Podcasts about peabody conservatory

Alex Cousins joined Rockabilly Greg “In the Flamingo Lounge” on February 17, 2025. Alex is a 21st-century musician and performing artist, excelling as a virtuoso cellist. Despite a late start at 14, he soloed with the Buffalo Philharmonic Orchestra just three years later, winning the 2014 Young Musicians Scholarship. A 2020 Peabody Conservatory graduate with a Masters in Music, Cello Performance, Alex blends classical training with pioneering work on the electric cello. After graduating from the Peabody Conservatory, Alex returned to Buffalo where he immersed himself in amplified music, electronics, songwriting, and the electric cello, playing in various local bands from 2022-2024, spanning genres including alternative rock, folk, blues, and pop/indie rock. A seasoned session musician and educator, Cousins mentors young musicians and has recorded with artists including Robby Takac from the Goo Goo Dolls. He regularly performs in Buffalo Public Schools, demonstrating the versatility of acoustic and electric cellos. His collaborations include JoAnn Falletta, Marin Alsop, Leon Fleischer, The Eagles, and he has performed at venues including Kleinhans Music Hall, KeyBank Center Arena, SXSW Festival, and the Music is Art Festival. In 2025, Alex launched "Strings Unbound: An Evening with Alex Cousins," showcasing the electric cello as lead instrument. His seven-piece band will perform reimagined popular music covers from the past 50 years, debuting at The Caz in Buffalo on April 17, 2025.

I was delighted to have the opportunity to sit down with Anne Midgette and Greg Sandow together. Both are influential thinkers and leaders in the world of music, each boasting remarkable careers. Anne served as the music critic for The Washington Post for 12 years, following her tenure at The New York Times. She has co-authored two captivating but distinctly different books: My Nine Lives: A Memoir of Many Careers in Music with Leon Fleisher, and The King and I: The Uncensored Tale of Luciano Pavarotti with Herbert Breslin. Currently, she is working on an exciting new project—a book about Nanette Streicher, the innovative woman who built pianos for Beethoven.Greg Sandow has an equally impressive background, having taught at Juilliard for 25 years and currently teaching at the Peabody Conservatory. His courses at Juilliard included "How to Talk About Music" and "Classical Music in an Age of Pop." Greg has written for a range of prestigious publications, such as The Village Voice, The New York Times Book Review, Opera News, and The Wall Street Journal. Notably, he was the first music critic for Entertainment Weekly and spent three years as the chief pop critic for The Los Angeles Herald Examiner. And here's an interesting detail—Anne Midgette and Greg Sandow are married!In Part 1, we begin by exploring how Anne and Greg first met. From there, the conversation shifts to pop music with Greg offering his unique perspective, including why he believes Taylor Swift holds such significant cultural importance. This leads us into a thoughtful discussion on the relationship between art and commerce. A substantial segment of this part of the interview is devoted to their insights on how orchestras, opera companies, and musicians have evolved over the years and what orchestras can do to build and engage their audiences effectively.[Subscriber Content] In Part 2, we delve into the demanding schedules of successful conductors and musicians, touching on how the greatest artists need space and time to mature their interpretations. Following that, Anne and Greg share their individual writing habits, providing a glimpse into their creative processes. We conclude our conversation by examining revealing differences in how classical music is critiqued compared to pop and rock music.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

This week, journalist Larry Tye discusses his recent book The Jazzmen: How Duke Ellington, Louis Armstrong, and Count Basie Transformed America with reporter Gregory Royal Pratt, accompanied by live jazz from the Richard D. Johnson Trio. This conversation originally took place May 19, 2024 and was recorded live at the American Writers Festival.AWM PODCAST NETWORK HOMEMore about The Jazzmen:From the New York Times bestselling author of Satchel and Bobby Kennedy, a sweeping and spellbinding portrait of the longtime kings of jazz—Duke Ellington, Louis Armstrong, and Count Basie—who, born within a few years of one another, overcame racist exclusion and violence to become the most popular entertainers on the planet.This is the story of three revolutionary American musicians, the maestro jazzmen who orchestrated the chords that throb at the soul of twentieth-century America.Duke Ellington, the grandson of slaves who was christened Edward Kennedy Ellington, was a man whose story is as layered and nuanced as his name suggests and whose music transcended category. Louis Daniel Armstrong was born in a New Orleans slum so tough it was called The Battlefield and, at age seven, got his first musical instrument, a ten-cent tin horn that drew buyers to his rag-peddling wagon and set him on the road to elevating jazz into a pulsating force for spontaneity and freedom. William James Basie, too, grew up in a world unfamiliar to white fans—the son of a coachman and laundress who dreamed of escaping every time the traveling carnival swept into town, and who finally engineered his getaway with help from Fats Waller.What is far less known about these groundbreakers is that they were bound not just by their music or even the discrimination that they, like nearly all Black performers of their day, routinely encountered. Each defied and ultimately overcame racial boundaries by opening America's eyes and souls to the magnificence of their music. In the process they wrote the soundtrack for the civil rights movement.Based on more than 250 interviews, this exhaustively researched book brings alive the history of Black America in the early-to-mid 1900s through the singular lens of the country's most gifted, engaging, and enduring African-American musicians.About the writers:LARRY TYE is a former reporter at the Boston Globe, off now writing books and running a Boston-based fellowship program for health journalists. The Jazzmen is his ninth book, with others including Home Lands, the upbeat tale of a thriving Jewish diaspora; Superman, the biography of America's longest-lasting (Jewish) hero; and Bobby Kennedy, which looks at RFK's transformation from Joe McCarthy's protege to a liberal icon. Tye graduated from Brown University and was a Nieman Fellow at Harvard. Tye is co-spearheading a drive to revive local journalism on Cape Cod, where he spends 90 percent of his time.GREGORY ROYAL PRATT covered every day of Mayor Lori Lightfoot's term and was deeply sourced in City Hall, as well as in the other offices of local, state, and national politics that shaped the mayor's administration. Pratt has won several national awards for his political and investigative reporting and he is a regular commentator about the city on local and national media, including appearances on CNN and NPR.RICHARD D. JOHNSON was invited to become a member of Wynton Marsalis' Septet and the Lincoln Center Jazz Orchestra, which he did from 2000-2005. As a representative of the United States through the U.S. State Department, Richard was named United States Musical Ambassador. Currently Richard is the founding member of “AFAR music” a jazz record label focusing on Jazz and Salsa musicians. Also Richard has been an Assistant Jazz Piano Faculty member at Peabody Conservatory of Johns Hopkins University in Baltimore, MD since 2019. Richard also serves as the piano instructor for the Ravinia Jazz Program located in Chicago, IL.

Warren Wolf's History of the Vibraphone pays tribute to 11 legendary vibe players, including Lionel Hampton, Gary Burton, and Dave Samuels, presenting a deep dive into the vibraphone's jazz legacy. Starting in classical music under his vibraphonist father's guidance, Wolf trained on vibraphone, marimba, xylophone, drums, and piano from a young age in Baltimore. Influenced by his dad's extensive jazz record collection and the local organ trio jazz scene, he eventually studied under Dave Samuels at Berklee, where he later taught. Wolf's rich blend of early classical rigor and exposure to jazz and R&B shaped his style, which now spans swing to fusion.  In History of the Vibraphone, Wolf performs each track as an homage to original artists, joined by saxophonist Tim Green, pianist Alex Brown, bassist Vicente Archer, and drummer Carroll “CV” Dashiell III. Standout selections like Gary Burton's “Captain Señor Mouse” and Samuels's “Spring High” reflect Wolf's influences and his mission to celebrate lesser-known vibes players. Currently a professor at Peabody Conservatory, Wolf remains dedicated to jazz education. Baltimore's thriving scene is central to his work, with venues like Keystone Korner and An Die Musik hosting vibrant jam sessions. Wolf's upcoming tour hints at a possible sequel to this record, potentially honoring Red Norvo, Tito Puente, and Mike Mainieri. ⁠https://njjs.org/⁠ https://www.warrenwolf.com/ History of the Vibraphone https://open.spotify.com/album/0raNJZzMHYyOr9R398NJ3E?si=CkIRJL2-Rm2iFwruCESL-Q

Send us a message!Welcome back to LNXdance with your Co-Hosts, Marcus & Mari! We are excited to continue our celebration of Hispanic/Latine Heritage Month with the wonderful Lourdes del Mar Santiago Lebrón!Instagram: lourdesdelmar_Puerto Rican movement artist, Lourdes del Mar Santiago Lebrón, is committed to creating immersive artistic explorations that provoke curiosity, heighten sensory awareness, and demand attention. Central to their practice is a belief in fostering genuine connections between art maker and audience through raw emotional experiences. Their work often carries a sense of urgency, utilizing art as a powerful tool for expression and communication, facilitating both healing and exploration for all audiences.As a Queer Latine woman, Lourdes is dedicated to crafting unapologetic art that encourages deeper thought, heightened emotional engagement, and fearless life experiences. A graduate of the Peabody Conservatory at Johns Hopkins University, they are currently pursuing an MFA at Washington University in St. Louis. Their research at Washington University in St. Louis includes but is not limited to, dance on the body of the Puerto Rican and the histories, lineages, and politics that inform Puerto Rican dance encounters. The research largely considers national identity as a topic of discussion questioning the diaspora, the nation's sovereignty, nationalism, and art as activism. They are the recipient of the 2024/2025 RADicle Croft Residency and  Artist-in-Residence at the Tyson Research Center in the Spring of 2024. They will present an in-progress research essay, "Cuir (Queer) Reggaetón and the Call for Cuir (Queer) Embodied Puerto Rican Identity," at this year's Dance Studies Association conference in Buenos Aires, Argentina. Their piece a meating, choreographed with Tess Losada Miner, was recently performed at the Fifth Biennial Graduate Student Art History Symposium Making Contact: Haptic, Temporal, Spatial, and Conceptual Connections. In 2023, their piece Un recuerdo del presente was commissioned to be performed at SUMMIT: THROUGH HER RISE at the University of Michigan Department of Dance through a cross-campus partnership between the U-M Museum of Art, the U-M Arts Initiative, and the College of LSA.We are so happy to share their story with you. Comparte el amor with our guest, and let us know your favorite part of this chat.Support the show--Brought to you by MotionScoop Dance Corp, LNXdance Podcast is a series of conversations FOR Latinx dancers and educators BY Latinx dancers and educators. Join Mari & Marcus -M&M- as they dive deep into important topics in the dance industry and explore how being part of the Latinx community affects us, our contributions, decisions, and careers. We hope you enjoy our sip and chat. Don't forget to subscribe and leave a comment with what you loved, questions, and topics for next time! Follow us on our Instagram page, LNXdance, to interact with our community and with us.For business inquiries and to apply to be a guest, please email motionscoopinfo@gmail.com ¡Adiós! Hosts: Marcus Mantilla-Valentin & Mari VasconezSponsors: MotionScoop Dance Corp.

Do you ever feel torn between your performing life, your teaching life, and your family life? Our guest this week on Tales from The Lane, Heather Miller Lardin, was feeling exactly that way until she figured out how to balance it all--making space for what was most important:  Being at the top of her game as a performer Being an incredibly generous mentor and guide for her beloved students Being present for her family (and having the energy they deserve from her) You'll hear how she crafted a bespoke teaching program that gives her students the absolute gold standard of historical performance pedagogy, and has carved out the rest of her schedule with the utmost intentionality to make time for the other parts of her life that are important to her as well.  This episode is full of gems and words of wisdom and experience. You won't want to miss it!  And if you're curious about how the Creatives Leadership Academy can help you to design your life and career with more intentionality so that you can take things up a notch, earn more income, do the gold-standard of whatever it is you love to do, AND have time for the rest of your life, Book a call with me today so we can discuss it! ---> CHAT WITH KATE   Heather Miller Lardin is principal double bassist of the Handel + Haydn Society, director of the Temple University Early Music Ensemble, and co-director of the Philadelphia-based period instrument ensemble Night Music. This season she also appeared with Tempesta di Mare, Bach Choir of Bethlehem, Charlotte Bach Festival, Staunton Music Festival, and Brandywine Baroque. In addition to serving on the faculties of Amherst Early Music and the Viola da Gamba Society of America Conclave, Heather has presented historical bass workshops and master classes at Yale University, James Madison University, and Peabody Conservatory.  Intensely curious about all things historical bass, Heather designs online and in-person workshops engaging like-minded bassists worldwide. Her Baroque Double Bass course is available on discoverdoublebass.com. A graduate of the Curtis Institute of Music, Heather holds a DMA in Historical Performance Practice from Cornell University. She makes her home in the Western suburbs of Philadelphia, where she started playing bass in 6th-grade orchestra. When not teaching, tuning, or chauffeuring teenagers, she might be enjoying a cozy mystery and a good cup of coffee with her two Maine Coon cats. Follow her on IG @heathermillerlardin And be sure to say hi over at @kkayaian 

Guest Bio: Taneea Hull began her musical career in Sioux Falls, SD, when she picked up the clarinet in her fifth grade band and studied with Chris Hill, the principal clarinetist of the South Dakota Symphony. Today, she is an active performer and teacher in the Memphis, TN area. She earned a Bachelor's Degree in Clarinet Performance from the Peabody Conservatory of Music in Baltimore, MD where she studied with Steven Barta. Taneea is principal clarinetist with the Jackson Symphony in TN and performs with other orchestras such as the South Dakota Symphony, the Memphis Symphony, the Memphis Repertory Orchestra, and the Alabama Symphony. She has been a concerto soloist with the Germantown Symphony, the Ocmulgee Symphony, and the Sioux Falls Municipal Band, and was a guest artist with her husband, performing Rhapsody in Blue and playing principal clarinet with the Florida Philharmonic Orchestra. Dawson Hull is a pianist, composer, and conductor living in Memphis, TN. A graduate from the University of Memphis, Peabody Conservatory in Baltimore and Samford University in Birmingham, AL, Dawson has appeared as a featured soloist with numerous symphony orchestras. His compositions and arrangements have been performed across the nation. Dawson is the Pastor of Instrumental Worship Arts at Germantown Baptist Church where he leads the Conservatory of Music, orchestra, jazz band, and student choir. Dawson and his wife, Taneea, who is a clarinetist, have three children. Dawson and I met in the cafeteria of the Peabody Conservatory in Baltimore, MD in 2007. We connected immediately over our shared faith and began dating and playing music together within a few months. But believe it or not, our music wasn't always so harmonious! Dawson was really good at musical details and digging deep into the emotion and meaning of the music. I was really good at rhythm and technical accuracy. We clashed a bit with our critique of each other's weak areas and some rehearsals were….interesting.  But over the past 13 years of composing and performing, we have helped each other immensely to grow in our musicianship, especially in the areas that were lacking at first. God has woven our music together just as he has woven us together in marriage and we love sharing our music with all those around us! We have been dreaming about making an album together ever since Dawson wrote the first thing for us to play - an arrangement of Be Thou My Vision. We were newly married and serving at a church that allowed us to share our music in creative ways. Dawson wrote a few more pieces for us to play there, and then sporadically added to the collection over the next few years. We had ideas for an album and wanted to start working on it but between not having quite enough music and the overwhelming process of learning how to go about making an album, our dream stalled for several years. Then, while being stuck at home in 2020, Dawson turned out about five more arrangements and we suddenly had just the right amount for an album, and enough musical success as a performing duo that we decided it was time to go for it! God weaved the pieces of the puzzle together expertly, confirming that this project was a special assignment from Him. He brought people into our lives to be involved in the production process that have encouraged and allowed us to remain committed to our purpose of serving Him and bringing Him glory through our music. It's hard to believe our dream album is finally done and ready to be shared! Learn more about Taneea and Dawson at http://www.taneeahull.com/ and https://dawsonhull.com/ Support the show at www.patreon.com/clarineat

Connect with USIn this captivating episode of the SLANT podcast, join Dana Tai Soon Burgess as he sits down with dancer and educator, danah bella. As the founding chair of the Dance Department at the Peabody Conservatory, bella has transformed the Bachelor of Fine Arts in Dance program with a focus on interdisciplinary studies and social justice. Her impressive career spans over two decades, featuring roles as an artist-in-residence, award-winning choreographer, and artistic director of d a n a h b e l l a DanceWorks.bella shares her journey from her early days learning dance and history to her current work in reclaiming evocative movement as social practice and her connection to her Filipino Heritage. Learn about her unique approach to dance education and her creative practice to break disciplinary boundaries through sound and movement.Additionally, Bella discusses how her Filipino heritage influences her work and shapes all aspects of her life including her perspective on dance and education. She reflects on the cultural narratives that inform her choreography and the ways in which she incorporates her cultural identity into her teaching.Tune in for an inspiring discussion on the power of dance to foster social change, the importance of interdisciplinary learning, and bella's vision for the future of dance education. danah bella's photo by Salvador Barajas

In the latest episodes of Nopixafterdark, Aaron interviews the OUTCALLS BAND ft Britt Olsen-Ecker & Melissa Wimbish. They discussed what it takes to be a professional in the music industry and in life, and how long it can take to consider oneself a professional. The conversation also touches on the role of sexism in denying women the professional title, and how they have to push back against tired tropes. All this, plus insights on their music and new single! #Nopixafterdark #OUTCALLSBAND #womeninmusic Bio Award-winning operatic pop duo Outcalls creates genre-defying music, and is one of the most in demand musical acts in Baltimore. Led by graduates of the Peabody Conservatory of Johns Hopkins University, Britt Olsen-Ecker and Melissa Wimbish have released three studio albums, including the most recent Greatest Hits, Vol. Email: outcallsband@gmail.com Website: Www.Outcallsband.com Instagram: @outcallsband Facebook: @outcallsband  

On Midday on the Arts, acclaimed soprano Nola Richardson joins the show to preview her weekend concert with Pro Musica Rara, an early-music ensemble that's been a beloved fixture on the Baltimore music scene for decades. Richardson is an Australian-American soprano who did part of her graduate work at the Peabody Conservatory, before heading to Yale University where she earned a doctorate in musicEmail us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

March 19, 2024 – Outcalls to release new single Blast!, produced by David Rosenthal, Billy Joel's music director, on March 22nd. The song will be streaming on all major platforms. The interview was on March 22,2024 on Facebook live at Night Traxx Radio  Britt Olsen-Ecker & Melissa Wimbish Outcalls' Blast! is the latest hit single from the award winning operatic pop duo out of Baltimore. Outcalls worked in collaboration with David Rosenthal, Billy Joel's music director, at Peabody Conservatory to create their latest single. 

FOR IMMEDIATE RELEASE BALTIMORE, MD: March 19, 2024 – Outcalls to release new single Blast!, produced by David Rosenthal, Billy Joel's music director, on March 22nd. The song will be streaming on all major platforms. Outcalls' Blast! is the latest hit single from the award winning operatic pop duo out of Baltimore. Outcalls worked in collaboration with David Rosenthal, Billy Joel's music director, at Peabody Conservatory to create their latest single. The song was inspired by the love triangle involving Lisa Nowak, former astronaut, who in 2007 drove from Houston to Orlando to confront her former lover's ex-girlfriend. The “electronic pop queens” of Baltimore continue their genre-defying music with Blast!. Featuring indelible guitar riffs, smoky saxophone, and flawless vocal harmonies. This song will melt your ears. Outcalls is led by graduates of the Peabody Conservatory. Britt Olsen-Ecker and Melissa Wimbish have released three studio albums, including their most recent, Greatest Hits, Vol. 1 (2022). They have composed music for multiple film projects, notably the major motion picture Crisis (2021) starring Evangeline Lilly, Gary Oldman, and Lily-Rose Depp. Elliott Rauh - manager

My guest is cellist, creator and collaborator Alex Cousins.    A classically trained musician and Peabody Conservatory graduate, Alex has performed as a soloist with the Buffalo Philharmonic Orchestra, played with a variety of original alternative bands, and been seen and heard in venues from Western New York to Italy.    But what sets Alex apart is his passion for the electric cello, a unique instrument that he employs in his quest to stretch the envelope and challenge the notion of what a 21st century musician can be.    Alex is a musical seeker whose tastes run from Bach to Alternative rock, and so many genres in between. Today, he'll tell us his story, and introduce us to the magical world of the electric cello.   Take it away, Alex!

This week, Dalanie and Katie discuss the short film, The Last Repair Shop. IN THIS EPISODE PURCHASE OUR MERCH!: https://www.classicallyblackpodcast.com/store JOIN US ON PATREON! https://patreon.com/ClassicallyBlackPodcast SIGN UP FOR OUR MAILING LIST! https://www.classicallyblackpodcast.com/newsletter-sign-up FOLLOW US ON SOCIAL MEDIA! https://linktr.ee/classicallyblack Donate to ISBM! https://fundraising.fracturedatlas.org/international-society-of-black-musicians Check out our website: https://www.isblackmusicians.com Woman was shushed during performance of Swan Lake so her husband broke shusher's eye https://metro.co.uk/2024/01/29/ballet-fan-repeatedly-punched-left-broken-eye-socket-swan-lake-20187994/ Peabody Conservatory to Meet Full Student Financial Need and Eliminate Loans https://hub.jhu.edu/2024/02/02/peabody-conservatory-student-financial-aid/ Colburn's Fortissima program - DEADLINE EXTENDED TO MARCH 15 https://www.colburnschool.edu/community-initiatives/fortissima/ Louisville Orchestra Creators Corps - DEADLINE MARCH 1 https://louisvilleorchestra.org/creators-corps/ Watch The Last Repair Shop https://youtu.be/xttrkgKXtZ4?si=kdtFYkN51xnu-wK8 FROM LAST WEEK: Register for Notes Noire https://docs.google.com/forms/d/e/1FAIpQLSeN56JaI89cmwv5xDcLq889kE5eRvoBFsh_GRoBfAdkwbYM-A/viewform Help Emanuel attend Violin Making School https://www.gofundme.com/f/help-emanuel-attend-violin-making-school?utm_campaign=p_lico+share-sheet&utm_location=FIRSTTIME&utm_medium=copy_link&utm_source=customer Black Excellence: Camden Bonsu-Stewart https://www.camdenmusique.com/ Piece of the Week: La Mer - Claude Debussy https://youtu.be/y1hWp4pQpAs?si=3Ll9T2FMulQ3zeFJ

We start off the new year by welcoming Dr. Joseph Van Hassel, Chair of the UNCP Department of Music, and Kalem Graham, Director of the 'Spirit of the Carolinas' Marching Band, for a conversation about musical activities on campus and beyond. We discussed what brought each of them to music as a career, and what they studied along the way. We learned more about what research and scholarship looks like in the performing arts, and the two shared how their work in the classroom informs growth as performers, and in the study of education and teaching. As educators monitor the long-lasting changes in public school programming brought by the Covid-19 pandemic, more is learned about how to respond at the university level.  As one of the major performing ensembles in the department, the 'Spirit of the Carolinas' Marching Band not only entertains, but has been a training ground for student leadership for decades. Students work in all aspects of the ensemble's organization, including music, technology, personnel, and facilities management, in the stadium, on the road, in Moore Hall, and on the practice field. Students assist with storing and caring for uniforms and equipment, leading instrumental and color guard sectional rehearsals, group rehearsals as Captains, and for some, leading the entire band as Drum Majors. In each spring semester members of the band re-form into the Pep Band to support men's and women's' basketball, continuing to work on these important leadership skills across the year.  The 'Spirit of the Carolinas' joins the Wind Ensemble and Concert Band, Percussion Ensemble, University Chorale, Vocal Jazz Ensemble, Orchestra, Jazz Combos and Ensembles, and many other chamber groups across the department, open to majors and non-majors alike.  Join us as we celebrate the study, performance, and teaching of music and the great work being done by students in Moore Hall in collaboration with faculty, staff, and community. Featured on this episode are L to R: Dr. Joanna Hersey, Dr. Joseph Van Hassel, Mr. Kalem Graham, and Dr. Richard Gay, and we are back to recording in the Radio Room in Old Main with thanks to our Department of Mass Communication for their assistance.  'Spirit of the Carolinas' Marching Band Director Kalem Graham with the Pep Band Seniors and Music Department Staff Member Meggan Hollis. 'Spirit of the Carolinas' Marching Band on parade and on the field showing off the new uniforms! Dr. Joseph Van Hassel traveled to Japan in summer of 2023 to perform and teach at Senzoku Gakuen College of Music and at the Takasaki City Theater. Learn More: Visit the 'Spirit of the Carolinas' Home Page and follow them on Instagram and Facebook  The UNCP Department of Music Calendar is updated routinely and the best way to stay connected with event information! Visit Dr. Joseph Van Hassel's website to hear recent performances and find information about recordings and publications Joseph Van Hassel is a North Carolina-based percussionist specializing in orchestral and chamber music. Performance highlights include Carnegie Hall, the Cincinnati MusicNow Festival, the Percussive Arts Society International Convention, the International Tuba Euphonium Conference, and the Hindemith Center in Switzerland. He can be heard on recordings for the Innova, Mode, Equilibrium, nobrow.sounds, and Ohio Percussion record labels, and his solo CD of percussion commissions is available on Soundset Recordings. He is published in Percussive Notes, and his compositions are published by Media Press and PerMus. An active educator, Joseph has presented master classes and given solo performances at numerous universities, including the Manhattan School of Music, Peabody Conservatory, Senzoku University in Japan, and the Center for New Music and Audio Technologies at the University of California at Berkeley. He is on the percussion faculty at the University of North Carolina at Pembroke, and previously taught at Ohio University and Blue Lake Fine Arts Camp.  Joseph earned degrees from the Hartt School, the Cincinnati College-Conservatory of Music, and Ohio University. He also spent time studying music and dance in Ghana, West Africa. For more information please visit his website: josephvanhassel.com   Find the episode transcript here Follow UNCP's College of Arts and Sciences  on Facebook, Twitter/X@uncpcas and Instagram@uncpcas

As an inaugural episode of the new year, we had the privilege of interviewing Dr. Michael Coonrod, a distinguished Classical Pianist, Recording Artist, Educator, and Arranger specializing in music for the Left Hand Alone

Step into the world of music with Grammy-winning producer Paul Costa Avgerinos. Delve deep into his artistic journey, from composing soothing melodies that comfort souls to his collaborations with icons like Deepak Chopra. Join us as Paul shares insights into his creative process, business ventures, and the transformative power of prayer, visualization, and affirmations in music and life. What Paul Loves Most About What He does: “I get to make soothing beautiful peaceful music, to calm and comfort the hearts of many souls…” In this episode we discuss: Career Odyssey in Music: Insights into Paul's diverse musical journey and venturing into the business side of the industry. Creative Inspiration: Discover the creative process behind transforming a book into musical compositions, with insights from his work on Deepak Chopra's "Musical Meditations." Navigating Doubt and Success: Paul shares personal anecdotes on overcoming setbacks and doubts, especially in the Grammy nomination process. Evolution of Sound: Exploring the evolution of ambient, space, and electronic music and how technology shapes modern music production. Advice for Aspiring Musicians: Valuable advice and strategies for budding musicians looking to transform their passion into a sustainable career. About: Paul Avgerinos is a Multi-Grammy® Winning artist and producer with over 200 million streams. He's a classically trained multi-instrumentalist and singer with 33 critically acclaimed Ambient New Age albums. Paul is also very active composing & licensing music for film and TV with a catalog of over 9,000 tracks. A full scholarship Graduate of Peabody Conservatory. Paul lives and works in Redding, CT, where the deer pass by his studio windows and the hawks and eagles give inspiration from above. Follow Kristin: IG: @meetkristin Twitter: @meetkristin Follow Paul: IG: @PaulAvgerinos roundskymusic.com Show Notes: Step into the world of music with Grammy-winning producer Paul Costa Avgerinos. Delve deep into his artistic journey, from composing soothing melodies that comfort souls to his collaborations with icons like Deepak Chopra. Join us as Paul shares insights into his creative process, business ventures, and the transformative power of prayer, visualization, and affirmations in music and life. Listen to Paul's Newest Christmas Album Shanti Noel - at https://orcd.co/ykx0oxl

Johns Hopkins University is moving forward with its plan to form a private police force, which will be deployed at its Homewood Campus, the hospitals and medical school in East Baltimore and at the Peabody Conservatory in Baltimore's Mt. Vernon neighborhood. The MD General Assembly established laws governing the formation of the agency in 2019. In 2020, the university paused its plans for two years, after protests from students, faculty, and community members. Today on Midday, my guest is the Vice President for Public Safety at Johns Hopkins, Dr. Branville Bard, Jr. He will head the police force, which is currently slated to become operational next summer.Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

On today's episode of 'Conversations On Dance', we are joined by Marina Harss, author of 'The Boy From Kyiv', the life story of the great choreographer Alexei Ratmansky. We talk to Marina about her own journey to writing dance, how she came to admire and love Ratmansky's work and what her process was researching and developing the book. You can purchase 'The Boy From Kyiv' at your local bookstore or on Amazon: https://amzn.to/3Ql3WMa.THIS EPISODE'S SPONSOR:The BFA Dance program at the Peabody Conservatory of the Johns Hopkins University prepares students to be at the forefront of dance innovation through performance, choreographic and critical historical and theoretical exploration. Studying dance at Johns Hopkins, one of the world's premier research institutions, gives students the opportunity to make connections between dance, science, technology, and the humanities. Submit your application by December 1st. Learn more at Peabody.jhu.edu/dancebfaLINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

On today's episode of 'Conversations On Dance', we are joined by choreographer Hope Boykin. We catch up with Hope about her retirement and transition to full time choreographer, as well as her process and preparation for her new work 'States Of Hope' that will premiere at the Joyce Theater this October 17th and run through October 22nd. If you are in the New York area and would like to purchase tickets, visit joyce.org/performances. Listen to our first episode with Hope from the 2019 Vail Dance Festival: https://www.conversationsondancepod.com/episodes-transcripts/hope-boykin-2019-vail-dance-festival.THIS EPISODE'S SPONSOR:The BFA Dance program at the Peabody Conservatory of the Johns Hopkins University prepares students to be at the forefront of dance innovation through performance, choreographic and critical historical and theoretical exploration. Studying dance at Johns Hopkins, one of the world's premier research institutions, gives students the opportunity to make connections between dance, science, technology, and the humanities. Submit your application by December 1st. Learn more at Peabody.jhu.edu/dancebfaLINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

Pianist Jeffrey Chappell reflects on his life and his formative mentorships first with pianist Jane Allen, and later with the legendary Leon Fleisher.  In this encore episode, Jeffrey reveals his early childhood genesis story with the piano; his studies at the Curtis Institute and Peabody Conservatory, and path that led him to an astounding last minute substitution for Claudio Arrau with the Baltimore Symphony. He addresses overcoming challenges and adversity and speaks about his lifelong meditation practice and his book Answers from Silence. Support the show

In this deliciously entertaining episode, we sit down with the dynamic Elio Scaccio. A performing artist since his early childhood, Elio has honed his talent through dedicated study, including jazz vocal techniques and classical training at the prestigious Peabody Conservatory at Johns Hopkins. Now, Elio is a renowned crossover performer, gracefully straddling the worlds of classical, pop standards, Italian ethnic, and occasionally, vintage rock music.As a cherished member of The Sicilian Tenors, Elio along with his fellow tenors, takes audiences on an enchanting musical journey from Hollywood to Broadway to Italy. Celebrated for their rich tenor voices and lighthearted fun, they captivate listeners worldwide, from Carnegie Hall and NBC's Saturday Night Live studio to major sporting events and Italian festivals nationwide.But there's more to Elio than his extraordinary music career. He's also the Festival Chair for the upcoming Maryland Italian Festival, the largest celebration of Italian culture in the state. Scheduled for September 29 - October 1, 2023, the festival promises a kaleidoscope of experiences, including live entertainment, carnival rides, Italian food vendors, cooking and wine demos, and much more.Additionally, we'll discuss the commendable work of the Society of Italian American Businessmen (SIAB), a fellowship rooted in shared faith and shared Italian-American heritage. Discover how this Harford County-based group of ethical and moral businessmen come together to support non-profits in Maryland, promote Italian heritage, and contribute to the education of young Italian-American students through scholarships.Here are links for you to bookmark, save, follow, memorize, write down, and to share with others:Get your story told and book written. Schedule a call with Mike Ulmer at Select a Date & Time - CalendlyMaryland Pro Wash In Harford County, Baltimore County, Cecil County, Howard County, Anne Arundel County, Carroll CountDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showFollow the Conversations with Rich Bennett podcast on Social Media:Facebook – Conversations with Rich Bennett & Harford County LivingFacebook Group (Join the conversation) – Conversations with Rich Bennett podcast group | FacebookTwitter – Conversations with Rich Bennett & Harford County LivingInstagram – Harford County LivingTikTok – CWRB (@conversationsrichbennett) | TikTok Sponsors, Affiliates, and ways we pay the bills:Recorded at the Freedom Federal Credit Union StudiosHosted on BuzzsproutRocketbookSquadCast Contests & Giveaways Subscribe by Email ...

Chris Merrill is founder of Practical Naam, a production company whose music division creates beautiful original music tracks and practical teaching aides such as specific tracks for yoga, meditation, breathwork and prayer.   As a yogi, performing artist, teacher and music producer, Chris combines these talents to create tools that are relevant, musically interesting and practical.  Born into the world of the professional performing arts through his renowned family, Chris graduated from Interlochen Arts Academy and the Peabody Conservatory of Music at Johns Hopkins University.  His business Practical Naam has released 17 albums from 8 different series, each dedicated to a specific aspect of Naam Yoga, Shakti Naam Yoga, and Universal Kabbalah as taught by Dr. Joseph Michael Levry.  Each track is specifically designed to meet a need in the repertoire of a teacher or student, and details such as track purpose, track use, tempo, track length, breath, repetitions, and more are taken into account to create a truly useful and practical tool for teaching, for practicing an authentic spiritual growth. We discuss What is high-vibration music How to use Kundalini mantras and affirmations The 3 ways to raise your kundalini Why music raises our consciousness Using the moon cycles to launch new goals Music to listen to that raises your vibration Learn more about Chris Merrill and listen to his music at https://www.chrismerrillyoga.com Website: Learn more about High Vibration Living with Chef Whitney Aronoff on www.StarseedKitchen.com Sponsor: Get 10% off your order of Chef Whitney's organic spices with code STARSEED on www.starseedkitchen.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 99 Crosscurrents in Electronic Tape Music in the United States Playlist Louis and Bebe Barron, “Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin, who also appeared in the film. The Barrons were credited with “Electronic Music.” The Barrons scored three of Ian Hugo's short experimental films and this is the earliest, marking an early start for tape music in the United States. Bebe told me some years ago about a work called “Heavenly Menagerie” that they produced in 1950. I have written before that I think this work was most likely the first electronic music made for magnetic tape in the United States, although I have never been able to find a recording of the work. Bells of Atlantis will stand as an example of what they could produce in their Greenwich Village studio at the time. They were also engaged helping John Cage produce “Williams Mix” at the time, being recordists of outdoor sounds around New York that Cage would use during the process of editing the composition, which is described below. The Forbidden Planet soundtrack, their most famous work, was created in 1956. 8:59 John Cage, “Williams Mix” (1952) from The 25-Year Retrospective Concert Of The Music Of John Cage (1959 Avakian). Composed in 1952, the tape was played at this Town Hall concert a few years later. Premiered in Urbana, Ill., March 22, 1953. From the Cage database of compositions: “This is a work for eight tracks of 1/4” magnetic tape. The score is a pattern for the cutting and splicing of sounds recorded on tape. Its rhythmic structure is 5-6-16-3-11-5. Sounds fall into 6 categories: A (city sounds), B (country sounds), C (electronic sounds), D (manually produced sounds), E (wind produced sounds), and F ("small" sounds, requiring amplification). Pitch, timbre, and loudness are notated as well. Approximately 600 recordings are necessary to make a version of this piece. The compositional means were I Ching chance operations. Cage made a realization of the work in 1952/53 (starting in May 1952) with the assistance of Earle Brown, Louis and Bebe Barron, David Tudor, Ben Johnston, and others, but it also possible to create other versions.” This was a kind of landmark work for John as he explored the possibilities of working with the tape medium. It is the only work from this period, created in the United States, for which there is an original recording of a Cage realization. He also composed “Imaginary Landscape No. 5” in 1952 for 42-disc recordings as a collage of fragments from long-playing records recorded on tape (he preferred to use jazz records as the source), put together with the assistance of David Tudor. Though some modern interpretations exist, there is no recording from the 1950s of a Cage/Tudor realization so I am unable to represent what it would have been like at that time. 5:42 Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:54 Otto Luening, “Fantasy in Space” (1952) from Tape Music An Historic Concert (1968 Desto). Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:51 Otto Luening and Vladimir Ussachevsky, “Incantation” (1953) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:34 Henry Jacobs, “Sonata for Loudspeakers” (1953-54) from Sounds of New Music (1958 Folkways). “Experiments with synthetic rhythm” produced by Henry Jacobs who worked at radio station KPFA-FM in Berkeley. Jacobs narrates the track to explain his use of tape loops and recorded sound. 9:29 Jim Fassett, track “B2” (Untitled) from Strange To Your Ears - The Fabulous World of Sound With Jim Fassett (1955 Columbia Masterworks). “The fabulous world of sound,” narrated with tape effects, by Jim Fassett. Fassett, a CBS Radio musical director, was fascinated with the possibilities of tape composition. With this recording, done during the formative years of tape music in the middle 1950s, he took a somewhat less daring approach than his experimental counterparts, but a bold step nonetheless for a national radio audience. He hosted a weekend program called Strange to Your Ears to showcase these experiments and this album collected some of his best bits. 8:15 Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach) and “Nola” (Arndt) and “Home, Sweet Home” from The Sounds and Music of the RCA Electronic Music Synthesizer (1955 RCA). These “experimental” tracks were intended to demonstrate the range of sound that could be created with RCA Music Synthesizer. This was the Mark I model, equipped with a disc lathe instead of a tape recorder. When it was upgraded and called the Mark II in the late 1950s, it became the showpiece of the Columbia-Princeton Electronic Music Center. Here we listen to three tunes created by Harry F. Olsen, one of the inventors, in the style of a harpsichord, a piano, and “an engineer's conception of the music.” 5:26 Milton Babbitt, “Composition For Synthesizer” (1960-61) (1968 Columbia). Babbitt was one of the only composers at the Columbia-Princeton Electronic Music Center who composed and produced works based solely on using the RCA Music Synthesizer. Most others took advantage of other tape processing techniques found in the studio and not controlled by the RCA Mark II. It took him quite a long time to work out all of the details using the synthesizer and his meticulous rules for composing serially. On the other hand, the programmability of the instrument made it much more possible to control all the parameters of the sound being created electronically rather than by human musicians. This work is a prime example of this kind of work. 10:41 Tod Dockstader, “Drone” (1962) from Drone; Two Fragments From Apocalypse; Water Music (1966 Owl Records). Self-produced album by independent American composer Dockstader. This came along at an interesting period for American elecgtronic music, sandwiched between the institutional studio work being done at various universities and the era of the independent musician working with a synthesizer. Dockstader used his own studio and his own devices to make this imaginative music. This was one of a series of four albums featuring Dockstader's music that were released on Owl in the 1966-67 timeframe. They have all been reissued in one form or another. Here is what Dockstader himself wrote about this piece: “Drone, like many of my other works, began life as a single sound; in this case, the sound of racing cars. But, unlike the others, the germinal sound is no longer in the piece. It's been replaced by another a guitar. I found in composing the work that the cars didn't go anywhere, except, seemingly, in circles. The sound of them that had interested me originally was a high to low glissando the Doppler effect. In making equivalents of this sound, I found guitar glissandos could be bent into figures the cars couldn't. . . . After the guitar had established itself as the base line of the piece, I began matching its sound with a muted sawtooth oscillator (again, concrete and electronic music: the guitar being a mechanical source of sound, the oscillator an electronic source). This instrument had a timbre similar to the guitar, with the addition of soft attack, sustained tones, and frequencies beyond the range of the guitar. . . . The effect of the guitar and the oscillator, working together, was to produce a kind of drone, with variations something like the procedure of classical Japanese music, but with more violence. Alternating violence with loneliness, hectic motion with static stillness, was the aim of the original piece; and this is still in Drone, but in the process, the means changed so much that, of all my pieces, it is the only one I can't remember all the sounds of, so it continues to surprise me when I play it.” (From the original liner notes by Dockstader). 13:24 Wendy Carlos, “Dialogs for Piano and Two Loudspeakers” (1963) from Electronic Music (1965 Turnabout). This is an early recording of Wendy, pre-Switched-on Bach, from her days as a composer and technician. In this work, Carlos tackles the task of combining synthesized sounds with those of acoustic instruments, in this case the piano. It's funny that after you listen to this you could swear that there were instruments other than the piano used, so deft was her blending of electronic sounds with even just a single instrument. 4:00 Gordon Mumma, “Music from the Venezia Space Theater” (1963-64) (1966 Advance). Mono recording from the original release on Advance. Composed at the Cooperative Studio for Electronic Music in Ann Arbor, Michigan. This was the studio created by Mumma and fellow composer Robert Ashley to produce their electronic tape works for Milton Cohen's Space Theater on Ann Arbor, which this piece tries to reproduce. The original was a quad magnetic tape. It was premiered at the 27th Venezia Bianale, Venice, Italy on September 11, 1964 and comprised the ONCE group with dancers. 11:58 Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Realized at the Electronic Music Studio of Brandeis University. This work was produced in the Brandeis University Electronic Music Studio and was her first work of electroacoustic music. In 1964 she began a Doctor of Musical Arts program in composition, including studies in electronic music, at the University of Toronto and completed the degree in 1972. Ivey founded the Peabody Electronic Music Studio in 1967 and taught composition and electronic music at the Peabody Conservatory of Music until her retirement in 1997. Ivey was a respected composer who also sought more recognition for women in the field. In 1968, she was the only woman composer represented at the Eastman-Rochester American Music Festival. Her work in electronic music and other music was characteristic of her general attitude about modern composing, “I consider all the musical resources of the past and present as being at the composer's disposal, but always in the service of the effective communication of humanistic ideas and intuitive emotion.” 6:12 Pauline Oliveros, “Bye Bye Butterfly” (1965) from New Music for Electronic and Recorded Media (1977 1750 Arch Records). This was composed at the San Francisco Tape Music Center where so many west coast composers first found their footing: Terry Riley, Steve Reich, Jon Gibson, Pauline Oliveros, Stuart Dempster, Morton Subotnick, Ramon Sender all did work there around this time. Oliveros was experimenting with the use of tape delay in a number of works, of which “Bye Bye Butterfly” is a great example. 8:05 Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965) from Dresden / Venezia / Megaton (1979 Lovely Music). Composed at the Cooperative Studio for Electronic Music (Ann Arbor, Michigan). Remixed at The Center for Contemporary Music, Mills College (Oakland, California). This tape piece was premiered at the sixth annual ONCE Festival in Ann Arbor where Mumma configured an array of sixteen “mini speakers” to surround the audience and project the 4-channel mix. The middle section of the piece contains the “harrowing roar of live, alcohol-burning model airplane engines.” (Mumma) This anti-war piece was presented in the 20th anniversary of the Allied fire-bombing of Dresden near the end of World War II. 12:14 Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965) from Electronic Music from the University of Illinois (1967 Heliodor). From Gaburo: “Lemon Drops” is one of a group of five tape compositions made during 1964-5 referencing the work of Harry Partch. All are concerned with aspects of timbre (e.g., mixing concrete and electronically generated sound); with nuance (e.g., extending the expressive range of concrete sound through machine manipulation, and reducing machine rigidity through flexible compositional techniques); and with counterpoint (e.g., stereo as a contrapuntal system).”(see). 2:52 Steve Reich, “Melodica” (1966) from Music From Mills (1986 Mills College). This is one of Reich's lesser-known phased loop compositions from the 1960s. It is “composed of one tape loop gradually going out of phase with itself, first in two voices and then in four.” This was Reich's last work for tape before he transitioned to writing instrumental music. 10:43 Pril Smiley, “Eclipse” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Pril Smiley was 1st finalist and realized “Eclipse” at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work: “Eclipse” was originally composed for four separate tracks, the composer having worked with a specifically-structured antiphonal distribution of compositional material to be heard from four corners of a room or other appropriate space. Some sections of “Eclipse” are semi-improvisatory; by and large, the piece was worked out via many sketches and preliminary experiments on tape: all elements such as rhythm, timbre, loudness, and duration of each note were very precisely determined and controlled. In many ways, the structure of “Eclipse” is related to the composer's use of timbre. There are basically two kinds of sounds in the piece: the low, sustained gong-like sounds (always either increasing or decreasing in loudness) and the short more percussive sounds, which can be thought of as metallic, glassy, or wooden in character. These different kinds of timbres are usually used in contrast to one another, sometimes being set end to end so that one kind of sound interrupts another, and sometimes being dovetailed so that one timbre appears to emerge out of or from beneath another. Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” (From the original liner notes by Smiley.) 7:56 Olly W. Wilson, “Cetus” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Olly W. Wilson was the competition Winner with “Cetus.” It was realized in the studio for Experimental Music of the University of Illinois. Olly Wilson wrote about the work: “the compositional process characteristic of the “classical tape studio” (the mutation of a few basic electronic signals by means of filters, signal modifiers, and recording processes) was employed in the realization of this work and was enhanced by means of certain instruments which permit improvisation by synthesized sound. Cetus contains passages which were improvised by the composer as well as sections realized by classical tape studio procedures. The master of this work was prepared on a two channel tape. Under the ideal circumstances it should be performed with multiple speakers surrounding the auditor.” (Olly Wilson. The Avant Garde Project at UBUWEB, AGP129 – US Electronic Music VIII | Dartmouth College Competition (1968-70). 9:18 Alice Shields, “The Transformation of Ani” (1970) from Columbia-Princeton Electronic Music Center Tenth Anniversary Celebration (1971 CRI). Composed at the Columbia-Princeton Electronic Music Center. Alice Shields explained, “The text of “The Transformation of Ani” is taken from the Egyptian Book of the Dead, as translated into English by E. A. Budge. Most sounds in the piece were made from my own voice, speaking and singing the words of the text. Each letter of the English translation was assigned a pitch, and each hieroglyph of the Egyptian was given a particular sound or short phrase, of mostly indefinite pitch. Each series, the one derived from the English translation, and the one derived from the original hieroglyphs, was then improvised upon to create material I thought appropriate to the way in which I wanted to develop the meaning of the text, which I divided into three sections.” (see). 8:59 Opening background music: John Cage, Fontana Mix (1958) (1966 Turnabout). This tape work was composed in 1958 and I believe this is the only recorded version by Cage himself as well as the only Cage version presented as a work not in accompaniment of another work. An earlier recording, from the Time label in 1962, feature the tape piece combined with another Cage work, “Aria.” This version for 2 tapes was prepared b Cage in February 1959 at the Studio di Fonologia in Milan, with technical assistance from Mario Zuccheri. From the Cage Database website. “This is a composition indeterminate of its performance, and was derived from notation CC from Cage's Concert for Piano and Orchestra. The score consists of 10 sheets of paper and 12 transparencies. The sheets of paper contain drawings of 6 differentiated (as to thickness and texture) curved lines. 10 of these transparencies have randomly distributed points (the number of points on the transparencies being 7, 12, 13, 17, 18, 19, 22, 26, 29, and 30). Another transparency has a grid, measuring 2 x 10 inches, and the last one contains a straight line (10 3/4 inch). By superimposing these transparencies, the player creates a structure from which a performance score can be made: one of the transparencies with dots is placed over one of the sheets with curved lines. Over this one places the grid. A point enclosed in the grid is connected with a point outside, using the straight line transparency. Horizontal and vertical measurements of intersections of the straight line with the grid and the curved line create a time-bracket along with actions to be made.” Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Jenni Bank was born in Johannesburg, South Africa, grew up in Binghamton, New York, & studied at Peabody Conservatory. She has worked with Seattle Opera, Opera Theatre of Saint Louis, Chicago Lyric Opera, New York City Opera, Anchorage Opera, Opera Delaware, Des Moines Metro Opera, Florentine Opera, Wolf Trap Opera, Tri-Cities Opera, Knoxville Opera, Hawaii Opera Theatre, Bard Summer Music Festival, Ash Lawn Opera, Amarillo Opera, Baltimore Concert Opera, Annapolis Opera, Mid-America Productions at Carnegie Hall, Alabama Symphony Orchestra, Royal Stockholm Philharmonic, Bergen Filharmoniske Orkester, Seoul Philharmonic, Los Angeles Philharmonic, & the BBC Symphony Orchestra. Performances include Marcellina (Marriage of Figaro), Samira (Ghosts of Versailles), Mrs. De Rocher (Dead Man Walking), The Mother (The Consul), 3rd Lady (Magic Flute), Ruth (Pirates of Penzance), Buttercup (H.M.S. Pinafore), Mrs. Twist (Brokeback Mountain), Emilia (Otello), Mrs. Lovett (Sweeney Todd), Mary (Flying Dutchman), Old Lady (Candide), Mrs. Peachum (Threepenny Opera), Golde (Fiddler on the Roof), Azucena (Il Trovatore), Witch (Hänsel und Gretel), Quickly (Falstaff), Dryad (Ariadne auf Naxos), Frugola (Il Tabarro), Principessa (Suor Angelica), Zita (Gianni Schicchi), Martha (Faust), Giulietta (Hoffmann), Marquise (Daughter of the Regiment), Petra (A Little Night Music), Fairy Queen (Iolanthe), Katisha (The Mikado), Filipyevna (Eugene Onegin), Verdi Requiem, Mozart Requiem, Haydn's Lord Nelson Mass, & Beethoven's 9th Symphony. She is the leading interpreter of the Duchess in Unsuk Chin's Alice in Wonderland, created the role of Firdaus Noman in Shalimar The Clown & is featured on the Cast Recording, won the Sullivan Foundation Award, is a Metropolitan Opera Competition semi-finalist, & is the Artistic Advisor for Tri-Cities Opera. Jenni is also the Analysis Operations Team Lead at the fast-growing tech startup DoWhatWorks and lives in Upstate New York with her husband and two adorable dogs (@theharleyandeo on instagram). Find Jenni at www.JenniBank.com & @jenni_bank My gratitude goes out to Hannah Boissonneault who edits our Masterclass episodes and to Juanitos and Scott Holmes for the music featured in this episode. You can help support the creation of these episodes when you join the Sybaritic Camerata on Patreon. Get started at patreon.com/mezzoihnen. Be on the Studio Class Podcast Megan Ihnen is a professional mezzo-soprano, teacher, writer, and arts entrepreneur who is passionate about helping other musicians and creative professionals live their best lives. Studio Class is an outgrowth of her popular #29DaystoDiva series from The Sybaritic Singer. Let your emerging professionals be part of the podcast! Invite Megan to your studio class for a taping of an episode. Your students ask questions and informative, fun conversation ensues. Special Guest: Jenni Bank.

Paul Avgerinos – BREATHE IN JOY, BREATHE OUT PEACEAired Monday, March 6, 2023 at 11:00 AM PST / 2:00 PM EST / 7:00 PM GMT / 8:00 PM CETJoy is subtle, content innocent. It rises, childlike and serene. A joyful heart spreads love wherever it goes offering a true act of resilience and resistance in troubled times. How do we transform our lives by simply saying yes to joy? We generate joy by daring to love ourselves and our people. We radiate joy by loving our cultures and communities. Join voice visionary Kara Johnstad and Grammy-award-winning composer and producer Paul Avgerinos in a heartfelt conversation on his newest album, JOY. Discover Paul's vision of spreading more Peace, Love, Joy, Healing, Contentment, and Bliss through gentle and kind music. Both Kara and Paul deeply believe in music's spiritual and healing power to carve rivers of light. As we insist on a better world built on that brave bodacious love, we feel a new dawn rising in our bones.Join Kara Johnstad and Paul Avgerinos in a heartfelt conversation as they dive into the spiritual and healing power of music.Guest: Paul AvgerinosWorld acclaimed Grammy® Award Winning Artist, Composer, Producer, and Engineer Paul Avgerinos pursues his life's work to spread peace, love, joy, healing, tolerance, contentment and bliss through gentle and kind music and presence. A graduate of the Peabody Conservatory of Johns Hopkins University, Paul has furthered his childhood passion for electronic music and built Studio Unicorn, a comprehensive digital/ analog recording studio. Twenty-Four solo CDs in the New Age genre followed, including Grace, which won the 2015 GRAMMY for Best New Age Album. His album BHAKTI earned a 2014 GRAMMY® Nomination. Paul lives and works in Redding, CT, where the deer pass by his studio windows and the hawks and eagles give inspiration from above.“Avgerinos is one of the giants of Ambient Music” ~ All Music GuideVisit Paul Avgerinos at https://roundskymusic.com/#PaulAvgerinos #AmbientMusic #VoiceRising #KaraJohnstadTo get in touch with Kara, go to http://www.karajohnstad.com/Visit the Voice Rising show page https://omtimes.com/iom/shows/voice-rising/Subscribe to our Newsletter https://omtimes.com/subscribe-omtimes-magazine/Connect with OMTimes on Facebook https://www.facebook.com/Omtimes.Magazine/ and OMTimes Radio https://www.facebook.com/ConsciousRadiowebtv.OMTimes/Twitter: https://twitter.com/OmTimes/Instagram: https://www.instagram.com/omtimes/Linkedin: https://www.linkedin.com/company/2798417/Pinterest: https://www.pinterest.com/omtimes/

We talk with Atlanta music legend Kevn Kinney ahead of his shows in Atlanta and Athens.  Also  A former Doraville police officer who had previously been accused of concealing the death of 16-year-old Norcross resident Susana Morales has now been formally accused of kidnapping and murdering her. The charges against Miles Bryant have been upgraded to include felony murder and kidnapping in connection with Morales' death last July. Bryant was previously charged with concealing the death of another person and false report of a crime. He will continue to face those charges in addition to the new ones. Bryant's employment with Doraville police was terminated when he was arrested earlier this month.  Police now believe that Morales was killed within four hours of her disappearance on the evening of July 26. Morales had gone to visit a friend earlier that evening and had texted her mother when she was walking back to her home just before 10 p.m. Police say Morales encountered Bryant sometime between 10 and 10:30 p.m. on July 26, 2022, and that her death is believed to have occurred sometime between then and 2 a.m. on July 27. Morales' parents had searched for her throughout the night and filed a missing person's report with police at 9 a.m. on July 27. Morales' skeletal remains were found in a wooded area off State Route 316 between Drowning Creek and the Gwinnett-Barrow county line earlier this month. A personal handgun which Bryant had reported missing at about 11 a.m. on July 27 was found near Morales' remains. The cause of Morales' death remains under investigation at this time, however. Run The Reagan has always been a celebratory event in the Snellville area, with the annual road race providing fun, competition and a chance to raise funds for local charities. But this year's race, scheduled for Saturday, will also come with some sadness as those who gather to participate and work the event remember the life of Parks Mann, the race's founder. Mann died on January 6 at the age of 76. A deacon at Smoke Rise Baptist Church, he was known in the community for founding the Run The Reagan race as well as his work with the Gwinnett Community Clinic. Part of Mann's legacy will be on display Saturday when Ronald Reagan Parkway is shut down for the event, which includes a fun run, a 5K, a half-marathon and a full marathon. Upwards of 2,000 people are expected to participate The event, in its 28th year, has been a generous community benefactor for years, raising more than $3 million, which is donated to local charitable organizations. This year the Brookwood Schools Foundation, the Southeast Gwinnett Cooperative Ministry, the South Gwinnett Cluster Foundation and the Lilburn Cooperative Ministry are the charities that will benefit from funds raised by Run The Regan. For high school seniors seeking opportunities to continue their musical education in college, the next several weeks are known as “the audition season.” Peachtree Ridge senior Jihoon Kim will have an excellent experience to help bolster his credentials on the cello when he makes his solo debut in late March with the DeKalb Symphony Orchestra. Kim finished second in a recent concerto competition to earn a spot performing with the iconic DSO, now celebrating its sixth decade. The Suwanee resident will join the orchestra to perform the fourth movement of Edward Elgar's Cello Concerto, a composition he knows very well. Although this will be his first spotlight appearance with an orchestra, Kim is familiar with large ensembles, having performed with the Atlanta Symphony Youth Orchestra, the Emory Youth Symphony and the Georgia Music Educators Association All-State Orchestra. And while he's no stranger to the stage and the spotlight, Kim admitted he's still trying to wrap his head around this prestigious opportunity. Kim has several schools he's interested in and had a late-February in-person audition at the Eastman School of Music in Rochester, New York. He has also had zoom auditions with Bard College in New York, the University of Georgia, Columbus State, the Jacobs School of Music at Indiana University and the Peabody Conservatory in Baltimore. Kim's performance with the DSO — now under the baton of new music director Paul Bhasin — is set for 8 p.m. on March 21 at the Marvin Cole Auditorium in Clarkston. For more information, visit Dekalb Symphony dot Org. Gwinnett County Police K-9 officer Kai had a tough time last summer after he was shot by a suspect that he was trying to apprehend and subsequently had to have one of his legs amputated because of his injuries. On Tuesday, Gwinnett County commissioners recognized Kai, told him he'd done a good job in his service to the county and said he could now kick back his paws, relax and enjoy retirement. The commissioners voted formally to retire Kai from law enforcement service. Kai's retirement comes after a year in which he made headlines in ways he and his handler, Cpl. Aaron Carlyle, could not have anticipated 12 months ago. A year ago, Kai, a Belgian Malanois, was a newcomer to the Gwinnett police department's K-9 unit, having just joined the department in August 2021, and he looked to have a long career ahead of him. Then, came that fateful day on May 23, 2022, when he was brought in to help track a suspect who was accused of entering a home and threatening his girlfriend and other people who were inside the home in the Lawrenceville area. The suspect had fled the home by the time police had arrived, which is why Kai was brought in to help track him down with aerial assistance from the police department's Aviation Unit. The suspect opened fire at officers who were pursuing him and two of the bullets hit Kai. Kai was in the hospital for three weeks and have to have one of his leg's amputated Police had returned fire and shot the suspect, who was then taken to Northside Gwinnett Hospital while Kai was taken to North Georgia Veterinary Specialists in Buford for treatment. Due to his injuries, Kai's veterinarian, Dr. J.W. Wallis, recommended he be retired last August. Although his doctor recommended his retirement last August, the police department kept him in service for a few more months to help with some police activities that saw him acting as a de facto face of the department. At the Red, Blue and You law enforcement appreciation event last November, for example, he was recognized for his bravery when he received the Purple Heart Award for law enforcement. Sasha Tarassenko, a senior at Paul Duke STEM High School, is one of only three students to win this year's 2022-23 concerto competition with the Atlanta Symphony Youth Orchestra. Sasha, one of the 114 students who make up the symphony's youth ensemble, will have the opportunity to perform a solo flute concerto next season. The Atlanta Youth Symphony Orchestra is under the direction of Resident Conductor and Music Director Jerry Hou. Anh Ho, a percussionist at Collins Hill High School, earned honorable mention. Applications for the Atlanta Symphony Youth Orchestra's 2023-24 season are now open. Applications and auditions are open to rising eighth to 12th grade musicians who play orchestral string, woodwind, brass, and percussion, including piano and harp. For more information be sure to visit www.bgpodcastnetwork.com   https://www.lawrencevillega.org/  https://www.foxtheatre.org/  https://guideinc.org/  https://www.psponline.com/  https://www.kiamallofga.com/  https://www.milb.com/gwinnett  https://www.fernbankmuseum.org/  www.atlantagladiators.com            See omnystudio.com/listener for privacy information.

"We've found other ways to make music by centering on the creative process and composition – collective composition in particular. Bringing young people together to meet across difference and to put music at the center as a tool for them to engage in dialogue has just been greater than I could have imagined."Alysia Lee receives national recognition for advancing access, equity, and decolonization with leaders, organizations, and communities. Her methods center on youth, anti-racism, creativity, and justice.Alysia is the inaugural President of the Baltimore Children & Youth Fund, the bold hyperlocal grantmaker stewarding public funds to support the success of Baltimore's young people. Lee is the Founder and Artistic Director of Sister Cities Girlchoir (SCG), the El Sistema-inspired, girl empowerment choral academy in Philadelphia, Camden, and Baltimore in its tenth season. SCG is an award-winning and trendsetting choral education program with performance credits from Carnegie Hall, The Kennedy Center, and numerous school and community stages.Lee has an emerging voice as a choral composer. She is the series editor of Hal Leonard's Exigence for Young Voices, the new choral series uplifting Black, Brown, Indigenous, and Asian composers for young choir ensembles. Her piece ‘Say Her Name' is published by Hal Leonard. She has recent composition commissions from Baltimore Choral Arts, Portland Lesbian Choir, and GALA Choruses. Lee is also a Board member of Chorus America and a National Advisor to ArtsEdSEL. Lee is formerly the education program supervisor for Fine Arts Education for the Maryland State Department of Education across five arts disciplines: music, dance, visual art, theatre, and media arts.Recent recognitions include awards from The Kennedy Center, The Knight Foundation, National Association of University Women, Stockton Bartol Foundation, Geraldine R. Dodge Foundation, and BEQ Pride. Recent speaking/facilitation engagements include the U.S. Department of Education, The Kennedy Center, VH-1 Save the Music, Carnegie Hall, Arts Education Partnership, TEDX, many colleges and universities, and national and state professional associations.A Baltimore native, Lee is an alumna of Maryland public schools (Baltimore County Public Schools). She earned her graduate degree from Peabody Conservatory. Alysia also completed Executive Education programs at Harvard University and La Salle University.To get in touch with Alysia, follow her on Instagram: @alysiadlee.Choir Fam wants to hear from you! Check out the Minisode Intro episode to hear how to share your story with us. Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson from Pexels

An Edgar Award finalist, a Launchpad Prose Top 50 finalist, and a BookLife quarterfinalist twice. She will discuss her new novel, Daisy, which explores women's roles and relationships in how we can redefine them. Daisy, a retelling of the iconic story of the Great Gatsby from Daisy Buchanan's perspective and in Daisy's voice. She writes historical fiction, contemporary women's fiction, young adult mysteries, and more, releasing her humorous works under the name Libby Malin. Her romantic comedy Fire Me was bought for film. Her novel Sloane Hall, a retelling of Jane Eyre, was one of only 14 books highlighted in the Huffington Post on the 200th anniversary of Charlotte Brontë's birth. She holds both bachelor's and master's degrees from the Peabody Conservatory of Music and sang with various opera companies before turning to write.

An Edgar Award finalist, a Launchpad Prose Top 50 finalist, and a BookLife quarterfinalist twice. She will discuss her new novel, Daisy, which explores women's roles and relationships in how we can redefine them. Daisy, a retelling of the iconic story of the Great Gatsby from Daisy Buchanan's perspective and in Daisy's voice. She writes historical fiction, contemporary women's fiction, young adult mysteries, and more, releasing her humorous works under the name Libby Malin. Her romantic comedy Fire Me was bought for film. Her novel Sloane Hall, a retelling of Jane Eyre, was one of only 14 books highlighted in the Huffington Post on the 200th anniversary of Charlotte Brontë's birth. She holds both bachelor's and master's degrees from the Peabody Conservatory of Music and sang with various opera companies before turning to write.

A soprano of "fearlessness and consummate artistry" (Opera News), Ah Young Hong has interpreted a vast array of repertoire, ranging from the music of Monteverdi to Georg Friedrich Haas. Widely recognized for her work in Michael Hersch's monodrama, On the Threshold of Winter, The New York Times praised Ms. Hong's performance in the world premiere as "the opera's blazing, lone star." Recent performances include solo appearances with violinist Patricia Kopatchinskaja, the BBC Symphony Orchestra, Camerata Bern, and at both the Aldeburgh and Ojai Music Festivals. Highlight concerts of 2021-2022 include the premiere performances in the title role of Hersch's POPPAEA at the Wien Modern and ZeitRäume Basel Festivals. Anticipated this fall is the recording of Hersch's the script of storms with BBC Symphony Orchestra under the New Focus label. Ms. Hong is an associate professor in the Vocal Studies Department of The Peabody Conservatory of Music, Johns Hopkins University. My gratitude goes out to Hannah Boissonneault who edits our Masterclass episodes as well as Juanitos and Scott Holmes for the music featured in this episode. You can help support the creation of these episodes when you join the Sybaritic Camerata on Patreon. Get started at patreon.com/mezzoihnen. Be on the Studio Class Podcast Megan Ihnen is a professional mezzo-soprano, teacher, writer, and arts entrepreneur who is passionate about helping other musicians and creative professionals live their best lives. Studio Class is an outgrowth of her popular #29DaystoDiva series from The Sybaritic Singer. Let your emerging professionals be part of the podcast! Invite Megan to your studio class for a taping of an episode. Your students ask questions and informative, fun conversation ensues. Special Guest: Ah Young Hong.

Super excited to welcome back Doris Hall-Gulati, to The Story!Most recently, Doris won a 2018 GRAMMY AWARD as clarinet soloist with “The Crossing” on an Oratorio by Lansing McLoskey titled ZEALOT CANTICLES. Doris can also be heard on the MMC, Naxos and New World record labels. About the recent Naxos recording of Hansen's "Nymphs and Satyr Ballet Suite," Paul Cook of classicstoday.com, was moved to say, "I was particularly taken (by) Doris Hall-Gulati on the clarinet." A new recording of clarinet and bass clarinet works by John Carbon was released in September 2017, and in 2018 she has recorded new works with several composers and is awaiting their release. Most recently, Doris has recorded works with Lyric Fest, Mendelssohn Club of Philadelphia, The Crossing and composer Kile Smith.After being awarded First Prize in the Louise D. McMahon International Music Competition, Doris gave her New York City debut, performing the world premiere of John Carbon's "Rhapsody for Clarinet and Orchestra," at Avery Fischer Hall, Lincoln Center, with Gerard Schwarz and the New York Chamber Symphony. About the performance, Allan Kozinn of The New York Times wrote, "... a demandingly agile clarinet line, played with both virtuosity and nuance by Doris J. Hall-Gulati, wove its way through a variegated orchestra fabric." Ms. Hall-Gulati made her Carnegie (Weill) Hall debut playing with the Alaria Chamber Ensemble, and her Merkin Hall debut, premiering Thea Musgrave's "Ring Out Wild Bells," with the Philadelphia Trio.In addition to her position as Principal Clarinet in The Chamber Orchestra of Philadelphia, The Ocean City, NJ Pops Orchestra and the PA Philharmonic Orchestra. Doris is also Acting Principal Clarinet/ Bass Clarinetist of Opera Philadelphia and Assistant Principal/Bass Clarinetist with the Lancaster Symphony. She also performs regularly with the PA Ballet, The Philly Pops, the Delaware Symphony, Orchestra 2001 and Vox Amadeus. In 2011, Doris became an Artist-in-Residence at Franklin & Marshall College in Lancaster, PA and is happy to have joined the faculty of the Lancaster Bible College in 2015.Doris earned her Bachelor's degree from the Peabody Conservatory of Music, and she received a Masters in Music studying on a graduate fellowship from the University of Michigan. Doris is a Phi Kappa Lambda. Her principal instructors have been Ignatius Gennusa, Loren Kitt, and Fred Ormand. She was introduced to chamber music by Karen Tuttle, whom Doris greatly admired.Find Doris' work here:Youtube: https://www.youtube.com/channel/UCAnH0WHnyRA4RDB-E3S0ulwSpotify: https://open.spotify.com/artist/61CswefV5Xl3aTf0MMCWMw...Support this podcast at — https://redcircle.com/the-story/donations

Brief summary of episode:Ryan Dorsey is the City Councilman for Baltimore's 3rd District. He works to strengthen communities, make neighborhoods more accessible and safe, increase government accountability and transparency, and ensure that Baltimore is affordable, attractive and inclusive for all who choose to live here.Elected in 2016, Councilman Dorsey passed a landmark Complete Streets ordinance which codifies strong equity provisions, banned source of income discrimination in Baltimore City housing, and put a question on the ballot in 2018 to create an independent Office of the Inspector for Baltimore City, which passed with more than 80% of the vote.When approaching policy and legislation, Councilman Dorsey seeks solutions that create lasting change by addressing systemic causes. His approach is informed by his view that Baltimore's challenges require policy that actively dismantles structural racism and inequality, while embracing Baltimore's competitive advantage as an urban place designed for density and transit access. Councilman Dorsey is a lifelong resident of Baltimore's 3rd District. Raised in the Belair-Edison and Mayfield neighborhoods, he attended and graduated from St. Francis of Assisi, the Baltimore School for the Arts, and the Peabody Conservatory of Music. Before running for office, Councilman Dorsey worked as a project manager in a small business that was founded in Baltimore in 1930 and has been in his family for three generations. He is an Appalachian Trail thru-hiker.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★

Melanie is joined by Dr. Catharine McClure Jackson to discuss the benefits of musical study on brain and social development, and actively choosing to replace screen time with developing musical skills. Dr. Jackson received her undergraduate degree from the Peabody Conservatory, her Masters from the University of South Carolina, and her Doctorate in Music from the University of Iowa.This episode will encourage all listeners to pick up an instrument, just for fun, and just to find the beauty.Book Referenced: The Beauty ChasersSubscribe, rate, and review this podcast to help spread the word. Stay Strong! Our ScreenStrong Lifestyle Courses are NOW AVAILABLENeed extra support? Join our ScreenStrong Families Facebook GroupInterested in being a podcast guest? Email us at: team@screenstrong.comUse code STRONG at GabbWireless.com for a discount on a talk & text-only phone for teensProduction Team:Host—Melanie HempeProducer & Audio Editor—Olivia Kernekin

The Cello Sherpa Podcast Host, Joel Dallow, interviews Alan Stepansky, Professor of Cello/Chair of Strings at the Peabody Conservatory, and Professor of cello for the orchestral training program at the Manhattan School of Music. He talks about his journey as a substitute in the Boston Symphony, to the Associate Principal Cello of the New York Philharmonic up to his current teaching positions. He shares details about his teaching style, philosophy, and advice for how to be successful in a multi-faceted music career. For more information on Alan Stepansky, check out his website: www.alanstepansky.com If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on twitter and instagram @theCello Sherpa

A veritable icon in the York county music scene, pianist Gretchen Dekker has impressed both local and international audiences since her teens. A current professor at York College of PA, Gretchen has been a featured soloist with the Peabody Chamber Symphony, the Harrisburg Symphony, the York Symphony Orchestra, the Hershey Symphony and the York Oratorio Society among others. Gretchen is a graduate of the Peabody Conservatory in Baltimore and was also a recipient of the Distinction in Performance Award from the New England Conservatory in Boston while working on her Masters. In this episode, Gretchen shares how grateful she was for teachers such as Randy Yoder at Northeastern School District who she describes as the "consummate professional" and relays the incredible importance of our school music teachers. She also describes being drawn to the piano as a young girl, however we also learn this was not the only instrument she has a passion for! Gretchen reflects fondly of her time in Amsterdam and Boston and how jumping in to the work she had there was partially out of naiveté but in turn provided some wonderful experiences. We also discuss the insecurities of musicians and how she personally de-stresses from stressful situations. This episode was made possible by the York Youth Symphony and the York Music Teachers Association. Gretchen also shares her ties to the YYSO and the important role it played in her life and for other students. Bonus Material! In the beginning of this episode you will hear an excerpt of Gretchen's most recent performance with the York Symphony Orchestra, the cadenza from Beethoven's Choral Fantasy. This performance is referred to within our episode and if you stick with us to the end, you can enjoy the cadenza in its entirety. We hope you enjoy this special episode with Gretchen!

I can't overstate how excited I am to introduce new guest, Doris Hall-Gulati, to The Story!Most recently, Doris won a 2018 GRAMMY AWARD as clarinet soloist with “The Crossing” on an Oratorio by Lansing McLoskey titled ZEALOT CANTICLES. Doris can also be heard on the MMC, Naxos and New World record labels. About the recent Naxos recording of Hansen's "Nymphs and Satyr Ballet Suite," Paul Cook of classicstoday.com, was moved to say, "I was particularly taken (by) Doris Hall-Gulati on the clarinet." A new recording of clarinet and bass clarinet works by John Carbon was released in September 2017, and in 2018 she has recorded new works with several composers and is awaiting their release. Most recently, Doris has recorded works with Lyric Fest, Mendelssohn Club of Philadelphia, The Crossing and composer Kile Smith.After being awarded First Prize in the Louise D. McMahon International Music Competition, Doris gave her New York City debut, performing the world premiere of John Carbon's "Rhapsody for Clarinet and Orchestra," at Avery Fischer Hall, Lincoln Center, with Gerard Schwarz and the New York Chamber Symphony. About the performance, Allan Kozinn of The New York Times wrote, "... a demandingly agile clarinet line, played with both virtuosity and nuance by Doris J. Hall-Gulati, wove its way through a variegated orchestra fabric." Ms. Hall-Gulati made her Carnegie (Weill) Hall debut playing with the Alaria Chamber Ensemble, and her Merkin Hall debut, premiering Thea Musgrave's "Ring Out Wild Bells," with the Philadelphia Trio.In addition to her position as Principal Clarinet in The Chamber Orchestra of Philadelphia, The Ocean City, NJ Pops Orchestra and the PA Philharmonic Orchestra. Doris is also Acting Principal Clarinet/ Bass Clarinetist of Opera Philadelphia and Assistant Principal/Bass Clarinetist with the Lancaster Symphony. She also performs regularly with the PA Ballet, The Philly Pops, the Delaware Symphony , Orchestra 2001and Vox Amadeus. In 2011, Doris became an Artist-in-Residence at Franklin & Marshall College in Lancaster, PA and is happy to have joined the faculty of the Lancaster Bible College in 2015.An advocate for new music, Doris has performed in music festivals and on multiple Series as soloist and chamber musician throughout the world. Doris is a member of the FULBRIGHT-HAYS awarded ensemble Trio Clavino, performing throughout the US, Europe and Asia. Doris also performs annually with Beyond Ourselves, a group of chamber musicians who performs to help raise monies for MCC (Mennonite Central Committee) peace-keeping efforts around the world. In 2018, this four-member ensemble plus guests raised funds for the MCC/MDS post-hurricane efforts in Puerto Rico and Haiti. Doris also spent time in CUBA and BERMUDA in June 2017, volunteering as a clarinet instructor and mentor.Doris earned her Bachelor's degree from the Peabody Conservatory of Music, and she received a Masters in Music studying on a graduate fellowship from the University of Michigan. Doris is a Phi Kappa Lambda. Her principal instructors have been Ignatius Gennusa, Loren Kitt, and Fred Ormand. She was introduced to chamber music by Karen Tuttle, whom Doris greatly admired.Doris and her husband Andy are active in the Catastrophic Relief Alliance. This is a grass roots organization composed of college students and local craftspeople whose mission is to help those in need. CRA strives to provide support by rebuilding homes affected by natural disasters. Their most recent trip was in January 2019, traveling to New Orleans to assist with the continued recovery from the Hurricane Katrina devastation.Find Doris' work here:Youtube: https://www.youtube.com/channel/UCAnH0WHnyRA4RDB-E3S0ulwSpotify: https://open.spotify.com/artist/61CswefV5Xl3aTf0MMCWMw...Support this podcast at — https://redcircle.com/the-story/donations

Michael Maliakel recently made his Broadway debut, following Broadway's reopening, starring in the title role of Aladdin at the New Amsterdam Theatre. Additional credits include the National Tour of The Phantom of the Opera (Raoul u/s), Anything Can Happen: The Songs of Maury Yeston, Mira Nair's Monsoon Wedding (Berkeley Rep), and She Loves Me (PlayMakers Rep). You may have also seen Michael on TV in Bull, and FBI.  As a first generation Indian American, Michael reflects on what he calls his “unexpected journey” to a career in the performing arts, including how his love for music brought him to the Peabody Conservatory to earn a degree in opera. He speaks candidly about representation in the industry, noting that as a child he had no real role models or examples for what his performing arts career could be, but trusted his gut and the way music made him feel alive in order to create space for himself and others like him. Michael also opens up about making his Broadway debut as the title character in a hit Disney musical, including the whirlwind audition process which began in the midst of the COVID shutdown, and the “full goosebumps” moment of his first curtain call as Aladdin.  In this episode, we talk about:  Attending the American Boychoir School in Princeton Using his facebook profile picture as his headshot at an open call  The interactive and collaborative experience of choral singing, and theater  Touring with Phantom of the Opera as the Raoul understudy  His love for Broadway's Spring Awakening, and Bridges of Madison County Connect with Michael: IG @michaelmaliakel Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

ABOUT DR. CHARLES LIMB:USSF Health: https://www.ucsfhealth.org/providers/dr-charles-limbhttps://ohns.ucsf.edu/charles-limb https://profiles.ucsf.edu/charles.limbWikipedia: https://en.wikipedia.org/wiki/Charles_LimbTED Profile: https://en.wikipedia.org/wiki/Charles_LimbTED Talk: https://www.ted.com/talks/charles_limb_your_brain_on_improvKennedy Center:https://www.kennedy-center.org/artists/l/la-ln/charles-limb/https://www.kennedy-center.org/video/center/discussionspoken-word/2017/jazz-creativity-and-the-brainsound-health-music-and-the-mind/https://www.kennedy-center.org/video/digital-stage/discussionspoken-word/2019/music-and-the-voice-brain-mechanisms-of-vocal-mastery-and-creativity--sound-health/https://www.kennedy-center.org/video/center/discussionspoken-word/2019/sound-health-inside-esperanza-spaldings-brain--the-kennedy-center/https://www.kennedy-center.org/video/center/classical-music/2018/music-and-the-mind-with-piano-prodigy-matthew-whitaker/The Art of The Spark: Musical Creativity Explored with Dr. Charles Limb: https://www.youtube.com/watch?v=PQmGOVr8aJ0Articles: https://www.artsandmindlab.org/charles-limb-md-mapping-the-creative-minds-of-musicians/On Creativity: mihaly csikszentmihalyihttps://en.wikipedia.org/wiki/Mihaly_Csikszentmihalyi DR.CHARLES LIMB Bio:Dr. Charles Limb is the Francis A. Sooy Professor of Otolaryngology-Head and Neck Surgery and the Chief of the Division of Otology, Neurotology and Skull Base Surgery at UC San Francisco. He is the Director of the Douglas Grant Cochlear Implant Center at UCSF and holds a joint appointment in the Department of Neurosurgery. Dr. Limb received his undergraduate degree at Harvard University, medical training at Yale University School of Medicine, and surgical residency and fellowship training at Johns Hopkins Hospital. He completed a postdoctoral fellowship in functional neuroimaging at the National Institutes of Health. He was a faculty member at the Johns Hopkins University School of Medicine, Peabody Conservatory of Music and the School of Education between 1996 and 2015. Dr. Limb joined the UCSF Department of Otolaryngology-Head and Neck Surgery in 2015.Dr. Limb is the 2021-22 President of the American Auditory Society and the Co-Director of the Sound Health Network sponsored by the National Endowment for the Arts, NIH and the John F. Kennedy Center for the Performing Arts. He is the PI of an NEA Research Lab and Co-PI of an NIH R61/R33 grant. He is the past Editor-in-Chief of Trends in Amplification (now Trends in Hearing), and an Editorial Board member of Otology and Neurotology. Dr. Limb was selected as the 2022 NIH Clinical Center Distinguished Clinical Research Scholar and Educator in Residence. He was also named in 2022 as one of the Kennedy Center's Next 50, a group of fifty national cultural leaders who are “moving us toward a more inspired, inclusive, and compassionate world”.His current areas of research focus on the study of the neural basis of musical creativity and the study of music perception in deaf individuals with cochlear implants. His work has received international attention and has been featured by National Public Radio, TED, 60 Minutes, National Geographic, the New York Times, PBS, CNN, Scientific American, the British Broadcasting Company, the Smithsonian Institute, the Library of Congress, the National Endowment for the Arts, the Sundance Film Festival, Canadian Broadcasting Company, the Kennedy Center, Baltimore Symphony Orchestra, the Discovery Channel, CBS Sunday Morning, and the American Museum of Natural History.SHOW INTRODUCTION:A number of years ago I attended a series of lectures at the Kennedy Center in Washington DC that focus on music and the brain and as I sat and watched and listened to these presentations, I was absolutely amazed with the interrelationship between brain activity, spontaneous creativity, music, language meaning and all these things that we share as human beings.For years I've been fascinated with the creative process. It seems natural I suppose given that I'm an architect, an artist, an author and occasionally I might even consider myself a novice musician because I can bang out five chords of a James Taylor song on my guitar. I do however have the extraordinarily good fortune of living with three musicianS. MY sons who are jazz musician,  a pianist and a drummer, and a wife who is also a pianist and composer/songwriter and have been surrounded by music and love it for years.In fact, when I paint, and I happen to be focusing on a series of portraits of famous jazz musicians and other musical artists, I only listen to their music as I'm creating. Somehow I think I'm channeling John Coltrane or Miles Davis or Keith Richards or Janis Joplin or Prince.But it helps, it really does. It gets me into a flow state and the world outside me just disappears.  For a long time now I have held that creativity is part of who we are. We are equally Homo Faber man the maker as we are Homo Sapiens man the wise.I deeply believe that the creative process is something that is intrinsic to building community and connections with other people for years. We have danced around fires and stamped out meaning with our feet and sang songs and beat on drums and created extraordinary symphonies or rock concerts and in doing so we come together and better understand ourselves our community culture and, in some strange cosmological sense, our relation to the larger whole of humanity.It seems to me that vocal utterances (not speech as we now know it) or producing melodic or rhythmic sounds, beating on drums etc., predated organized or syntactic speech. Since adapting to changing circumstances in the environment around you required some degree of creativity, it seems that there would be a natural connection between the development of creative thinking processes as a matter of survival and what we now know as music as a way to exchange these ideas. Music and music with language, lyrics, are extremely powerful mechanisms to evoke and share emotion and communicate with each other. Building strong social groups and the use of communication tools like language and certainly music has been part of our evolutionary process. Our brains have evolved into these immensely complex systems of functional areas that provide us with the magic of music and art and creative invention. We humans have survived at the top of the food chain not because we have bigger brains than other creatures on the planet, but as I understand it, because our brains are wired differently. And how all of this relates to creativity is particularly interesting. When you see jazz improvisation happening, what has always amazed me is the speed with which the brain is making decisions and the amount of information it is processing:…what note to hit next? – how does it related to the last? – where is the improv going? - is there a structure of any kind? – how the brain makes those decisions and then send signals to motor areas and then electrical impulses to muscle groups that produce fine motor movements in hands and /or other body parts to create sounds… this is all happening with electricity and chemicals moving between cells…this is a bit overwhelming to figure out! It's like the brain is out ahead of the body in its thinking…When I sat in the audience of those early Kennedy Center music and the brain sessions, there was one that was particularly interesting to me. Dr. Charles Limb had intriguing conversations with musicians including Jason Moran - the Artistic Director for Jazz at the Kennedy Center - and he described some of the work he was doing with trying to understand the neural correlates of creativity.How was he doing that? Well, he was taking some of the best jazz musicians on the planet and putting them into fMRI machines and observing their brain activity while they were in moments of spontaneous creation - jazz improvisation. And what he's begun to discover is something pretty remarkable.Certain areas of the brain are deactivated in these moments of spontaneous improvised creation while others are lit up.From Dr. Limb studies, it seems that conscious self-monitoring, a function of the Prefrontal Cortex, is deactivated opening a gateway for spontaneous creation unencumbered by self-monitoring or concerns about inappropriate or maladaptive performances and areas that are connected to autobiographical narratives are more active.“In jazz music, improvisation is considered to be a highly individual expression of an artist's own musical viewpoint. The association of the MPFC activity with the production of auto biographical narrative is germane in this context, and as such, one could argue that the improvisation is a way of expressing one's own musical voice or story.”Dr. Limb's own story is nothing less than remarkable. From his early years as a young musician, to his study of medicine, he has become one of the preeminent scientists looking into music, the brain and the neural correlates of creativity.His list of professional accomplishments and appointments to various medical institutions is extensive and include:Being the Francis A. Sooy Professor of Otolaryngology-Head and Neck Surgery and the Chief of the Division of Otology, Neurotology and Skull Base Surgery at UC San Francisco. The Director of the Douglas Grant Cochlear Implant Center at UCSF and he holds a joint appointment in the Department of Neurosurgery. Dr. Limb received his undergraduate degree at Harvard University, medical training at Yale University School of Medicine, and surgical residency and fellowship training at Johns Hopkins Hospital. He was a faculty member at the Johns Hopkins University School of Medicine, Peabody Conservatory of Music and the School of Education between 1996 and 2015. Dr. Limb is the 2021-22 President of the American Auditory Society and the Co-Director of the Sound Health Network sponsored by the National Endowment for the Arts, NIH and the John F. Kennedy Center for the Performing Arts. He was also named in 2022 as one of the Kennedy Center's Next 50, a group of fifty national cultural leaders who are “moving us toward a more inspired, inclusive, and compassionate world”.His current areas of research focus on the study of the neural basis of musical creativity and the study of music perception in deaf individuals with cochlear implants. His work has received international attention and has been featured by TED, 60 Minutes, National Geographic, the. New York Times, PBS, CNN, Scientific American, the Smithsonian Institute, the National Endowment for the Arts, the Sundance Film Festival, the Kennedy Center, Baltimore Symphony Orchestra, the Discovery Channel, CBS Sunday Morning, and more.It is my distinct honor to be able to talk with Dr. Limb about music, creativity and the brain.  ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites: https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com. 

I was going to wait a couple of weeks to publish this episode with Phil Snedecor, but I thought I just played his episode from five years ago last week on the feed, why not just put it up this week? So here we go. In this episode, we dove deep into a lot of really interesting topics, including a continuation on what it means to be nervous versus confident, and how the two intersect in an ideal world. We also talked about how to teach students how to teach themselves to be the best player that they can be, how to know when is enough air to say what we want to communicate with our horn, how to make the difficult things effortless, and much more. We were also treated to my wife Sana being on the call with Phil and myself, and she asked some very poignant questions as well. So enjoy it! In this conversation with Phil Snedecor, you will hear: -Phil gets us up to speed on his whereabouts trumpet wise... -What does it mean when we get nervous?... -When to teach, and when to teach how to teach... -Arnold Jacobs and "singing air"... -More vibration, not more air... -How to make the difficult things easy... -What personalities are naturally attracted to trumpet?... -What it was like to record the Carnaval album with Wynton Marsalis... -And much more! Resources mentioned: Video: https://youtu.be/zxHo1CLtiDo ("Gone but Not Forgotten") https://www.pasmusic.com/PAS_Music/New_Releases.html (New releases on PAS Press) https://youtube.com/playlist?list=PLJ_xOYrmXUOxGBqGBWcd3TwK9sGr6pKwa (Phil's YouTube playlist) Here are the pics Phil mentioned of the recording session w/ Wynton: http://www.jns.media/wp-content/uploads/2022/03/Attachments-Snedecor-links.zip (Attachments-Snedecor links) About the guest: Phil Snedecor is Associate Professor of Trumpet at the http://www.hartford.edu/hartt/ (Hartt School) (of the University of Hartford) in Hartford, CT, and a former faculty member at The Peabody Conservatory, George Mason University and at Towson University. He has written a series of brass etude books that are required repertoire at many colleges and conservatories. His arrangements and compositions have been performed throughout the United States, Europe, Asia and Australia. Phil attended the Eastman School of Music in Rochester, New York, where he received the prestigious Performers Certificate and was a member of the premiere brass quintet, the Canterbury Brass. While earning his degrees in trumpet performance and literature, he also studied arranging and composition with Professor Rayburn Wright, formerly arranger for Radio City Music Hall. Mr. Snedecor is a former member of the Baltimore Symphony Orchestra and has held one-year positions with the National Symphony, the Kennedy Center Opera House Orchestra and the Baltimore Opera. He is Principal Trumpet in the Harrisburg (PA) Symphony Orchestra and former Co-Principal Trumpet in the Concert Artists of Baltimore. Mr. Snedecor has performed and toured throughout the United States, Europe and Asia. In 1993 Mr. Snedecor and National Symphony Principal Trombonist Milton Stevens co-founded The Washington Symphonic Brass, a 17-piece professional brass ensemble. They perform regularly for the Washington National Cathedral, St. Matthew's Cathedral, the Basilica at the Shrine of the Immaculate Conception, and with the Washington Choral Arts Society at the Kennedy Center. They were the official instrumental ensemble for the Papal visit of 2008 in Washington DC and are heard regularly in their own concert series in DC, Maryland and Virginia. Their critically acclaimed CDs are available on the Summit and Warner Classics labels. Phil's innovative programming and arranging for the WSB has led to several guest conductor appearances, most recently with the River City Brass Band (Pittsburgh) and the Breckenridge (CO) Brass. As a show player, he has performed in the touring productions of Guys & Dolls, Phantom of the Opera, Beauty and the...

Welcome to The Academic Life! In this episode you'll hear about: Dr. White's journey to earn a PhD in tuba The Baltimore School for the Arts The importance of having a village The hidden curriculum Why teaching and mentoring are equally important for educators to do A discussion of the book I'm Possible: A Story of Survival, A Tuba, and the Small Miracle of a Big Dream Today's book is: I'm Possible: A Story of Survival, a Tuba, and the Small Miracle of a Big Dream (Flatiron Books, 2021), a memoir by Dr. Richard Antoine White. When he and his mother didn't have a key to a room or a house, they had each other. Richard believed he could look after his mother, even as she struggled with alcoholism and sometimes disappeared, sending Richard into loops of visiting familiar spots until he could find her again. One night, when he almost died searching for her in the snow, he was taken in by his adoptive grandparents. When Richard joined the school band, he discovered a talent and a sense of purpose. He was accepted to the Baltimore School for the Arts, then to the Peabody, where he navigated racial and socioeconomic disparities as one of few Black students in his programs. Richard secured a coveted spot in a symphony orchestra and became the first African American to earn a doctorate in music for tuba performance. Our guest is: Dr. Richard Antoine White, a professor, mentor, and motivational speaker. He received his bachelor's degree at the Peabody Conservatory of Music, and his master's and doctoral degrees at Indiana University. Dr. White was principal tubist of the New Mexico Symphony Orchestra from 2004 until its untimely demise in 2011. He is now principal tubist of the Santa Fe Symphony and is in his tenth season as principal tubist of the New Mexico Philharmonic. He teaches at the University of Mexico, where he is associate professor of tuba/euphonium. He is the author of I'm Possible. Our host is: Dr. Christina Gessler, a historian of women and gender. Listeners to this episode might also be interested in: Information about the documentary referenced in this podcast and the film's trailer Baltimore School for the Arts The Peabody Conservatory at Johns Hopkins University The Santa Fe Symphony The New Mexico Philharmonic Dr. White playing tuba You are smart and capable, but you aren't an island and neither are we. We reach across our mentor network to bring you experts about everything from how to finish that project, to how to take care of your beautiful mind. Wish we'd bring on an expert about something? DM us on Twitter: The Academic Life @AcademicLifeNBN. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/academic-life

Welcome to 2022 everyone! My guest for the first episode of the New Year is Larry Williams! Hornist Larry Williams has distinguished himself as a multifaceted performing and recording artist, teacher and administrator. Williams is currently Principal Horn of American Studio Orchestra, Black Pearl Chamber Orchestra, Sphinx Symphony Orchestra, and a member of the Lyric Brass Quintet, Rooftop Wind Quintet, and Rodney Marsalis Philadelphia Big Brass.  Williams formerly served as Principal Horn of The New World Symphony Orchestra and has performed with the Baltimore, Pittsburgh, and San Francisco Symphony Orchestras, among others. His wide range of musical styles include: solo & chamber repertoire, orchestral, jazz, contemporary, film, and commercial music.   Williams has performed on tours of the US, Russia, China, Japan, and UK, and has performed with Frank Sinatra, Ray Charles, Arturo Sandoval, and others. An active soloist and recitalist, Williams has premiered and recorded several horn concerti including: Concerto for Horn and Wind Ensemble by composer Thomas Bough, Black Forest Concerto for Horn and Orchestra by composer James Schroeder, and has recorded several solo and chamber music albums. Equally passionate about education, Williams currently serves as Adjunct Professor of Horn at Washington Adventist University, and is the Director of DMV Horn Academy. Williams served on the faculty of The Peabody Conservatory, Florida International University, and served as Assistant Vice Provost for Faculty Affairs at Johns Hopkins University. Larry Williams is a Yamaha Performing Artist/Clinician, and performs exclusively on Yamaha Custom Horns. Episode Highlights Learning what a Provost does/moving into an Administrative position at Johns Hopkins Returning/transitioning back to teaching and playing: “Repaying my dues” Compared to the old days of online teaching, Zoom is really nice! Upcoming performances Gateways Festival Orchestra: https://www.gatewaysmusicfestival.org/ American Studio Orchestra Skills from music that helped in his administrative work and vice versa Collaborative skills! “I've learned to listen to my inner voice when it talks to me.” Horn players are resilient, curious people. “I had no idea you could major in music…” Auditioning for the New World Symphony Discovering that what works for him is doing a variety of different things – teaching, orchestral playing, chamber music, etc. Recruiting strategies and philosophies: you have to think long term, invest in the faculty, make sure the faculty are buying in and taking ownership of the recruiting process; get the students out and about–exposure to potential students “The IHS made me feel like I was part of a big horn-playing family.”

Known for his versatility as a violist, Louis Privitera maintains a balanced career as an active chamber musician and educator. A founding member of the Tetra String Quartet, Louis has toured extensively as a performer and teaching artist throughout the Southwestern United States, Brazil, Ecuador, and Germany. A passionate educator, Louis is a proud studio teacher of students of all ages, some of which have gone to study music at universities and conservatories throughout the United States. He has held faculty positions at Arizona State University, Arizona School for the Arts and at Rosie's House, a music academy serving underprivileged youth throughout the Phoenix metropolitan area. Recent teaching engagements include the American String Teachers Association national conference as well as the Summer Pre-Collegiate Studies Program at Stanford University. Louis earned a Master of Music Degree at the Peabody Conservatory and a Bachelor of Music Degree from Arizona State University. His principal teachers include Victoria Chiang, Nancy Buck, and Cynthia Dubrow. In this episode we talk about making classical music accessible, and the importance of empowering students. Is a successful music career determined by what the industry deems important, or is there a lot more room for possibility? louisprivitera.com @privjr --- Send in a voice message: https://anchor.fm/thealignedmusician/message

Soprano Tony Arnold joins us to chat about hopping careers from orchestral conductor to international superstar vocalist, her varied interests in how sound is made and how to harness sound to make it into something else, and the way her interests have helped in collaborations with all sorts of instrumentalists and in teaching composers how to help performers lift music off the page . We speak about how she developed the working knowledge necessary to decipher contemporary scores, the close connection between chamber music and contemporary music, and learning how to fit into the deeply intimate and idiomatic language of a string quartet with a long history that no longer required verbal communication. She shares about how her connection to George Crumb deepened on a trip to Charleston, WV and how community- and network-building play in forming long-lasting professional connections. We discuss how the COVID-19 pandemic has exacerbated the impact of digitization on the shaping of the musical world and the importance of separating music-making from money-making as best as one can. Celebrated as a “luminary in the world of chamber music and art song” (Huffington Post), Tony Arnold is internationally acclaimed as a leading proponent of contemporary music in concert and recording, a “convincing, mesmerizing soprano” (Los Angeles Times) who “has a broader gift for conveying the poetry and nuance behind outwardly daunting contemporary scores” (Boston Globe). Her unique blend of vocal virtuosity and communicative warmth, combined with wide-ranging skills in education and leadership were recognized with the 2015 Brandeis Creative Arts Award, given in appreciation of “excellence in the arts and the lives and works of distinguished, active American artists.” Ms. Arnold's extensive chamber music repertory includes major works written for her voice by Georges Aperghis, George Crumb, Brett Dean, Jason Eckardt, Gabriela Lena Frank, Josh Levine, George Lewis, Philippe Manoury, Carlos Sanchez-Gutierrez, Christopher Theofanidis, Ricardo Zohn-Muldoon, and numerous others. She is a member of the intrepid International Contemporary Ensemble, and enjoys regular guest appearances with leading ensembles, presenters and festivals worldwide. With more than thirty discs to her credit, Ms. Arnold has recorded a broad segment of the modern vocal repertory with esteemed chamber music colleagues. Her recording of George Crumb's iconic Ancient Voices of Children (Bridge) received a 2006 Grammy nomination. She is a first-prize laureate of both the Gaudeamus International and the Louise D. McMahon competitions. A graduate of Oberlin College and Northwestern University, Ms. Arnold was twice a fellow of the Aspen Music Festival as both a conductor and singer. She was the 2015-16 Kunkemueller Artist-In-Residence at the Boston Conservatory, and currently serves on the faculty of the Peabody Conservatory and the Tanglewood Music Center. The transcript for this episode can be found here. Resources discussed in this episode: Tony Arnold sings George Crumb's Ancient Voices of Children For more information about Tony Arnold, please visit her website, www.screecher.com.

As a child growing up in her native San Juan, mezzo-soprano Laura saw Carmen and announced immediately that that is what she wanted to do with her life. She began singing with the Coros De Niños de San Juan, and went on to study at the Peabody Conservatory at Johns-Hopkins University and at the Manhattan School of Music. She has since earned an international reputation for her nuanced portrayals of complex, strong, independent and outspoken Latin women, Frida Kahlo and Carmen among them. Her portrayal of Carmen was described as “sensual, uninhibited and liberated – a Carmen for our times."Opera is just one of Laura's passions, though. Her heart is never far from her native Puerto Rico, and she uses her voice to champion the underperformed Puerto Rican classical repertoire, and, through the Puerto Rican Art Song Project, to promote Puerto Rico's under-appreciated novelists, poets, and essayists. Hear Laura talk about all of that and perform five arias, including "Death Dances 'Round My Head," from Frida.

I am so fortunate to call Maestro Ken Lam a mentor and teacher of mine, where I played under him at the Brevard Music Center for two summers. Maestro Lam is currently the Music Director of the Charleston Symphony, the Illinois Symphony Orchestra, Resident Conductor of the Brevard Music Center in North Carolina, and Artistic Director of Hong Kong Voices. Lam has conducted all over the U.S. and Asia, leading performances with the symphony orchestras of Cincinnati, Baltimore, Detroit, Buffalo, Hawaii, Memphis, Hong Kong Philharmonic, and the Taipei Symphony Orchestra. Previous positions have included posts as Associate Conductor for Education of the Baltimore Symphony Orchestra, Assistant Conductor of the Cincinnati Symphony Orchestra and Principal Conductor of the Hong Kong Chamber Orchestra. Maestro Lam studied at the Peabody Conservatory in Baltimore, and was the recipient of the 2015 Johns Hopkins University Global Achievement Award. --- 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/thefortepodcast/message Support this podcast: https://anchor.fm/thefortepodcast/support

Art is back with Karla this week, along with two new co-hosts, Rebecca and Eddie Valdez, Karla's cousins. The topic they discuss this week is the idea of growing up brown/Mexican/Latinx/whatever it is you grew up identifying as, and how their perceptions changed over time. They discuss how living in El Paso can shelter you from some of the racism other Latinx folks receive and endure in other parts of the U.S. as well as how they have grown to appreciate who they are as they've gotten older. The guest this week is guitarist, double bassist, and teacher, Jesus Apodaca, who is also currently working on a Doctor of Musical Arts degree from the Peabody Conservatory. Art and Jesus continue the conversation on Latinx identity and delve into their experience growing up in the music scene in El Paso.