Podcast appearances and mentions of Paul Lansky

For this episode of Songs of Our Lives, I invite Jeremiah Chiu on the show. He's been on quite a run of incredible records the last couple years, and on February 2nd, it continues with “The Closest Thing to Silence,” a collaboration between himself, Marta Sofia Honer, and the great Ariel Kalma. After talking about how that came together, we keep channel Ariel's spirit and keep things in the posi-zone, talking about Stevie Wonder's all-time greatness, the gravity of Ryuichi Sakamoto, the personal impact of 80s and 90s R&B, Burt Bacharach putting us in a romantic mood, Radiohead recognizing Paul Lansky's genius, Milton Nascimento's all-timer, and loads more!Listen to all of Jeremiah's picks HERE“The Closest Thing to Silence”Jeremiah's WebsiteInternational AnthemAriel Kalma's BandcampBernard Xolotl's BandcampPaul Lansky “More Than Idle Chatter”Songs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyMastodonThe Jewel Garden

For this episode of Songs of Our Lives, I invite Jeremiah Chiu on the show. He's been on quite a run of incredible records the last couple years, and on February 2nd, it continues with “The Closest Thing to Silence,” a collaboration between himself, Marta Sofia Honer, and the great Ariel Kalma. After talking about how that came together, we keep channel Ariel's spirit and keep things in the posi-zone, talking about Stevie Wonder's all-time greatness, the gravity of Ryuichi Sakamoto, the personal impact of 80s and 90s R&B, Burt Bacharach putting us in a romantic mood, Radiohead recognizing Paul Lansky's genius, Milton Nascimento's all-timer, and loads more!Listen to all of Jeremiah's picks HERE“The Closest Thing to Silence”Jeremiah's WebsiteInternational AnthemAriel Kalma's BandcampBernard Xolotl's BandcampPaul Lansky “More Than Idle Chatter”Songs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyMastodonThe Jewel Garden

Greetings! Well...in October I was back in Connecticut for my 50th high school reunion and on the way back I had to make my quarterly pilgrimage to the Princeton Record Exchange and load up, thus the title of today's program, an inquiry from my wife.  I was thrilled to find a bunch of CDs released on Foster Reed's wonderful New Albion label.  I've never been a completist about any label or artist, but I've been making a concerted effort to obtain the New Albion catalog due to their consistent high quality in terms of performances, composers and recording quality. While no longer producing new releases, they are available for digital download. Do check their catalog out. http://www.newalbion.com  Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com Twitter-like x-thing: https://twitter.com/envpusher1    11-25-23 PTE Playlist:  "Where the heck are you going to put all those CDs?"   "Bells & Whistles" from Saranada Schizophrana - conducter: John Mauceri /composer: Danny Elfman - Seranada Schizophrana - Sony Classical (2006) https://www.dannyelfman.com/classical/seranada-schizophrana    One Last Bar, Then Joe Can Sing (1994) - percussion ensemble: Nexus / composer: Gavin Bryars - farewell to philosophy - Point Music (1996) https://gavinbryars.com/    Ari Sleepy Too / Iceberg I - ensemble: Ice Nine / composer: John Cale - Dance Music (composed for "Nico, The Ballet") - Erato/Detour (1998) https://john-cale.com/    Nagoya Guitars - guitar/arrangement: David Tannenbaum / composer: Steve Reich - David Tannenbaum - New Albion (1997)  http://www.newalbion.com/blog/-david-tanenbaum-na095cd    Sleeping Powder/Snapshots of A Ghost - David Toop - Spirit World - Virgin Records (1997) https://davidtoopblog.com/    Not So Heavy Metal - guitar: Steve Mackey / composer: Paul Lansky - smalltalk - New Albion (1994) http://www.newalbion.com/blog/-paul-lansky-smalltalk    Psycho / One Man's Meat - Gary Lucas - Gods & Monsters, vocal: David Johansen - Coming Clean - Mighty Quinn (2006) www.garylucas.com    Limbo - Marco Oppedisano - electroacoustic compositions for electric guitar - OKS recordings of north america (2007) https://marcooppedisano.bandcamp.com/album/electroacoustic-compositions-for-electric-guitar    All Together Now - NOW Ensemble / composer: Patrick Burke - NOW - New Amsterdam Records (2007) https://www.newamrecords.com/albums/now    Finding Gabriel - Brad Melhau - Finding Gabriel - Nonesuch Records (2019) https://www.bradmehldaumusic.com/finding-gabriel    Shaman's Column - David Hykes & Djamchid Chemirani - Windhorse Riders - New Albion (1989) http://www.newalbion.com/blog/-david-hykes-windhorse-riders 

Calma la respiraci

Paul Lansky is the most celebrated and musically influential of the computer musicians at Princeton, and it isn’t only because he was famously sampled by Radiohead on their classic album “Kid A.” His work expanded the boundaries of computer music and speech synthesis for art into territory far from the art’s musically difficult twelve-tone beginnings. In the words of current Princeton Music Professor Dan Trueman, “He invites you to listen however you want… It’s this place you go and your find your own way.” Or as his former student Frances White said, Lansky was able to bring “computer music into a much more open and beautiful place.” This episode is a celebration of the life’s work of Paul Lansky, as well his collaboration with a Princeton engineer, Ken Steiglitz, that made much of that work possible. We’ll hear a wide sweep of his computer music from throughout his multifaceted career. And we’ll look at Lansky’s work building software, as well as the similar efforts of fellow composer Barry Vercoe, whose CSound technology left a lasting imprint on software musicians still use today.

FTT Alum, Marcelina Suchocka went on to become a founding member of Excelsis Percussion Ensemble, a group of amazing women percussionists. They tel their story and then perform "Threads" by Paul Lansky.

Nick and Austin don't need too much wine or sleeping pills to get through the last songs on Kid A. Just get ready for a discussion of old IBM computers, Wagner operas, and Bo Burnham. Nick forces Austin to listen to "Zip-a-Dee-Doo-Dah," while they both rave about Alice Coltrane. For some inexplicable reason, the 1997 film Titanic comes up. They end the podcast with their Kid A Awards.  Songs Discussed:  2:05 - "Idioteque"  18:08 - "Morning Bell"  27:30 - "Motion Picture Soundtrack"  40:30 - The Kid A Awards  https://www.youtube.com/watch?v=0kyuoAsZ_ns (Paul Lansky "Mild und Leise") http://paul.mycpanel.princeton.edu/radiohead.ml.html (Paul Lansky on Radiohead) http://www.columbia.edu/cu/computinghistory/36091.html (IBM 360/91 ) https://en.wikipedia.org/wiki/Tristan_chord (The Tristan Chord) https://en.wikipedia.org/wiki/Tristan_und_Isolde ("Tristan und Isolde" by Richard Wagner) https://www.youtube.com/watch?v=jX-fDKWGbRs ("Idioteque" live at Glastonbury) https://www.netflix.com/title/81289483 (Bo Burnham Inside) https://www.youtube.com/watch?v=ybBkrZZBdx4 ("Short Piece" by Arthur Kreiger) https://www.youtube.com/watch?v=DfkPmbg1ymM (Radiohead parody by Reggie Watts) https://www.vulture.com/2018/07/how-reggie-watts-makes-music.html (How Reggie Watts Makes Music in Vulture) https://www.biblegateway.com/passage/?search=1%20Kings%203%3A16-28&version=CEV (Judgment of Solomon in 1 Kings 3:16-28) https://youtu.be/-iNjNr2HKSA?t=115 ("Morning Bell" monster blip) https://www.youtube.com/watch?v=T2WIvQh2bbs (Acoustic version of Motion Picture Soundtrack) https://www.youtube.com/watch?v=6bWyhj7siEY (Zip-a-Dee-Doo-Dah) https://www.youtube.com/watch?v=-_CyntV0eqg (Alice Coltrane ‎– Journey In Satchidananda) https://www.youtube.com/watch?v=nH6Df5Ndx2w ("I'll never let go" in Titanic) https://www.youtube.com/watch?v=GoIp3fgyT_I (Westworld's Motion Picture Soundtrack Cover) https://www.youtube.com/watch?v=ZeI0PXj7LIw (Motion Picture Soundtrack at a funeral) The "Creep" Award: The Best Song, Begrudgingly or Not Austin: "Idioteque"  Nick: "Kid A" The "Blow Out" Award: Our Personal Favorite Song  Nick: "Kid A" and "Idioteque" Austin: "Everything In Its Right Place"  The "I Can't" Award: Most Improved Song Austin: "In Limbo"  Nick: "In Limbo" and "Treefingers"

Was bewirken die Winterregeln im Potsdamer Stadthavelbereich? Nachdem Frieder und Eric letzte Woche an der Alten Fahrt waren und die Maßnahmen selbst getestet haben, tauschen wir uns jetzt darüber aus, wie gut die Regeln sind. Das machen wir mit Andreas Koppetzki, dem Geschäftsführer des Landesanglerverbandes Brandenburg, und Paul Lansky von den Havelräubern, der viel in der Potsdamer Innenstadt angelt. Zur Erinnerung, die Hinweise sagen folgendes: Im Januar und Februar sind im Potsdamer Innenstadtbereich von Eisenbahnbrücke bis Spitze Freundschaftsinsel Zwillings- und Drillingshaken verboten. Mehr noch: Maximal Einzelhaken Größe 8 der internationalen Skala sind erlaubt. Wir diskutieren, wie sichtbar die Schilder der Maßnahme sind, ob damit das Reißen von Fischen aufhört, ob der Zeitpunkt lang genug ist, wie verständlich Hakengröße 8 ist und welche Alternativmöglichkeiten es gäbe.

Kommissar Frieder Hänger und Wachtmeister Eric Abriss sind mal wieder los und streifen durchs Revier. Havelvampire jagen in Potsdam. Spaß beiseite: Wir waren unterwegs mit unseren Angelkumpels Gregor und Paul Lansky von den Havelräubern. Eine Runde nachts auf Zander angeln und das in der ersten Frostnacht des Jahres. Sieht schön aus, ist aber klirre kalt und auch fängig?! Frieder probiert es, wie gewohnt mit Wobbler. Eric und Gregor beginnen mit Jigkopf und größeren Gummifischen um die 15 Zentimeter. Paul kommt etwas später hinzu, denn er hat Geburtstag. Und, was gibt es besseres, als den mit einer kleinen Nachtsession auf Zander im eigenen Revier zu beenden?! Sätze, die auch wirklich nur Anglerinnen und Angler verstehen. Kopflampe auf und ab dafür!

Kommissar Frieder Hänger und Wachtmeister Eric Abriss sind mal wieder los und streifen durchs Revier. Havelvampire jagen in Potsdam. Spaß beiseite: Wir waren unterwegs mit unseren Angelkumpels Gregor und Paul Lansky von den Havelräubern. Eine Runde nachts auf Zander angeln und das in der ersten Frostnacht des Jahres. Sieht schön aus, ist aber klirre kalt und auch fängig?! Frieder probiert es, wie gewohnt mit Wobbler. Eric und Gregor beginnen mit Jigkopf und größeren Gummifischen um die 15 Zentimeter. Paul kommt etwas später hinzu, denn er hat Geburtstag. Und, was gibt es besseres, als den mit einer kleinen Nachtsession auf Zander im eigenen Revier zu beenden?! Sätze, die auch wirklich nur Anglerinnen und Angler verstehen. Kopflampe auf und ab dafür!

Wer Wind sät, wird Zander ernten! So stürmisch hatten wir uns das nicht vorgestellt und als unser Gastgeber Paul Lansky von den Havelräubern noch meinte: "Wir probieren es flach mit Wobblern.", waren wir schon ein wenig skeptisch. Aber Paul sollte recht behalten... Und keine Sorge, die Episode haben wir vor der Zanderschonzeit in Brandenburg aufgenommen. Frohe Ostern!  

Wer Wind sät, wird Zander ernten! So stürmisch hatten wir uns das nicht vorgestellt und als unser Gastgeber Paul Lansky von den Havelräubern noch meinte: "Wir probieren es flach mit Wobblern.", waren wir schon ein wenig skeptisch. Aber Paul sollte recht behalten... Und keine Sorge, die Episode haben wir vor der Zanderschonzeit in Brandenburg aufgenommen. Frohe Ostern!  

Regen, Rudelbildung, Rätsel! Wetter ist immer – und ein Dauerschauer hält uns auch nicht auf. Wozu gibt es Brücken?! Und genau unter so einer haben wir uns mit Paul Lansky am Sacrow-Paretzer-Kanal getroffen. Kennengelernt haben wir ihn via Instagram, wo er auch mit seiner Crew, den Havelräubern, für Aufmerksamkeit sorgt. Stichwort: kapitale Zander. Wir stellen Euch Paul vor und quatschen viel über das Besondere am Potsdamer Revier und welche Vorteile es hat, sich mit vielen anderen Anglern zusammen zu tun. Kurz, bei uns heißt es wieder mal: Support your local Angler!

Regen, Rudelbildung, Rätsel! Wetter ist immer – und ein Dauerschauer hält uns auch nicht auf. Wozu gibt es Brücken?! Und genau unter so einer haben wir uns mit Paul Lansky am Sacrow-Paretzer-Kanal getroffen. Kennengelernt haben wir ihn via Instagram, wo er auch mit seiner Crew, den Havelräubern, für Aufmerksamkeit sorgt. Stichwort: kapitale Zander. Wir stellen Euch Paul vor und quatschen viel über das Besondere am Potsdamer Revier und welche Vorteile es hat, sich mit vielen anderen Anglern zusammen zu tun. Kurz, bei uns heißt es wieder mal: Support your local Angler!

1. Leo Brouwer’s Sonata del pensador: https://open.spotify.com/playlist/1H3XzKKhXgxS8K0JlA2bZ22. Paul Lansky’s Textures: https://open.spotify.com/playlist/32lNiwD6k9M9hmZN2Qv9MU3. Mazen Kerbaj’s Walls Will Fall: The 49 Trumpets of Jericho: https://open.spotify.com/track/0jSUuU0P8gE2Kd9IqmOvzNYou can listen to these before or after the episode, or you can pause our podcast and go listen to each piece as we introduce them. Panelists:Andrew Oswinkle was born and raised in Baltimore and attends Peabody Conservatory for his masters in Classical Guitar Performance under scholarship. He has played for various events in the area such as ArtScape, the Baltimore Book Festival, the Bach in Baltimore BachFest, and has put on a number of solo recitals in the Baltimore area. Andrew is dedicated to advocacy for the classical guitar by, not only bringing his music to formal concert stages, but also by bringing high-quality music into his local community by playing for local events, schools, and informal venues. He brought Leo Brouwer’s Sonata del pensador and recommends other Brouwer works such as the Danza del Altiplano, Tres Apuntes, and the Concierto no. 2, “de Lieja.” aoguitar.comZoe Fried is a performer, administrator, and arts advocate with an aim to inspire audiences through genuine interaction and creative presentation, currently the Operations Manager with Shriver Hall Concert Series. Zoe performs and producing in venues all across Baltimore, including performing for Dan Deacon's 10th Anniversary release concert for Spiderman of the Rings, and in Deacon’s Baltimore Symphony Pulse collaboration at the Meyerhoff Symphony Hall. She also performs with and serves on the Board of Mind on Fire, a musical arts cooperative, collaboratively presenting contemporary music in Baltimore. She recommends that you check out this live performance of Paul Lansky’s Textures, which we talk about on the episode.Samuel Burt is a composer in Baltimore, composing for orchestra, small groups, piano, and electronic music. He improvises on clarinet, bass clarinet, and daxophone. He is a professor at Towson and Johns Hopkins. He is a member of the High Zero Foundation that runs the Red Room series, focusing on improvised and experimental music. Check out The Free Jazz Collective’s article on the piece Sam brought, Mazen Kerbaj’s Walls Will Fall, Kerbaj’s festival of experimental and contemporary music in Arab countries, and an excerpt of his “duet” with an Israeli bombardment of his town. samuelburt.comMore information at pauseandlisten.com. Pause and Listen was created by host John T.K. Scherch and co-creator/marketing manager Michele Mengel Scherch.

The story behind Radiohead's innovative song, "Idioteque," from their groundbreaking album, Kid A.Show Notes:iTunes Playlist and Spotify Playlist of every song mentioned in this episodeYouTube link to Paul Lansky's original track that Johnny Greenwood usedYouTube link to, "The National Anthem," live on Saturday Night LiveYouTube link to, "Idioteque," live on Saturday Night LiveArticle on why Radiohead released two versions of, "Morning Bell"YouTube link to John Mayer's acoustic cover of, "Kid A"YouTube link to The Beatles' 2018 music video of, "Glass Onion"My Radiohead Essentials List on AmazonSongs of Note Swag StoreFollow on Instagram or FacebookMusic provided by Tyler Ramsey

Josh Quillen has forged a unique identity in the contemporary music world as all-around percussionist, expert steel drum performer (lauded as “softly sophisticated” by the New York Times), and composer. His collaborations with other composers frequently incorporate the steel drums as a core element.A member of the acclaimed ensemble Sō Percussion since 2006, Josh has performed at Carnegie Hall, the Brooklyn Academy of Music, The Lincoln Center Festival, Stanford Lively Arts, and dozens of other venues in the United States. In that time, Sō Percussion has toured Russia, Spain, Australia, Italy, Germany, and Scotland. He has had the opportunity to work closely with Steve Reich, Steve Mackey, Paul Lansky, David Lang, Matmos, Dan Deacon, and many others.Watch here.  Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 intro and hello 1:19 "Cangelosi" 2:35 A bit of Casey's background 11:50 A bit of Josh's background16:00 Talking to students about orchestral excerpts. 21:00 How are our students feeling about the current job market? 34:00 Thoughts on the value of conversation. Podcasting 50:50 Composing? New pan piece for Liam Teague 1:10:35 Pan vibe vs the new music vibe? 1:25:03 Casey vs Pius - Josh vs Todd

Today I’m speaking with the inspiring and very talented guitarist, Jiji.Applauded by the Calgary Herald as “…talented, sensitive…brilliant,” JIJI is an adventurous artist on both classical and electric guitar, playing a wide range of music from traditional and contemporary classical to free improvisation. Her impeccable musicianship combined with compelling stage presence and fascinating repertoire earned her First Prize at the 2016 Concert Artists Guild International Competition.JIJI’s performances have been featured on PBS (On Stage at Curtis series), NPR’s From the Top, WHYY-TV and Hong Kong broadcast station RTHK’s The Works, among others. Her EP recording, Underglow, was released in May 2018, featuring music by Bach, Albeniz, Ginastera and Dyens, in addition to her own composition for electric guitar and electronics.A passionate advocate of new music, JIJI has premiered a duo piece Talking Guitars by renowned composer, Paul Lansky, and recently commissioned Nina C. Young to write a new guitar piece scheduled for premiere during 2018-19.She has also premiered works by many emerging composers including Gabriella Smith, Gulli Björnsson, and Andrew McIntosh.In 2018 she accepted the position of Assistant Professor of Guitar at Arizona State University.Find out more about her http://jijiguitar.com/

Percussionist Cameron Leach and I have a great show for you today!  In addition to some great practice tips, Cameron elaborates on some very important topics, including how to clearly communicate to our audience through intentional and empathetic performing, why students must take ownership of their own learning experience, and why musicians need to be great friends to each other! I love Cameron's perspective on those topics, and I hope you enjoy our discussion! Cameron elaborates on: His journey to a solo career – starting in drumcor, doing a music education degree, and transitioning to performance after a chance encounter How he organizes his practice – having to handle so many instruments Why he likes to practice hungry What it is like to have to learn a wide variety of percussion instruments Ho he transfers the sound concepts from one instrument to the next Different practice modes in practice: Learning mode “Emoting” mode Why he thinks it's important to consider how you are sending your musical message and how it is received by your listeners Clear emotional communication How documenting his practice on video helped him release stress and was a creative outlet Why it's important to keep the sound of the hall in mind when we practice How recording ourselves helps us narrow our focus on specific elements in our practice His 3 key words – inquisitive, intentional, empathetic How students must take ownership of their learning experience (SCHOOLS CAN'T TECH YOU EVERYTHING!) during their degree and remain inquisitive AFTER they've graduated (Pssst! We're all lifelong learners!!!!)     More about Cameron: Website: www.cleachmusic.com YouTube channel: https://www.youtube.com/channel/UCVIL-V9LiebwHS_XbuRbTsw Facebook page: https://www.facebook.com/cleachmusic/ Instagram: https://www.instagram.com/cleachmusic/   Beyond Talent: Creating a Successful Career in Music by Angela Myles Beeching The War of Art: Break Through the Blocks and Win Your Inner Creative Battles by Steven Pressfield   BIOGRAPHY American percussionist Cameron Leach is a bold, high-energy performer acclaimed for his expressive virtuosity, musical athleticism, and daring interpretations. An engaging and thoughtful soloist, Leach has concertized across the United States, Canada, and Europe. He frequently appears as a guest artist at some of the world's finest institutions, including the Royal Danish Academy of Music, Royal Northern College of Music, Estonian Academy of Music and Theatre, and Norwegian Academy of Music. Leach recently won both the Percussive Arts Society International Solo Artist Competition and Yamaha Young Performing Artist Competition, in addition to receiving the prestigious Performer's Certificate from the Eastman School of Music. Along with his active touring schedule, he regularly performs with the Columbus Symphony Orchestra, and serves on the faculty of Kent State University. Leach is endorsed by Black Swamp Percussion, Beetle Percussion, Sabian Cymbals, and Malletech. Highlights from the 2017-2018 season include the debut of his new electroacoustic solo show ELISION, a European Tour as Co-Principal of the World Percussion Group, the world premiere of Paul Lansky's Metal Light for the Percussive Arts Society, and a performance of Jennifer Higdon's Percussion Concerto with the Eastman Wind Ensemble. Additionally, he performed Peter Maxwell Davies' seminal Eight Songs for a Mad King with Ensemble id, a Rochester, NY-based chamber collective. His latest project, the Leach | Peters Percussion Duo, debuted on the Eastman Summer Concert Series in July 2018. Leach's 2018-2019 season is marked by a diverse array of solo appearances, guest artist engagements, and world premieres. Kicking off with a performance at the National Centre for the Performing Arts in Beijing, China, Leach then embarks on recital and clinic tours of California, Florida, and the Midwest, featuring newly commissioned solo works by David Skidmore and Matt Curlee. In March 2019, Leach will give the world premiere of Dave Maric's Percussion Concerto, commissioned for him by the Capital University Conservatory of Music. To close out the season, Leach will serve on faculty at the MalletLab Summer Intensive in West Palm Beach, FL, and will spend a week in residence as the featured artist for the Space City New Music Festival in Houston, TX. Devoted to the creation and performance of new music, Leach continues to commission diverse works for solo percussion, with a focus on the inclusion of electronics. During his time at the Eastman School of Music, the institution supported his vision through the Eastman/ArtistShare Partnership, allowing Leach to organize a commissioning consortium for Decay No. 2, a massive electroacoustic solo work by Matt Curlee. Other premieres include pieces by composers Michael Burritt, Paul Lansky, Jeff Tyzik, Alejandro Viñao, Annie Gosfield, Tim Feeney, Jon Lin Chua, and Frédéric Chiasson. Leach makes regular appearances at the Percussive Arts Society International Convention, having performed with the Eastman Percussion Ensemble and on the Competition Winner's Showcase Concert in 2017, on the Focus Day Series and as a member of the All-Star International Percussion Ensemble in 2015, and with the Rhythm X Indoor Percussion Ensemble in 2011. In addition to his work as a concert artist, Leach also has a strong background in marching percussion, having won world titles with the Blue Devils Drum & Bugle Corps and Rhythm X.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

We’ve got another special edition with Rob and guest of the show, Alex Monroe! Alex is a percussionist living in Chicago, and the Executive Director of Beyond This Point – ooh fancy. They mostly talk about meditation and the philosophy of Buddhism. Coming soon, in part two there’s an interesting introduction to modern / ‘new’ music for you too. NOTE ABOUT THE NOTES: If you’re looking at these show notes in your podcast player like a totally normal person, we don’t blame you; that’s how it should be. There are a lot of media excerpts in these notes however, and we highly recommend that you read the rest of this on our website. Go ahead and open it up in the background while you listen, we won’t mind 13:00 – Threads (mvt. 1), by Paul Lansky – Narration by Alan Watts – Performed by beyond this point and Matthew Duvall. Here’s the video: 16:30 – Alan Watts’ recorded lectures make up the soundtrack for this awesome hippy game called Everything. This is the trailer you heard: Buddhism has transformed Alex’s worldview, even his politics! Rob feels like he had been somewhat Buddhist all along, but didn’t realize it until he read What the Buddha Taught. That Goodreads link has lots of options to buy or check out from a library. 27:20 – Music sampled in the background is from Satyagraha by Philip Glass, someone you’ll hear more about in Part 2. Listen to the full piece here 29:00 – Alex talks about the Headspace app, which is helping him meet his goal of meditating every day for a year! We also play audio from one of the videos just because it’s a cute mix between goofy and interesting. Here’s the Headspace ‘How It Works’ video: 44:00 – Rob refers to some books by Pema Chödrön. A pretty long, but great audiobook he listened to is called Noble Heart. A good, shorter read is The Places That Scare You. If you want some free podcasts of Buddhism, meditation, Q&A sessions with beginners, and much more, check out AudioDharma. You can search for it in your podcast app to subscribe, or go to the website and browse for specific lectures. Rob loves talking about this stuff, so if you want to hear more, figure out a way to let us know and maybe we’ll do more like this episode./ Side note 51:00 – Totally switching gears, Alex needed to vent about his quest to find an auto part that no one had. We’ll be back with Alex Monroe, part 2: New Music in a couple of weeks! Check out beyondthispoint.org for photos, YouTube clips, and other great stuff.

Acclaimed young composer Viet Cuong joins the show to share his thoughts about band music, his work as a composer, and how growing up in the Lassiter band helped him fit in and find his place in the world. Topics: 
Viet’s background and how he got his start as a musician, percussionist, and composer. How band and music helped Viet “find his place” in the world and the importance of band as a place where kids who are struggling to feel accepted have a place where they can fit in and grow. Growing up in the legendary Lassiter Band Program under the baton of Alfred Watkins. Thought about what band directors can do to support young musicians who are writing music or want to become composers. Thoughts about academic music, new music for band, and some insights into building design at Princeton. The Blue Dot Collective Links: Viet Cuong, Composer The Blue Dot Collective Cuong: Diamond Tide Cuong: Moth Stravinsky: Rite of Spring Biography: Called “alluring” and “wildly inventive” by The New York Times, the “ingenious” and “knockout” (Times Union) music of Viet Cuong (b. 1990) has been performed on six continents by musicians and ensembles such as Sō Percussion, Eighth Blackbird, Alarm Will Sound, Sandbox Percussion, the PRISM Quartet, JACK Quartet, Gregory Oakes, Kaleidoscope Chamber Orchestra, Albany Symphony, Jacksonville Symphony, and Cabrillo Festival Orchestra, among many others. Viet’s music has been featured in venues such as Carnegie Hall, Lincoln Center, the Kennedy Center, Library of Congress, Cabrillo Festival of Contemporary Music, Aspen Music Festival, New Music Gathering, Boston GuitarFest, International Double Reed Society Conference, US Navy Band International Saxophone Symposium, and on American Public Radio’s Performance Today. He also enjoys composing for the wind ensemble medium, and his works for winds have amassed over one hundred performances by conservatory and university ensembles worldwide, including at Midwest, WASBE, and CBDNA conferences. Viet holds the Curtis Institute of Music’s Daniel W. Dietrich II Composition Fellowship as an Artist Diploma student of David Ludwig and Jennifer Higdon. Viet received his MFA from Princeton University as a Naumburg and Roger Sessions Fellow, and he is currently finishing his PhD there. At Princeton he studied with Steve Mackey, Donnacha Dennehy, Dan Trueman, Dmitri Tymoczko, Paul Lansky, and Louis Andriessen. Viet holds Bachelor and Master of Music degrees from the Peabody Conservatory of the Johns Hopkins University, where he studied with Pulitzer Prize-winner Kevin Puts and Oscar Bettison. While at Peabody, he received the Peabody Alumni Award (the Valedictorian honor) and the Gustav Klemm Award for excellence in composition. Viet has been a fellow at the Mizzou International Composers Festival, Eighth Blackbird Creative Lab, Cabrillo Festival’s Young Composer Workshop, Copland House’s CULTIVATE emerging composers workshop, and was also a scholarship student at the Aspen, Bowdoin, and Lake Champlain music festivals. Additionally, he has received artist residencies from Yaddo, Copland House, Ucross Foundation, and Atlantic Center for the Arts (under Melinda Wagner, 2012 and Christopher Theofanidis, 2014). Viet is a recipient of the Barlow Endowment Commission, Copland House Residency Award, ASCAP Morton Gould Composers Award, Suzanne and Lee Ettelson Composers Award, Theodore Presser Foundation Music Award, Kaleidoscope Chamber Orchestra Call for Scores, Cortona Prize, New York Youth Symphony First Music Commission, Boston GuitarFest Composition Competition, and Walter Beeler Memorial Prize, among others. In addition, he received honorable mentions in the Harvey Gaul Composition Competition and two consecutive ASCAP/CBDNA Frederick Fennell Prizes. Scholarships include the Evergreen House Foundation scholarship at Peabody, a 2010 Susan and Ford Schumann Merit Scholarship from the Aspen Music Festival and School, and the 2011 Bachrach Memorial Gift from the Bowdoin International Music Festival.

Composer Paul Lansky was a pioneer in computer music -- sounds generated and manipulated by a computer. And then, after decades as an innovative composer of computer music, Paul stopped. He switched his focus to writing for live musicians. He's particularly fond of working with percussionists. This is the story of Paul's journey from the frontier of computer music to the pieces he writes now. You'll also hear a complete performance of "Travel Diary" -- a percussion piece played by the Meehan/Perkins Duo, recorded live at the Bravo! Vail music festival -- in this episode of Centennial Sounds from CPR Classical and Colorado Public Radio.

Joining us this week is Doug Perkins.  Doug has commissioned and premiered over 100 pieces and works with such composers as David Lang, Steve Reich, Paul Lansky, John Luther Adams, Nathan Davis, Larry Polansky, Christian Wolff, Glenn Kotche, Sofia Gubaidulina, and Tristan Perich. He founded the So Percussion and the Meehan/ Perkins Duo, and performs regularly with Signal, eighth blackbird, the Chicago Symphony’s MusicNOW, and others.  He currently teaches at The Boston Conservatory.Watch here. Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 Intro and Hello 1:15 What's up?  Being the Dept. Chair?      3:27 Where/how did you fall in love with drums?  7:16 TBC merging with Berklee?  9:44 New Music Gathering in Boston?     13:41 Casey: What's the sound?  Acoustic Dispersion.  Massive and  excellent laser sound/laser tag tangent 26:00 Getting big projects off the ground?  Chosen Vale percussion  seminar?  35:09 Ben:  Bang On a Can -Julia Wolfe and Michael Gordon   47:10 Doug's podcast series, 5 Days With Doug.    50:43 How you see electronic music as it relates to percussion?

Praised by the New York Times for his "understated but unmistakable virtuosity," Svet Stoyanov is one of the leading percussion soloists of our day. He has appeared at the Lincoln Center, Carnegie Hall, and the Kennedy Center, and has performed under the baton of Pierre Boulez, Marin Alsop, and Gerard Schwarz. As an advocate for contemporary music, he has premiered works by Andy Akiho, Mason Bates, and Paul Lansky. He serves as the Director of Percussion Studies at the University of Miami Frost School of Music.Watch here. Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 Intro and hello 1:45 Ben's teacher?! 4:00 Current projects? 7:50 New audio/video series  13:30 On pushing it, "being a little uncomfortable".  Do as I say not as I do21:20 Megan: Border Percussion story - Inuksuit performed across the Mexico/US border43:35 Ben: Alejandro Vinao1:00:37 Marco Schirripa: Your stage presence?  1:03:25 Will Marinelli:  Premiering the Phillip Glass two-timpani concerto at such a young age?

What happens when the Supreme Court, the highest court in the land, seems to get it wrong? Korematsu v. United States is a case that’s been widely denounced and discredited, but it still remains on the books. This is the case that upheld President Franklin Roosevelt’s internment of American citizens during World War II based solely on their Japanese heritage, for the sake of national security. In this episode, we follow Fred Korematsu’s path to the Supreme Court, and we ask the question: if you can’t get justice in the Supreme Court, can you find it someplace else? Fred Korematsu, c. 1940s (Courtesy of the Fred T. Korematsu Institute)   Fred Korematsu, second from the right, is pictured with his family in the family flower nursery in Oakland, CA, 1939. (Courtesy of the family of Fred T. Korematsu, Wikimedia Commons)  The key voices: Fred Korematsu, plaintiff in Korematsu v. United States who resisted evacuation orders during World War II. Karen Korematsu, Fred’s daughter, Founder & Executive Director of Fred T. Korematsu Institute Ernest Besig, ACLU lawyer who helped Fred Korematsu bring his case to the Supreme Court Lorraine Bannai, Professor at Seattle University School of Law and Director of the Fred T. Korematsu Center for Law and Equality  Richard Posner, retired Circuit Judge for the U.S. Court of Appeals, 7th Circuit The key cases: 1944: Korematsu v. United States The key links: Fred T. Korematsu Institute Densho Archives Additional music for this episode by The Flamingos, Lulu, Paul Lansky, and Austin Vaughn. Special thanks to the Densho Archives for use of archival tape of Fred Korematsu and Ernest Besig.  Leadership support for More Perfect is provided by The Joyce Foundation. Additional funding is provided by The Charles Evans Hughes Memorial Foundation. Supreme Court archival audio comes from Oyez®, a free law project in collaboration with the Legal Information Institute at Cornell.

This story comes from the second season of Radiolab's spin-off podcast, More Perfect. To hear more, subscribe here. What happens when the Supreme Court, the highest court in the land, seems to get it wrong? Korematsu v. United States is a case that’s been widely denounced and discredited, but it still remains on the books. This is the case that upheld President Franklin Roosevelt’s internment of American citizens during World War II based solely on their Japanese heritage, for the sake of national security. In this episode, we follow Fred Korematsu’s path to the Supreme Court, and we ask the question: if you can’t get justice in the Supreme Court, can you find it someplace else?  The key voices: Fred Korematsu, plaintiff in Korematsu v. United States who resisted evacuation orders during World War II. Karen Korematsu, Fred’s daughter, Founder & Executive Director of Fred T. Korematsu Institute Ernest Besig, ACLU lawyer who helped Fred Korematsu bring his case Lorraine Bannai, Professor at Seattle University School of Law and friend of Fred's family Richard Posner, recently retired Circuit Judge for the U.S. Court of Appeals, 7th Circuit  The key cases: 1944: Korematsu v. United States  The key links: Fred T. Korematsu Institute Densho Archives Additional music for this episode by The Flamingos, Lulu, Paul Lansky and Austin Vaughn.  Special thanks to the Densho Archives for use of archival tape of Fred Korematsu and Ernest Besig.  Leadership support for More Perfect is provided by The Joyce Foundation. Additional funding is provided by The Charles Evans Hughes Memorial Foundation. Supreme Court archival audio comes from Oyez®, a free law project in collaboration with the Legal Information Institute at Cornell.

For composer Daniel Wohl, the distinction between a physical performer and an electronic sound is inconsequential. While his music builds on the traditions of heady electronic pioneers like Morton Subotnick and Paul Lansky, he also takes inspiration from pulse-driven dance beats, minimalist chamber music and even visual art. Wohl's latest collection Holographic earned him accolades from both the contemporary classical and independent rock worlds for its seamless integration of live musicians and electronics, and its ability to transcend genre. It's heady but accessible, constructing surreal sonic landscapes as much at home in a concert hall as in an outer-borough warehouse or art space. We join Wohl backstage before his performance at Le Poisson Rouge to discuss the art, appeal and challenges of performing electroacoustic music live. Download selections from Daniel Wohl's Holographic as part of Season Two of LPR Live, with host John Schaefer. Listen to trailblazing new music performed live at Le Poisson Rouge, and enjoy interactions with artists and audience members. Subscribe to LPR Live on iTunes or wherever you get your podcasts. 

Will Dutta - pianist, composer and artist-curator - joins MaJiKer on this Music Meets podcast in which they admire the musique concrète of Justin Bieber, and tracks from The Velvet Underground, Paul Lansky and Portsmouth Sinfonia. They also unearth a madcap track MaJiKer recorded with French artist Camille. Show notes: https://majiker.wordpress.com/2016/05/30/17-music-meets-will-dutta/ More info: www.majiker.com/podcast Tags: music, discussion, review, interview, human beatbox, pop, classical, world music, folk, electro, trip-hop, hop-hop, contemporary, disco, techno, opera, R'n'B, singer-songwriter, sonic art, blues, experimental, garage, country, soul, house, choral, indie, symphony, acapella, jazz, punk... … Continue reading 17) Music Meets – Will Dutta

Seconde partie du spécial Akousma Rene Hell - Mark Fell - Jana Winderen - Seth Nehil - Sylvain Pohu - Robert Normandeau - Paul Lansky Shockabily Watatattow Chronique "Le Navet"

唱片产业和高度发达的音乐媒介令更多人接触到了音乐，但音乐实践的仪式感也被慢慢削弱。音乐的黄金时代是否已经过去？李如一和初洋在本期中讨论了一首神秘的 Kool & the Gang 的单曲、Soulseek、反智与媚俗、以及「谁有权力决定未来的人类能听到哪些音乐」等问题。 相关链接 Kool & the Gang 大友良英 Ground Zero:《革命京剧》 《铃木先生》 《小海女》 梁翘柏 《追忆逝水年华》 坂本龙一《未来派野郎》 坂本龙一《NEO GEO》 灰野敬二 Helmut Schäfer 李如一在 Quora 上关于 Kool & the Gang 的 Power of the Dollar 的问题 万能青年旅店 Simon Reynolds: Retromania Paul Lansky Paul Lansky 谈他和 Radiohead 的合作 King Crimson King Crimson 的《Discipline》 Chapman Stick Oculus VR 人物简介 李如一：字节社创始人。 初洋：骨科主治医生。

It’s that time of year again, when orchestras across the land are dusting off their holiday pops programs and choruses are warming up for Messiahs and sing-a-along carol extravaganzas. But for the recording industry, Christmas music has changed. The big orchestral albums of the sort that conductors like Arthur Fiedler or Eugene Ormandy used to make have fallen by the wayside. So have the grand star vehicles, with a sequined opera diva belting out Christmas songs backed up by a choir and orchestra. But as we hear in this edition of Conducting Business, what remains are plenty of smaller-scale recordings that either attempt to make a cozier or refined spiritual statement (as with many early-music groups), or round up a bunch of stars from different genres to perform the standards. The changes are partly driven by economics, said Anastasia Tscioulcas, who covers classical music for NPR Music. “Where did the recordings go? They’re very expensive to make,” she told host Naomi Lewin. “The big star-studded album with the full symphony orchestra behind them and maybe chorus thrown in for good measure is extremely expensive to produce.” The new realities are a reflection of changes in the classical music business. “The number of stars that have that sort of appeal has descended dramatically,” noted Anne Midgette, classical music critic of the Washington Post. “Renee Fleming and Anna Netrebko are the only opera singers who have that sort of mass appeal.” Of course, Christmas is not a time for snobbery or strict adherence to high-minded artistic ideals, say the panelists. Nostalgia is a big part of what drives the business. Listeners are often attracted to a holiday album by their favorite star, which sticks with them later in life. Steven Epstein, a multi-Grammy Award-winning record producer, says a simpler aesthetic has come to dominate. “The most successful Christmas albums are those where the arrangements are not complex and that the melodies don’t get lost,” he said. Epstein’s imprint can be found on several albums that follow an increasingly popular template: gather together stars from different genres and try and capture some of their respective fan bases. The most recent recording of this sort is “Musical Gifts from Joshua Bell and Friends,” which was released last month, but Epstein cites a similar effort from back in 1989: "Crescent City Christmas," for which Wynton Marsalis was joined by singers like Jon Hendricks and Kathleen Battle. “That is what really brings in the consumer are the additional guest artists,” Epstein noted. Midgette sees no loss in the decline of the diva Christmas record. “Artistically these things are negligible – and I say that as somebody who has my favorite Christmas albums, which have been basically the same since I was about seven." Listen to the full podcast above and tell us below: What are your most and least favorite holiday albums? Sidebar: A Few of our favorite Christmas Recordings Anne Midgette:Christmas from a Golden Age (Naxos) (singers including Victoria de los Angeles, John McCormack, Rosa Ponselle and others)The Messiah Remix (Cantaloupe) (featuring remixed versions by Paul Lansky, Eve Beglarian, Phil Kline and others) Anastasia Tsioulcas:Vince Guaraldi: "A Charlie Brown Christmas"Robert Shaw Chorale: "The Many Moods of Christmas" Steven Epstein:Christmas with the Mormon Tabernacle Choir Naomi Lewin:Britten's Ceremony of Carols (Philadelphia Singers, Benita Valente, Maureen Forrester, David Gordon)...And an honorable mention for worst Christmas collaboration: Michael Bolton and Placido Domingo sing "Ave Maria" from "Merry Christmas from Vienna" .chart_div { width: 600px; height: 300px; } loadSurvey( "which-piece-classical-holiday-music-most-overexpos", "survey_which-piece-classical-holiday-music-most-overexpos");