Podcasts about tokyo symphony orchestra

Welcome to episode 133 of Holly Jolly X'masu! In this episode, I talk about the 1963 album, “$100 Million Christmas In Stereophonic Sounds,” featuring Hiroshi Ishimaru conducting the Tokyo Symphony Orchestra. I hope you enjoyed Hiroshi Ishimaru's “$100 Million Christmas In Stereophonic Sounds.” It's really a fantastic album. I'm sorry that this episode is a little lighter on content than most episodes. I had a lot going on around Christmas and really needed to take a mental break for a couple weeks. I'm also struggling to get over a stomach bug, so that made it hard to devote a lot of time to researching and writing this episode. I'm going to try to get another episode out before the end of the month, and then start working on recording and digitizing the records I got for Christmas. Be sure to listen in next time when I talk about singer and actress Mari Henmi's 1971 album, “Mari Henmi & X'mas Evening.” It's an interesting album, sort of a one-woman musical play. It has some great performances so I'm sure you'll enjoy it. As always, any feedback on this episode would be appreciated. If have any suggestions, or if you'd like to recommend a song or album for a future episode, drop me a line and let me know. Remember, I've added a button to my Ko-fi page. If you'd like to support me one cup of coffee at a time, a donation is only $3. I've also opened a Redbubble store. I only have a couple designs up, but keep an eye on it as I'll be trying to add more. All proceeds will be used to purchase new Japanese Christmas music to review for future episodes. You can also find me on Facebook, Instagram and Twitter. And if you get a chance, leave me a review on iTunes. Thanks!

Welcome to episode 132 of Holly Jolly X'masu! In this New Year's Eve bonus episode, I talk about the 1979 album, “Christmas Carol With Go Go,” by Korean guitarist Ra Eum Pa. I hope you enjoyed “Christmas Carol With Go Go.” It's been a rough week so I had to rush through this episode. Given a couple more weeks, I might have been able to find that blog that talked about Ra Eum Pa, but I gave up after two to three hours of searching. I was in the middle of an allergic reaction when I recorded it, so I sound a bit off as well. Have a happy New Year, and be sure to tune in next time when I talk about the 1963 album, “$100 Million Christmas In Stereophonic Sound,” featuring Hiroshi Ishimaru conducting the Tokyo Symphony Orchestra. I misidentified it as a Mood Kayo album during this episode, but it's actually a fantastic orchestral Christmas album and I'm sure you'll enjoy it. As always, any feedback on this episode would be appreciated. If have any suggestions, or if you'd like to recommend a song or album for a future episode, drop me a line and let me know. Remember, I've added a button to my Ko-fi page. If you'd like to support me one cup of coffee at a time, a donation is only $3. I've also opened a Redbubble store. I only have a couple designs up, but keep an eye on it as I'll be trying to add more. Half of any proceeds or donations received will be donated to support the people of Ukraine, while the rest will be used to purchase new Japanese Christmas music to review for future episodes. You can also find me on Facebook, Instagram and Twitter. And if you get a chance, leave me a review on iTunes. Thanks!

WEEK IN GEEK: Andrew saw Spider-Man: Homecoming so now they can talk about it while D. gets upset that Vice Media fired gaming journalist, Mike Diver, who co-created Vice's video game wing, Waypoint. NAME THAT CHIPTUNE: After going deep into an YouTube hole watching marching bands playing video game music, Andrew brings to the table the question: When the hell did video game music become so popular? Is it that good or are we just getting old? RELATED LINKS: Emily Reese's podcasts about video game music: First, the defunct Top Score with Emily Reese (the archives are still active) and the current Level with Emily Reese. New Dan & Rusty Video Game Power Hour where they play Thunder Lotus Games' new release, Sundered. D. Bethel's interview with Nathan Miller for the podcast, Finding Sacramento. WORKS CITED, REFERENCED, OR CONSULTED: Lieberman, David. "Vice Media Cuts Staff by 2% As it Sharpens Focus on Video." Deadline. Penske Business Media, 21 Jul. 2017. Raymond, Adam K. "Vice Holds Field Day in Brooklyn as Dozens of Employees are Laid Off." New York Magazine. New York Media, 21 Jul. 2017. LINKS: Visit our website at forallintents.net and leave your thoughts as comments on the page for this episode. Join our Facebook page E-mail: Andrew - andrew@forallintents.net, D. Bethel - dbethel@forallintents.net Subscribe to our YouTube channel. Subscribe to and review the show on the iTunes store. For all intents and purposes, that was an episode recap. FEATURED MUSIC: -"Stayin' in Black" by Wax Audio -"Scene III (Final Fantasy - 'Opening Theme', 'Town', 'Matoya's Cave')" by The Tokyo Symphony Orchestra (from Symphonic Suite Final Fantasy; arranged by Katsuhisa & Takayuki Hattori)

Called a “Modern Master” by The Strad, Dr. Peter Askim is a composer, conductor, bassist, and educator. He is the Artistic Director of the Next Festival of Emerging Artists, the conductor of the Raleigh Civic Symphony and Chamber Orchestra, as well as the Director of Orchestral Activities at North Carolina State University. Previously Music Director and Composer-in-Residence of the Idyllwild Arts Academy Orchestra, he has had commissions and performances from the Tokyo Symphony Orchestra, the Honolulu Symphony, and the International Society of Bassists, just to name a few.

Called a “Modern Master” by The Strad, Dr. Peter Askim is a composer, conductor, bassist, and educator. He is the Artistic Director of the Next Festival of Emerging Artists, the conductor of the Raleigh Civic Symphony and Chamber Orchestra, as well as the Director of Orchestral Activities at North Carolina State University. Previously Music Director and Composer-in-Residence of the Idyllwild Arts Academy Orchestra, he has had commissions and performances from the Tokyo Symphony Orchestra, the Honolulu Symphony, and the International Society of Bassists, just to name a few.

Called a “Modern Master” by The Strad, Dr. Peter Askim is a composer, conductor, bassist, and educator. He is the Artistic Director of the Next Festival of Emerging Artists, the conductor of the Raleigh Civic Symphony and Chamber Orchestra, as well as the Director of Orchestral Activities at North Carolina State University. Previously Music Director and Composer-in-Residence of the Idyllwild Arts Academy Orchestra, he has had commissions and performances from the Tokyo Symphony Orchestra, the Honolulu Symphony, and the International Society of Bassists, just to name a few.

Called a “Modern Master” by The Strad, Dr. Peter Askim is a composer, conductor, bassist, and educator. He is the Artistic Director of the Next Festival of Emerging Artists, the conductor of the Raleigh Civic Symphony and Chamber Orchestra, as well as the Director of Orchestral Activities at North Carolina State University. Previously Music Director and Composer-in-Residence of the Idyllwild Arts Academy Orchestra, he has had commissions and performances from the Tokyo Symphony Orchestra, the Honolulu Symphony, and the International Society of Bassists, just to name a few.

This week's podcast is based all on the roll of a die! Not really, but most of it is spent dicussing a seminal topic: Role-Playing Games. Week in Geek: Andrew creates cards for a prototype card game while Dan irresponsibly purchases classic Doctor Who (out of vanity). The Forgotten Fantasy: To kick off the dicussion of RPGs, Dan and Andrew talk about the least-talked-about entry in the Final Fantasy franchise, Final Fantasy II (not IV). Evolution of RPGS: Tabletop RPGs, Video Game RPGS, how they influenced and diverged from each other––an epic overview that covers what you know and more. LOST: Talking about a tv show on an RPG episode? Andrew connects the dots (but leaves many more unconnected) in this segment. Question of the Geek: What is a memorable moment from either a tabletop or video game RPG that hit hard with you and would like to share? Leave your answers as comments on the page for this episode at forall.libsyn.com. Keep up with the conversations and exclusive links on the official Facebook and Google+ pages, too. You may also e-mail any questions, comments, or concerns to the show at forallpod [at] gmail.com.  For all intents and purposes, that was an episode recap. Featured Music: -"Stayin' in Black" by Wax Audio -"Scene VII" by Nobuo Uematsu, perf. Tokyo Symphony Orchestra (from Symphonic Suite Final Fantasy) -"Dragonborn" by Jeremy Soule (from Elder Scrolls V: Skyrim) -"The Ballad of Gilligan's Island" by Sherwood Schwartz and George Wyle -"Fight 1" by Nobuo Uematsu (from Final Fantasy IV)

We’re featuring double bassist, composer, and conductor Peter Askim on today’s episode of Contrabass Conversations. A former member of the Honolulu Symphony and an internationally acclaimed composer, Peter currently serves as music director and composer-in-residence for the Idyllwild Arts Academy. His Eight Solitudes for Double Bass won the 2002 International Society of Bassists Composition Competition. Learn more about Peter at his website peteraskim.com. There are some excellent opportunities for high school bassists at the Idyllwild Arts Academy. Bassists study with Chris Hanulik (Los Angeles Philharmonic Principal Bass) and Jeremy Kurtz (San Doego Symphony Principal Bass) and recieve a great deal of attention from Peter as well. Learn more about this program atidyllwildarts.org. Enjoy!   About Peter: Active as a composer, conductor and bassist, Peter Askim is the Music Director and Composer-in-Residence of the Idyllwild Arts Academy. He has been a member of the Honolulu Symphony Orchestra and served on the faculty of the University of Hawaii-Manoa, where he directed the Contemporary Music Ensemble and taught theory and composition. As a composer, he has had commissions and performances from such groups as the Tokyo Symphony Orchestra, the Honolulu Symphony, the International Society of Bassists, the Yale Symphony Orchestra, the Idyllwild Arts Orchestra, the Portland Chamber Music Festival, and Serenata Santa Fe, as well as by performers such as flutist/ conductor Ransom Wilson, Metropolitan Opera soprano Lauren Flanigan, Grammy-nominated soprano Judith Kellock and violinist Timothy Fain. His compositions are published by Liben Music Publishers and the International Society of Bassists, and his music is recorded on the Gasparo and Albany labels. His compositions have been performed at the Aspen, Bowdoin, Music At the Anthology, June in Buffalo and Bang On A Can festivals, among others, and have frequently been broadcast on WNYC and Hawaii Public Radio. Mr. Askim won the 2002 International Society of Bassists Composition Competition for Eight Solitudes and is a frequent recitalist for the International Society of Bassists, the Hawaii Contrabass Festival and the World Bass Festival in Wroclaw, Poland. He performed and recorded his bass concerto Islands at the International Society of Bassists convention under the direction of flutist/ conductor Ransom Wilson. As a conductor, Mr. Askim has served as Music Director of the Branford Chamber Orchestra and makes frequent guest conducting appearances, including the Sewanee Philharmonia, the Oregon Festival of American Music, the Wroclaw (Poland) Chamber Orchestra Sotto Voce and the Honolulu Symphony Orchestra. He has premiered numerous works, including by composers Richard Danielpour and Christopher Theofanidis and has collaborated with such artists as the Miró String Quartet, ‘cellist Matt Haimovitz, violinists Ian Swensen and Todor Pelev and ‘cellist John Walz. He has also received critical praise as a jazz artist in such publications as Jazztimes, the New York Post and New York Newsday. He studied at the Hochschule für Musik und darstellende Kunst in Vienna and holds bachelors, masters and doctoral degrees from Yale University, where he graduated with Distinction in Music. He holds a Doctor of Musical Arts degree in Composition from the University of Texas at Austin. He studied composition with Dan Welcher, Donald Grantham, Anthony Davis, Jan Radzynski, Syd Hodkinson and David Finko, and double bass with George Rubino, Diana Gannett, Donald Palma, Wolfgang Harrer and Ludwig Streicher. Music Performed: Islands (double bass concerto) from “Moving, Still” About Moving, Still: Moving, Still – CD New CD features compositions of Peter Askim and such artists as Chamber Music Society of Lincoln Center flutist/conductor Ransom Wilson, conductor Naoto Otomo and the Tokyo Symphony, members of Orchestra Asia-Japan, pianist Douglas Aschcraft and Peter Askim as conductor and bassist. Links: http://www.idyllwildarts.org/ http://peteraskim.com

We’re continuing our chat (check out part one on episode 73) with Michigan State University and Interlochen Arts Academy double bass instructor Jack Budrow this week on Contrabass Conversations. In addition to helping place students in major orchestras across the globe, Jack has had a very distinguished performance career as a former member of the Houston Symphony, Santa Fe Opera Orchestra, and as Principal Bass of the North Carolina Symphony.  Jack discussed several topics of great interest to double bass students and performers with co-host John Grillo and me, including: musical leadership and qualities of good principal bassists qualities found in good conductors how music students are seeing fewer and fewer concerts emotion in music – country music’s got it limitations of rock music in conveying emotion body maintenance and how to stay healthy as a bassist We also feature music from double bass performer and composer Peter Askim. Learn more about Peter at his websitewww.peteraskim.com. Enjoy! About Jack Budrow:Jack Budrow is professor of music and co-chair of the string area at the Michigan State University College of Music.He has enjoyed a long and varied career in double bass performance and teaching. Budrow has been a member of the Houston Symphony, and principal bass of the North Carolina Symphony, Santa Fe Opera, and the American National Opera orchestras. A well-known teacher, Budrow’s students play in many of America’s symphony orchestras, including Cincinnati, San Francisco, Atlanta, Houston, Charleston, San Antonio, the Michigan Opera, and the Army Band. Internationally, he has placed students in the Oslo Philharmonic, Israel Philharmonic, Munich Radio Orchestra, and the Caracas Symphony.Each summer, Budrow teaches at Interlochen Center for the Arts and Indiana University. He serves on the board of directors of the International Society of Double Bassists, and was a judge for their most recent International Solo Bass Competition. Budrow has presented master classes throughout the United States, including the Cleveland Institute, Florida State University, University of Houston, Indiana University, University of Michigan, Peabody Conservatory, and University of Texas. In addition, he served as the bass section coach at the National Orchestral Institute and New World Symphony. Budrow received his B.M. from Bowling Green State University. About Peter Askim: Active as a composer, conductor and double bassist, Peter Askim is the Music Director and Composer-in-Residence of the Idyllwild Arts Academy. He has been a member of the Honolulu Symphony Orchestra and served on the faculty of the University of Hawaii-Manoa, where he directed the Contemporary Music Ensemble and taught bass, theory and composition. He has had commissions and performances from such groups as the Tokyo Symphony Orchestra, the Honolulu Symphony, Orchestra Asia-Japan, the International Society of Bassists, the Yale Symphony Orchestra, the Idyllwild Arts Orchestra, the Portland Chamber Music Festival, and Serenata Santa Fe, as well as by performers such as flutist/ conductor Ransom Wilson, Metropolitan Opera soprano Lauren Flanigan and Grammy-nominated soprano Judith Kellock. His compositions are published by Liben Music Publishers, Discordia Music and the International Society of Bassists, and his music is recorded on the Gasparo and Albany labels. Musical Selection: Edge for Solo Double Bass – written and performed by Peter Askim