Podcast appearances and mentions of sydney conservatorium

Alexandra is currently Head of Corporate Accounts at Angle Auto Finance, the largest independent auto financier in Australia. She manages strategic partnerships with some of the country's biggest dealer groups and plays a key role in the company's growth journey. Before joining Angle, Alexandra built her automotive career with BMW Group Australia, where she rose to the role of Area Manager. Interestingly, her professional journey began not in business but in music—she studied classical bassoon performance at the Sydney Conservatorium and spent her early career as a freelance musician.In our conversation, we talk about Alexandra's upbringing as one of four sisters in a vibrant, achievement-oriented household, her transition from the world of orchestras and auditions to the F&I office of a BMW dealership, and how that unexpected step sparked a fulfilling corporate career. We explore how she learned to create opportunities by asking bold questions, why she now feels more creatively expressed in business than she ever did as a musician, and how her roles in both retail and head office gave her valuable insight into the dealer perspective. We also reflect on the impact of becoming a parent and how it shifted her focus from chasing roles to becoming the kind of person she wants her daughter to look up to.Connect with AlexandraLinkedInAbout AndyI'm an experienced business leader and a passionate developer of people in the automotive finance industry, internationally.During over twenty five years, I have played a key role in developing businesses including Alphabet UK, BMW Corporate Finance UK, BMW Financial Services Singapore, BMW Financial Services New Zealand and Tesla Financial Services UK.At the same time, I have coached individuals and delivered leadership development programmes in 17 countries across Asia, Europe and North America.I started Aquilae in 2016 to enable “Fulfilling Performance” in the mobility industry, internationally.Learn more about Fulfilling PerformanceCheck out Release the handbrake! The Fulfilling Performance Hub.Connect with AndyLinkedIn: Andy FollowsEmail: cvm@aquilae.co.ukJoin a guided peer mentoring team: Aquilae AcademyThank you to our sponsors:ASKE ConsultingEmail: hello@askeconsulting.co.ukAquilaeEmail: cvm@aquilae.co.ukEpisode Directory on Instagram @careerviewmirror  If you enjoy listening to our guests career stories, please follow CAREER-VIEW MIRROR in your podcast app. Episode recorded on 23 April, 2025.

This week, producer and host of The Overexamined Life podcast Jonah Primo, joins host Lloyd Vogelman on the couch for an unfiltered conversation that digs into the personal side of the Principle of Charity. Listen to Jonah's Podcast, "The Overexamined Life" here: https://podcasts.apple.com/au/podcast/the-overexamined-life/id1771620846, or search it wherever you get your podcasts.BIOSJonah is a Sydney-based creative and entrepreneur. His addiction to storytelling has taken him to strange and wonderful places - Jonah has interviewed hermetic gurus and podcast with A-list celebrities, he has scored music for leading brands and sold art NFTs to the likes of John Legend.Jonah was the host of Work In Progress, a show for Sam Harris' meditation app, Waking Up, gaining over a million downloads in its first year. Additionally, through his company STUDIOPRIMO, he produces Principle of Charity.Jonah has spent the last 8 years studying mindfulness, meditation and philosophy in order to build frameworks for practical secular application of spiritual and psychological techniques. He shares these secrets on his personal podcast, The Overexamined Life.Jonah studied at the Sydney Conservatorium of Music, where he learned contemporary arranging under some of Australia's best composers and topped the music theory courses. In addition to his BA in Music & Philosophy, Jonah holds a BCom in Finance & Statistics from the University of Sydney, which has instilled an uncompromising diligence and attention to detail. An advanced mathematical foundation has proved invaluable in sound engineering and complex scoring.CREDITSYour hosts are Lloyd Vogelman and Emile Sherman This podcast is proud to partner with The Ethics CentreFind Lloyd @LloydVogelman on Linked inFind Emile @EmileSherman on Linked In and XThis podcast is produced by Jonah Primo and Sabrina OrganoFind Jonah at jonahprimo.com or @JonahPrimo on Instagram Hosted on Acast. See acast.com/privacy for more information.

In this episode we're keeping it in the family, as we're joined by our very own, very talented producer, Jonah Primo. Jonah has spent many years studying mindfulness, meditation and philosophy which he channels into his own podcast, The Overexamined Life - so who better to help us reflect on self-reflection.We all know Socrates' famous saying – the unexamined life is not worth living. But is it actually true? Does self-examination actually help us? And if so, in what way does it help? Do we end up happier, or just more aware of our limitations? And is there a point where it can do more harm than good? Maybe there's value in a richer, more self-aware life, even if we're not necessarily happier?Listen to Jonah's Podcast, "The Overexamined Life" here: https://podcasts.apple.com/au/podcast/the-overexamined-life/id1771620846, or search it wherever you get your podcasts.BIOSJonah is a Sydney-based creative and entrepreneur. His addiction to storytelling has taken him to strange and wonderful places - Jonah has interviewed hermetic gurus and podcast with A-list celebrities, he has scored music for leading brands and sold art NFTs to the likes of John Legend.Jonah was the host of Work In Progress, a show for Sam Harris' meditation app, Waking Up, gaining over a million downloads in its first year. Additionally, through his company STUDIOPRIMO, he produces Principle of Charity.Jonah has spent the last 8 years studying mindfulness, meditation and philosophy in order to build frameworks for practical secular application of spiritual and psychological techniques. He shares these secrets on his personal podcast, The Overexamined Life.Jonah studied at the Sydney Conservatorium of Music, where he learned contemporary arranging under some of Australia's best composers and topped the music theory courses. In addition to his BA in Music & Philosophy, Jonah holds a BCom in Finance & Statistics from the University of Sydney, which has instilled an uncompromising diligence and attention to detail. An advanced mathematical foundation has proved invaluable in sound engineering and complex scoring.CREDITSYour hosts are Lloyd Vogelman and Emile Sherman This podcast is proud to partner with The Ethics CentreFind Lloyd @LloydVogelman on Linked inFind Emile @EmileSherman on Linked In and XThis podcast is produced by Jonah Primo and Sabrina OrganoFind Jonah at jonahprimo.com or @JonahPrimo on Instagram Hosted on Acast. See acast.com/privacy for more information.

Virginia Lowe speaks with Nadia Piave from the Sydney Conservatorium of Music about the Conservatorium Open Academy – a vibrant program offering music courses for all ages and skill levels. They delve into the importance of accessible music education, the joy of lifelong learning, and how the Academy helps foster creativity across the community. [...]Read More... from Interview with Nadia Piave from Con Open Academy

Violist Irina Morozova has a long and distinguished career, including as principal viola of the Australian Chamber Orchestra, the Australian Opera and Ballet Orchestra, and guest principal of the Sydney Symphony and Hong Kong Philharmonic Orchestras. But it's as part of the Goldner String Quartet that she and her fellow musicians Dene Olding, Dimity Hall and Julian Smiles, have found a significant place in the hearts of Australia's classical music lovers. Long been considered Australia's pre-eminent string quartet, the Golders are considered among the best quartets in the world. They've recorded 19 albums covering repertoire from Beethoven to Peter Sculthorpe and have performed internationally including at London's Wigmore Hall and at the Biennale in Venice. But this year, their 30th season, is also their last, with their farewell concert taking place this Sunday 8th of December at the Verbruggen Hall of the Sydney Conservatorium of Music in association with Musica Viva. Irina talks about the significant place the Golden String Quartet has had in her life and heart. The music she shares is done so with thoughtfulness and passion, and her story is inspiring.

This episode, Host Adam Burke sits down with the one and only Bryce Jacobs—a composer, multi-instrumentalist, and inventor who's got a seriously impressive CV.A Sydney Conservatorium of Music grad, Bryce has worked on countless film and TV projects like Happy Feet, Australia, Gabriels, Pirates of the Caribbean, Man of Steel, and Daybreak. He's also been part of Hans Zimmer's legendary team at Remote Control Productions, and scored for blockbuster video games like Call of Duty and Medal of Honor. Oh, and after finding inspiration in the power of the piano to distill the magic of full-orchestral works down to a single instrument, Bryce invented the seven-octave guitar.Bryce joins us to talk all this and more from his home studio in the San Fernando Valley.

Classical music is no longer exclusively the domain of European and American artists. On Saturday and Monday, a young musician duo from Korea will make guest appearances in Sydney and Melbourne. Both were winners of major music awards in 2023 for their excellent playing. Jeonghwan Kim is a celebrated pianist, Jenny Jin an outstanding violinist. Under the title THE YOUNG VIRTUOSI, the two classical music stars will perform at the Sydney Conservatorium of Music on Saturday and in the Melbourne Recital Hall on Monday. Jeonghwan Kim, who lives in Berlin and speaks German very well, talks about which musical works are being performed. - Die klassische Musik ist nicht mehr ausschließlich die Domäne europäischer und amerikanischer Künstler. Am Samstag und am Montag gastiert ein junges Musikerduo aus Korea in Sydney und Melbourne. Beide waren 2023 Gewinner bedeutender Musikpreise für ihr vorzügliches Spiel. Jeonghwan Kim ist ein gefeierter Pianist, Jenny Jin eine hervorragende Violinistin. Unter dem Titel THE YOUNG VIRTUOSI treten die beiden Klassikstars am Samstag im Sydney Conservatorium of Music und am Montag in der Melbourne Recital Hall auf. Jeonghwan Kim, der in Berlin lebt und sehr gut deutsch spricht, erzählt, welche Musikwerke aufgeführt werden.

Jack Symonds joins Regina Botros to talk about the production Gilgamesh at the Carriageworks.   Jack Symonds is a composer, conductor and pianist, and Artistic Director of Sydney Chamber Opera. He studied composition at the Royal College of Music, London under Kenneth Hesketh and at the Sydney Conservatorium of Music where he received the University Medal. His stage works represent “a striking and impressive new operatic voice” (Sydney Morning Herald) and he is “one of those performers who seemingly can play anything” (Australian Book Review).

Psychologist Lee-Fay Low, and music scholars Neal Peres Da Costa and Helen Mitchell and host Angharad Yeo unravel the fascinating links between music and the brain. Can music activity help slow down cognitive decline? This event was held live at the Sydney Conservatorium of Music on 20 June 2024. For more details and resources, visit the Sydney Ideas page:https://www.sydney.edu.au/engage/events-sponsorships/sydney-ideas/2024/music-and-dementia.html

Darren Heinrich is a Sydney-based organist, pianist and educator who holds a 1st class Honours degree in Jazz from the Sydney Conservatorium of Music. He has recently completed his PhD research in Jazz Organ Improvisation. His influences incorporate the entire spectrum of the Jazz idiom, from its earliest ragtime roots to modern jazz. He regularly [...]Read More... from Cookbook @ Sydney Con Jazz Fest

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri.   This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini.   Transcript    Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery.  As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter.  The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal.  It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side.  Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws.  As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast.  Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases.  This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio.  Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to remember that here in their city they too must fight evil and pray for healing from disease ever present in the lives of the 17th century Brescians. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history.  I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning and bravery, that all have their part to play in the history of the violin.  Welcome to this first episode on the life of Giovanni Battista Rogeri. After having spent the last few episodes looking at the life of the Ruggeri family, we will now dive into the life of that guy who almost has the same name, but whose work and contribution to violin making, you will see, is very different. And we will also look at just why, for so many years, his work has been attributed erroneously to another Brescian maker. The year was 1642, and over the Atlantic, New York was called New Amsterdam. The Dutch and the English were having scuffles over who got what. Was it New England? New Netherlands? In England, things were definitely heating up, and in 1642, a civil war was in the process of breaking out. On one side there were the parliamentarians, including Oliver Cromwell, and on the other side were the Royalists, who were the supporters of King Charles I. This war would rage on for the next 20 years, and not that anyone in England at this time really cared, but the same year that this war broke out, a baby called Giovanni Battista Rogeri was born in Bologna, perhaps, and for the next 20 years he grew up in this city ruled by the Popes of Italy. He too would witness firsthand wars that swept through his hometown. He would avoid dying of the dreaded plague, sidestep any suspicion by the Catholic church in this enthusiastic time of counter reformation by being decidedly non Protestant. And from an early age, he would have been bathed in the works of the Renaissance and now entering churches being constructed in the Baroque style. Bologna was a city flourishing in the arts, music and culture, with one of the oldest universities in the country.  But for the young Giovanni Battista Rogeri, to learn the trade of lutai, or violin maker, the place he needed to be was, in fact, 155. 9 km northwest of where he was right now. And if he took the A1, well, today it's called the A1, and it's an ancient Roman road so I'm assuming it's the same one, he could walk it in a few days. Destination Cremona, and more precisely, the workshop of Niccolo Amati. An instrument maker of such renown, it is said that his grandfather, Andrea Amati, made some of the first violins and had royal orders from the French king himself.  To be the apprentice of such a man was a grand thing indeed. So we are in the mid 1600s  and people are embracing the Baroque aesthetic along with supercharged architecture and paintings full of movement, colour and expression. There is fashion, and how the wealthy clients who would buy instruments in Cremona dressed was also influenced by this movement. Emily Brayshaw. You've got these ideas of exaggeration of forms and you can exaggerate the human body with, you know, things like high heels and wigs and ribbons and laces. And you've got a little bit of gender bending happening, men wearing makeup and styles in the courts. You know, you've got dress and accessories challenging the concept of what's natural, how art can compete with that and even triumph over the natural perhaps. You've got gloves trimmed with lace as well. Again, we've got a lot of lace coming through so cravats beauty spot as well coming through. You've got the powder face, the, the wig. Yeah. The makeup, the high heels. Okay. That's now. I actually found a lovely source, an Italian tailor from Bergamo during the Baroque era. The Italians like really had incredibly little tailors and tailoring techniques. And during this sort of Baroque era. He grumbles that since the French came to Italy not to cut but to ruin cloth in order to make fashionable clothes, it's neither possible to do our work well nor are our good rules respected anymore. We have completely lost the right to practice our craft. Nowadays though who disgracefully ruin our art and practice it worse than us are considered the most valuable and fashionable tailors.  So we've got like this real sort of shift. You know, from Italian tailoring to sort of French and English tailoring as well. And they're not happy about it. No, they are not happy about it. And this idea that I was talking about before, we've got a lovely quote from an Italian fashion commentator sort of around the mid 17th century. His name's Lam Pugnani, and he mentions the two main fashions. meaning French and Spanish, the two powers that were ruling the Italian peninsula and gradually building their global colonial empires. And he says, “the two main fashions that we have just recorded when we mentioned Spanish and French fashion, enable me to notice strangeness, if not a madness residing in Italian brains, that without any reason to fall in love so greatly Or better, naturalize themselves with one of these two nations and forget that they are Italian. I often hear of ladies who come from France, where the beauty spot is in use not only for women, but also for men, especially young ones, so much so that their faces often appear with a strange fiction darkened and disturbed, not by beauty spots, but rather by big and ridiculous ones, or so it seems somebody who is not used to watching similar mode art”. So, you know, we've got people commentating and grumbling about these influences of Spain and France on Italian fashion and what it means to be Italian. When we sort of think about working people, like there's this trope in movie costuming of like peasant brown,  you know, and sort of ordinary, you know, people, perhaps ordinary workers, you know, they weren't necessarily dressed.  In brown, there are so many different shades of blue. You know, you get these really lovely palettes of like blues, and shades of blue, and yellows, and burgundies, and reds, as well as of course browns, and creams, and these sorts of palettes. So yeah, they're quite lovely. And I'm imagining even if you didn't have a lot of money, there's, I know there's a lot of flowers and roots and barks that you can, you can dye yourself. Yeah, definitely. And people did, people did. I can imagine if I was living back there and we, you know, we're like, Oh, I just, I want this blue skirt. And you'd go out and you'd get the blue skirt. The flowers you needed and yeah, definitely. And people would, or, you know, you can sort of, you know, like beetroot dyes and things like that. I mean, and it would fade, but then you can just like, you know, quickly dye it again. Yeah, or you do all sorts of things, you know, and really sort of inject colour and, people were also, you know, people were clean. To, you know, people did the best they could  keep themselves clean, keep their homes clean. You know, we were talking about boiling linens to keep things fresh and get rid of things like fleas and lice. And people also used fur a lot in fashion. And you'd often like, you know, of course you'd get the wealthy people using the high end furs, but sometimes people would, you know, use cat fur in Holland, for example, people would trim their fur. Their garments and lined their garments with cat fur.  Why not? Because, you know, that's sort of what they could afford.  It was there. Yeah, people also would wear numerous layers of clothing as well because the heating wasn't always so great. Yeah. You know, at certain times of the year as well. So the more layers you had, the better. The more, the more warm and snug you could be. As do we in Sydney. Indeed.  Indeed.  Canadians complain of the biting cold here. I know. And it's like, dude, you've got to lay about us. It's a humid cold. It's awful. It's horrible. It just goes through everything. Anyway. It's awful. Yeah. So at the age of 19, Giovanni Battista Rogeri finds himself living in the lively and somewhat crowded household of Niccolo Amati. The master is in his early 60s and Giovanni Battista Rogeri also finds himself in the workshop alongside Niccolo Amati's son Girolamo II Amati, who is about 13 or 14 at this time.  Cremona is a busy place, a city bursting with artisans and merchants. The Amati Workshop is definitely the place to be to learn the craft, but it soon becomes clear as Giovanni Battista Rogeri looks around himself in the streets that, thanks to Nicolo Amati, Cremona does indeed have many violin makers, and although he has had a good few years in the Amati Workshop, Learning and taking the young Girolamo II Amati the second under his wing more and more as his father is occupied with other matters. He feels that his best chances of making a go of it would be better if he moved on and left Cremona and her violin makers. There was Girolamo II Amati who would take over his father's business. There were the Guarneri's around the corner. There was that very ambitious Antonio Stradivari who was definitely going to make a name for himself. And then there were the Rugeri family, Francesco Rugeri and Vincenzo Rugeri whose name was so familiar to his, people were often asking if they were related.  No, it was time to move on, and he knew the place he was headed. Emily Brayshaw.  So, you've also got, like, a lot of artisans moving to Brescia as well, following the Venetian ban on foreign Fustian sold in the territory. So Fustian is, like, a blend of various things. Stiff cotton that's used in padding. So if you sort of think of, for example someone like Henry VIII, right? I can't guarantee that his shoulder pads back in the Renaissance were from Venetian Fustian, but they are sort of topped up and lined with this really stiff Fustian to give like these really big sort of, Broad shoulders. That's how stiff this is. So, Venice is banning foreign fustians, which means that Cremona can't be sold in these retail outlets. So, Ah, so, and was that sort of That's fabric, but did that mirror the economy that Brescia was doing better than Cremona at this point? Do you, do you think? Because of that? Well, people go where the work is. Yeah. Cause it's interesting because you've got Francesco Ruggeri, this family that lives in Cremona. Yeah. And then you have about 12 to 20 years later, you have another maker, Giovanni Battista Rogeri.  Yeah. He is apprenticed to Niccolo Amati. So he learns in Cremona. And then he's in this city full of violin makers, maybe, and there's this economic downturn, and so it was probably a very wise decision. He's like, look, I'm going to Brescia, and he goes to Brescia. He would have definitely been part of this movement of skilled workers and artisans to Brescia at that time, sort of what happening as well. So, you know, there's all sorts of heavy tolls on movements of goods and things like that. And essentially it collapses. And they were, and they were heavily taxed as well. Yeah, definitely. Definitely. It was the fabulous city of Brescia. He had heard stories of the city's wealth, art, music and culture, famous for its musicians and instrument makers. But the plague of 1630 had wiped out almost all the Luthiers and if ever there was a good time and place to set up his workshop, it was then and there. So bidding farewell to the young Girolamo Amati, the older Nicolò  Amati and his household, where he had been living for the past few years. The young artisan set out to make a mark in Brescia, a city waiting for a new maker, and this time with the Cremonese touch. Almost halfway between the old cathedral and the castle of Brescia, you will find the small yet lovely Romanesque church of San Giorgio. Amidst paintings and frescoes of Christ, the Virgin and the Saints, there stands a solemn yet nervous young couple, both in their early twenties. Beneath the domed ceiling of the church, the seven angels of the Apocalypse gaze down upon them, a constant reminder that life is fragile, and that plague, famine and war are ever present reminders of their mortality. But today is a happy one. The young Giovanni Battista Rogeri is marrying Laura Testini.  And so it was that Giovanni Battista Rogeri moved to Brescia into the artisanal district and finds himself with a young wife, Laura Testini. She is the daughter of a successful leather worker and the couple most probably lived with Laura's family. Her father owned a house with eight rooms and two workshops. This would have been the perfect setup for the young Giovanni to start his own workshop and get down to business making instruments for the people of Brescia. He could show off his skills acquired in Cremona, and that is just what he did. Since the death of Maggini, there had not been any major instrument making workshops in Brescia. Florian Leonhard  Here I talk to Florian Leonhard about Giovanni Battista Rogeri's move to Brescia and his style that would soon be influenced by not only his Cremonese training, but the Brescian makers such as Giovanni Paolo Maggini I mean, I would say in 1732. The Brescian violin making or violin making was dead for a bit,  so until the arrival of Giovanni Battista Rogeri, who came with a completely harmonised idea,  into town and then adopted  features of  Giovanni Paolo Maggini and Gasparo da Salo. I cannot say who, probably some Giovanni Paolo Maggini violins that would have been more in numbers available to him, have influenced his design of creating an arching. It's interesting that he instantly picked up on that arching  because Giovanni Battista Rogeri always much fuller arched. The arching rises much earlier from the purfling up. Right. So he came from the Cremonese tradition, but he adopted the, like, the Brescian arching idea. He, he came from Niccolo Amati and has learned all the finesse of construction, fine making, discipline, and also series production. He had an inside mould, and he had the linings, and he had the, all the blocks, including top and bottom block.  And he nailed in the neck, so he did a complete package of Cremonese violin making and brought that into Brescia, but blended it in certain stylistics and sometimes even in copies with the Brescian style. For a long time, we have had Before dendrochronology was established, the Giovanni Paolo Magginis were going around and they were actually Giovanni Battista Rogeris. Brescia at this time was still a centre flourishing in the arts and despite the devastation of the plague almost 30 years ago, it was an important city in Lombardy and was in the process of undergoing much urban development and expansion.  When Giovanni Rogeri arrived in the city, There were efforts to improve infrastructure, including the construction of public buildings, fortifications and roads. The rich religious life of the city was evident, and continued to be a centre of religious devotion at this time, with the construction and renovation of churches in the new Baroque style.  The elaborate and ornate designs were not only reserved for churches, but any new important building projects underway in the city at this time. If you had yourself the palace in the Mula, you were definitely renovating in the Baroque style. And part of this style would also be to have a collection of lovely instruments to lend to musicians who would come and play in your fancy new pad. Strolling down the colourful streets lined with buildings covered in painted motifs, people were also making a statement in their choice of clothing. Another thing that the very wealthy women were wearing are these shoes called Chopines, which are like two foot tall. And so you've got like this really exaggerated proportions as well. Very tall. I mean. Very tall, very wide. So taking up a lot of space. I'm trying to think of the door, the doorways that would have to accommodate you. Yes. How do you fit through the door? So a lot of the time women would have to stoop. You would need to be escorted by either servants.  And then you'd just stand around. I did find some discussions of fashion in the time as well.  Commentators saying, well, you know, what do we do in northern France? We either, in northern Italy, sorry, we either dress like the French, we dress like the Spanish, why aren't we dressing like Italians? And kind of these ideas of linking national identity through the expression of dress in fashion. So, we're having this But did you want to, was it fashionable to be to look like the French court or the, to look like the Spanish court. Well, yeah, it was, it was fashionable. And this is part of what people are commenting about as well. It's like, why are we bowing to France? Why are we bowing to Italy? Sorry. Why are we bowing to Spain? Why don't we have our own national Italian identity? And we do see like little variations in dress regionally as well. You know, people don't always. Dress exactly how the aristocracy are dressing. You'll have your own little twists, you'll have your own little trimmings, you'll have your own little ways and styles. And there are theories in dress about trickle down, you know, like people are trying to emulate the aristocracy, but they're not always. Trying to do that. Well, yeah, it's not practical if you're living, you know, if you're and you financially you can't either like some of these Outfits that we're talking about, you know with one of these hugh like the Garde in Fanta worn by Marie Theresa that outfit alone would have cost in today's money like more than a million dollars  You can't copy these styles of dress, right? So what you've got to do is, you know, make adjustments. And also like a lot of women, like you, these huge fashion spectacles worn at court. They're not practical for working women either. So we see adaptations of them. So women might have a pared down silhouette and wear like a bum roll underneath their skirts and petticoats and over the top of the stays. And that sort of gives you a little nod to these wider silhouettes, but you can still move, you can still get your work done, you can still, you know, do things like that. So that's sort of what's happening there. Okay, so now we find a young Giovanni Battista Rogeri. He has married a local girl and set up his workshop. Business will be good for this maker, and no doubt thanks to the latest musical craze to sweep the country. I'm talking about opera.  In the last episodes on Francesco Ruggeri, I spoke to Stephen Mould, the composer. at the Sydney Conservatorium about the beginnings of opera and the furore in which it swept across Europe. And if you will remember back to the episodes on Gasparo Da Salo at the beginning of the Violin Chronicles, we spoke about how Brescia was part of the Venetian state.  This is still the case now with Giovanni Battista Rogeri and this means that the close relationship with Venice is a good thing for his business.  Venice equals opera and opera means orchestras and where orchestras are you have musicians and musicians have to have an instrument really, don't they? Here is Stephen Mould explaining the thing that is opera and why it was so important to the music industry at the time and instrument makers such as our very own Giovanni Battista Rogeri. Venice as a place was a kind of Gesamtkunstwerk.  Everything was there, and it was a very, it was a very modern type of city, a trading city, and it had a huge emerging, or more than emerging, middle class. People from the middle class like entertainment of all sorts, and in Venice they were particularly interested in rather salacious entertainments, which opera absolutely became. So the great thing of this period was the rise of the castrato.  Which they, which, I mean, it was, the idea of it is perverse and it was, and they loved it. And it was to see this, this person that was neither man nor, you know, was in a way sexless on the stage singing  and, and often singing far more far more virtuosically than a lot of women, that there was this, there was this strange figure. And that was endlessly fascinating. They were the pop stars of their time. And so people would go to the opera just to hear Farinelli or whoever it was to sing really the way. So this is the rise of public opera. As opposed to the other version. Well, Orfeo, for example, took place in the court at Mantua, probably in the, in the room of a, of a palace or a castle, which wouldn't have been that big, but would have been sort of specially set up for those performances. If I can give you an idea of how. Opera might have risen as it were, or been birthed in Venice. Let's say you've got a feast day, you know, a celebratory weekend or few days. You're in the piazza outside San Marco. It's full of people and they're buying things, they're selling things, they're drinking, they're eating, they're having a good time. And all of a sudden this troupe of strolling players comes into the piazza and they start to put on a show, which is probably a kind of comedia dell'arte spoken drama. But the thing is that often those types of traveling players can also sing a bit and somebody can usually play a lute or some instrument. So they start improvising. Probably folk songs. Yeah. And including that you, so you've kind of already there got a little play happening outside with music. It's sort of like a group of buskers in Martin place. It could be very hot. I mean, I've got a picture somewhere of this. They put a kind of canvas awning with four people at either corner, holding up the canvas awning so that there was some sort of shade for the players. Yeah. That's not what you get in a kid's playground these days. You've almost got the sense. Of the space of a stage, if you then knock on the door of one of the palazzi in, in Venice and say to, to the, the local brew of the, of the aristocracy, look, I don't suppose we could borrow one of your rooms, you know, in your, in your lovely palazzo to, to put on a, a, a show.  Yeah, sure. And maybe charged, maybe didn't, you know, and, and so they, the, the very first, it was the San Cassiano, I think it was the theatre, the theatre, this, this room in a, in a palace became a theatre. People went in an impresario would often commission somebody to write the libretto, might write it himself. Commissioner, composer, and they put up some kind of a stage, public came in paid, so it's paying to come and see opera.  Look, it's, it's not so different to what had been going on in England in the Globe Theatre. And also the, the similar thing to Shakespeare's time, it was this sort of mixing up of the classes, so everything was kind of mixed together.  And that's, that's why you get different musical genres mixed together. For example, an early something like Papaya by Monteverdi, we've just done it, and from what, from what I can gather from the vocal lines, some of the comic roles were probably these street players,  who just had a limited vocal range, but  could do character roles very well, play old women, play old men, play whatever, you know, caricature type roles. Other people were Probably trained singers. Some of them were probably out of Monteverdi's chorus in San Marco, and on the, on when they weren't singing in church, they were over playing in the opera, living this kind of double life.  And That's how  opera  started to take off. Yeah, so like you were saying, there are different levels. So you had these classical Greek themes, which would be more like, you're an educated person going, yes, yes, I'm seeing this classical Greek play, but then you're someone who'd never heard of Greek music. The classics. They were there for the, you know, the lively entertainment and the sweet performers. Yes. So the, the, the Commedia dell'arte had, had all these traditional folk tales. Then you've got all of the, all of the ancient myths and, and, and so forth.  Papaya was particularly notable because it was the first opera that was a historical opera. So it wasn't based on any ancient myths or anything. It was based on the life of Nero and Papaya. And so they were real life a few hundred years before, but they were real. It was a real historical situation that was being enacted on the stage.  And it was a craze. That's the thing to remember is. You know, these days people have to get dressed up and they have to figure out how they get inside the opera house and they're not sure whether to clap or not and all of this sort of stuff and there's all these conventions surrounding it. That wasn't what it was about. It was the fact that the public were absolutely thirsty for this kind of entertainment.  Yeah. And I was seeing the first, so the first opera house was made in in about 1637, I think it was. And then by the end of Monteverdi's lifetime, they said there were 19 opera houses in Venice. It was, like you were saying, a craze that just really took off. They had a few extra ones because they kept burning down. That's why one of them, the one that, that is, still exists today is called La Fenice. It keeps burning down as well, but rising from the ashes. Oh, wow. Like the, yeah, with the lighting and stuff, I imagine it's So, yeah, because they had candles and they had, you know, Yeah, it must have been a huge fire hazard. Huge fire hazard, and all the set pieces were made out of wood or fabric and all of that. Opera houses burning down is another big theme.  Oh yeah, it's a whole thing in itself, yeah. So then you've got These opera troupes, which are maybe a little, something a little bit above these commedia dell'arte strolling players. So, you've got Italy at that time. Venice was something else. Venice wasn't really like the rest of Italy. You've got this country which is largely agrarian, and you've got this country where people are wanting to travel in order to have experiences or to trade to, to make money and so forth. And so, first of all if an opera was successful, it might be taken down to Rome or to Naples for people to hear it. You would get these operas happening, happening in different versions. And then of course, there was this idea that you could travel further through Europe. And I, I think I have on occasion, laughingly. a couple of years ago said that it was like the, the latest pandemic, you know, it was, but it was this craze that caught on and everybody wanted to experience. Yeah. So you didn't, you didn't have to live in Venice to see the opera. They, they moved around. It was, it was touring. Probably more than we think. That, that, that whole period, like a lot of these operas were basically unknown for about 400 years. It's only, the last century or so that people have been gradually trying to unearth under which circumstances the pieces were performed.  And we're still learning a lot, but the sense is that there was this sort of network of performers and performance that occurred.  And one of the things that Monteverdi did, which was, which was different as well, is that before you would have maybe one or two musicians accompanying, and he came and he went, I'm taking them all. And he created sort of, sort of the first kind of orchestras, like  lots of different instruments. They were the prototypes of, of orchestras. And Look, the bad news for your, the violin side of your project, there was certainly violins in it. It was basically a string contingent. That was the main part of the orchestra. There may have been a couple of trumpets, may have been a couple of oboe like instruments. I would have thought that for Venice, they would have had much more exotic instruments.  But the, the, the fact is at this time with the public opera, what became very popular were all of the stage elements. And so you have operas that have got storms or floods or fires. They simulated fires. A huge amount of effort went into painting these very elaborate sets and using, I mean, earlier Leonardo da Vinci had been experimenting with a lot of how you create the effect of a storm or an earthquake or a fire or a flood. There was a whole group of experts who did this kind of stuff. For the people at the time, it probably looked like, you know, going to the, the, the first big movie, you know, when movies first came out in the 20s, when the talkies came out and seeing all of these effects and creating the effects. When we look at those films today, we often think, well, that's been updated, you know, it's out of date, but they found them very, very, very compelling. What I'm saying is the money tended to go on the look of the thing on the stage and the orchestra, the sound of the orchestras from what we can gather was a little more monochrome. Of course, the other element of the orchestra is the continuo section. So you've got the so called orchestra, which plays during the aria like parts of the opera, the set musical numbers. And you've got the continuo, which is largely for the rest of the team. And you would have had a theorbo, you would have had maybe a cello, a couple of keyboard instruments, lute. It basically, it was a very flexible, what's available kind of. Yeah, so there was they would use violines, which was the ancestor of the double bass. So a three stringed  one and violins as well. And that, and what else I find interesting is with the music, they would just, they would give them for these bass instruments, just the chords and they would improvise sort of on those. Chords. So every time it was a little bit different, they were following a Yes. Improvisation. Yeah. So it was kind of original. You could go back again and again. It wasn't exactly the same. And look, that is the problem with historical recreation. And that is that if you go on IMSLP, you can actually download the earliest manuscript that we have of Papaya.  And what you've got is less than chords, you've got a baseline. Just a simple bass line,  a little bit of figuration to indicate some of the chords, and you've got a vocal line. That's all we have. We don't actually know, we can surmise a whole lot of things, but we don't actually know anything else about how it was performed. I imagine all the bass instruments were given that bass line, and like, Do what you want with that. So yeah, it would, and it would have really varied depending on musicians. Probably different players every night, depending on, you know,  look, if you go into 19th century orchestras, highly unreliable, huge incidents of drunkenness and, you know, different people coming and going because they had other gigs to do. Like this is 19th century Italian theatres at a point where, you know, It should have been, in any other country, it would have, Germany had much better organized you know, orchestral resources and the whole thing. So it had that kind of Italian spontaneity and improvised, the whole idea of opera was this thing that came out of improvisation. Singers also, especially the ones that did comic roles, would probably improvise texts, make them a bit saucier than the original if they wanted for a particular performance. All these things were, were open.  And this brings us to an end of this first episode on Giovanni Battista Rogeri.  We have seen the young life of this maker setting out to make his fortune in a neighbouring city, alive with culture and its close connections to Venice and the world of opera. I would like to thank my lovely guests Emily Brayshaw, Stephen Mould and Florian Leonhardt for joining me today.   ​ 

Marty Rhone was born as Karel (or Karl) Lawrence van Rhoon on 7 May 1948 in the Dutch East Indies  (Indonesia) His father was Eddy Emile van Rhoon, his mother was Judith Olive.  She was a singer and actress, who met Eddy through the Sydney jazz scene; he was a visiting pianist.   The couple married in 1947, and migrated to Australia on 21 April 1950 and briefly lived in Sydney and Brisbane, and then moved to Darwin.   Rhone was taught piano by his father but he preferred singing. In August 1959, aged 11, he first performed publicly at Darwin's Mitchell Street Town Hall in Around the World in 80 Minutes – a charity variety concert – alongside his father on piano and his mother. After he finished primary school, the family moved to Sydney. In mid-1961, Rhone appeared on a talent quest segment of ATN7-TV series, Tarax Show, and was offered a singing spot on a children's show,  During 1966 Marty Rhone and The Soul Agents supported The Rolling Stones on the United Kingdom rock group's tour of Australia. They also performed on the bill of the P.J. Proby Show at the Sydney Stadium with Wayne Fontana, Eden Kane and The Bee Gees appearing.  Rhone moved to Melbourne and issued five singles on Spin Records but had "limited success". In March 1970, Rhone was conscripted for National Service until 1972. During his service he attended the Royal Military College, Duntroon, as a member of their band, for 18 months. From April 1972 to July 1973 he acted in the Australian stage version of Godspell at The Richbrooke, Sydney with Rod Dunbar, Peita Toppano and John Waters. The Australian cast soundtrack album was issued as Godspell: a Musical Based on the Gospel According to St. Matthew on His Master's Voice. He attended the Sydney Conservatorium of Music and in July 1973 he released a new single, "Goodbye in May". He composed the music for Ruzzante Returns from the Wars, which starred Ivar Kants  Rhone followed with appearances on TV soap operas, Number 96 (1974) and Class of '75 (1975). By mid-1975 Rhone had signed with M7 Records and issued his next single, "Denim and Lace", which peaked at No. 8 on the Australian Kent Music Report Singles Chart. It was promoted on the Class of '75 soundtrack album. It was co-written by L Lister (aka Jack Aranda) and F Lyons (aka Shad Lyons). Lister and Lyons also produced Rhone's debut album, Denim and Lace, recording at Alberts Studio 139. At the end of the year "Denim and Lace" was the second highest selling single in Australia. His next single, "Star Song", reached the Top 50, the next two were less successful, while the last one for the year, "On the Loose" reached the Top 40. Of the four singles, "On the Loose (Again)" – co-written by Bryan Dawe and Steve Groves (ex-Tin Tin)– was used by Rhone to win the 1976 Australian Popular Song Festival and represented Australia at the World Popular Song Festival.  In June 1977 he had another hit with "Mean Pair of Jeans", which reached No. 10. In July 1978 Rhone relocated to London. In June 1979, Rhone took the role of Lun Tha in the London Palladium presentation of The King and I alongside Yul Brynner and Virginia McKenna. By September 1981 he had returned to Sydney. In 1987 Rhone became a business manager for a trio of brothers, the Australian boxers: Dean, Guy and Troy Waters. In December 1988 Rhone organised the "Battle on the Beach" for January 1989 with Dean Waters, as Australian heavyweight champion, to fight New Zealand's title holder. In 2007, Rhone  performed a repertoire of tracks by Cliff Richard; a gig at the Crown Casino, Melbourne, in late 2008 it was filmed and broadcast in February the next year as Marty Rhone: A Tribute to Cliff Richard and The Shadows.  In May 2011 on the Cliff & Dusty presentation he performed with Sheena Crouch as UK pop singer Dusty Springfield and in June 2012 with his own "musical theatre fantasy" covering Richard's and The Beatles' material in Cliff Joins The Beatles. In August 2016, Rhone released 50th Anniversary Album, a career spanning compilation album.

Welcome to Season 4, Episode 9. We had a lot of fun talking to Dr. Xenia Deviatkina-Loh about her life, her career, and her work with the Asian Classical Music Initiative. Dr. Deviatkina-Loh performs on violin and viola, and she is also a pedagogue, sharing her knowledge in various settings across the world. She's the president of the 2024 ACMI @ MSMU conference at Mount Saint Mary's University on April 13-14, 2024. It's open to the public and will feature performers, composers, and scholars. Originally from Australia, Dr. Deviatkina-Loh received her Bachelor of Music in Performance at the Sydney Conservatorium of Music before furthering her studies at the Royal Academy of Music in London for her Master of Arts degree and then the University of California, Los Angeles for her Doctor of Musical Arts degree in 2020. She has performed as a soloist and recitalist internationally in Australia, New Zealand, the UK, The US, and China. Her solo album Soliloquy as well as her collaborations can be found on pretty much any music platform out there. As a pedagogue, she's been a speaker and presented at conferences including the Alliance of Women in Media Arts and Technology and the Asian Classical Music Initiative, and also worked as a Teaching Assistant and Fellow at the UCLA Herb Alpert School of Music, the Beckman YOLA Center, and for the International Grand Music Festival in Indonesia. You can support ACMI by participating in the conference as an attendee or speaker/performer. To apply to be a part of the conference, you can go to this Google Form that they've set-up. To learn more, we encourage you to visit Xenia's website or social media on YouTube or Instagram, ACMI@MSMU's website, ACMI's website or social media on Facebook or Instagram. If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or social media links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.

In this episode of MFM Speaks Out, Dawoud Kringle comes out of retirement to present a 2023 retrospective. We will share some of the content we brought to you in 2023, and  enjoy a few other surprises as well.   Our guest for the January episode was Haana.  Haana is a violinist, vocalist, electronic music artist, visual performer, and entirely self-contained as a one-woman orchestra. She played with Kanye West, and Alvin Ailey, as well as festivals such as Joshua Tree Festival and Coachella and others in the US, Canada, UAE, and Australia, Barack Obama's inaugural ball, and at Michael Jordan's wedding. Haana has endorsement deals with Ableton, Native Instruments, Even Headphones (manufactured by Blue Microphones), and Realist Violins. She appeared in ads for Intel, Harvey Nichols, Nike, Ferrari, and Apple Computers. In addition, she has experience as a film composer and does artist mentorship/marketing, branding, and production consultation.  In February, MFM board member and co-producer of this very podcast Adam Reifsteck joined us for a very fascinating discussion. Adam is a New York-based composer, electronic music artist, producer, entrepreneur, and music activist. He writes for small ensembles, produces electronic music, and performs improvised group compositions on Wi-Fi-connected laptops. He has collaborated with string quartets, university choirs, and visual and electronic artists. His approach to composition includes elements of improvisation. He is a recipient of grants from the Lower Manhattan Cultural Council, the Irving S. Gilmore Foundation, and the Kalamazoo (MI) Community Foundation. His music has been performed by the Attacca Quartet, Amernet String Quartet, Cadillac Moon Ensemble, Duquesne University Chamber Singers, Flutronix, Gaudete Brass Quintet, Mana Saxophone Quartet, Western Michigan University Chorale, and many other ensembles. Adam is also an active recording engineer and producer whose studio alias SONIC FEAR has become synonymous with lush, genre-bending sounds—from dance floor-ready tracks to downtempo meditations. He is the founder and CEO of Teknofonic Recordings, an independent record label and artist development platform providing electronic musicians with learning resources, networking opportunities, and career support. Adam holds a master's of music degree in composition from Western Michigan University and a bachelor's of music in music technology from Duquesne University. He is a member of Broadcast Music Inc., the Society of Composers and Lyricists, the Recording Academy, the Audio Engineering Society, and Musicians for Musicians. Our March episode was a landmark. We interviewed Keyna Wilkins, the first MFM member from Australia. Wilkins holds a Master of Music Composition at Sydney Conservatorium, studied composition, classical and jazz piano, and classical flute with several prestigious instructors, and intuitive conceptual improvisation with Tibetan Buddhist musician Tenzin Cheogyal. holds an MA in Flute Performance at Bristol University (UK) in 2008. She is known as a soloist and leader of cutting-edge ensembles and has written over 60 compositions, including 4 major orchestral works. Her works have been commissioned and/or performed by ensembles such as The Metropolitan Orchestra, Syzygy Ensemble, Elysian Fields, The Sydney Bach Society, and many others. She has released 9 albums of original music on all streaming platforms including 4 solo albums. Wilkins is also an Associate Artist with the Australian Music Centre and has five tunes in the Australian Jazz Realbook. She also writes music for films and theatre including the short film "Remote Access" which won Best Short Film at the Imagine This International Film Festival in New York in 2019 and her works are featured on ABC, Triple J, Fine Music FM, Cambridge Radio, SOAS London and many more. Her music is published by Wirripeng and she is a member of Musicians for Musicians. MFM member Sylvian Leroux was our guest in April. Sylvian is a flutist, saxophonist, guitarist, composer, arranger, bandleader, educator, inventor, and prominent member of Musicians for Musicians.  Sylvain Leroux grew up in Montreal where he studied classical flute at Vincent d'Indy; and improvisation and composition in New York at the Creative Music Studio where he attended classes by luminaries Don Cherry, the Art Ensemble of Chicago, Karl Berger, Cecil Taylor, and many others. A pioneer of African/Jazz collaborations, Sylvain is a foremost player of the Fula flute, the traditional flute from Guinea. He was selected as “Rising Flute Star” by the Downbeat Magazine Critics' Poll for many years, achieving the #2 spot in 2019. As a bandleader, he brought traditional West African music to Zankel Hall with his Fula Flute Ensemble and held the fort for more than a decade at New York City's Zinc Bar with his African Jazz group “Source”. His 2002 CD “Fula Flute" achieved cult status, and stimulated a worldwide interest in the instrument. His 2012 album “Quatuor Creole” was hailed as “a perfect contemporary music release.” He curated New York's “Griot Summits” which featured performances by 25 West African griots from five countries. He has performed and recorded with Emeline Michel, Adam Rudolph, Karl Berger, Hassan Hakmoun, Billy Martin, and many West African stars. As a maker and seller of Fula flutes around the world, he invented and patented the Qromatica, a Fula flute capable of chromatic functionality. This led him to initiate "L'ecole Fula Flute", a music literacy project that graduated many excellent young flutists who are now re-energizing an endangered flute tradition. Our May 2023 episode featured Mark Chimples, a.k.a. Mark C. Mark is the guitarist and synthesizer player with Live Skull. Formed in 1982, Live Skull is considered by many aficionados to be the quintessential New York City noise band. Rising concurrently with bands such as Sonic Youth and Swans, Live Skull helped define the post-No Wave underground "noise rock" in the 1980s music scene in New York City. Over the following decades, Live Skull released five albums and three EPs with a rotating cast of 11 members, all of whom added new ideas to the group's evolving sound. Themes of struggle and chaos permeated and inspired their music. Their constant progression inspired New York Times critic Robert Palmer to call them “as challenging, as spiritually corrosive, and ultimately as transcendent as Albert Ayler's mid-'60s free-jazz or the implacable drone-dance of the early Velvet Underground. It's one of the essential sounds of our time." Music on this episode:Haana - Bison RougeAdam Reifsteck / Sonic Fear - AuroraKeyna Wilkins - Floating in SpaceSylvain Leroux - In Walked BudLive Skull - Party ZeroSpaghetti Eastern - Jungle BlueArturo O'Farrill and the Afro Latin Jazz Orchestra - Amidst the Fire and WhirlwindDave Liebman - Journey Around Truth  SoSaLa - Dadada Dadada DaaDawoud Kringle - Keep Trying CreditsProducer and host: Dawoud KringlePublisher: Musicians For Musicians (MFM), Inc. and Sohrab Saadat LadjvardiTechnical support: Adam ReifsteckLinksBe sure to follow and tag MFM on Facebook ([https://www.facebook.com/M4M.org/] and Instagram (https://www.instagram.com/mfm_association/).

Yorta Yorta woman, composer and soprano Deborah Cheetham Fraillon was joined by some of the country's most creative minds for an expansive conversation that reflects on the role of the arts in a post-referendum Australia. Australia, at this time following the Voice to Parliament referendum and with a new national arts and cultural policy, is going to be profoundly changed. The arts has, and will have, a role in reflecting our aspirations – so what do we want? How does the arts articulate and advance this? Hear from: Professor Deborah Cheetham Fraillon AO, Elizabeth Todd Chair of Vocal Studies at Sydney Conservatorium of Music; Michael Dagostino, Director of Museums and Cultural Engagement at the University of Sydney; Guzheng performing artist Mindy Meng Wang; and Host Jess Scully, author and curator. The recording of this podcast was from a live event held on Wednesday 1 November 2023 at the University of Sydney. Aunty Ann Weldon gave a Welcome to Country (which was referenced by Deborah in the podcast). For more info and resources, including a transcript, visit the Sydney Ideas website: https://bit.ly/40AegDs

E no episódio de hoje, recebemos Anna Murakawa! Ela que é doutora em música pelo Sydney Conservatorium of Music, é especializada em performances que unem do clássico ao contemporâneo, tem como objetivo levar a beleza e a expressividade do violino a um público cada vez mais amplo. Além de seus shows solo e como violinista da Opera House de Sydney, também conta com uma lista de colaborações com grandes nomes da música, incluindo Eminem, Michael Bublé, Alok, One Republic, Família Lima, Toquinho, Ivete Sangalo e entre outros. Através de sua trajetória musical, compartilha sua paixão pela música e propósito impactando diversas pessoas de diferentes faixas etárias e estilos.

This week Di and Nicola speak to the talented Tracey Yarad. Tracey is a singer and musician from country Taree. She's had an incredible and eclectic music career, touring all over the world with many Aussie and international rock bands. She also spent 7 years performing in Japan and China, and saving money to fund her dream, which was to open her own music school. These days Tracey lives in New York, but she's currently in Australia touring her one woman show, All These Pretty Things. In this episode we hear about Tracey's lifelong passion for music, and the twists and turns that her path has taken along the way, to where she now finds herself living and performing in New York. Tracey grew up in Taree, where it was expected that she would step into the family retail business, but her dedication to music led to her getting a scholarship to study opera at the Sydney Conservatorium of Music.  Tracey shares the dream she had to open her own music school, which she was able to achieve in the Blue Mountains with her husband at the time. From a small music school, they built it into a beautiful and thriving business with over 200 students. Tracey is still in touch with many of her students today, who are performing in bands all over the country.  We hear the heartbreaking tale of the breakdown of Tracey's marriage and how she was left picking up the pieces and deciding what to do next. With a supportive group of friends around her, encouraging her to travel to New York and perform on her own again, Tracey found herself falling in love with the Big Apple, healing and re-inventing herself in her 50s. In 2017, Tracey was able to secure an artist's visa to move permanently to New York, where she now lives and breathes music.  Tracey's story is a beautiful one, full of ups and downs, but above all, it's the story of a woman who restored her heart through music, supportive friends, and the courage to go after her dreams, no matter how big. We hope you enjoy this inspiring episode.  Follow Tracey on IG here Get Tracey's music, tickets to her shows and pre-order her book here Find out more about Tracey and her work here Follow Nicola and Di on Instagram hereSee omnystudio.com/listener for privacy information.

Tessie Overmyer is a saxophonist primarily playing the alto sax. She has been making a huge impact on the Sydney and Australian jazz scenes in the past couple years.  In this profile she describes taking up the alto at school (though she might have been an oboe player if one had been available) .  She was introduced to jazz through listening to Charlie Parker solos when she was still at school.  She decided that she wanted to make a career in music after her experience as a young musician playing at the Newport Jazz Festival But she only really discovered the world of Australian jazz when she went to the Sydney Conservatorium.   Now playing in large and small ensembles she is immersed in Australian jazz, and names Johnathan Zwartz as a major influence.  In the next couple of years, her next move will probably be to study in the USA or Europe Before she speaks, we hear a live recording Tessie made of her trio  playing a piece called Midnight at Central.  After she has been speaking, we hear another live recording of Tessie's from the same trio: Tessie on alto, Chloe Kim on drumset and Jacques Emery on bass.  This piece is called Ecky Thump.  While she is talking there are snatches of the self titled album from the quintet JIEM, which she co-leads with Miles Rooney The profile was produced by Mick Paddon, from an interview he conducted with Tessie. It was first broadcast on the 20th July 2023 on his weekly radio show on Eastside , Time and Space, which airs from 12 midday to 14.00. This podcast is the most recent in a series titled Changing the Face of Jazz.  For the past five years Mick has been producing these profiles of Australian, female jazz instrumentalists, as a follow on to his radio documentary, Music Has No Gender.  They are musicians who are changing the way we see jazz, even if not the way we hear the music

Unlocking the right investment structures will remove blockers and increase your capacity for wealth creation, says Monica Rouvellas. Your purchasing entity structure and strategy is critical to your capacity borrow money and buy property. But many would-be property investors hit barriers with banks because of apparent income limitations or other financial factors.  But as Monica reveals, there is always a way. Monica has reportedly uncovered a bank hack that has enabled her to overcome income loan servicing constraints to secure three properties that now cost her nothing to own.  Monica is an investor with rare creative capacity and an ability to think differently.  She's a polymath with an incredible career as an entrepreneur, multi-disciplinary academic, researcher and educator. Her talents and interests have been spread across the Sydney Conservatorium of Music, she's also a lawyer and founded her own tech start-up. And somewhere amongst all of these demanding roles, she still finds time to invest in property. Enjoy this inspiring conversation! Connect with Monica: https://www.monicarouvellas.com/ Three easy ways to Get Invested right now: 1. Subscribe to this podcast now, if you haven't already, and get the inspiration delivered to your podcast feed each week 2. Get a copy of my book, Get Invested, for FREE, and find out what it takes for you to invest in living more, working less. Go to: https://knowhowproperty.com.au/get-invested-free-ebook  3. Join the Get Invested community. Each month Bushy sends a free and exclusive monthly email full of practical ‘Self, Health and Wealth' wisdom that our current Freedom Fighter subscribers can't wait to get each month. Just visit bushymartin.com.au, scroll to the bottom of the page and sign up. About Get Invested, a Property Hub show Get Invested is the leading weekly podcast for Australians who want to learn how to unlock their full ‘self, health and wealth' potential. Hosted by Bushy Martin, an award winning property investor, founder, author and media commentator who is recognised as one of Australia's most trusted experts in property, investment and lifestyle, Get Invested reveals the secrets of the high performers who invest for success in every aspect of their lives and the world around them. Get Invested is part of the Property Hub podcast channel, your home for property investment insights, inspiration and stories from Australia's top property experts, investors, leaders and analysts. Subscribe now on Apple Podcasts, Spotifyand Google Podcasts to get every Get Invested episode each week for free, and also get full access to RealtyTalk, Australia's top online property show for red hot property investing news and insights direct from property industry leaders and influencers. Property Hub is a collaboration between Bushy Martin from KnowHow Property, Kevin Turner from Realty, show producer Andrew Montesi from Apiro Marketing and Apiro Media, and Australia's largest independent podcast network DM Media.  For business and partnership enquiries, send an email to: antony@dm.org.auSee omnystudio.com/listener for privacy information.

Czwarta i ostatnia cześć rozmowy z prof Wandą Wilkomirską przeprowadzoną przed laty w Sydney. Po przejściu na emeryturę, wybitna skrzypaczka w pełni sił witalnych i koncertowych, w 1999 roku przyjęła posadę pedagoga w Sydney Conservatorium of Music i na stałe osiedliła się w Australii. Wywiad prasowy sydnejskiej poetki Ludwiki Amber sprzed laty został dźwiękowo zrealizowany na potrzeby programu …

Brett Weymark is one of Australia's foremost choral conductors. Since 2003 Brett Weymark has conducted the Sydney Philharmonia Choirs throughout Australia and internationally. He has also conducted the Sydney, Adelaide, Queensland, West Australian and Tasmanian symphony orchestras, Orchestra of the Antipodes, Sydney Youth Orchestra, New Zealand Symphony Orchestra, Hong Kong Philharmonic and productions for WAAPA, Pacific Opera and OzOpera. He has performed with Opera Australia, Pinchgut Opera, Australian Chamber Orchestra, The Song Company and Musica Viva. He studied singing and conducting at Sydney University and the Sydney Conservatorium of Music and continued conducting studies with Simon Halsey, Vance George, Daniel Barenboim and Sir John Eliot Gardiner, amongst others. His performances have included Bach's Passions and Christmas Oratorio, the requiems of Mozart, Verdi, Duruflé and Fauré and Orff's Carmina Burana. He is champion of Australian composers and has premiered works by Matthew Hindson, Elena Kats-Chernin, Peter Sculthorpe, Ross Edwards and many others. He has prepared choirs for Sir Charles Mackerras, Zubin Mehta, Edo de Waart, Vladimir Ashkenazy and Sir Simon Rattle. He has recorded widely for the ABC and conducted film scores, including Happy Feet, Mad Max Fury Road and Australia. Recent highlight performances include Sondheim's Sweeney Todd (West Australian Opera), Paul Stanhope and Steve Hawke's Jandamarra (SSO), Michael Tippett's A Child Of Our Time (Adelaide Festival) and Carousel (State Opera South Australia). In 2001, Brett was awarded an Australian Centenary Medal. In 2021, he was awarded the Medal of the Order of Australia for services to the performing arts through music. Brett is passionate about singing and the role that music plays in both the individual's wellbeing and the overall health and vitality of a community's culture. Music can transform lives and should be accessible to all.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Trzecia cześć rozmowy z prof Wandą Wilkomirską w Sydney. Po przejściu na emeryturę, wybitna skrzypaczka w pełni sił witalnych i koncertowych, w 1999 roku przyjęła posadę pedagoga w Sydney Conservatorium of Music i na stałe osiedliła się w Australii. Wywiad prasowy sydnejskiej poetki Ludwiki Amber sprzed laty został dźwiękowo zrealizowany na potrzeby programu …

Druga cześć rozmowy z prof Wandą Wilkomirską w Sydney. Po przejściu na emeryturę, wybitna skrzypaczka w pełni sił witalnych i koncertowych, w 1999 roku przyjęła posadę pedagoga w Sydney Conservatorium of Music i na stałe osiedliła się w Australii. Wywiad prasowy sydnejskiej poetki Ludwiki Amber sprzed laty został dźwiękowo zrealizowany na potrzeby programu …

Pierwsza cześć rozmowy z prof Wandą Wilkomirską w Sydney. Po przejściu na emeryturę, wybitna skrzypaczka w pełni sił witalnych i koncertowych, w 1999 roku przyjęła posadę pedagoga w Sydney Conservatorium of Music i na stałe osiedliła się w Australii. Wywiad prasowy sydnejskiej poetki Ludwiki Amber sprzed laty został dźwiękowo zrealizowany na potrzeby programu …

SERIES 2 - EPISODE 1 - Strings- Drops Tuesday 18/04/2023 - Subscribe NOW!People attend orchestral concerts and can name the instruments, but the actual physicality, dimension, sound production, history and function of most instruments remains a mystery. This series looks at each family of instruments, some lesser known instruments and the role of the conductor. ----Andy continues our musical journey of discovery and as an added bonus, each episode involves a sweet treat, cake or biscuit to indulge in, with recipes on her website coffeecakeandculture.com.au. From novice to expert, listeners will enjoy ‘Coffee Cake and Culture – the Music Podcast'. Andy Bromberger started her music career with a Bachelor of Music (performance) at the Sydney Conservatorium of Music majoring in the Clarinet. For 20 years she taught clarinet, played professionally, and coordinated and conducted school bands. Andy started ‘Coffee Cake and Culture' to combine her 4 major passions in life; music, education, history and BAKING.​Rob Kaldor knows nothing about classical music but loves his desserts! Rob is an audio producer and runs his podcast production company etales.com.au. Hosted on Acast. See acast.com/privacy for more information.

Two directors from this new musical Metropolis - wow - join Regina Botros to talk theatre. Julia Robertson is an actor, director, and musician. She is the current Artistic Director of the award winning devising group, the Little Eggs Collective. Acting credits include Jess and Joe Forever (25A Belvoir, 2019 dir. Shaun Rennie), The Astral Plane (25A Belvoir, 2019 dir. Charlie Garber), The Real Thing (STC, 2019 dir. Simon Phillips), The Oyster (Critical Stages, 2021 dir. Scarlet McGlynn) and Wherever She Wanders (Griffin, 2021 dir. Tessa Leong). Julia also stars in the film Hot Mess (Emerald Productions) that is currently airing on Netflix Aus/NZ and voiced the audiobook Don't Fall by Sophie Smith (Amazon). Julia has studied acting at the Lee Strasberg Theatre and Film Institute (Method Acting Intensive, New York 2017) and the Royal Academy of Dramatic Art (Acting Shakespeare Intensive, London 2022).   Zara Stanton is an accomplished Music Director, Composer, Performer, Arranger, Vocal Coach and Music Educator. She holds a Bachelor of Music from the Sydney Conservatorium of Music, where she studied classical voice and music education, and has her A.Mus.A. qualification in both voice and piano. Zara's recent credits as Music Director include Bonnie & Clyde (Joshua Robson Productions) at the Hayes Theatre, Every Musical Ever (One Eyed Man Productions) at Adelaide Cabaret Festival & Wyong Art House, The Deb (Australian Theatre for Young People) and The Boomkak Panto (Belvoir St Theatre). Zara was also Associate Music Director for A Chorus Line (Darlinghurst Theatre Company), playing at the Sydney Opera House and Riverside Theatres.

Buckle in for this one! In this episode we talk with Dr Jadey O'Regan who co-authored a book named "Hooks in Popular Music" (in which MMMBOP is discussed) Jadey also teaches Bachelor of Music Studies as the Sydney Conservatorium of music. In 2014, she was awarded her PhD, which focused on the development of the distinctive sound of the Beach Boys between 1962 and 1966. She is also a musician and song writer herself.  Jadey speaks with us about what makes MMMBOP such a catchy tune. We are also joined by her husband, Dr Tim Byron, a music psychologist. If you've ever wanted to know the pyschology behind MMMBOP and being in a fandom, then this is the episode for you! You can find Jadey on Instagram @hellojadey and to find the book you can do a Google search of "Hooks in Popular Music"

"I think Live Music Will Always be Very Exciting and There Will Always Be a Market For It."Our guest for this episode of MFM Speaks Out is Keyna Wilkins. Wilkins holds a Master of Music Composition at Sydney Conservatorium, studied composition, classical and jazz piano, and classical flute with several prestigious instructors, and intuitive conceptual improvisation with Tibetan Buddhist musician Tenzin Cheogyal. holds an MA in Flute Performance at Bristol University (UK) in 2008.She is known as a soloist and leader of cutting edge ensembles, and has written over 60 compositions, including 4 major orchestral works. Her works have been commissioned and/or performed by ensembles such as The Metropolitan Orchestra, Syzygy Ensemble, Elysian Fields, The Sydney Bach Society, and many others. She has released 9 albums of original music on all streaming platforms including 4 solo albums. Wilkins is also an Associate Artist with the Australian Music Centre and has five tunes in the Australian Jazz Realbook. She also writes music for films and theatre including short film Remote Access which won Best Short Film at the Imagine This International Film Festival in New York 2019 and her works are featured on ABC, Triple J, Fine Music FM, Cambridge Radio, SOAS London and many more. Her music is published by Wirripeng and she is a member of Musicians for Musicians. Topics discussed:Wilkin's beginnings with the European classical tradition and her interest in the piano and flute, her interest in jazz, the influence indigenous Australian culture has on her music, details from her albums, including her modal jazz improvisations on the music of J. S. Bach on So What Bach, her use of natural sounds in several of her recordings, her collaboration and other projects, her work as a music educator, the effects the pandemic had on the Australian music scene, her methods of music distribution, funding for the arts in Australia, her upcoming US tour, her decision to join MFM and her association with music activism in Australia, and her views on the future of the music scene in Australia. Music featured in this episode:1) Air in Motion 6, Floating in Space2) Bach Reflections 2, Little Prelude in D Minor3) Set Me Free (music collaboration album with Ahwaz Arab (Iran) refugee poet  Jalal Mahamede, made via zoom)(All music by Keyna Wilkins. Used with permission)keynawilkins.com

Support the Delingpod's existence by joining James' Locals: https://jamesdelingpole.locals.com/ Hunter and Gather are a real food and supplements brand, simplifying optimal healthy living for all through a great tasting, award-winning range of products all free from gluten, refined sugar, and inflammatory seed oils. Head to hunterandgatherfoods.com and use code TDP10 for a 10% discount off your order. Introducing him at the United States Senate in 2015, Ted Cruz called Mark Steyn "an international bestselling author, a Top Five jazz recording artist, and a leading Canadian human rights activist". All of which happens to be true. Mark is the author of After America, which was a Top Five bestseller in the United States and a Number One bestseller in Canada; America Alone: The End Of The World As We Know It, a New York Times bestseller in the United States and a Number One bestseller in Canada; and his most recent bestseller, The [Un]documented Mark Steyn. His most recent CD is his cat album, dedicated to his own beloved cat Marvin: Feline Groovy: Songs for Swingin' Cats was a Number One jazz bestseller, a Top Twenty album on the Billboard chart, and a Top Thirty album on Amazon's pop chart. "A Marshmallow World", his Christmas single with Jessica Martin, reached Number Seven on Amazon's easy listening bestsellers, and Number 41 on their main pop chart. Their subsequent full-length Christmas album, Making Spirits Bright, reached Number Four on the jazz chart. "Nine Lives", the song he co-wrote with Kevin Amos, was a Top Thirty smash on the Moldovan Hit Parade. Thank you, Moldova! Steyn's human rights campaign to restore free speech to Canada led to the repeal by Parliament of the notorious "Section 13" hate-speech law, a battle he recounts in his book Lights Out: Islam, Free Speech And The Twilight Of The West. Mark hosts The Mark Steyn Show, which airs every evening Monday to Thursday. He also presents Steyn's Song of the Week every Sunday afternoon on Serenade Radio. In New York he can be heard with his longtime EIB comrade, Bo Snerdley, every Tuesday on 77 WABC. For a decade and a half until Rush's death, Mark was a hugely popular guest-host of America's Number One radio show The Rush Limbaugh Program. He was also a favorite guest-host of America's Number One cable show Tucker Carlson Tonight, and hosted its lead-in-show Fox News Primetime. He regularly drew some of the highest ratings in all US television as a host for Tucker and other top shows. With fans around the world, Steyn has appeared on stages across the planet from Toronto's Roy Thomson Hall to the Sydney Conservatorium of Music. His 2016 nationwide tour of Australia was sold out coast to coast. He has spoken in the Canadian Parliament, the Ontario Parliament, the Danish Parliament, and the Australian Parliament, where he was introduced by the then Foreign Minister, Julie Bishop. Over the years, Mark's writing on politics, arts and culture has been published in almost every major newspaper around the English-speaking world, including Britain's Daily Telegraph, Canada's National Post, The Australian, The Irish Times, The Jerusalem Post, The Wall Street Journal, and many more. Mark's other books include A Song For The Season, Mark Steyn's Passing Parade, Mark Steyn From Head To Toe and The Face Of The Tiger. His personal view of musical theatre, Broadway Babies Say Goodnight, is an acknowledged classic published to critical acclaim in London, and to somewhat sniffier notices in New York. https://www.steynonline.com/ https://twitter.com/marksteynonline   Freedom isn't free - James needs your support to continue creating The Delingpod. There are many ways you can show your support to James: Join the James Delingpole Community as a paid supporter at: jamesdelingpole.locals.com Support James monthly at: subscribestar.com/jamesdelingpole Support James' Writing at: substack.com/jamesdelingpole www.delingpoleworld.com Buy James a Coffee at: buymeacoffee.com/jamesdelingpole   Find full episodes of The Delingpod for free (and leave a 5-star rating) on: Apple Podcasts: https://podcasts.apple.com/gb/podcast/the-delingpod-the-james-delingpole-podcast/id1449753062 Spotify: https://open.spotify.com/show/7bdfnyRzzeQsAZQ6OT9e7G?si=a21dc71c7a144f48 Podbean: delingpole.podbean.com Odysee: https://odysee.com/@JamesDelingpoleChannel:0 Rumble: https://rumble.com/user/JamesDelingpole BitChute: https://www.bitchute.com/channel/Zxu5yMwNWTbs/ YouTube: https://www.youtube.com/c/TheJamesDelingpoleChannel   Follow James on Social Media: Twitter: twitter.com/jamesdelingpole Instagram: instagram.com/delingpodclips GETTR: gettr.com/jamesdelingpole Telegram: https://t.me/+dAx_7JX7WQlwYzVk    

Musicologist Dr David Larkin explores Richard Strauss's epic tone poem, An Alpine Symphony (1915) and shows how music can represent and evoke nature and the sublime. With musical excerpts, David shares how Strauss depicts a waterfall, a flowery meadow with cows, a sunrise, a thunderstorm, a hiker reaching an alpine summit, an experience of the sublime, and much more. He explains the historical, philosophical and musical context Strauss wrote and premiered it in and its critical reception across the years. He also gives us some insight into the ideas Strauss had about the meaning of certain sections. The Melbourne Symphony Orchestra are to perform An Alpine Symphony on March 2 and 3 in Melbourne. Broadcast on 21 February 2023. David Larkin is a Senior Lecturer at the Sydney Conservatorium of Music and is a specialist in German music of the nineteenth century. To listen to the full interview as it aired with the music included, listen to the feature segment here: https://www.rrr.org.au/on-demand/segments/uncommon-sense-david-larkin-shares-how-music-can-powerfully-evoke-nature-and-the-sublime To listen to the music at home alongside the podcast, here is the track list of music aired (in order): Eine Alpensinfonie, Op. 64 - 1. Nacht (Night), Sir Georg Solti https://youtu.be/uLAck30Wxzc Eine Alpensinfonie, Op. 64 - 2. Sonnenaufgang (Sunrise), Sir Georg Solti https://youtu.be/1-toTyu7bxk Eine Alpensinfonie, Op. 64 - 3. Der Anstieg (The Ascent), MSO live [2016] https://open.spotify.com/track/4ijWiZHmFFGiqJVr9sknz0?si=6801907735e84f86 Eine Alpensinfonie, Op. 64 - 6. Am Wasserfall (At the waterfall), Sir Georg Solti https://youtu.be/rddKGQCSf34 Eine Alpensinfonie, Op. 64 - 7. Erscheinung (Apparition), Sir Georg Solti https://youtu.be/gqSsNiYY-4U Eine Alpensinfonie, Op. 64 - 9. Auf der Alm (On the mountain pasture), MSO live [2016] https://open.spotify.com/track/4EXiLyML1RTpfZdybnibVx?si=4c96ae6d3dea40e2 Eine Alpensinfonie, Op. 64 - 13. Auf dem Gipfel (On the summit), MSO live [2016] https://open.spotify.com/track/7tuqOWQutpaTJKZAoePnTF?si=b666707f8cf045df Eine Alpensinfonie, Op. 64 - 19. Gewitter und Sturm, Abstieg (Thunder and Storm, Descent), MSO live [2016] https://open.spotify.com/track/1aDGTELkAipV9Syb3gLLh5?si=355d3d96e9244584

Professor Andrew Walter from the University of Melbourne stops by to discuss the recent developments in Scotland with the shock resignation of long-serving First Minister Nicola Sturgeon. He also looks at the latest in UK politics and the Northern Ireland Protocol negotiations with the European Union. Acclaimed London-based writer Marina Benjamin speaks in-depth about her latest memoir, A Little Give: the unsung, unseen, undone work of women (Scribe). Marina talks about these interlinked essays and verse, in which she examines in her own life the tasks once termed, ‘women's work'. From cooking and cleaning to caring for an ageing relative, Marina shows this kind of unsung and invisible caring work is a site of paradox and conflict, but also of solace and meaning. Marina's previous books include, Insomnia, The Middlepause, Rocket Dreams, and Last Days in Babylon. She is senior editor of Aeon Magazine.Musicologist Dr David Larkin speaks with host Amy Mullins as he explores Richard Strauss's epic and powerful tone poem, An Alpine Symphony (Eine Alpensinfonie) and shows how music can represent and evoke nature and the sublime. The Melbourne Symphony Orchestra are to perform this majestic single movement tone poem on March 2 and 3 in Melbourne. With musical excerpts, David shares how Strauss depicts a waterfall, a flowery meadow with cows, a sunrise, a thunderstorm, a hiker reaching an alpine summit, an experience of the sublime, and much more. He explains the historical, philosophical and musical context Strauss wrote and premiered it in and its critical reception across the years. He also gives us some insight into the ideas Strauss had about the meaning of certain sections. David Larkin is a Senior Lecturer at the Sydney Conservatorium of Music and is a specialist in German music of the nineteenth century. Read his pieces on An Alpine Symphony in the Conversation and Nineteenth-Century Music Review.To listen to the full interview as it aired with the music included, listen to the feature segment here on the 3RRR website. To listen to the music at home alongside the podcast, here is the tracklist of music aired (in order) from YouTube and Spotify: Eine Alpensinfonie, Op. 64 - 1. Nacht (Night), Sir Georg Solti Eine Alpensinfonie, Op. 64 - 2. Sonnenaufgang (Sunrise), Sir Georg Solti Eine Alpensinfonie, Op. 64 - 3. Der Anstieg (The Ascent), MSO live [2016] Eine Alpensinfonie, Op. 64 - 6. Am Wasserfall (At the waterfall), Sir Georg Solti Eine Alpensinfonie, Op. 64 - 7. Erscheinung (Apparition), Sir Georg Solti Eine Alpensinfonie, Op. 64 - 9. Auf der Alm (On the mountain pasture), MSO live [2016] Eine Alpensinfonie, Op. 64 - 13. Auf dem Gipfel (On the summit), MSO live [2016] Eine Alpensinfonie, Op. 64 - 19. Gewitter und Sturm, Abstieg (Thunder and Storm, Descent), MSO live [2016]

From 6 February Nadia and Cathy’s 8 week course on vocal fundamentals starts at the Sydney Conservatorium of music In the latest episode from Drive Tuesday, David Barr talks to Nadia Piave and Cathy Kerr from the Sydney Conservatorium of music. From 6 February, they are going to teach an 8 week fundamental music course. […]

From 6 February Nadia and Cathy’s 8 week course on vocal fundamentals starts at the Sydney Conservatorium of music In the latest episode from Drive Tuesday, David Barr talks to Nadia Piave and Cathy Kerr from the Sydney Conservatorium of music. From 6 February, they are going to teach an 8 week fundamental music course. [...]Read More... from Nadia and Cathy from the Conservatorium of Music on Vocal Fundamentals

Emma Ford's passion for drumming began in her high school years and was later accepted as one of only two drummers into the prestigious Sydney Conservatorium of Music, Australia's leading music University, where she gained her qualifications as a Bachelor of Music (Jazz Performance).She has a breadth of experience across a number of musical genres, including Jazz, Classical, Latin, Pop, Rock and RnB. She has been a member of the all female drumming group ‘Drummer Queens' and has performed at the Australian Ultimate Drummers Weekend, the Cricket World Cup, the Australian National Rugby League Grand Final, National Australia Day Awards at Parliament House and numerous private events.  After graduating University, Emma pursued her passion for musical theatre performing in professional productions in Sydney and Asia. Notably, she performed on drums for productions of ‘In The Heights' at the Hayes Theatre in Sydney, followed by a sell-out season at the Sydney Opera House, as well as touring both nationally and internationally with ‘The Illusionists 1903'.Her talents as a drummer and percussionist have been recognized through various awards in Australia, including the Jann Rutherford Memorial Mentorship Award from the Sydney Improvised Music Association's Women in Jazz program in 2010 and the 2016 winner of the Rob Guest Endowment Theatre Musicians Award. Since moving to New York in July 2018 at the age of 25, she quickly established herself in the Broadway scene and began working on Broadway, subbing on shows including Come From Away, Head Over Heels, Tootsie and Jagged Little Pill. She has also performed numerous gigs, cabarets and gala's alongside talents such as Stephen Schwartz, Ben Vereen, Paul Shaffer, Ariana DeBose, John Cameron Mitchell and has undertaken accompaniment work for Broadway productions including Mean Girls and Magic Mike. Due to the Covid-19 Pandemic and the Broadway Shutdown, Emma returned to Australia in 2020. In this time, she played drums for Pippin, Hamilton and Jagged Little Pill, before coming back to NYC in 2022 to become the drummer for Paradise Square on Broadway.Emma Ford's Website: https://emmaforddrums.comClayton Craddock hosts the Broadway Drumming 101 Podcast and Newsletter. He has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud.The Broadway Drumming 101 Instagram page: InstagramThe Broadway Drumming 101 YouTube page: YouTubeFor more about Clayton, click HERE Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

The Demant Dreikurs Scholarship Song Competition presents Conservatorium of Music students with the opportunity to show off their understanding and performance of German Art Song to a live audience. - Eine Veranstaltung, die wegen der Pandemie abgesagt werden musste, findet jetzt wieder statt. Es handelt sich um den Deutschen Liederwettbewerb, auch bekannt als "Demant Dreikurs" Singing Competition. Der Wettbewerb findet am Samstag, den 8. Oktober um 13 Uhr statt und zwar am Sydney Conservatorium of Music. Einlass ist ab 12.30 Uhr. An der Bar im Untergeschoss wird Gästen schon ab 12 Uhr Kaffee, Tee, Wasser und Fingerfood angeboten. Initiatorin und Organisatorin ist Dr. Anke Hoeppner-Ryan. Sie erklärt im folgenden Gespräch, was bei dem Liederwettbewerb auf dem Programm steht.

A remarkable violinist who has had an extraordinary career across three continents, Charmian Gadd started in humble beginnings on a farm on the Central Coast in the 1940s. She exploded onto the music scene as a teenager, and went on to play with such luminaries as Yehudi Menuhin and Neville Marriner, living in the UK and the USA before coming back to Australia in the late 80s. Her contribution to music has not just been as a performer, having also held positions at the Canberra School of Music and the Sydney Conservatorium. She turned 80 in January this year, which ended up being an extra special birthday as she was awarded a Medal in the Order of Australia for services to music in this year's Australia Day Honours. Charmian tells some wonderful stories from her long and remarkable career, and provides some lovely choices of music including from performers who were key inspirations in her professional development.

Liza Lim talks about how she came into new music and topics such as ecological thinking and collaboration that inspire and motivate her. Issues of representation and feminism also play a role in her life, especially in her teaching at the Sydney Conservatorium of Music at the University of Sydney. At Musikfest Berlin there are two concerts that feature her music: 11 Sept 2022, Ensemble Kollectiv conducted by Enno Poppe perform Lim's 'Machine for Contacting the Dead' together with Clara Iannotta and Xenakis. https://www.berlinerfestspiele.de/en/berliner-festspiele/programm/bfs-gesamtprogramm/programmdetail_372191.html 15 Sept 2022, The American JACK Quartet give the German premiere of 'String Creatures' in a program with Lachenmann and Xenakis. https://www.berlinerfestspiele.de/en/berliner-festspiele/programm/bfs-gesamtprogramm/programmdetail_372195.html

Lovely yayborhood, today's guest is special for so many different reasons not least because we were born just three days apart and have so much in common. You'll hear me say I think we'd be dear friends if we lived in the same city, and I've admired this amazing woman for many years from afar. Like many of our guests, you may have first heard about Erin Holland as Miss World Australia 2013 but there is so much more depth and detail to her pathYAY that somehow flies under the radar. For example, she not only has an incredible voice she's actually a classically trained soprano singer, graduated with a Bachelor of Classical Voice from the Sydney Conservatorium of Music is also qualified in clarinet, music theory, jazz, tap and initially dreamt of being on Broadway. Also like many guests, she hasn't ended up exactly where she expected but is seizing all her yay in presenting, TV, ambassadorships and the coolest role ever with the Pakistan Super League – her experience working in such a different culture deserves a WHOLE separate episode (which I actually think we'll do next time she's over there). But, as promised in the anonymous Q&A episode, it's her journey with fertility and IVF that we're here for today. This is one of the only podcasts Erin has done on the topic since first opening up earlier in the year about her challenges with conceiving and the IVF process and I am so honoured she shares so openly and honestly about what it's involved physically, mentally and emotionally. I'll let you hear the rest from her, but I hope you learn as much as I did. FOLLOW ERIN HERE + Announcements on Insta at @spoonful_of_sarah + Join our Facebook community here + Subscribe to not miss out on the next instalment of YAY! WATCH THIRTEEN LIVES ON PRIME VIDEO

Studio Soundtracks takes listeners behind the scenes of how music is crafted for film and television by hearing directly from composers, songwriters and music professionals in the Entertainment Industry. Listen to inspiring conversations about composition and hear works from Emmy, Grammy, and Oscar-winning film scores on the show. ALLYSON NEWMAN: Allyson Newman earned her Master's degree in Composition from the Sydney Conservatorium of Music. Her first feature film, Watermark, screened at the Cannes Film Festival in 2003. She then moved to LA to study film scoring at USC. Allyson has been awarded both an Australia Council for the Arts Grant and an Australian Guild of Screen Composers Award. Allyson scored the multi award winning documentary feature Limited Partnership that premiered on PBS Independent Lens in 2015. In 2016 Allyson scored the Emmy nominated media series Her Story. In July 2017 Allyson participated in the BMI Conducting Workshop and then went on to score Kusama-Infinity which premiered at Sundance and was released theatrically around the world in September 2018. Allyson collaborated with Oscar Winning directors Jeffrey Friedman and Rob Epstein to score State of Pride which opened the SXSW Film Festival 2019. In 2019 Allyson scored Making Waves: The Art of Cinematic Sound which had its premiere at the Cannes Film Festival. She is a member of the Television Academy and is on the leadership team for the Alliance for Women Film Composers. Most recently Allyson scored the HULU series First Day and is currently in production for Season 3 of The L Word- Generation Q as well as a new Netflix drama series called Partner Track. JASHA KLEBE Jasha Klebe is a composer known for emotive melodies and impactful scores. Most notably, Jasha co-scored the BAFTA and Emmy nominated music of BBC's Planet Earth II, alongside Hans Zimmer and Jacob Shea. He additionally provided music to the follow up series, Blue Planet II, as well as wrote the Emmy nominated music of National Geographic's Challenger Disaster: Lost Tapes. Jasha also composed the score to Netflix's Oscar nominated documentary, Winter on Fire: Ukraine's Fight For Freedom and National Geographic's, Diana: In Her Own Words. In 2019, Jasha composed the score to the Emmy-nominated Netflix documentary, The Black Godfather, directed by Reginald Hudlin and produced by Nicole Avant. In 2021 he scored FOX's Malika the Lion Queen narrated by Angela Bassett as well music for Garrett Bradley's Naomi Osaka series. He also wrote the music for Imperative Entertainment's podcast, The Agent, as well as Netflix/Plimsoll's nature documentary series, Animal. His music can be most recently heard on Peacock's upcoming reimagining of Queer As Folk, created by Stephen Dunn and executive produced by Russell T Davies. Jasha began his musical career at the age of 5, singing at his Grandparents' opera house, Cinnabar Theater, in Petaluma, CA. He studied classical piano and trombone for over 15 years before he moved to Los Angeles and started working at Remote Control Productions under Hans Zimmer. Over the 4 years with Hans, Jasha wrote on such films as The Dark Knight Rises, Rush, Man of Steel, and several other notable projects. Jasha was also the music arranger for the 84th Academy Awards, as well as keyboard/ synthesizer player within the event's orchestra. In 2013, Jasha began to serve as one of the headlining composers at Bleeding Fingers Music. Within this role, Jasha contributed countless hours of music to some of the most acclaimed series on television, including shows on ABC, CBS, MTV, Netflix, Lifetime, A&E, The Discovery Channel, The History Channel, National Geographic, BBC, and he performed live
on The Late Show with Colbert alongside Shea and Zimmer. Jasha currently lives and works in Los Angeles, CA.

Sydney-based author Jack Ellis has two published novels to his name. After studying classical composition at the Sydney Conservatorium of Music and the Royal Conservatorium in The Hague, Jack went on to study dispute resolution and law, becoming a Family Mediator. His first novel "The Best Feeling of All" was published in 2014 and his second, "Home and Other Hiding Places" was recently released by Ultimo Press. A tender, poignant and at times funny insight into fractured families and one little boy's attempt to find where he belongs, "Home and Other Hiding Places" was a novel I won't forget in a hurry. I was delighted to have the chance to chat with Jack about this beautiful novel on the podcast a little while ago.

Cianna Walker is a Yuin and Gumbaynggirr musician living in Sydney. She is at the start of her music career as a singer and she studies Music at the Sydney Conservatorium of music. Cianna comes from a long line of Indigenous activists and cultural educators. We talked about her experiences of starting her university endeavour, awkward land acknowledgements, Indigenous languages, and, turns out, Cianna is a lover of movies! Stay tuned until the end to listen to her cover of the song Ngarra Burra Ferra. Please be advised that this podcast contains references to deceased persons. Show script: https://docs.google.com/document/d/e/2PACX-1vSgKFwP8M7tSFIDJRNK9tlQABdlyFP8_sgorAKxKtSRUjf98doLwYvzsLXMHeWDdQvpLFuyibLL8e8D/pub Instagram: https://www.instagram.com/ciannawalker/ YouTube: https://www.youtube.com/channel/UCxOluf07qmBDEQq0h3Zwerw Links for more information: – About the movie The Drover's Wife: The Legend of Molly Johnson: https://www.imdb.com/title/tt11162490/ – “Bȁpa” by Gurrumul: https://www.youtube.com/watch?v=S9N8UXQbO34 – About the movie The Sapphires: https://www.imdb.com/title/tt1673697/ – The Dhurga Dictionary: https://aiatsis.gov.au/publication/35883 – About The Freedom Rides in Australia: https://www.sbs.com.au/nitv/nitv-news/article/2015/02/18/explainer-what-was-australias-freedom-ride#:~:text=A%20group%20of%20students%20from,the%20experience%20of%20Aboriginal%20Australians. – About SeedMob: https://www.seedmob.org.au/

Treasured Australian-American soprano and composer Jane Sheldon talks about transitioning from performer to composer and NOT composing a masterpiece.As both soprano and composer, Jane Sheldon creates and performs exploratory chamber music, and has established an international reputation for highly specialised contemporary opera and art music for voice.  She has worked extensively with composers to create new works for voice. Described as “riveting” (New York Times), Jane's compositions focus on the body in altered or transformative states.Jane Sheldon: https://www.janesheldonsoprano.com/__________– Discussed in this episode –• Wild Swans (2002) – Elena Kats-Chernin: https://open.spotify.com/album/5oWQiWLn6DWgqcQ0yBW5Yd?si=1zDqqrLdRvS1OwybQZYpFg• The Australian Marimba Composition Kit – Claire Edwardes: https://www.australianmusiccentre.com.au/product/the-australian-marimba-composition-kit • Seven Stories: https://www.youtube.com/watch?v=S4v0M8CP-Dc• Australian Piano Quartet: https://australiapianoquartet.com/• Adam Szabo: https://www.adamszabo.com/• Manchester Collective: https://manchestercollective.co.uk/• Sydney Conservatorium of Music Composing Women Program: https://www.sydney.edu.au/music/industry-and-community/community-engagement/composing-women.html• Clara Ianotta: http://claraiannotta.com/• The Howling Girls (2018) – Damien Ricketson: https://www.australianmusiccentre.com.au/work/ricketson-damien-howling-girls• Ekmeles: https://ekmeles.com/• Damien Ricketson: https://curiousnoise.com/• Sydney Observatory Residency (MAAS): https://www.maas.museum/sydney-observatory-residency-program/• Eucalyptusdom: https://www.maas.museum/event/eucalyptusdom/__________Opening music: Heaven Only Empty (2014) – Damien RicketsonClosing music: Light for the First Time (2017) – Bree van ReykThe Offcast is hosted by Claire Edwardes OAM, and produced and edited by Ben Robinson.Ensemble Offspring: https://ensembleoffspring.com/This episode of The Offcast is sponsored by Limelight

اپرای Experimental "پنبه‌زن"، ساخته آقای شروین میرزینلی و به کارگردانی صحنه خانم مرجان لطفعلی که روز ۱۹ مارچ در Sydney Conservatorium of Music به روی صحنه رفته، روایتی است از داستان کهن پنبه‌زنی و با صداهای متمایز آن ادامه می‌یابد. با آقای میرزینلی درباره سبک و اجرای این اثر، ایده شکل گیری و نمایش نوروزی آن گفتگویی داشتیم. 

Jeanell Carrigan is an Associate Professor in the Collaborative Piano Unit at the Sydney Conservatorium of Music. She has performed throughout Australia and Europe as a soloist, chamber musician and collaborative duo partner. Her area of research is Australian solo piano repertoire and more recently in the piano music composed by early 20th Century Australian women composers. She's released 32 albums of solo Australian piano and chamber works and has written several books. In this conversation, Jeanell speaks with Simon Moore in depth about her most recent project – the recording and publication of the first four piano trios written in Australia, by Australian composers, entitled Music for The Salon Trio.

Professional double-bassist Craig Scott of the Sydney Conservatorium joins Dan and Pia to discuss the ultimate team: the jazz ensemble.“There's probably no better example of democracy than a jazz ensemble – individual freedom, but with responsibility to the group,” –Michelle ObamaJazz improvisation follows a set of rules that enable creativity within a structure, so that out of a predictable pattern can come something different each time it's performed.Within an ensemble, each member might get their own moment to lead, by taking on the melody of the piece and expanding on it. The musician in the lead role can then signal, through their solo, that it's time for another musician to take up that leadership role. This requires all members of the band to be listening, not just to the notes, but for other cues to lead or make space for others.Links Judy Bailey Trio playing My Romance Yes to the Mess: Surprising Leadership Lessons from Jazz

On this episode of Tall Poppies, The Podcast Breandáin meets the composer Liza Lim. She is Professor of Composition at the Sydney Conservatorium of Music, where she also runs the Composing Women Program.Liza has created compositions for many of the world's leading orchestras including the Los Angeles Philharmonic, BBC Symphony, and the SuedwestRundfunk Orchestra and her music has been featured at many notable festivals.She was born in Perth, but spent much of her childhood in Brunei. Liza attended boarding school in Melbourne, and then completed her tertiary studies in Australia. Among her numerous accolades are the Don Banks Award for Music and the 2021 Hans and Gertrud Zender Foundation's Composition Prize 'Happy New Ears'. For 2021/22 Liza Lim is a Fellow at the Wissenschaftskolleg zu Berlin or Institute of Advanced Study.

I promised you a special guest for the last episode – surprise, it's me!!  I figured my story was long overdue so I asked my friend and fellow ukulele podcaster Cameron Murray to interview me.  It was a bit weird to be on the other side of the microphone but I really enjoyed it.  I play a couple of songs, including a new original. I wasn't entirely happy with either performance and I could have re-recorded them, but that felt like cheating so you're stuck with what I played on the day, warts and all!  Some show-related links below: Sydney Conservatorium of Music The Canberra Times Sunday Assembly Martin backpacker guitar The Green Shed Mahalo ukulele Kala ukulele Michael Rosenberg Ukulele Republic of Canberra Central Coast Ukulele Festival Blue Mountains Ukulele Festival Ohana Rebecca Sugar Steven Universe KoAloha Jonathan Coulton Joco Cruise Enya Music The Bec Taylor School of Music Ukulele Festival Hawaii Kamaka Ukuleles Podcasts I mentioned: Answer Me This Stuff You Should know The West Wing weekly Veronica Mars Investigations Buffering the Vampire Slayer The Chaser A Rational Fear The Amelia Project Episodes I mentioned: Michael Rosenberg Mark Jackson & Jane Jelbart David “Snapper” Thiele Cameron Murray Alan & Paul Okami Songs played on the show: If You Could Read My Mind (Gordon Lightfoot, 1970) One Heart is Enough (Meredith Harper) Go to the Ukulele is the New Black YouTube channel for a playlist of songs relating to today's episode. Ukulele is the New Black is produced by me, Meredith Harper.  I wrote the theme tune and I performed it with Janine Chandler, Jim Croft, Jasmine Fellows, Paul Marsh, Sandra Shaw and Chris Williams.  Seb Carraro does the graphic design. Thank you so much to Cameron Murray for being part of this final episode.  If you haven't heard Cameron's podcast Ukulele Stories, now is the perfect time to subscribe so that you keep on getting your ukulele podcast fix! Well listeners, this is the last interview I will be posting on this feed for now, but please stay subscribed as I will be releasing a 2021 compilation episode in early 2022.  And who knows, I might get inspired and make the occasional new episode.  Thank you so much for listening and supporting the podcast, with special thanks to my wonderful patrons.  Stay safe and keep strumming! Thanks to my $10 and over Patreon supporters for helping me to make this podcast: Ukulele Legend: Linda Dodwell Ukulele Champions: Debbie Hoad, Maja Zweck & Christopher Boatwright The music played in this episode is licenced under a Podcasts (Featured Music) agreement with APRA AMCOS.

Join two old friends for more Baroque Now, as Hugh Ronzani shares the microphone with his Sydney Conservatorium chum and brilliant Baroque violinist Matthew Greco to talk about The Hague, rhetoric, and lessons we can all learn from Arcangelo Corelli. All Recording & Editing by Hugh Ronzani

How two drummers, from Australia's most iconic instrumental bands, found their rhythm.featuring Tony Buck, Jim White and Woody McDonaldTony Buck earned his stripes as a jazz drummer in the Sydney Conservatorium of Music before forming cult improv band The Necks. Jim White earned his chops as a punk drummer in raucous Melbourne pubs throughout the early days of noise rock trio The Dirty Three. From opposite ends, their rhythms lay the foundation for the best instrumental bands in Australia. This is the story of how it all unfolded. Credits:Created by Litmus Media.Producer: Mahmood Fazal.Editor and Associate Producer: Eugene YangMastering Engineer: Geoffrey O'ConnorEngineer: Craig BryantMusic: Dan LuscombeAdditional Music: The Necks and The Dirty Three Hosted on Acast. See acast.com/privacy for more information.

Bridget Malcolm is an international fashion model whose career has spanned from campaigns with Ralph Lauren to Maybelline to V Magazine to Victoria's Secret and Harper's Bazaar. Listen to Dr. Allie in conversation with Bridget Malcolm as they speak on Recovery, Pre-Menstrual Dysphoric Disorder (PMDD) and a Renewed Perspective on her mental health. Bridget Malcolm grew up in South Fremantle, a little beach town just south of Perth, spending most of her days at the beach and ballet class. She was surrounded by music—her dad plays flamenco guitar and her mother the piano – so it was little surprise when on a whim she took up the oboe and fell in love with it. After just six months, she was performing with the local university's octet and toured Europe with her high school orchestra. At age 14, she was scouted by her first modeling agency, Vivien's, “but we had to wait a year or so for me to outgrow my terrible haircut, braces, and general awkwardness.” Her first job was for Harper's Bazaar Australia, with photographer Nicole Bentley, the woman she credits with teaching her how to model. At 16, she was signed to an international agency, and before she knew it, was juggling high school and modeling work. Upon graduation, she was accepted into the Sydney Conservatorium of Music and WAAPA, but instead decided to move to New York City to pursue modeling fulltime. Throughout her modeling career Bridget suffered from a wide variety of mental health struggles, including an eating disorder and anxiety, which interfered with her ability to work. She began blogging about her experiences and was humbled by the level of connectivity and overwhelming positive reaction from people around the world. She realized that even though the pressures she faced – working in an image-based industry where the inside often gets ignored – were specific to the modeling and fashion industry, the resulting mental health issues were universal. Bridget currently lives in New York City. She continues to model and advocate for mental health in the fashion industry and has formed a peer support group for models, while also focusing on “post-modelism” life including working towards a bachelor's degree with the intention to study public health and writing her memoir. Bridget is also a classically trained oboist and musician. “My motto is progress over perfection” – Bridget Malcolm This episode was recorded in August of 2019. Please note that the contents of Model Mentality are for informational purposes only. The content is not intended to be a substitute for professional advice, diagnosis, or treatment. Always seek the advice of your mental health professional or other qualified health provider with any questions you may have regarding your condition. Never disregard professional advice or delay in seeking it because of something you have heard on Model Mentality.⁠ As always, if you are in crisis or you think you may have an emergency, call your doctor or 911 immediately. If you're having suicidal thoughts, call 1-800-273-TALK (8255) to talk to a skilled, trained counselor at a crisis center in your area at any time (National Suicide Prevention Lifeline). If you are located outside the United States, call your local emergency line immediately.⁠ ⁠The views and opinions expressed by guests of the podcast are those of each individual guest and do not reflect the views and opinions of Mind Studios or Dr. Allie Sharma and do not constitute an endorsement of such views and opinions. Links: Website https://www.bridgetmalcolm.com.au/ Instagram https://www.instagram.com/bridgetmalcolm/?hl=en References: DSM 5. Diagnostic and Statistical Manual of Mental Disorders. --- Support this podcast: https://anchor.fm/modelmentality/support