Podcasts about western classical

 If we hear the New Age Movement Music, we comprehend that the New Age wants Harmony and doesn't like Disharmony.The great music, like the Indian Raga or the Western Classical need the disharmonies to enhance the harmonies. And so should be our life!We can't appreciate the harmony if we don't experience the disharmony.In the New Age, we wanted to become soft and sensible,- so that we are open to the divine. We could not understand that our worst times were shaping our life to become soft and sensible!The Tao says we should be strong like a tree cutter and sensible like a baby. If we make for instance Qigong for our heart, without training our heart to become strong,- the heart Qigong is worthless. Remember, the Kung Fu has developed the Qigong. The fighters want to become sensitive to direct their energy to become strong. When they do so, nobody can hurt them anymore. And for that is Qigong.We need to make exhausting sport combined with exercises like Qigong or Yoga. Otherwise, we will never gain our full potential or health. The New Age is dam wrong because it rejects the Yang or aggression. Aggression is necessary to get the things done. Anger is positive if we use it for our benefit. Nothing is wrong only misplaced. For instance, Bruce Lee died with 32 as a famous Kung Fu fighter because he had skipped the Qigong. Grandmaster Lu Zijian as one of the best Kung Fu Fighter was teaching his Qigong until he passed by with 118 years. And Lu Zijian was active fighting until the age of 88years. Maybe Lu Zijian was wrong,- but he could understand that we need both, Aggression and Love! Don't become a wussy!My Video: Don't become a wussy! https://youtu.be/Bh50xNkWYwoMy Audio: https://divinesuccess.net/wp-content/uploads/2021/Podcast.B/Don't-become-a-wussy.mp3

Bishi is an artist, composer and producer born in London of Bengali heritage. Trained in both Hindustani and Western Classical styles, she has released and composed three albums, several EPs, movie and documentary soundtracks, and tirelessly advocates for the elevation of women, trans, and non-binary creative practitioners in music and technology. From coming up in London's queer underground in the 90s, Bishi has carved out a career path precisely for herself – to be frank, she is completely bad ass. I first saw her perform many moons ago at Latitude Festival in 2009, and this conversation was a beautiful opportunity to connect with Bishi after she has gone on to achieve so much.We discuss music by Minty, Missy Elliott, and Kate Bush. Follow Bishi online here.The other bits:Tracks of Our Queers is recorded and edited between Gadigal and Ngarigo land in Australia, by me, Andy GottListen to all of the music discussed in the pod with the Selections from Tracks of Our Queers playlistYou can email me with your own queer tracks or guest recommendations at tracksofourqueers@gmail.comOur beautiful artwork is illustrated by Luke TribeSend us a textSupport the showHelp keep Tracks of Our Queers ad-free by shouting me a coffee right here. Thank you for your support.

Today's Artful Living is all about Ludwig van Beethoven. We will listen to some wonderful Beethoven music and discuss this magnificient composer's contribution to Western Classical music. Come and join us.

Hello, and welcome to our FINAL BACKGROUND EPISODE! Now brace yourself for a veritable tidal wave of musical knowledge as we trace the origins and development of Christian chant through the better part of the 1st millennium CE. This episode is absolutely jam packed with hard-to-find information and positively GORGEOUS music from half a dozen early chant traditions. Along the way, we will encounter young lectors who competed against pagan singers, alongside incredible early music theorists (Thanks Alypios!) and a veritable who's who of early medieval bigwigs, and a shady antiquities dealer known only as "Two Time Slim." ========================= LINKS "Two Time Slim" by Patch & The Toonsnangs https://www.youtube.com/watch?v=-1Z_bYPT7F8 Oxyrhynchus Hymn https://www.youtube.com/watch?v=aDUAVMjmktc Phos Hilaron In Greek (original) https://www.youtube.com/watch?v=LJcBgcHkdac&list=PLuFO87ncQ_QQMmujr06QeRwMZC3goRd0n&index=45 Phos Hilaron in English https://www.youtube.com/watch?v=618jSKxAdzg&list=PLuFO87ncQ_QQMmujr06QeRwMZC3goRd0n&index=46 Byzantine Hymn - Δεύτε λαοί https://www.youtube.com/watch?v=4Q8i0CYs-CM Ambrosian chant - Ecce apertum est Templum tabernaculi https://www.youtube.com/watch?v=RrUxaISuk50&list=PLoth48xsiR7_3ti-wboND6p7z491G5CoA Chant des Gaules - Alleluia Music of the Ancient World - Early Music - From Ancient Times To The Renaissance Album Link https://youtu.be/YPT1lsUsmxk?list=PLuFO87ncQ_QQMmujr06QeRwMZC3goRd0n&t=3422 Reconstructing the Songs of Boethius | Restoring Lost Songs: Boethius' Consolation of Philosophy https://boethius.mus.cam.ac.uk/reconstructing-songs-boethius Ensemble Sequentia Reconstructing the Songs of Boethius' Consolation of Philosophy https://www.youtube.com/watch?v=w-tALWHHUaE&list=PLuFO87ncQ_QQMmujr06QeRwMZC3goRd0n&index=47 Office des lectures: Officium "Alleluia, ortus conclusus" (Mozarabic Alleluia) https://www.youtube.com/watch?v=-Khr76M5j0w&list=OLAK5uy_kZdH4-DvH173dr3QjJjWBD3-AgkXJLEjQ&index=2 Hymnus Peregrinorum: Compostela, Dum Pater Familias (Lyric Video) - YouTube https://www.youtube.com/watch?v=xE96AgZZn90

The first half of our final background episode comprises an all too brisk survey of some of the most interesting musical contributions of ancient Rome. Find out how the Romans REALLY felt about music and learn why, as Polybius once said, custom is always king. Oh! And we have emperor Nero's ACTUAL singing practice routine! That alone is worth the $0 cost of admission (I mean it's worth more than that, but you're getting it for free anyway because we're such a swell pair of guys). Enjoy! ============================== LINKS Reproduction of an Ancient Roman Tuba or Lituus. Used between 500 BC and AD 100. https://www.youtube.com/watch?v=X7GmJFK-07s Cornu de Pompeii https://www.youtube.com/watch?v=1IlZgj2FAHA Roman Replica Hydraulus at the Roman Baths https://www.youtube.com/watch?v=VesLeVMK5aE&t=14s What Did Popular Music In Ancient Rome Sound Like? https://www.youtube.com/watch?v=aZOsoDes3Es Synaulia - Music from Ancient Rome, Vol. 1: Wind Instruments - Amazon.com Music https://www.amazon.com/Synaulia-Music-Ancient-Rome-Instruments/dp/B00000DMKM Synaulia - Music from Ancient Rome, Vol. 2: String Instruments - Amazon.com Music https://www.amazon.com/-/he/Nicoletta-Gervasi/dp/B000077SX2 Play Festina Lente by Ludi Scaenici on Amazon Music https://www.amazon.com/music/player/albums/B0CQPQ3734 Amazon.com: Musique de l'antiquité grecque : Ensemble Kérylos feat. Annie Bélis: Digital Music https://www.amazon.com/Musique-lantiquit%C3%A9-grecque-Ensemble-K%C3%A9rylos/dp/B083Q49HV5

This episode of Reverberations features Mazz Swift's new album, The 10000 Things: PRAISE SONGS for the iRiligious. Mazz and host Majel Connery discuss a series of dualities: spirituality for the irreligious; connection and disconnection with the past; and training and un-training virtuosity. Throughout, Mazz wrestles with Western Classical perspectives and how one can "give up the world."

Western Classical Music: Where did it come from and how did it "get that way?" We think we can answer the first question in two episodes, but the second one... well, you could build an entire show around that! Today, we trace the origins of WCM from the earliest notated fragments in the world to the first named composers in history. Join us as we overturn the claim that "Not a note of music has survived from the ancient world," and find out what deck-sanding and kosher lunch meats have in common (the answer will shock you!) CAVEAT 1: Correction: "Alexanders successors," not "Alexander's descendants" CAVEAT 2: Greek persecution of the Jews was almost exclusively under Antiochus IV, but it was severe. CAVEAT 3: The musical setting for the hymn to Caliope and Zeus stretches credibility. I mean, it does kinda sound like "Hush, Little Baby," doesn't it? The language is ancient though and, like we've said, the ancients are always surprising us. ;-) ==================== EARLY NOTATION LINKS What do we know about the oldest found melody? - Music: Practice & Theory Stack Exchange https://music.stackexchange.com/questions/91048/what-do-we-know-about-the-oldest-found-melody The World's Oldest Surviving Music from circa 1950 BC https://www.youtube.com/watch?v=bAPC1tG2BKY&themeRefresh=1 (PDF) A Musical and Mathematical Context for CBS 1766 | leon crickmore - Academia.edu https://www.academia.edu/1618638/A_Musical_and_Mathematical_Context_for_CBS_1766 The Oldest Known Melody (Hurrian Hymn no.6 - c.1400 B.C.) https://www.youtube.com/watch?v=QpxN2VXPMLc&themeRefresh=1 History's Oldest Song Modernized for 2020 (Samurai Guitarist) https://www.youtube.com/watch?v=aHGB8dS1OsI&themeRefresh=1 =========================== ANCIENT HEBREW MUSIC LINKS The Origins of the Israelites: Episode 3 https://www.youtube.com/watch?v=m_ao1i7LokM&list=PLuFO87ncQ_QQMmujr06QeRwMZC3goRd0n&index=6 The Pagan Origins of Judaism https://www.youtube.com/watch?v=ZECezMYug8c&list=PLuFO87ncQ_QQMmujr06QeRwMZC3goRd0n&index=4&pp=gAQBiAQB8AUB What Music might Moses have heard as a Child in Egypt? https://www.youtube.com/watch?v=At7jUZquUc0 King David's Lyre; Echoes of Ancient Israel https://www.youtube.com/watch?v=kiA86HI-GLU&list=PLuFO87ncQ_QQMmujr06QeRwMZC3goRd0n&index=12 Jerusalem Shofar at Sunrise https://www.youtube.com/watch?v=EKQrBURDtQE The Sound of the Shofar calls us to worship https://www.youtube.com/watch?v=qVHQdKLbTXw The original musical notes found in the Old Testament, played right before your eyes! https://www.youtube.com/watch?v=kh2KwEwaroc&list=PLuFO87ncQ_QQMmujr06QeRwMZC3goRd0n&index=19 The Original 3000 Year Old Melody of the Psalm 19 - Revealed? https://www.youtube.com/watch?v=M86lEfmVsEY&t=30s Chanticleer - Psalms 23:1-6 https://www.youtube.com/watch?v=HOZ3SjHIUzw Lost Melodies - Hebrew Chanting - Psalm 95 https://www.youtube.com/watch?v=HEfF8fr5stY Choral singing in ancient Israel https://www.youtube.com/watch?v=06rIvIBoNfM Trio Mandili - Psalm 50 https://www.youtube.com/watch?v=BcbKoY7XpJE Mendelssohn: Variations Concertantes, Op. 17 https://www.youtube.com/watch?v=PiocuaABrWc ========================== ANCIENT GREEK MUSIC LINKS "Minoan" Lyre - Improvisation by Claudio Quadros https://www.youtube.com/watch?v=s0GzWKUQAJU Minoan Theater - The Minoan Experience https://www.youtube.com/watch?v=Fe_RsPWIOro&t=6s Ancient Minoan Civilization ("Creep" by Radiohead) https://www.youtube.com/watch?v=Jz3d5x-MUT4 Hymn to Zeus https://www.youtube.com/watch?v=Sc109u7Zw8M&list=PLE619C0863B707DDD&index=4 Ancient Lyre - Kleopas : Hymn to muse Kalliope and Apollo https://www.youtube.com/watch?v=Y8Hpyov3Tt8 Rediscovering Ancient Greek Music: A performance reconstructs the past https://www.youtube.com/watch?v=UAmuQBnNty8&list=PLuFO87ncQ_QQMmujr06QeRwMZC3goRd0n&index=29 Cithara of the Golden Age - Michael Levy - Luthieros Music instruments https://www.youtube.com/watch?v=8t1itGJ8Zpc Ancient Lyre - Barbiton Lyre of Sappho - Barbiton Lyre https://www.youtube.com/watch?v=NWLRqI9iM-E Roman water organ performance https://www.youtube.com/watch?v=US50QmZaeyE Eminem straight up reciting the iliad of homer in ancient greek (video by @GavMac39) https://www.youtube.com/watch?v=8ubSwbyd0uI KANUN https://www.youtube.com/watch?v=iy-Xvzi2YAM Musique de la Grèce antique https://www.youtube.com/watch?v=a1z0zaGDzlQ The Euripides Orestes Chorus https://www.youtube.com/watch?v=_c2Ho9NvWY8

Are you familiar with any traditional Chinese musical instruments? In this episode of Takeaway Chinese, we explore how they intertwine with their Western counterparts. From delicate harmonies to bold collaborations, the fusion of Chinese and Western musical elements creates a mesmerizing symphony of cultural exchange.

This podcast is also a video on my YouTube and the transcript is also linked to my website: https://www.leahroseman.com/episodes/mohamed-assani Today's guest is the genre-defying sitarist and composer Mohamed Assani. In this conversation a couple of compositions from his album Wayfinder are featured. Wayfinder incorporates a range of stylistic influences, including South Asian Classical, Middle Eastern, jazz, funk, Western Classical, ambient & electronic music. It was produced by Juno and Emmy nominated producer Adham Shaikh and in the show notes you'll find links to the complete music videos and to his albums. Mohamed is also a wonderful educator, based in Vancouver Canada, also teaching online, and I'm so grateful to him for being so gracious in agreeing to demonstrate on both sitar and tabla some basics of these instruments, and of stylistic elements in South Asian music, for this episode. I'm an independent podcaster, and I truly need the help of my listeners to keep this project going. https://ko-fi.com/leahroseman Remember you can sign up for my weekly newsletter to get access to Sneak Peeks for upcoming episodes: https://mailchi.mp/ebed4a237788/podcast-newsletter This is the final episode for Season 3, and season 4 launches January 6th, so do check out episodes you may have missed from the first 3 seasons: https://www.leahroseman.com/about Mohamed Assani website: https://www.mohamedassani.ca/about/ Timestamps: (00:00) Intro (02:37) Mohamed's path in music, South Asian music and history (08:56) introduction to the sitar with musical examples (13:34) history of the sitar, the Mogul rule (20:20) tabla, rhythm in South Asian music (25:28) tabla demonstration (28:51) please support this podcast (29:31)music education (32:12) Wayfinder album, Lullaby for Guli, Transit (41:07) Solace, understanding beat cycles (49:58) the intuitive versus analytical (51:28) Shahbaz Hussain tabla player (54:06) Aga Khan 80th birthday concert (56:22) reflections on learning music and self-development --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

I quote John McLaughlin “I find Indian music very funky. I mean it's very soulful, with their own kind of blues. But it's the only other school on the planet that develops improvisation to the high degree that you find in jazz music. So we have a lot of common ground.” Pushkar Lele and Kuldeep Barve joins us on Audiogyan and we will be talking about “Improvisation in music”. It's going to be a bi-lingual conversation in English and Marathi. Pushkar is a renowned Hindustani classical vocalist and Founder-Director of ‘Gandhara School of Music'. More about his Gurus, rich repertoire and enriching journey of learning music in the show notes. Kuldeep is a classical guitarist. His practice is influenced by jazz and Indian classical music. He is a co-founder and a core member of the Pune Guitar Society. Welcome Pushkar & Kuldeep! It's an honor to have you on Audiogyan. Thanks for giving your time. As I started of with John McLaughlin's quote, I wanted to document some of your thoughts on “Improvisation” - when it comes to Hindustani Classical and Western Classical music with a lot of Jazz which I believe has a lot of improvisation. Just as a small plug, you can also listen to “Jazz in India” where I interviewed Denzil Smith in episode 133. Questions What according to you is improvisation in the broadest sense? What does it mean to improvise in a concert? When is it required? How spontaneous it is Do you see a similar pattern in a Western Classical performances? Or perhaps Jazz? Can we confidently say that each performance by Loius Amstrong was different even for the same set of tracks? Do you need to be qualified to improvise? If yes, when are you allowed to improvise in Guru Shishya Parampara? Do we have a lineage kind of a thing in Western music as well - which deals with improvisations? Especially in genres like Jazz, Blues or country? What is the difference between improvising, exploring or presenting with a different perspective? When do we call something is improvised? After how much deviation from originally planned is called improvisation? When does one improvise? When they do the same thing over and over again or when they see some room for exploration? What's a more common pattern? What are the extents of improvisation? Whats at stake when an artist is improvising?  Can improvisations land in a loop of improvisations? How do you come back to the sthayi bhava? Does a well trained audience appreciate improvisations? When and how do improvisations become part of the main setup? As in, no longer be called as improvisations? Reference readings https://en.wikipedia.org/wiki/Pushkar_Lele https://www.facebook.com/lelepushkar/ https://map.sahapedia.org/article/Pushkar-Lele/2912 https://www.youtube.com/@lelepushkar https://soundcloud.com/pushkar-lele https://twitter.com/lelepushkar?lang=en https://map.sahapedia.org/article/Kuldeep-Barve/3004 https://www.instagram.com/kuldeep.barve/?hl=en https://www.linkedin.com/in/kuldeep-barve-4394514/?originalSubdomain=in https://puneguitarsociety.org/core-team/ https://twitter.com/mifya?lang=en https://soundcloud.com/kuldeep-barve https://www.academia.edu/33995371/Strings_attached_A_short_history_of_the_Western_classical_guitar_in_India_docx  

This is the second part of our conversation with author, pianist, and law professor Mira T. Sundara Rajan. In this segment, she describes her experience of poetry and how it relates to her experience of playing composed music. Mira also reads poetry by Percy Blythe Shelley and provides a translation of poetry by her great-grandfather Mahakavi C. Subramania Bharati. She tells a fascinating story about Bharati improvising poetry. The musical interlude towards the beginning features music composed and performed by Bradley Vines on baritone and alto saxophones. It also includes quotes from Anil Seth and Swami Sarvapriyananda. The quote from Anil Seth was taken from a masterclass he gave for the Guardian (https://www.theguardian.com/guardian-masterclasses/2022/mar/23/understanding-consciousness-a-masterclass-with-neuroscientist-anil-seth). The quote from Swami Sarvapriyananda was taken from an interview he gave on the Waking Up app with Sam Harris (https://dynamic.wakingup.com/course/COFFD9B?code=SCE8C67C8&share_id=0B98BDDA&source=content%20share). There is a segment of music at the end from a rendition of Bharati's poem Nandala by O.S. Arun (https://www.youtube.com/watch?v=0MWlmEMqO98). Mira's concert in the Noontime Concerts series will be announced here: https://noontimeconcerts.org/ For information about Mira's activities and forthcoming books, see her website: www.professormira.com/

This episode features the first part of a two-part interview with Professor Mira T. Sundara Rajan. In this segment, she shares her perspective on the role of improvisation in Western classical music. Mira is a concert pianist, amongst other things. Improvisation plays an important role in her practice and performance of music in interesting ways. As it so happens, the approach she describes is similar to that of the great pianist Vladimir Sofronitsky, which I discuss in an Epilogue to our conversation.   For more information about Mira and her activities, see her website: https://professormira.com/   Artur Schnabel's interpretation of Beethoven Op. 109   Geniuses: Vladimir Sofronitsky (Documentary 2007) English Subtitles    Vladimir Sofronitsky's interpretation of Chopin's Impromptu No. 3 in G-flat Major, Op. 51   The musical interlude towards the beginning features music by Bradley Vines and the following verbal content:  A quote from Star Trek: Strange New Worlds, S1 E8 - The Elysian Kingdom, spoken by Babs Olusanmokun's character, Dr. Joseph M'Benga  A quote from Anil Seth from his lecture, Is Reality a Controlled Hallucination?

This is an interview with Christian Howes (https://christianhowes.com/). He is a renowned violinist, educator, and entrepreneur. He's a classically trained musician who has attained prominence as a jazz improviser. Chris has developed a systematic and comprehensive approach to teaching improvisation, empowering musicians of all levels to unlock their innate musical creativity. He integrates insights from meditation and yoga into his pedagogy, adding a unique dimension to the learning process.    This interview includes an overview of Chris' methodology for learning to improvise, a demonstration of how he integrates meditation into his approach, and background on how he developed his philosophy and what effect it has had on musicians.   The musical interlude features a fragment from this presentation by Dr. Susan Rowland:    • Jungian Arts-Base...   The music was composed and performed by Bradley Vines.

Composer Errollyn Wallen has had teachers tell her that classical music is ‘not her sort of music' and has had to deal with being underestimated her whole life. Now she is one of the United Kingdom's leading composers. Find out more in the latest episode of the 'Rhapsody in Black' podcast.

Acclaimed composer, multi-instrumentalist, and Silk Road Ensemble member Kaoru Watanabe began playing Western Classical music at a very young age. After graduating from conservatory as a jazz flutist and saxophonist, he spent a decade overseas performing with and ultimately leading the world-renowned Taiko drum performance group Kodo. Kaoru reflects upon his ten years in Japan and how it profoundly influenced his practice, artistry, and identity. Now a leading musician of both the Taiko drum and the Japanese transverse flute Shinobue, Kaoru describes the pure elegance and brute force of the practice and the visceral response he felt the first time he saw them performed at Carnegie Hall. David considers Kaoru's numerous collaborations while discussing how Kaoru retains a sense of authenticity and the natural world informs and inspires his creative process.Check out Kaoru Watanabe on Instagram, Facebook, Apple Music, Spotify, YouTube, or the web.Don't miss this video of Kaoru playing in the natural world as discussed in the interview.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

This episode explores the language and philosophy of Western Classical Music with Dr Maria Vraka.  Dr Maria is a music researcher and educator, teacher, pianist and life coach passionate about developing human potential.  From a life engrossed in music and musicology she has developed an acute relationship with sound, frequency and vibration, an expertise that she brings into her life coaching, development work with young children and further research into the role of music as a means of unlocking higher human potential.    Follow Dr Maria Vraka on: Linkedin: https://www.linkedin.com/in/dr-maria-vraka-b3796b37 Instagram: https://www.instagram.com/drmariavraka_coaching/   Subscribe to The New Nomos on Youtube: https://www.youtube.com/channel/UCYRb3OR-pMaQBJ8sqUI9Z5g?sub_confirmation=1   Music by Ian Cattanach    

In the late summer or early autumn of 1828, Schubert completed an extraordinary work, his String Quintet in C Major. 6 weeks later, he was dead. Nowadays this piece is considered to be one of the most sublime 50 minutes to an hour that exists in all of music. But when Schubert completed this quintet, he sent a letter to the publisher Heinrich Albert Probst, to ask him to publish it. Schubert wrote: ‘Among other things, I have composed three sonatas for piano solo, which I should like to dedicate to Hummel. I have also set several poems by Heine of Hamburg, which went down extraordinarily well here, and finally have completed a Quintet for 2 violins, 1 viola and 2 violoncellos. I have played the sonatas in several places, to much applause, but the Quintet will only be tried out in the coming days. If any of these compositions are perhaps suitable for you, let me know.'  The quintet was ignored by Probst, and we don't know if Schubert ever heard that rehearsal of his quintet.  When Schubert died, it was utterly forgotten until 1850, over 20 years after Schubert had put these notes down on paper. The well known at the time Hellmesberger quartet discovered the quintet, began performing it, and finally, in 1853, the piece was published for the very first time. Slowly, as so many great works of art do, it caught on, until today it is one of the most beloved works in the entire Western Classical music universe. But it's not an easy piece to talk, or to write, about. Long associated with Schubert's impending death, though we have no evidence that he knew he was dying when he wrote the piece, it is often seen as a work full of shadows and shades, despite its C Major key and often ebullient character. Writers, thinkers, and podcasters I should add, have often found it difficult to put their finger on the fundamental character of this remarkable piece, which I actually find to be an asset, not a problem to be solved. Schubert's music is so beautiful because it speaks to everyone in a different way. Unlike Beethoven, who grabbed you and shook you and told you to listen to what he had to say, Schubert invites us in, has us sit down for while, and lets us take part in his remarkably complex emotional world. Today we'll explore why Schubert wrote a string quintet at all, how he uses that extra cello in such beautiful ways, Schubert's sense of melody, his expansive scope, and so much more. Join us!

The center of Western Classical Music, ever since the time of Bach, has been modern-day Germany and Austria.  You can trace a line from Bach, to Haydn to Mozart to Beethoven to Schubert to Schumann, Brahms, and Wagner, and finally to Mahler. But why does that line stop in 1911, the year of Mahler's death? Part of the answer is the increasing influence of composers from outside the Austro-German canon, something that has enriched Western Classical music to this day. There was also World War I getting in the way.  But after the war, one could have expected that this line would continue again.  The 1920's in Germany and the rest of Europe were a time of radical experimentation, a flowering of ideas, a sort of wild ecstasy of innovation across all the arts. So why don't we hear of these Austro-German experimenters and innovators anymore?  Because of Adolf Hitler, Joseph Goebbels, and their Entartete, or Degenerate music.  Hitler's worst crime was by no means his suppression of dozens of German, Austrian, and Eastern European composers, but it is a fact all the same that from the end of World War I until 1933, classical music in Germany and Eastern Europe(especially Czechoslovakia), was flourishing, with composers such as Zemlinsky, Krenek, Korngold, Schreker, Schulhoff, Haas, Krasa, and Ullmann taking up the mantle of the giants of the past and hoisting it upon themselves to carry it forward.     The Nazis silenced, exiled, or  killed off many of these musicians during the twelve years of 1933-1945, and those voices are forever lost, but the music they wrote before, during the War and the Holocaust, and after it, some of it masterpieces quite on the level of their predecessors, has been preserved.  So why then are these composers not better known? I've chosen 12 composers, all of whom were writing music at the highest level.  Some of them may be familiar to you, but many probably won't be.  And through all of their trials and tribulations, one of the things I want to emphasize throughout these stories, even the bleakest ones, is that so many of them found the will to be able to compose this heart-rending, beautiful, and often optimistic music all as they witnessed unimaginable horrors. It may seem empty when the end for many of these artists was so horrific, but these compositions and the men and women who were behind them are a true testament to the resilience of the human spirit.  These artists created a life for their friends, neighbors, and fellow inmates in concentration camps.  They wrote music they knew would almost certainly not be heard in their lifetimes, from an urge that could not be destroyed, even by gas chambers. Join us to learn about them this week.

Gaea Star Crystal Radio Hour #508 is an hour of powerful visionary acoustic improvisational music featuring the Gaea Star Band with Mariam Massaro on vocals, Native flute, Celtic harp, kalimba, dulcimer, ukulele, acoustic guitar, shruti box and percussion, Bob Sherwood on piano, Craig Harris on congas and Native drums and our newest member, flautist and percussionist Cevher Demirel.  Today's show was recorded completely live at Singing Brook Studio in Worthington Massachusetts in the Berkshires in November 2022.  The band begins the hour with “Beneath The Brilliant Blue”, a driving, psychedelic piece that begins as a sweet, legato exploration and slowly, slowly builds to a driving, powerful anthem driven by Mariam's inspirational words and melodies.  “Let's Try Harder To Keep Awakening” is a lush, swirling cloud of a song built around Mariam's chiming thumb piano.  Bob extrapolates the E minor key of the kalimba through a series of dizzying modal shifts as Cevher's rhythmic flute and Craig's bouncing congas hold the piece in context.  Shifting into modern electronic textures and ultimately into a crisp blues complete with dashing flute solos from Cevher, the piece distinguishes itself with a casual, playful virtuosity.  “Hail To Everything” is deep forest music, dancing Native flute from Mariam, druidic, obsessive piano from Bob and a powerful, compelling percussion underpinning from Craig and Cevher.  “Calling You Home Now” is a gorgeous Eastern folk song that unwinds mysteriously from Mariam's chiming ukulele in minor.  Shaded, midnight chord changes ride a maddening edge between Indian and Western Classical music and Cevher weaves evocative flute lines through this unsettled, compelling piece that slowly builds to a strange and driving groove.  Equally shaded and nocturnal is the darkly charismatic “Spice In Your Life”, another song draped in Cevher's flute and Mariam's winding melodies, the piece ramps up in energy to a sparse, rocking afro-cuban workout with tight, ambitious piano figures from Bob and driving congas from Craig.   “Great Transformation” is today's closing piece, a powerful raga with a masterful lyric and melody from Mariam.  The weaving of Cevher's flute and Mariam's vocal reaches its zenith on this powerful piece underpinned by the twin drones of Mariam's shruti box and dulcimer.  Learn more about Mariam here: http://www.mariammassaro.com

On this episode Brian is joined by Alex Muller of We Kill Cowboys.Based in Cape Town, We Kill Cowboys is a four piece psychedelic rock/grunge/punk/folk band. The brainchild of singer-songwriter and tattoo artist Alex Muller. During a lockdown in 2020 Alex put together a collection of songs for her first solo EP, entitled Let it Burn. The EP was recorded by long-time friend and fellow musician (and legend in the Cape Town underground scene) Jon Shaban at STFD studios. A record deal with STFD and Just Music swiftly followed.Following the release of the EP, Alex had a desire to put together a larger more electric sound and recruited past friends. Things exploded from there with the band drawing on their varied influences, spanning Metal, Punk, Rock n Roll, Country, Western Classical, Indian Raga, Folk, Blues and a host of other genres besides. Lyrically, Alex delivers a raw, uncompromising and anti-establishment polemic, drawing directly from her lived experiences in the music scene and the world at large.We Kill Cowboys are set to release their latest single 'I Don't Want Your Drugs' on Friday August 26th.Tune in to hear all about the new track, the history of the band and much much more.Find We Kill Cowboys here:https://www.instagram.com/we.kill.cowboys/https://www.facebook.com/wekillcowboyshttps://vm.tiktok.com/ZMLQYCN5H/Find CTMU here:https://linktr.ee/ConcertsthatmadeusNewsletter: https://concertsthatmadeus.aweb.page/p/f065707b-2e34-4268-8e73-94f12bd2e938If you would like to support the show you can do so by rating/reviewing us on Itunes and Spotify or by signing up at https://www.patreon.com/ConcertsthatmadeusSave 10% on Band Builder Academy membership by following this link https://bandbuilderacademy.com/Brian_Concerts/join and using promo code "concerts" at signup. Become a member at https://plus.acast.com/s/concerts-that-made-us. Hosted on Acast. See acast.com/privacy for more information.

Evan is inspiring others to enter into a relationship with the beauty of western classical music. We discuss why beauty matters, Evan's personal favorite pieces of music, Dante and much more.  Evan's youtube channel: https://www.youtube.com/c/RewiretheWest Evan's website: https://rewirethewest.com/ ----- Music Meaning and Mystery website: https://musicmeaningandmystery.com The Music Meaning and Mystery Substack: https://musicmeaningandmystery.substack.com/ Originally recorded Nov 13 2021

 If we hear the New Age Movement Music, we comprehend that the New Age wants Harmony and doesn't like Disharmony.The great music, like the Indian Raga or the Western Classical need the disharmonies to enhance the harmonies. And so should be our life!We can't appreciate the harmony if we don't experience the disharmony.In the New Age, we wanted to become soft and sensible,- so that we are open to the divine. We could not understand that our worst times were shaping our life to become soft and sensible!The Tao says we should be strong like a tree cutter and sensible like a baby. If we make for instance Qigong for our heart, without training our heart to become strong,- the heart Qigong is worthless. Remember, the Kung Fu has developed the Qigong. The fighters want to become sensitive to direct their energy to become strong. When they do so, nobody can hurt them anymore. And for that is Qigong.We need to make exhausting sport combined with exercises like Qigong or Yoga. Otherwise, we will never gain our full potential or health. The New Age is dam wrong because it rejects the Yang or aggression. Aggression is necessary to get the things done. Anger is positive if we use it for our benefit. Nothing is wrong only misplaced. For instance, Bruce Lee died with 32 as a famous Kung Fu fighter because he had skipped the Qigong. Grandmaster Lu Zijian as one of the best Kung Fu Fighter was teaching his Qigong until he passed by with 118 years. And Lu Zijian was active fighting until the age of 88years. Maybe Lu Zijian was wrong,- but he could understand that we need both, Aggression and Love! Don't become a wussy!My Video: Don't become a wussy! https://youtu.be/Bh50xNkWYwoMy Audio: https://divinesuccess.net/wp-content/uploads/2021/Podcast.B/Don't-become-a-wussy.mp3

A string orchestra is an orchestra consisting solely of a string section made up of the bowed strings used in Western Classical music. The instruments of such an orchestra are most often the following: the violin, which is divided into first and second violin players (each usually playing different parts), the viola, the cello, and usually, but not always, the double bass.String orchestras can be of chamber orchestra size ranging from between 12 (4 first violins, 3 second violins, 2 violas, 2 cellos and 1 bass = 12) and 21 musicians (6 first violins, 5 second violins, 4 violas, 4 cellos and 2 double basses= 21) sometimes performing without a conductor. It could also consist of the entire string section of a large symphony orchestra which could have 60 musicians (16 first violins, 14 second violins, 12 violas, 10 cellos and 8 double basses = 6

Chris Votek is an acclaimed multi-instrumentalist, composer, sound engineer, producer, arranger, and educator living and breathing music in Los Angeles. He records, writes, and performs with ensembles ranging from North Indian Classical, Arabic, Electronica, Jazz, Avant-Garde, Western Classical, Pop, and Rock, his ceaseless curiosity and devotion to musical traditions from around the world have guided him along a musical path perpetually branching out. He is a disciple of the legendary Indian violinist Dr. N Rajam and much of his work involves adapting the oral tradition of Hindustani raga to the cello. This episode was originally recorded on March 19, 2022. Follow Chris's work here Intro Music by Chris Votek "Fossil Dance" and "Serpents" from the album "Memories of A Shadow" the World Music Podcast Jingle- composed by Will Marsh featuring musicians Josh Mellinger (tabla) and Misha Khalikulov (cello). Do you know someone who would enjoy this Podcast? Please take a moment to share and spread the inspiration! COPY THIS LINK TO SHARE! https://anchor.fm/will-marsh This is a master link that allows you to choose which platform to listen on. See below for more offerings from your host, Will Marsh. “Raga for All Instruments” is an online course for musicians/vocalists from any musical background with a desire to explore the magic of Hindustani Raga music. Begin your raga journey now! The first four lesson videos of this course are free. https://willmarshmusic.thinkific.com/courses/raga-for-all-instruments Visit my website to connect with me - https://willmarshmusic.com/ Check out my original world-inspired music - https://distrokid.com/hyperfollow/willmarsh/the-integration Book a lesson with me https://www.willmarshmusic.com/product-category/lessons/ For the finest electric sitar on the market, travel sitars and tanpuras visit - https://www.willmarshmusic.com/shop/ To access written transcriptions of these episodes, go to my blog - https://www.willmarshmusic.com/blog/ Visit my youtube channel for free lesson and music performance videos - https://www.youtube.com/c/WillMarsh Become a Patron and receive exclusive access to patron only content - https://www.patreon.com/WillMarsh?fan_landing=true --- Support this podcast: https://podcasters.spotify.com/pod/show/will-marsh/support

Josh Feinberg is a musician talking all about his concert in Surrey.

In this episode of Brown Art Network, Sneha and Keerthi talk with Rizwan Jagani, an American new fit musician who is a Western classically trained violist. They discuss Rizwan's experiences studying Western Classical music and how he blends modern and classical styles to bring his niche in a traditional, puritan world. While they discuss what it means to be a "new fit Musician", they break down what it means to be a South Asian creative and stay true to yourself in a field that still practices traditional methodologies. In addition, they talk about how the South Asian competitive attitude can affect the way certain South Asian creatives are unable to get a seat at the table in industries they hope to grow in. They wrap the episode with advice on how to grow in the Western Classical field and how the field is growing to modernize and blend music styles to continue to thrive in this modern society. To learn more about Rizwan, click here: https://www.rizwanjaganiviolist.com/ ------ [intro/outro credits] Ravi Ray Audio: https://ravirayaudio.com/

Ahmed Abdullah, a music lover and aficionado, explains how Western Classical music can be used as a tool to nurture spontaneity and instil in the heart a yearning for the divine.  The conversation reveals how the great composers communicate a timeless message through their compositions; calling us to fulfil our destinies, reach our highest possibilities and yearn to be free.   Music sampled in the episode: Bach - B Minor Mass (Proms 2012)  https://www.youtube.com/watch?v=7F7TVM8m95Y Beethoven - 5th Symphony (Von Karajan) https://www.youtube.com/watch?v=D-_wqx76mpc&t=130s Beethoven - “Pathetique” (Barenboim) https://www.youtube.com/watch?v=vGq3-Fi_zQY Beethoven - String Quartet No. 11 “Serioso” https://www.youtube.com/watch?v=yUlzN3Q9BUw Wagner -Tristan und Isolde “Liebestod” (Jessye Norman) https://www.youtube.com/watch?v=pg_EHUGRgos Mozart - Violin concerto No 3 (Hilary Hahn) https://www.youtube.com/watch?v=IhQAtkXOK6o Beethoven - ‘Waldstein' Sonata (Barenboim) https://www.youtube.com/watch?v=J3l18HTo5rY&t=39s Nusrat Fateh Ali Khan - Allah Hu (1993) https://www.youtube.com/watch?v=cj7roem9NRc&t=649s Ustad Ameer Ali Kahn - Chaap Tilak https://www.youtube.com/watch?v=UVsjuEoPxMs&t=736s Nusrat Fateh Ali Khan - Bina Ishq Na Manzil Hath Aawe https://www.youtube.com/watch?v=EqhdFiTq-a0&t=150s   Music in Introduction by Ian Cattanach  

In Episode 19 Season 1,  I was delighted to welcome the inspiring musician Hooshyar Khayam to my home, to improvise and speak about his perspectives on improvisation, the music of Central Asia, the Middle East and Western Classical music. We speak about some of his beautiful recordings in his large discography, and his creative process. He also speaks about his role as founder and producer of Tehran Records. http://hooshyar-khayam.com/site/   I include one of the improvisations we played as a bonus episode; unfortunately there were some technical issues recording some of the other improvisations we played together. Like all my episodes, this is also a video, linked to bonus episodes as well: https://www.leahroseman.com/episodes/e19-s1-hooshyar-khayam-pianist-composer-improvisor-producer Buy me a coffee? https://ko-fi.com/leahroseman I'm an independant podcaster and this series costs me a lot. I appreciate your encouragement! --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

"I'm happy to continue exploring music for the rest of my life"Our guest for this episode of MFM Speaks Out is Michael Harrison. Michael is a composer, pianist, vocalist, and music educator. His unique approach to piano includes the use of tunings and structures that extend the ancient concept of just intonation, and the incorporation of elements of Indian classical music. He studied piano from the age of 6, composition from the age of 17,and Indian raga from the age of 18. He attended Phillips Academy Andover, graduated from the University of Oregon with a B.M. in composition, where he later received the Distinguished Alumnus of the Year Award, then received his M.M. in composition at the Manhattan School of Music. After moving to New York City, he studied with La Monte Young through a Dia Art Foundation Apprenticeship-in-Residency, and also studied with master raga vocalist Pandit Pran Nath and Ustad Mashkoor Ali Khan. He's a former faculty member of the Rhode Island School of Design, Manhattan School of Music's Contemporary Performance Program, and the Bang on a Can Summer Institute. He is music director at Arts Letters & Numbers (a non profit arts, education, and publishing organization), and the co-founder and president of the American Academy of Indian Classical Music.  In addition he was also a reputable music instrument retailer having been co-founder and partner of Faust Harrison Pianos and presently the co-founder and partner of Cantabile Harrison Pianos.Topics discussed:Michael's beginnings as a musician and composer, his musical and spiritual inspirations, discussions about his compositions, his bridge building between Western and Indian classical music, his innovative use of tunings and temperaments, his innovative approach to the piano, his work as an educator and as a musical instrument retailer, and the business and economic realities of being a professional composer.Music on this episode:“Vision in the Desert”“Mureed”“Hayy: Revealing the Tones”(All music written and performed by Michael Harrison)

Ishaan Leonard Rao exclusive interview on Raaggiri. He is a young upcoming pianist and sitarist living in New Delhi. He is the son of world-renowned musicians, sitarist Pt Shubhendra Rao and Dutch cellist Saskia Rao-de Haas. Ishaan started learning the sitar and the cello at the age of 3, and the piano at the age of 6. He currently learns piano from American pianist Justin McCarthy and Russian pianist Svetlana Radashkevich in New Delhi and sitar from his father Pt. Shubhendra Rao. --- Send in a voice message: https://anchor.fm/raag-giri/message

A dazzling new history of the world told through the ten major empires of human civilization. Eminent historian Paul Strathern opens the story of Empire with the Akkadian civilization, which ruled over a vast expanse of the region of ancient Mesopotamia, then turns to the immense Roman Empire, where we trace back our Western and Eastern roots. Next the narrative describes how a great deal of Western Classical culture was developed in the Abbasid and Umayyad Caliphates. Then, while Europe was beginning to emerge from a period of cultural stagnation, it almost fell to a whirlwind invasion from the East, at which point we meet the Emperors of the Mongol Empire . . . Combining breathtaking scope with masterful narrative control, Paul Strathern traces these connections across four millennia and sheds new light on these major civilizations—from the Mongol Empire and the Yuan Dynasty to the Aztec and Ottoman, through to the most recent and biggest empires: the British, Russo-Soviet, and American. Charting five thousand years of global history in ten lucid chapters, Empire makes comprehensive and inspiring reading to anyone fascinated by the history of the world.

Today we are in Oklahoma where we have the distinct honor of speaking with Jerod Impichchaachaaha' Tate and premiering the first part of a two part interview. Jerod is a member of the Chickasaw Nation in Oklahoma and proudly represents his traditions. He is also a wonderfully gifted composer and performer that works to combine his Native American traditional music upbringing with a Western Classical Music education. We talk about this duality and living in this gray area of music fusion, his family upbringing, his music, and his thoughts on cultural appropriation. We also take some wonderful side trails during the trek of our conversation. Guest:Jerod Impichchaachaaha' TateMusic Included in this Episode:Pisachi (Reveal) performed by ETHEL. Composed by Jerod Tate © Jerod Tate 2013Personal Links:https://jerodtate.com/Hosts: William F. Montgomery - www.williammontgomerycomposer.com Hillary Lester - www.thehealthymusiciansite.com Become a Patreon:Patreon Link - https://www.patreon.com/soundsoftheworldpodcast Links for social media: Website – www.soundsoftheworldpodcast.com Host site link - https://redcircle.com/shows/sounds-of-the-world Instagram - https://www.instagram.com/soundsoftheworldpodcast Facebook - https://www.facebook.com/soundsoftheworldpodcast Apple - https://podcasts.apple.com/us/podcast/sounds-of-the-world/id1532113091YouTube - https://www.youtube.com/channel/UCsaZzOWvr_VaPQ_6_sB3OowTwitter - @SoundsoftheWTik Tok - @soundsofdaworldpodcast © Sounds of the World Podcast 2021Support this podcast at — https://redcircle.com/sounds-of-the-world/donations

Gregory Allison is a violinist, composer, and one of the most dedicated musicians I know. He creates with a single violin a sound that travels across great landscapes. He brings the sensibility of a film composer into a live and intimate setting. His training in South Indian Classical music brings a melodic fluency and emotional fire to his compositions while his Western Classical training is apparent in the wide sonic palette that he creates. He is a sound shaper. His violin goes from intimate weeping to orchestral soundscapes, carrying the listener on a journey all the way. Gregory runs his own record label called Holy Volcano and has a awesome new album out now called Portal. Each track on the album represents an energy center in the body, An exploration of the seven centers of awakening. Listen and feel your entire body activate! Learn more about Gregory Allison here: https://www.gregoryallison.net/ https://www.holyvolcano.com/ https://www.facebook.com/gregallisonmusic https://www.instagram.com/gregallisonmusic/ https://www.youtube.com/c/GregAllisonmusic Purchase the album here: https://gregoryallison.bandcamp.com/ Spotify: https://open.spotify.com/artist/515QjHdYuJBYXQcVHruoz4?si=DOnjjxE5RTe4J1FnfAD_iA Links mentioned in this episode: http://rainbowbrainskull.com http://raminnazer.com This podcast was recorded on Zoom at Rainbow Brainskull Studios in Los Angeles, CA.

The term "classical music" has Eurocentric and classist connotations. Calloway Cieslak has proposed a new name: "Writ Music" which seeks to centralize the music technology (notation) that is significant to the tradition of music and decentralize its whiteness and superiority complex. On this 50th episode, we are calling all the music nerds to join Calloway Cieslak and J.Mix on an exploration into the supremacy of whiteness that still festers in the writ music world.  Some topics discussed:Being shunned by other classical musicians for appreciating other genres, Affording to learn classical music, How classical music is not intrinsically European, How music theory is connected to white supremacy, Music theory not being universal, What makes a "well-rounded" musician, Cieslak and J.Mix's most uncomfortable music genreFOLLOW Calloway on all the socialsInstagram @joedcieslakTikTok @Calloway.Cieslak*He did a piano arrangement to Lil Nas X "MONTERO" - Seriously. Go check it out!*REFERENCES:Adam Neely's fantastic presentation on Music Theory and White Supremacy! Listen to "NRE" and "LETS GO" https://www.youtube.com/channel/UC8kDWfu5TDa_RPdHxLyvwRg​Everything J.Mix:https://jmix.campsite.bio/Listen to J.Mix's detailed analysis on her latest singles by joining TSAM's Patreon!www.patreon.com/theselfawaremillennial--Follow The Self-Aware Millennial on Instagram, and Youtube!--Inquiries? Compliments? Critiques? Contact theselfawaremillennial@gmail.com--Song(s): "The Self-Aware Millennial Theme" Version 3 + "Venturing" by J.Mix (Patreon Rap)Sound editor: Theo Fogleman--www.tsampodcast.comSupport the show (https://www.patreon.com/theselfawaremillennial)

Austin and Matt discuss the culture around addiction, substance abuse, and relationships in the world of Western Classical music.

Mohini Gupta is currently a research scholar in language politics at the University of Oxford. She founded the multilingual digital collective Mother Tongue Twisters to promote Indian language poetry for young readers, and curate conversations on literary translation. Mohini was the Charles Wallace India Trust Translator-Writer Fellow in 2017 for creative writing and translation, hosted by Literature Across Frontiers. An alumna of SOAS University of London, she has been a Research Fellow at Sarai, CSDS; and a translator-in-residence at the Sangam House international writers’ residency in Bangalore. She has written on languages, literature and translation for publications such as Huffington Post, The Caravan Magazine, TheWire.in, Scroll.in, Poetry Translation Centre, and the WorldKidLit Blog. Her English-Hindi translations have been published by Tulika Publishers. She is also a trained Indian Classical (Hindustani) vocalist and a Western Classical pianist.

ಲುಡ್ವಿಗ್ ವ್ಯಾನ್ ಬೀಥೋವನ್ ( Ludwig Van Beethoven) , Western Classical ಸಂಗೀತದಲ್ಲಿ ಅತಿ ದೊಡ್ಡ ಹೆಸರು . ಕರ್ನಾಟಕ ಸಂಗೀತದಲ್ಲಿ ಪುರಂದರ ದಾಸರು ಹೇಗೋ , ವಿಶ್ವ ಸಂಗೀತ ಕ್ಷೇತ್ರದಲ್ಲಿ ಬಿಥೋವನ್ ಕೂಡ . ಕ್ಲಾಸಿಕಲ್ ಸಂಗೀತ ಕಲಿಯುವ ಪ್ರತಿಯೊಬ್ಬ ವಿದ್ಯಾರ್ಥಿಯ ಮಹದಾಸೆ ಬಿಥೋವನ್ ಅವರ ಸಿಂಫೊನಿ ಗಳಲ್ಲಿ ನುಡಿಸಬೇಕು ಅನ್ನುವುದು .  ಅತ್ಯುತ್ತಮ Composer ಆಗಿದ್ದ ಬೀಥೋವನ್ ಕಿವುಡ ಹಾಗೂ ಮೂಕನಾಗಿದ್ದ ಅಂದರೆ ಆಶ್ಚರ್ಯ ಆಗುತ್ತೆ ಅಲ್ವಾ ?  ಈ ವಾರದ "ವ್ಯಕ್ತಿ ಪರಿಚಯ " ಸರಣಿಯಲ್ಲಿ ಬೀಥೋವನ್ ಬಗ್ಗೆ ಇನ್ನಷ್ಟು ತಿಳಿಯೋಣ ಬನ್ನಿ .    ಬೀಥೋವನ್ ಅವರ ಇನ್ನೂ ಕೆಲವು ಚಿತ್ರಗಳು , ಹಾಗೂ ಅವರ ಸಂಗೀತದ ತುಣುಕುಗಳನ್ನು ನಮ್ಮ ವೆಬ್ಸೈಟ್ https://kelirondukatheya.org/ep113 ರಲ್ಲಿ ನೋಡಬಹುದು .   

  Rizwan Jagani is an  accomplished American violist of Indian/Pakistani heritage and is an accomplished solo performer, orchestral and chamber musician, arranger, and producer.  Coined The “New-fit” musician, Rizwan reimagines the idea of what the viola can do by combining his Western Classical training with other musical genres such as Bollywood, Musical Theatre, Pop, Rock,... The post Rizwan Jagani – Classically-Trained Violist and his incredible story becoming a “new-fit” musician appeared first on South Asian Stories.

Austin and Matt discuss how politics and ideology influence how Western Classical music is performed, written and perceived by the audience.

Donate: Paypal.me/speakforchangeFind Alexander: https://www.instagram.com/anolivermusicAlexander is a composer and pianist who graduated with a BA in Music Theory and Piano Performance. While he specializes primarily in Western Classical music, he also works to produce electronic music in his free time. Our guest has played the piano for over 10 years now and has experience performing all forms and genres that fall into the traditional piano repertoire. He is now working as a teacher at Everyone's Music School based in Santa Clarita in Southern California. Support the show (Http://Www.patreon.com/speakforchangepodcast)

Miguel Andrés Tejada began his musical life as a classical pianist, studying under the famed Cuban teacher Hilda Melis Gras, in his hometown of Santiago in the Dominican Republic, but while still in his youth (and already an accomplished pianist) Miguel’s attention turned to jazz. In 2007 he was awarded a full scholarship to Boston’s Berklee College of Music, where he studied jazz composition and arrangement with Joanne Brackeen. Since then Miguel has played with a who's who of jazz musicians, and his compositions have been praised for their masterful use of Salsa, Merengue, Boleros, Samba, and Western Classical music. His “Rumbeando” received the National Music Prize, awarded by the Dominican Republic’s Ministry of Culture. Follow Miguel on Instagram at migueltejadajazz.  

Have you ever listened to a song and wondered, "how would this sound in a different genre?" There are so many different kinds of music - Western Classical, Jazz, Rock, Pop, Hindustani Classical - and each one, apart from having very different notational styles, gives off a certain vibe. But is it possible to take a song from one of these styles, but reinvent it in another? That's what we are doing in this episode. We are taking The Police's "Message in a Bottle", a 1979 Rock classic, and reimagining it, but as a classical String Trio! Listen as I break the song into different musical segments, reimagine each one, and rebuild the song with the same tune, but a completely different vibe - the sound of a Classical piece.

Gagan Singh is an award winning Soundtrack Composer, Record Producer, Multi-Instrumentalist and Talent Executive. Born and raised in Toronto, Gagan began playing Indian Classical Tabla at the tender age of 3. He then began to learn Western Classical as well as Contemporary musical styles such as R&B, Pop, Neo-Soul and Electronic music, honing in on the craft of music production thoroughly. He has worked on the music for several Canadian Productions including the Multi-Award Winning Feature Film “Drone” and produced music for several renowned Bollywood Artists as well, including; Salim-Sulaiman (Emmy Award Winning Music Directors), Shweta Pandit, Sreeram Chandra (Winner of Indian Idol 5), Vipul Mehta (Winner of Indian Idol 6) and Jonita Gandhi.    Enjoy! ----more---- Music Credits Intro/Outro Music: Track: Nimesh Tandey - Floating Spell Music provided by Mr. Pantomath https://youtu.be/NzTMSlRVpvM Transition Music: Storybook & Cheese (Produced by Lukrembo) https://soundcloud.com/lukrembo  

Some words that comes to mind when we describe Western Classical music, Sophisticated? Elitist? Snobbish? Atas? Chim? Whatever the word might be for you, as musicians trained in the discipline of Western Classical music, we tend to go into a rabbit hole and tunnel vision, believing the pastures over in the Western world is greener, better and guarantees improvement in your craft to a level you can only dreamed about. I do agree that the western world includes nations that is considered the classical music mecca and schools of playing that appeals to you and it is always a good idea to broaden your own horizons by spending an extended period of time in such places. But ultimately, the idea of improving our craft comes from a dedication and eagerness from within. We could only wish that all we needed to attain performance enlightenment is a visa and an air ticket to the country of your choice. Therefore in any given situation, it is important that we find opportunities to learn, in respect of music, culture, social interactions, language just to name a few.At first when I heard that Mindy was going to Thailand as part of her exchange programme, I was shocked. Did she mistake her exchange for a holiday? The idea of moving west was so strong that I fail to see the other possibilities, more importantly understand one's decision. On hindsight, I believe that going to a country near home for exchange might not be all that bad after all. Tune in to find out what is going on in Mindy's life and why she made the decisions she did!Thank you so much for tuning in to this episode of the podcast! You can get in touch with me through https://www.youplayawhat.com . Subscribe and share this podcast with your friends if you enjoyed the episode. Feel free to leave a rating and review on which ever platform you choose to listen to your podcast!  

Subscribe to the podcast here! Byron Au Yong2:50 - "If you hear a child sing, they're trying to comfort themselves." How music provided solace for Byron and a way to process the multiple Chinese languages of his family plus "the healing powers of music."4:27 - How Byron's Chinese immigrant parents raised him to be English speaking and his experiences growing up in a multilingual family.6:23 - Byron's experiences in musical theatre and how his aunt encouraged him to audition for "The King and I." Byron talks about the strict delineation between composition and musical theatre in higher education institutions.8:32 - Why Byron centers his music and creative work in the larger context of social justice.9:07 - How Byron was bullied in school, living in a white suburb, and how he instinctively used songs as "a way to shield myself."10:12 - "Who is like me in the world?" How Byron found his way in college as he navigated the largely white landscape of his composition program.12:25 - "Writing was my way out." "Being able to write well is a power."The International Examiner, the oldest and largest nonprofit, pan-Asian Pacific American publication in the Northwest.16:08 - Gary Fukushima. Byron talks about how he was siloed in music school as a "classical composition" major and how this tracking perhaps limited his access to jazz improvisation. How this led Byron to the avant-garde and experimental music. "We're trapped in Western art music, how do we escape?"19:34 - "The cracks are made larger but the cracks have always been there." How Byron found his way toward ethnomusicology and musical diversity. "Western classical music is not the only music in the world." The importance of breaking down hierarchies and making them more "horizontal."23:16 - The importance of lifting up and embracing Black Lives Matter.23:40 - Byron's project, Activist Songbook, and his work interviewing Asian immigrants, refugees, organizers, and activists.24:13 - The importance of continuing to "counteract the hate." "People of color are the global majority. White supremacists have to be scared because they don't actually have the numbers."25:14 - "The last four years have been a disaster." Why young people are yelling and why "they SHOULD yell." The importance of protest.The Vincent Chin murder.Minor Feelings by Cathy Park Hong27:29 - "Ultimately, I'm intersectional but there is something about affinity groups."28:29 - Why we need to figure things out within our own groups and why white people need to figure things out "on their own," without burdening BIPOC to provide that education.Ron Chew28:39 - Why storytelling, music, and artifacts are important vehicles for social justice and community building, especially through a community curating process.29:22 - "Sometimes, a 'learning' feels like a 'robbing' without any reciprocation." On appropriation and the importance of reciprocity.30:22 - "As hurtful as it may seem, some of our relatives are clueless." How white people are not the only perpetrators of white supremacist thinking.30:30 - Why love is the agent for change and how it can make difficult conversations with loved ones possible. "It becomes part of your toolkit." 

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.09.01.271650v1?rss=1 Authors: Czepiel, A., Fink, L. K., Fink, L. T., Wald-Fuhrmann, M., Troendle, M., Merrill, J. Abstract: A concert is a common event at which people gather to share a musical experience. While techniques are increasingly offering insights into naturalistic stimuli perception, this study extended methods to a more ecological context in order to explore real-world music listening within a concert setting. Cardiorespiratory, skin conductance, and facial muscle responses were measured from participants attending one of three concerts with live chamber music performances of works of varying Western Classical styles (Viennese Classical, Contemporary, and Romantic). Collective physiological synchronisation of audience members was operationalised via inter-subject correlation (ISC). By assessing which musical features (obtained via Music Information Retrieval and music-theoretical analyses) evoked moments of high synchrony, logistic regressions revealed that tempo consistently predicted physiological synchrony across all concerts in Classical and Romantic styles, but not the Contemporary style. Highly synchronised responses across all three concert audiences seemed to occur during structural transitional passages, boundaries, and at phrase repetitions. The results support the idea that group synchronisation is linked to musical arousal, structural coherence, and familiarity. By employing physiological ISC and an inter-disciplinary musical analysis, the current study demonstrates a novel approach to gain valuable insight into experiences of naturalistic stimuli in an ecological context. Copy rights belong to original authors. Visit the link for more info

Ep #80 with Om Shalom Trio, Indian and Jewish fusion. They bring together Indian classical and folk along with Jewish and Western Classical music. Abhik Mukherjee plays sitar, Ranendra Das plays tabla and percussion and Jessie Reagen Mann plays the cello. On Facebook: https://www.facebook.com/109866072979176/videos/311127956684735/ On YouTube: https://youtu.be/XPXDwwwlLlc Podcast: https://soundcloud.com/hilljoy/ep-80-om-shalom-trio-indian-and-jewish-fusion A Worldsoul Records production derrikjordan.com

Episode 93: The Transmission and Effectivity of the Ma’luf Tradition, an Andalusian Music within Tunisia and Libya In this podcast, Jared Holton discusses the transmission and effectivity of ma'luf, an Andalusian musical tradition of North Africa. Holton’s research project explores the historical and ethnographic circulations of Tunisian and Libyan ma'luf primarily through the tubu', which are recognized as stabilized structures of sound and identity. Jared has completed extensive fieldwork in Tripoli, Libya and Sfax, Tunisia. Other research interests include the connections between music, religion, and soundscapes; globalization and musical practices; and music pedagogy. Jared Holton is a doctoral candidate and Chancellor's Fellow in Ethnomusicology with an interdisciplinary emphasis in Global Studies at the University of California in Santa Barbara (UCSB). He has undergraduate and graduate degrees in piano performance, intercultural studies, and music education, with over seven years experience teaching private and classroom-based music curricula. On the stage, his performances range from solo piano concerts, collaborative work in the Western Classical repertoire, and most recently as oud and vocal performer with the Middle East Ensemble at UCSB.  This interview was led by CEMAT Associate Director, Dr. Meriem Guetat, and was recorded on July 26, 2019, at the Centre d'Études Maghrébines à Tunis (CEMAT). We thank Jared Holton for his ma'luf oud performance for the introduction and conclusion of this podcast. Posted by Hayet Lansari, Librarian, Outreach Coordinator, Content Curator (CEMA).

Pianist Omar Sosa grew up in the Afro-Cuban tradition, studied jazz in America, and now lives in Barcelona. Yilian loves to go back to her Cuban roots but refuses to be locked into stereotypes. Together, these two Cuban artists living outside their homeland blend Afro-Cuban roots, jazz, and Western Classical music in work inspired by the important influences of water – and called AGUAS Trio. Omar Sosa and Yilian Cañizares (Venezuelan percussionist Gustavo Ovalles) play live in our studio. Watch the session here: 

The soundtrack in this week's episode is called 8-Bit Kung Fu. It’s a fast-tempo, energetic action soundtrack with roots in 8-bit gaming. It was originally written out of nostalgia for a game I grew up playing called Kung Fu. The track contains a stereotypical ‘Eastern’ sound, using the major and minor pentatonic scales. The instrumentation includes some super raw-sounding oscillators, clinically timed arpeggios and slamming 8-bit drum beats. The track is suitable for nostalgia, quirky game moments, 80s arcade moments and nerdy, offbeat comedic moments. IN THIS EPISODE * Originally called Leisure Time and distributed on CDs for my band Pravda. At its heart, it’s Chinese folk music meets 8-bit music. * The Super Mario Bros theme song is probably the most famous 8-bit music in the world. But why does it work so well? 8-bit music is defined by the limitation. Game cartridges simply didn’t have space to store a lot of audio data * The authentic 8-bit sound means using raw waveforms, not 8-bit patches. Other tricks include bit reduction, arpeggiators, chorus and detune * The pentatonic scale is an easy way to summon an Eastern sound. Bell sounds can also be used to conjure temple imagery. Only 5 notes form most of the the melodic and harmonic content in A minor: A, C, D, E and G. The 3rd scale degree is deliberately left out so it sounds more like simple folk music than Western Classical music. * This track is heavily influenced by the 8bit and chiptune genres. But it isn’t a pure 8-bit track. A pure 8-bit track would contain only audio samples that were 8bits of data or less. Most music today is recorded at 16-or 24-bit.DOWNLOAD THIS TRACK * Download it https://gum.co/oidoH * Use it https://johnbartmann.com/faq * Search for more https://johnbartmann.com/musicSOUNDS & DEVICES USED * ADM 80s VHS Synths by Brian Funk https://brianfunk.com/blog/2016/7/6/80s-vhs-synths-ableton-live-pack * Reason 5 Malstrom (Finger Cymbal patch), Dr OctaRexSHOW NOTES * Top Score Podcast 8- and 16-bit music with Brent Weinbach https://www.classicalmpr.org/story/2012/01/09/old-school-video-game-music-on-top-score * 8 Bit cover of Queen - ‘Bohemian Rhapsody’ by 8 Bit Universe https://www.youtube.com/watch?v=qrq7FzytAV4 * 8 Bit cover of Toto - ‘Africa’ by Ramano Retro Music Sounds https://www.youtube.com/watch?v=Q74pM96yyDsABOUT THIS SHOW You’re listening to How I Make Music, a weekly podcast for the musically curious to go behind the scenes of composition for audio storytelling. Hey, I'm John Bartmann. I’m a composer from South Africa. My soundtracks, moods and themes have been used in podcasts, audio dramas, and also in commercial film, TV and radio. Every Wednesday, we break apart one of my own compositions and investigate the stories and insights into how it was made and its effect on listening ears. How I Make Music helps you better understand how to make, select and use music to create gripping storytelling.SUBSCRIBE Spotify Apple Podcasts YouTube RSS Stitcher TuneIn HomeMY BANDS! Pravda https://pravdaofficial.com + Pebble Shakers https://pebbleshakers.co.zaCONTACT https://twitter.com/johnisthemusic https://johnbartmann.com/contact

Ep #58 with Om Shalom Trio, Indian and Jewish fusion. They bring together Indian classical and folk along with Jewish and Western Classical music. Abhik Mukherjee plays sitar, Ranendra Das plays tabla and percussion and Jessie Reagen Mann plays the cello. On Facebook: https://www.facebook.com/pg/The-World-Fusion-Show-109866072979176/videos/ On YouTube: https://youtu.be/XPXDwwwlLlc Podcast: https://soundcloud.com/hilljoy A Worldsoul Records production derrikjordan.com

A pioneering artist on the South Korean Haegeum, Soo Yeon Lyuh has been bringing improvisation back to a traditional instrument which hasn't done it in generations. Neil chats with her about her journey starting in Western Classical music, transitioning to the traditional music of her home and then bringing that tradition into the Western world collaborating with the Kronos quartet and teaching/studying improvisation at Mills College in Oakland, CA.  More on Soo Yeon: www.sooyeonlyuh.com

Is silence really silent? Ordinarily, we have minimal access to and even avoid silence until it's time to retire for sleep. This episode explores the deeper significance of silence as evidenced in the work of two legendary musician philosophers of the 20th century - one trained in Western Classical music and the other in Eastern Classical music.(Music "Through The Prism" courtesy of and written by Chris Russell)More at http://www.michaeltoddfink.com

In this astonishing and grandiose episode, we talk about two fine examples of Western Classical music with selections from Bach's "Well-Tempered Clavier" and Beethoven's 5th Symphony. We look at photos showing a fast, non-linear trip up the evolutionary ladder for our planet's fauna! Other topics include: tempered scales, harpsichord duels, evolution confusion, the tragic life of Beethoven, and much more! Warning: we get pretty mad in this one.

The composer Nicola LeFanu tells us about her life in music as part of this series celebrating inspiring women. When she was growing up it didn't occur to her that composition was an unusual thing for a woman to do; it seemed completely natural, surrounded as she was by women who wrote music: her mother, the composer Elizabeth Maconchy, and her friends including the Welsh composer Grace Williams and the Irish composer Ina Boyle. It was only when Nicola went on to study music herself that she realised how few women had been included in the books which told the history of Western Classical music. In this edition of The Essay, Nicola shares her story of what, and who, has inspired her own career spanning over half a century and how things have changed for women in music during her lifetime.

Ludwig van Beethoven was the world's first Rock Star. Howard Jay Smith discusses the many great romances in his life, as well as his masterwork, the 9th Symphony. Smith calls the 9th Symphony, "the most profound and influential" piece of Western Classical music ever written, which Beethoven wrote while entirely deaf. Howard Jay Smith also talks about the research that went into writing this historical novel, Beethoven in Love; Opus 139. Interviewed by Jeffrey Masters. Click Here to Download the Podcast on iTunes Bio: Howard Jay Smith is an award-winning writer from Ojai, California. Beethoven in Love; Opus 139 is his third book. He [...]

Ludwig van Beethoven was the world's first Rock Star. Howard Jay Smith discusses the many great romances in his life, as well as his masterwork, the 9th Symphony. Smith calls the 9th Symphony, "the most profound and influential" piece of Western Classical music ever written, which Beethoven wrote while entirely deaf. Howard Jay Smith also talks about the research that went into writing this historical novel, Beethoven in Love; Opus 139. Interviewed by Jeffrey Masters. Click Here to Download the Podcast on iTunes Bio: Howard Jay Smith is an award-winning writer from Ojai, California. Beethoven in Love; Opus 139 is his third book. He [...] The post Howard Jay Smith | Beethoven in Love; Opus 139 | Author Interview appeared first on Book Circle Online.

It's impossible to imagine what it must have been like to live in a society where Western Classical music was forbidden on pain of severe punishment, or where playing a musical instrument was something that could only be done in utter secrecy. But that was the situation in China during the Cultural Revolution, when Jung Chang was a teenager. She is now an internationally acclaimed writer; but she began her working life as a peasant, a 'barefoot doctor', a steelworker and an electrician, before becoming a university lecturer. She left China for Britain in 1978 and obtained a PhD in Linguistics from the University of York - the first person from the People's Republic of China to receive a doctorate from a British university. She shot to fame with her book Wild Swans, which tells the story of her own life and the lives of her mother and grandmother, set against the turmoil of 20th-century China. It has sold more than ten million copies but is still banned in China. And she followed it with biographies of Mao, co-written with her husband, and of the Empress Dowager Cixi - an extraordinarily powerful woman in the last years of Imperial China. Jung Chang talks to Michael Berkeley about the joy of finding grass in Hyde Park after Mao had banned it in China; the horrors of foot-binding; her mother's extraordinary testimony of the Cultural Revolution, which led to Wild Swans; and her hopes that one day people will be free to read her books in China. And above all she shares the joy she finds in music: both Chinese music and the Western music she's embraced with delight since moving to Britain. Her choices include Handel, Mozart, Billie Holiday and music played on the zither and the san xian. A Loftus Production for BBC Radio 3 Producer: Jane Greenwood.

In the final programme in the series Petroc Trelawny measures the impact and effectiveness of education in sustaining and nurturing the massive growth in Western Classical music.

This week, we discuss the Canon of established Western Classical compositions that have "stood the test of time," including what it is, how it emerged, how one gets into the Canon, how one falls out of the Canon, and whether the thing is actually justified. Errata: at about the 12'00", I used the word "Platonian" instead of "Platonic."

Album: Deformation Suite Genre: Western Contemporary Post-Modern Classical, Electroacoustic Links: http://www.last.fm/music/Contemporary+Sound http://contemporarysound.wordpress.com/ http://anastasisk.redbubble.com/ http://soundcloud.com/contemporary-sound http://www.sonus.ca/ ΙΣ ΗΡ ΝΙ ΚΑ

Album: Deformation Suite Genre: Western Contemporary Post-Modern Classical, Electroacoustic Links: http://www.last.fm/music/Contemporary+Sound http://contemporarysound.wordpress.com/ http://anastasisk.redbubble.com/ http://soundcloud.com/contemporary-sound http://www.sonus.ca/ ΙΣ ΗΡ ΝΙ ΚΑ

Join us for another podcast in our series, Speaking of Music Rewind. This program features Grammy and Pulitzer-winning composer Steve Reich, a pioneer of minimalist, jazz, and Western Classical music.

Join us for another podcast in our series, Speaking of Music Rewind. This program features Grammy and Pulitzer-winning composer Steve Reich, a pioneer of minimalist, jazz, and Western Classical music.

This month, Chicago-born pianist Ramsey Lewis celebrates his 75th Birthday and the recent release of Songs From The Heart, his latest trio recording. This acoustic format has been a central component of Lewis' sixty-year career, bringing chart success in 1965 with 'The In Crowd', a track recorded live at Washington D.C.'s Bohemian Caverns where the audience's whoops and claps became, in Ramsey's words, the 'fourth member of the band'. But, as Alyn Shipton finds out in this programme, Lewis' catalogue of discs is richly varied, including interpretations of Beatles ballads, forays into fusion (with the help of Earth, Wind & Fire) and a large-scale gospel album alongside his many trio outings. A natural storyteller, Lewis remembers his father introducing him to the virtuosity of Art Tatum (prompting the question: 'Dad, who are they?') and, in conversation with Alyn Shipton, he describes how Western Classical tradition holds an important position in his musical thinking.