, Rags and Riches 3. The Music of Instrumentalist,  Ashton Brett Dunn 4. The Music of Country Artist,  Robert Eskridge 5. Interview with Country Music Artist,  Dustin Burchett 6.  A conversation with Overtones Live Co-Founder/Producer, Warren Cobb All 3 Interviews will include songs from each performer off their albums, as well as discussions over their recent Josie Music Award Nominations and their musical careers. -More Info of Overtones Live can be found at: https://www.overtoneslive.com/-Overtones Live! can be heard on Radio Lex every Tuesday at 7pm.-Off The Cuff with Adam Banks can be heard on Radio Lex every Thursday at 4pm.Follow OFF THE CUFF WITH ADAM BANKS:FB: @offthecuffwithadambanksIG:@offthecuffwithadambanksTwitter:@theadambanksIG:@theadambanksSubscribe on Apple Podcasts, Spotify, YouTube!**and all other major podcasting platforms**http://linktr.ee/offthecuffwithadambanks

Episode 477:  This is a very special collaboration episode with 2 of the hottest radio programs at Radio Lex. Off The Cuff & Overtones Live! You folks obviously know what Off The Cuff is all about. This show, hosted by Adam Banks, covers topics in pop culture, current events, life in general and occasionally special guest interviews.  Overtones Live! Is a music show hosted by Renee Cobb, that features many local artists from the Kentucky area.  We wanted to do this collaboration episode to get these certain musical artists more exposure and we both truly believe, that when you cross promote 2 radio shows together, it can open up opportunities for both shows and it gives us a chance to introduce both of our products to a whole new audience. On this episode Adam Banks and Renee Cobb Talk about the following:1.  Interview with Country Music Artist, Melissa Deaton 2. The Music of Stace & Cassie 3. Interview with Bluegrass Music Artist & 1/3 of The Goodwin Brothers, Jonathan Goodwin  4. Interview with Country Music Artist,  Savannah Dean Reeves All 3 Interviews will include songs from each performer off their albums, as well as discussions over their recent Josie Music Award Nominations and their musical careers. -More Info of Overtones Live can be found at: https://www.overtoneslive.com/-Overtones Live! can be heard on Radio Lex every Tuesday at 7pm. Follow OFF THE CUFF WITH ADAM BANKS:FB: @offthecuffwithadambanksIG:@offthecuffwithadambanksTwitter:@theadambanksIG:@theadambanksSubscribe on Apple Podcasts, Spotify, YouTube!**and all other major podcasting platforms**http://linktr.ee/offthecuffwithadambanks

In Episode Three of Series 2,Andy and Rob talk all things Brass. All the instruments in the Brass family look quite different but are blown the same way. Players have to ‘buzz' their lips to create a sound. In this episode Rob and Andy discuss these instruments while trying to buzz and eat Rocky Road at the same time!Music in this EpisodeTelemann: Trumpet Concerto: I. AdagioBlues - Wynton Marsalis SeptetRichard Strauss: Horn Concerto No. 1 - BaborakGustav Mahler. Sinfonia N°1(Titan)-Impresionante FinalPurcell - Music for the Funeral of Queen MaryUptown Funk - Bruno Mars Bach Cello Suíte 2 : Sarabande Flight of the BumblebeeTimestamps+0:02:45 Brass Instruments and Ombusher0:05:09 TheFundamentals of Brass Instruments 0:09:18 Buzzing and Overtones in Brass Instruments0:11:19 Exploring the Concept of Harmonic Series in Music0:16:41 The History and Evolution of Trumpets0:22:21 The Versatility of the Trumpet Instrument0:25:10 The French Horn and Its International Naming0:27:04 The History and Mechanics of the Horn0:32:34 TheConversation on the Modern Horn: Intonation and Playing Techniques0:38:35 The Intonation Adjustments on Horns"0:40:14 The Role of Horns in Orchestras0:43:03 The Differences Between Trumpets, Horns, and Trombones0:47:32 The Sackbut and Trombone in Music0:52:44 The Role of the Tuba in Different Musical Genres"0:55:13 Characteristics of Orchestra Instrument Players Hosted on Acast. See acast.com/privacy for more information.

Download for FREE today -  special Mnemonics Cheatsheet - so you can be SURE that you have that Must Know information down:  bit.ly/nursing-memory   Outline GROANS, MOANS, BONES, STONES, OVERTONES GROANS-Constipation MOANS-Joint pain BONES-Loss of calcium from bones STONES-Kidney stones OVERTONES-psychiatric overtones (confusion, depression) Description The BONES store the most calcium – remember these words that rhyme with BONES to help you remember possible signs and symptoms of hypercalcemia.

The California Golden Overtones take pride in their missions.

The California Golden Overtones take pride in their missions.

In an interview, Bhutan PM Lotay Tshering has denied  reports over two years of China building villages on their territory. The claim looks benign, but throw in some context — a bilateral meeting this year, an opinion piece in Beijing state media — and a worrying puzzle takes shape. Editor-in-Chief Shekhar Gupta explains in episode 1200 of #CutTheClutter

It urns out that even sleep has racist overtones. Giant seaweed about to attack the U.S. diversity director at Stanford University rests the mayors case about diversity directors. Johnny Heidt with guitar news. Heard On The Show: Prosecutors charge 10 more in Feeding Our Future fraud case Aerospace business could bring $24 million per year to North Minneapolis US government moves to stop potential banking crisis Learn more about your ad choices. Visit megaphone.fm/adchoices

Brett Herron is the Secretary-General of Good and a Member of the National Assembly of South Africa. ---- Guest Links ----- https://twitter.com/brettherron?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor WorldView is a media company that delivers in-depth conversations, debates, round-table discussions, and general entertainment. Most of our content will be focused on news and politics, centered on South Africa. But the rest will be chats with figures around the world and from all walks of life to create a package that will inevitably broaden your WorldView. ---- Links ----- https://twitter.com/Broadworldview https://web.facebook.com/BroadWorldView https://anchor.fm/broadworldview You can donate at https://www.patreon.com/user?u=46136545 Music: https://www.bensound.com

Creating music on acoustic instruments (ones that don't require electricity to produce the sound) are operating on properties of physics.  Sound waves have attributes, and each pitch on an actual instrument is producing multiple sound waves at once, with the fundamental (the sound you actually hear) and overtones, which create resonance.  Overtones are inaudible unless you isolate them, which you can do on most instruments.  This is a topic that intimidates a lot of musicians, but it's important to try to dive in.  It not opens your mind to new instrumental effects, but it helps you understand the secrets to creating RICH harmony, and explains why some chord choices just don't work as well as others. This episode is meant to work in podcast format only.  However there are a number of videos, charts, and sheet music examples that might make the video version of this a better choice for some of you.  You can find that here: https://youtu.be/_fNUPW-l5YM Special thanks to Jennifer Lane and Harlan Feinstein for their contributions! If you have a question or feedback after listening to this episode you can leave a voice message at https://www.speakpipe.com/MusicianToolkit or you can send me a written message at https://www.davidlanemusic.com/contact You can find this episode and links to this show on all podcast apps from https://musiciantoolkit.podbean.com/ . If you enjoyed this, please give it a rating and review on the podcast app of your choice. You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps private teachers of all types (music, yoga, martial arts, academic tutoring, coaches, etc) with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

Join Caleb and Mark as they enjoy a themed drink (or two) and bring their high-octane progressive Christian perspectives in consideration of "Avatar: The Way of the Water," the the follow up to the bigger box office hit of all time!   Be prepared for a full on, geeked out discussion leaning heavily towards theological and political matters. Pour a drink and tune in for a good (and thoughtful) time.

In this episode of Lexman, David Eagleman discusses the idea of overtones, or the subtleties that are not always heard consciously, but can have a big impact on how we experience the world. He also talks about his new book "Modules: A New Way of Thinking About computation," and how it seeks to break down the divide between mathematics and physics.

Have you seen the new Interview with a Vampire? The reboot of A League of Their Own? More shows from our childhood with queer folks!!

  STACEY JACKSON   In December 2021, Stacey releases “Flipside”, a track recorded in London and co-written with longtime collaborator Ramzi Sleiman, who has worked with the likes of The Overtones, LuLu, Westlife, Taio Cruz, T2 and Mis-teeq. FLIPSIDE has a deliberate 1980s pop feel, and was therefore the perfect track to use as an introduction to Stacey's 80s nostalgia pop TV Show, Stacey Jackson in the 80s (Spotlight TV, Sky Channel 365 and Freest 500). Reaching #1 in the Digital Radio Charts, FLIPSIDE is an anthem of empowerment, but it's also so much more than that. Stacey Jackson has been up against her fair share of obstacles; as an older woman in the public eye, certain parts of her career have been an uphill struggle. On FLIPSIDE, she pours her self assertion and determination into every syllable, convincing us and, in the process, herself, that she's got staying power.

STACEY JACKSON   In December 2021, Stacey releases “Flipside”, a track recorded in London and co-written with longtime collaborator Ramzi Sleiman, who has worked with the likes of The Overtones, LuLu, Westlife, Taio Cruz, T2 and Mis-teeq. FLIPSIDE has a deliberate 1980s pop feel, and was therefore the perfect track to use as an introduction to Stacey's 80s nostalgia pop TV Show, Stacey Jackson in the 80s (Spotlight TV, Sky Channel 365 and Freest 500). Reaching #1 in the Digital Radio Charts, FLIPSIDE is an anthem of empowerment, but it's also so much more than that. Stacey Jackson has been up against her fair share of obstacles; as an older woman in the public eye, certain parts of her career have been an uphill struggle. On FLIPSIDE, she pours her self assertion and determination into every syllable, convincing us and, in the process, herself, that she's got staying power. Summer 2022, Stacey releases her single ‘Urgent', a cover of Foreigner's timeless ‘80s classic, transforming it into its very own modern-day dance floor hit. Within weeks it reaches the TOP TEN in Beatport's Dance & Electro Charts.

 Stacey has had nine Top 10 dance records, including a collaboration with the iconic artist Snoop Dogg on her self-penned record “Live it Up”. Stacey's single “Live It Up: Rebooted Feat. Snoop Dogg” released June 2021, as featured in the new award-winning comedy film “Reboot Camp”. Having performed the original track in a cameo appearance in comedy film Reboot Camp, starring David Lipper, Keli Price, Eric Roberts, David Koechner, Ja rule and more, the 10-year anniversary of the song is here! With Reboot Camp's release in June in the UK on all ODTV platforms, the song has found a new wave of listeners to this catchy, upbeat track. December 2021, Stacey releases “Flipside”, a track recorded in London and co-written with longtime collaborator Ramzi Sleiman, who has worked with the likes of The Overtones, LuLu, Westlife, Taio Cruz, T2 and Mis-teeq. FLIPSIDE has a deliberate 1980s pop feel, and was therefore the perfect track to use as an introduction to Stacey's 80s nostalgia pop TV Show, Stacey Jackson in the 80s (Spotlight TV, Sky Channel 365 and Freest 500). Reaching #1 in the Digital Radio Charts, FLIPSIDE is an anthem of empowerment, but it's also so much more than that. Stacey Jackson has been up against her fair share of obstacles; as an older woman in the public eye, certain parts of her career have been an uphill struggle. On FLIPSIDE, she pours her self assertion and determination into every syllable, convincing us and, in the process, herself, that she's got staying power. Summer 2022, Stacey releases her single ‘Urgent', a cover of Foreigner's timeless ‘80s classic, transforming it into its very own modern-day dance floor hit. Within weeks it reaches the TOP TEN in Beatport's Dance & Electro Charts.

GET TICKETS TO THE LIVE SHOW! SEPT 16In this episode, Christian and Joe go LIVE and watch the first few episodes of Turmoil in the Toybox, the documentary series that sparked Christian outrage over Satanic symbolism in Saturday Morning Cartoons. Which toys, cartoons, and appliances (yes, really) were banned from Christian homes? Which toy was so evil that Lianne's family burned it outside instead of in the fireplace (where other occultic materials were regularly burned) Listen to find out!Hear two silly jackasses talk about 80's toys like He Man and the Masters of the Universe (and the guys in the documentary are also pretty shitty).Also in this Episode:An update on the Superbook Bible AppAnd how to argue with Christians going forwardSHOW NOTES FOR THIS EPISODELINKTREEChat with Christian on INSTAGRAMTweet it up with Lianne on TWITTEREmail us your thoughts, ideas, and condemnations at hereticparty@gmail.comRemember, Happy Lost Souls, your stories deserve to be heard, you deserve friends and community who listen to you and support you. If you are struggling, recoveringfromreligion.org is a great, nonprofit, resource for individuals who have questions about changing or leaving their faith? They have a support hotline you can call anytime.Support Reproductive Rights Heretic Party is a member of Rad Pantheon, a collective of podcasters, artists, musicians, and other creative types who do our best to connect you with rad stuff you'll enjoy. If you like what we do, check out radpantheon.com or look for @radpantheon on Instagram or Twitter.

29. Othello - Racist overtones in the animal imagery in Shakespeare's Othello

Le Guess Who? presents 'The Big Playback', a conversational, in-depth podcast about all things music. Episode 3 is a four-part series entitled For the Record, exploring the role of the archivist from all angles, released in weekly installments.In this series, host Margaret Munchheimer talks to an independent archival collective in Indonesia; a sound and performance scholar decolonizing sound archives; a journalist turned label founder offering alternative histories of the global South; and a producer/dj using archival material as a springboard for musical collaborations in the here and now.While it may seem like a coincidence, we must remember that ‘records' are in fact, just that: records- documents… testimonials. They're meant to capture a moment, to tell a story. Which if you think about it, makes every record collector an archivist of sorts. The question is just how much the collector shapes the work in how they present it-the story of course is in the hands of the storyteller.Part 2: meLê yamomomeLê yamomo lived in Manila, Seoul, Bangkok, Warwick, and Munich, and now inhabits Amsterdam and Berlin researching, teaching, and creating performance/theatre and sound/music. Through his personal experience as an academic and an artist of color, navigating a white world of classification and knowledge production, he offers insight into how intrinsically white value systems are assigned to cultural objects and practices, shedding some light on ways to rethink this.He is Assistant Professor of Theatre, Performance, and Sound Studies (University of Amsterdam), the author of Sounding Modernities: Theatre and Music in Manila and the Asia Pacific, 1869-1946 (Palgrave Macmillan, 2018), and project leader and principal investigator of the projects »Sonic Entanglements« and Decolonizing Southeast Asian Sound Archives (DeCoSEAS). meLê is resident artist at Theater Ballhaus Naunynstrasse where his creations Echoing Europe, sonus, and Forces of Overtones are on repertoire. meLê also curates the Decolonial Frequences Festival and hosts the Sonic Entanglements podcast. In his works as artist-scholar, meLê engages the topics of sonic migrations, queer aesthetics, and post/de-colonial acoustemologies.Host of 'The Big Playback' is Margaret Munchheimer, an American visual artist and writer living in the Netherlands, and veteran Le Guess Who? supporter since 2012.CreditsProduction: Margaret Munchheimer & Le Guess Who?Audio Post- Production: Francisco MarujoArtwork: Marishka Soekarna

We start with the religious overtones of capitalism and you hear me frustrated but maybe you cant tell --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/skubalacast/message Support this podcast: https://anchor.fm/skubalacast/support

Lockdown hum in Oxford reimagined by Robert Dansby. "I isolated the hum in the title and began to pick apart partials and overtones, from which a I built up an assemblage of details already there, but enhanced - an ambient track made from ambience."

Amplifying hidden sounds.

Kristeen is a world traveler - VIP!

Eric Franchi started as a rep at About.com and went on to co-found the Undertone rich media-premium ad network in the depths of the dot com bustMore

Time to O.D. on some Doug O'Donnell! Let's do it together. Doug and i stepped into the wayback machine and had some fly by nights and dum dum day-trippings. Doug is a humble fellow and a gleaner of the finest pop and sub cultural phenomenons. He is a founding member of Dr. Dog as well as a found hound of The Overtones, Doublehorse!, York Street Hustle. He also brings some insights into the legendary Sloppy Joe and the Cruise. Come together right now. www.sloppyjoeandthecruise.bandcamp.com www.yorkstreethustle.com www.dougodonnell.bandcamp.com

Join Zumba Instructor Glyn as he talks through his ten favorite songs of New Music Friday and Spotify Suggests for Week 06 - 2021.Who is your favorite going to be in our Battle, New Rules - Emily or The Overtones - Celebrate.As always you will be able to check out the songs which are hosted on a playlist on Glyns You Tube Channel - Zumba With Glyn. You Tube Channel:  https://www.youtube.com/channel/UCmutMFiDfezSVTTykT0_hlAWeek 06 Playlist:  https://youtube.com/playlist?list=PLnF3qUuNUK-RYiUaD4rJxJzzPwSLtlhj7Enjoy Glyn

***For the best audio experience, we recommend using headphones during the performance.***In Overtones, Harriet and Margaret are the cultured and refined selves, while Hetty and Maggie represent the wild, primitive desires of these same women. The two women (and their subconscious counterparts) meet up for tea after a long time of not seeing each other. Each Harriet and Margaret has her own motives, while their desires try to push through Hetty and Maggie.

 So this is it, ladies and gents, the episode where we discuss the piece for which this podcast was named and the composer that wrote it: William Schuman and his Symphony No. 10 ‘American Muse'! The man literally got letters in the mail telling him either how awful his music was, OR how it had changed someone's life. Were he still alive today, I would absolutely send him a physical letter thanking him for so dramatically effecting my life. Ironically, I did in fact send his two children, Andrea and Anthony, physical letters to ask for their permission to use the music you just heard at the beginning of this podcast! Anyway, let's talk about this man and his fantastic compositions.###Background- I first heard music by William Schuman when I was an eager young musician in middle school. I listened to his Symphony No. 5, performed by Leonard Bernstein and the New York Philharmonic string section, recorded on a vinyl record (I kid you not). The opening bars explode with energy and melodic creativity unlike I had ever heard. It was forceful, bold, full of life. It drew me in and to this day has not let go. From that moment I knew I had to know more about this man and his music. He and his music are a large part of the reason I began this podcast, my blog, and my book to be released next year, _Secrets of American Orchestral Music_.####Bio- One of the first things one learns about Schuman is the story of how he came to be a composer in the first place. He did play bass in a dance band, but never considered it very serious. Then he went to a concert at Carnegie Hall and heard the New York Philharmonic, conducted by the great Arturo Toscanini. He was so blown away by the performance he said "I was overwhelmed. I had never heard anything like it. The very next day, I decided to become a composer." So, he dropped out of New York University, quit his job, enrolled at the Malkin Conservatory of music to study composition, and a short 5 years later he graduated from Columbia University. Who knew it could be so easy? While this anecdotal story is humorous, it accurately shows a key characteristic of Schuman's personality. He is an optimist, endlessly curious, and has a child-like approach to new endeavors. He is also steadfast and resolute in his values, many times refusing to compromise his artistic work or arts administration efforts. - Though not all of William Schuman's biographical history is pertinent here, some key positions and career events as well as insight into his composition process help to contextualize the unique nature of the man and his music. One fortuitous happenstance came at the beginning of his journey to become a composer. In 1930, primed by having just attended his first orchestral concert, Schuman saw a sign for the Malkin Conservatory, walked in, and according to him “registered for a course in harmony because he had heard somewhere that composers begin by studying harmony.” This placed him with Max Persin, a teacher more interested in discovering the intricacies of each individual piece rather than regurgitating from quote “a textbook of dull orthodoxy.” Not long after earning a teaching degree from the Columbia University Teachers College, Schuman carved out a teaching and administrative position at Sarah Lawrence College. The way in which this came about is characteristic of Schuman's free-form thinking and commitment to the highest quality in any endeavor he undertook. Schuman convinced the president and Faculty Advisory Committee on Appointments at Sarah Lawrence to make him the quote "one man... coordinator, working from a single focal point" on a new set of freshman focused courses. Schuman connected with the faculty and administration at Sarah Lawrence on a philosophical level, influenced by the progressive education movement of John Dewey and the concept that "making knowledge one's own was the central goal of education…” This desire for individuality and freedom from convention carried over into Schuman's composing. Keenly aware of contemporary trends, Schuman casts the "emergence of a contemporary tonal language" in the twentieth century as "a musical revolution." Referring to contemporary composers (presumably including himself), Schuman posits “[t]he process of seeking a way of creating fresh sounds is a natural one for a truly creative musician. It may be conscious or subconscious, or both. But whatever the process, the result is innovation in musical speech." Even Copland recognized the boldness of Schuman's work, describing it as "music of tension and power," and expounding on his rhythmic writing as "so skittish and personal, so utterly free and inventive."- Schuman's commitment to his own musical and educational standards resulted in his being tapped as president of Juilliard in 1945. Schuman was reluctant to even consider the post because, as Steve Swayne puts it in his biographic work _Orpheus in Manhattan_, “[h]e could see no possible marriage between Juilliard's hidebound, rote education and the progressive, student-oriented approach that he enjoyed at Sarah Lawrence." Partly due to this honesty expressed to Juilliard's board of directors, Schuman was offered and eventually accepted the position. As a sign of the school's desire for change, Schuman immediately made drastic alterations to the Juilliard curriculum and faculty. One program he spearheaded is particularly of note here. Showing his independent thinking and will to move forward, Schuman explains his educational philosophy:> The first requisite for a musician in any branch of the art is that he be a virtuoso listener. It has been a student who is adept at the writing of melodic dictation may be incapable of listening to a symphonic composition with an understanding of its design. In other words, an ability to hear the component parts of the language of music… does not ipso facto mean integrated understanding--an understanding that can only be achieved when the whole work is clearly viewed as the sum of these parts... In an effort to replace conventional theory with more meaningful studies, the Juilliard School has discontinued its Theory Department and added to its curriculum a new department--Literature and Materials of Music.- This is the kind of ideology Schuman applied to his composition and administrative roles. In a 1986 interview, Schuman illustrates the interconnected nature of all his endeavors: "composition has been the continuum of my life's work, but it's been by no matter of means my sole pursuit. I would never be happy just being a composer. I've always wanted and needed to do other things of a general societal nature."####Culture- Even through his compositional process, Schuman shows his independent thinking. Intending not to be bound by the limitations of both his piano skill and of the instrument itself, according to a biography written by Vincent Persichetti, Schuman "writes for the instruments of the orchestra directly... sings the parts at the top of his lungs... because his music is essentially melodic... He does, however, use the piano for new vocabulary departures; that is, for experimentation.”- One more quote by Schuman from 1977, helps summarize his philosophy on the balance of artistic honesty and the ambition needed for such a high profile career he had to that point:> I would like to be loved through my music, as anybody would be. But I recognized that this was not necessarily to be the case, and it would be much better to be despised and write what you want than to be loved and write what you didn't want.… I was asked that question just the other day [in February 1977] … “Why—when you write these difficult symphonies that hardly anybody ever plays, and you can write the New England Triptych or orchestrate Ives' Variations on America—why don't you write a holiday overture that would make you a lot of money and would be played a lot?”- Hopefully the continued reverence of Schuman's music will suffice as an answer to that question.- Schuman's symphonic output is quite varied, ranging from symphonies and concertos to ballet and opera. Schuman got the most mileage out of his symphonies, and he admittedly put most of his focus on their creation. Schuman's symphonies are most representative of all his compositional work, even by his own statements in an interview with Overtones: > “It never occurred to me not to write symphonies... I like every medium in music when I'm working on it… [but] I believe that as long as writers write long and complicated novels, composers are going to write in the symphonic forms, because they give an opportunity that nothing else gives.”- Schuman wrote 10 numbered symphonies, though he “withdrew” the first two.###Analysis of piece####Overall scope- Now to Symphony No. 10, the ‘American Muse' itself.- The recorded excerpts you will hear today are from a 2005 NAXOS recording of the Seattle Symphony conducted by Maestro Gerard Schwarz, a dear friend of this podcast.- Written and premiered in 1976, this symphony was commissioned for the American Bicentennial by the National Symphony Orchestra, and conducted by Antal Dorati. - The work is in 3 movements: Con Fuoco, Larghissimo, and the third movement goes through many different speeds, but does begin and end with a Presto.- The orchestration is outrageously large: 4 flutes, 3 oboes, English horn, Eb clarinet, 3 Bb clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 4 trombones, tuba, percussion that calls for 4 players, timpani, piano, harp, celesta, and strings. Whew! None of this would have been surprising coming from Schuman at that point, but even today that is quite a task to take on.####Excerpts- The opening fanfare sets a tone of muscularity, optimism as Schuman might put it...- And then gives way to a mostly brass chorale, punctuated by moments of woodwind interaction.- Not long after, we have a section of what we call homorhythm. This is when all or large portions of the orchestra are playing the same active rhythms, but not the same notes, in fact they are usually quite dissonantly contrasting notes. It is a powerful effect as Schuman builds a great deal of tension. In this excerpt there is a short unison of homorhythm followed by 2 independent layers.- After spending this entire movement in tonic disarray, giving a bit of tonal center, but then taking it away with swaths of dissonance, Schuman suddenly takes an about face at the end and we get, at first, blips of tonal, recognizable chords, before a final Eb major chord grabs hold and blares to the end as if we had been in that bright, happy key all along!- I LOVE that moment!- The second movement, Larghissimo, is a work of beauty, but you have to stick with it. Schuman lets his slow movements develop as organically as possible from the simplest of musical aspects. Here, he begins basically with a chord cluster, again moving only in homorhythmic motion, and very slowly at first. While the violas and then cellos take the lyrical line, which again does not change very much at all, but makes big glissando jumps when it does.- Then what follows is an iconic Schuman sound if there ever was one, I swear I could pick this writing out from any other composer on the planet. The violins slowly expand a high, and still higher reaching, melodic line over chromatically moving chordal movement in the violas and cellos, and just as the line starts to peak, he opens up the sound more, then again as another peak comes, he adds horns... and on and on, one layer after another. It is a long section, but here is a fairly representative moment. 『- And again, just like in the first movement, though this movement isn't quite so tonally wandering, he lets out all the tension, leaves off with a question mark... and gives us a big, fat, juicy Eb major chord!- The final movement, beginning Presto, starts a series of homorhythmic sections, first strings alone, then trading off with the woodwinds. The activity begins with much space, but quickly becomes lively, almost furious! 『- One element we had yet to come across was Schuman's craftiness with a fugue. Finally, in the last symphonic movement he ever wrote, in order to build up as much energy and tension as possible, Schuman writes a complex double fugue. This is not a tightly formed, rule-following Bach-like fugue you would expect, but most of the elements you would expect are there. It gives him the chance to push forward and pull back at will. One theme is very active, harmonically and rhythmically, while the other is long held out notes with little movement.- Now you must be wondering if and when we get that Eb major chord we've gotten at the end of every other movement. We do! And in similar fashion, Schuman prefaces it with heavy dissonance and confusion. This time, though, the final brilliant chord arrives and finishes in full fanfare. Instant standing ovation!###Closing- Beyond composition, Schuman taught at Sarah Lawrence College, served as president of the Juilliard School, facilitated it's move into the newly built Lincoln Center, founded the Juilliard String Quartet, served as president of Lincoln Center itself, and won 2 Pulitzer Prizes and the National Medal of Arts. Many people desire to change or effect the world in some way. William Schuman did that and more during his time. As long as we perform or hear his music, he still does.Music:Symphony No. 10By: William SchumanPerformed by: Gerard Schwarz; Seattle Symphony OrchestraCourtesy of Naxos of America, Inc.Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week, Jaime, Kelley, and Elaina discuss the excessive racism and disrespect for women within the State of the Union address. One story Trump told involved an adoption as detailed in the New York Times. While it sounds all happy on the surface, a slightly deeper look exposes a situation completely neglecting of the needs of the woman whose child now lives with another family. A second adoption story in the news shows how adoption processes can be problematic. From CNN: “Something was amiss about the story the Ohio-based adoption agency had told Jessica and her husband, Adam, about Mata's background. … Her mother told her it was never her intent to give Mata up for good — that she'd been deceived.”