Podcasts about Xenakis

durée : 00:15:44 - Journal de la création du dimanche 01 juin 2025 - par : Laurent Vilarem - Couché sur un futon pour le Polytope de Cluny de Xenakis ou debout avec un casque de réalité virtuelle pour l'Ombre de Blanca Li et Edith Canat de Chizy, le Festival Manifeste de l'Ircam nous invite à des immersions sonores et visuelles très variées. - réalisé par : Arthur Rayrole

Escucha aquí la magía de Lannis Xenakis

durée : 00:29:10 - spécial festival ManiFeste 2025 - Alors que la nouvelle édition du festival ManiFeste a ouvert ses portes à Paris, rencontre avec le directeur de l'Ircam Frank Madlener, et avec la compositrice et DJ Chloé Thévenin, qui s'apprête à créer, au Centquatre, une nouvelle œuvre sonore et visuelle inspirée du Polytope de Cluny de Xenakis.

durée : 02:04:26 - Musique matin du jeudi 29 mai 2025 - par : Jean-Baptiste Urbain - Alors que la nouvelle édition du festival ManiFeste a ouvert ses portes à Paris, rencontre avec le directeur de l'Ircam Frank Madlener, et avec la compositrice et DJ Chloé Thévenin, qui s'apprête à créer, au Centquatre, une nouvelle œuvre sonore et visuelle inspirée du Polytope de Cluny de Xenakis. - réalisé par : Yassine Bouzar

durée : 00:10:32 - Alliages : Trio Xenakis - Pour son premier album, le Trio Xenakis propose un vaste panorama de son répertoire de prédilection.

durée : 00:10:32 - Alliages : Trio Xenakis - Pour son premier album, le Trio Xenakis propose un vaste panorama de son répertoire de prédilection.

durée : 00:10:32 - Alliages : Trio Xenakis - Pour son premier album, le Trio Xenakis propose un vaste panorama de son répertoire de prédilection.

durée : 00:29:13 - Rodolphe Théry, percussionniste, timbalier solo de l'Orchestre philharmonique de Radio-France - Le percussionniste sort un premier album avec son Trio Xenakis, explorant les sonorités de Reich, Xenakis ou Taïra. Timbalier solo au Philharmonique de Radio France depuis cinq ans, il joue la 9e de Beethoven ce week-end sous la direction de leur futur chef Jaap van Zweden. Portrait d'un passionné.

durée : 02:03:33 - Musique matin du vendredi 03 janvier 2025 - par : Jean-Baptiste Urbain - Le percussionniste sort un premier album avec son Trio Xenakis, explorant les sonorités de Reich, Xenakis ou Taïra. Timbalier solo au Philharmonique de Radio France depuis cinq ans, il joue la 9e de Beethoven ce week-end sous la direction de leur futur chef Jaap van Zweden. Portrait d'un passionné. - réalisé par : Margot Page

durée : 00:10:02 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - La vie de Maria Callas relève de l'écriture romanesque pour Françoise Xenakis. Empreint de péripéties tragiques, le vécu de la Diva transporte la romancière. - réalisation : Virginie Mourthé

Poseedor de un lenguaje propio de Xenakis que conecta arquitectura y música a nivel estructural propone, con la música estocástica, la utilización de estructuras matemáticas en la praxis compositiva. Desarrolla el sistema UPIC y es pionero en el uso del algoritmo en la composición musical.____Has escuchadoLa Légende d'Eer. Nuevo remix en estéreo, a partir de la cinta original de siete canales, realizada del 3 al 4 de junio de 2004 por Gerard Pape. Mode (2005)Metastaseis (1953-1954). SWF Symphony Orchestra; Hans Rosbaud, director. Col Legno (2000)Oresteïa. Les Euménides (1965-1966, rev. 1989). L'Ensemble de Basse-Normandie; Dominique Debart, director; Ensemble Vocal d'Anjou; Robert Weddle, director de coros. Salabert Actuels (1990)Pléïades. Métaux (1978). Les Pléiades; Sylvio Gualda, director. Erato (1992)____Selección bibliográficaBARTHEL-CALVET, Anne-Sylvie, “MÉTASTASSIS-Analyse: un texte inédit de Iannis Xenakis sur Metastasis”. Revue de Musicologie, vol. 89, n.º 1 (2003), pp. 129-187*CASTANET, Pierre Albert, “We Must Open Our Ears and Eyes”: A Philosophical Lesson from the Polymath Iannis Xenakis”. Itamar. Revista de investigación musical: territorios para el arte, n.º 9 (2023), pp. 95-106DI SCIPIO, Agostino, “Compositional Models in Xenakis's Electroacoustic Music”. Perspectives of New Music, vol. 36, n.º 2 (1998), pp. 201-243*GIBSON, Benoît, The Instrumental Music of Iannis Xenakis: Theory, Practice, Self-Borrowing. Pendragon Press, 2011HARLEY, James, “The String Quartets of Iannis Xenakis”. Tempo, n.º 203 (1998), pp. 2-10*—, Xenakis. His Life in Music. Routledge, 2004HARLEY, Maria Anna, “Music of Sound and Light: Xenakis's Polytopes”. Leonardo, vol. 31, n.º 1 (1998), pp. 55-65*HILL, Peter, “Xenakis and the Performer”. Tempo, n.º 112 (1975), pp. 17-22*JONES, Evan, “Residue-Class Sets in the Music of Iannis Xenakis: An Analytical Algorithm and a General Intervallic Expression”. Perspectives of New Music, vol. 39, n.º 2 (2001), pp. 229-261*KANACH, Sharon, “Xenakis's Hand, or The Visualization of the Creative Process”. Perspectives of New Music, vol. 40, n.º 1 (2002), pp. 190-197*KANACH, Sharon (ed.), Performing Xenakis. Pendragon Press, 2010KIOURTSOGLOU, Elisavet, “An Architect Draws Sound and Light: New Perspectives on Iannis Xenakis's Diatope and La Légende d'Eer (1978)”. Computer Music Journal, vol. 41, n.º 4 (2017), pp. 8-31*LIZ, Ángel, “La alianza artes/ciencias a través de la obra de Iannis Xenakis”. Quodlibet: Revista de Especialización Musical, n.º 39 (2007), pp. 98-114*LUQUE, Sergio, “The Stochastic Synthesis of Iannis Xenakis”. Leonardo Music Journal, vol. 19 (2009), pp. 77-84*MÂCHE, François-Bernard, Portrait(s) de Iannis Xenakis. Bibliothèque Nationale de France, 2002MARCO ARAGÓN, Tomás, “Xenakis o la implacabilidad de la idea”. En: Jesús Villa Rojo (coord.), Músicas actuales: ideas básicas para una teoría. Ikeder, 2008*NAKIPBEKOVA, Alfia (ed.), Exploring Xenakis: Performance, Practice, Philosophy. Vernon Press, 2019PAPE, Gérard, Iannis Xenakis and the Ethics of Absolute Originality. UTEURP, 2023PARDO, Salgado, “El sonido cinemático. Iannis Xenakis”. En: Begoña López Herranz (coord.), Campos interdisciplinares de la musicología: V Congreso de la Sociedad Española de Musicología (Barcelona, 25-28 de octubre de 2000). Sociedad Española de Musicología, 2002*PECK, Robert W., “Toward an Interpretation of Xenakis's Nomos Alpha”. Perspectives of New Music, vol. 41, n.º 1 (2003), pp. 66-118*REYNOLDS, Roger, “Xenakis:… Tireless Renewal at Every Instant, at Every Death…”. Perspectives of New Music, vol. 41, n.º 1 (2003), pp. 4-64*REYNOLDS, Roger y Karen Reynolds, Xenakis Creates in Architecture and Music: The Reynolds Desert House. Routledge, 2022SERRA, Marie-Hélène, “Stochastic Composition and Stochastic Timbre: GENDY3 by Iannis Xenakis”. Perspectives of New Music, vol. 31, n.º 1 (1993), pp. 236-257*SOLOMOS, Makis, Iannis Xenakis. P. O. Éditions, 1996—, “El universo de la sonoridad en Xenakis”. Quodlibet: Revista de Especialización Musical, n.º 10 (1998), pp. 3-18*—, “The Unity of Xenakis's Instrumental and Electroacoustic Music: The Case for ‘Brownian Movements'”. Perspectives of New Music, vol. 39, n.º 1 (2001), pp. 244-254*—, “De l'apollinien et du dionysiaque dans les écrits de Xenakis”. En: Formel, informel: musique-philosophie. Editado por Makis Solomos, Antonia Soulez y Horacio Vaggione. L'Harmattan, 2003SOLOMOS, Makis (ed.), Iannis Xenakis: la musique électroacoustique. L'Harmattan, 2015SOUSTER, Tim, “Xenakis's Nuits”. Tempo, n.º 85 (1968), pp. 5-18*STERKEN, Sven, “Towards a Space-Time Art: Iannis Xenakis's Polytopes”. Perspectives of New Music, vol. 39, n.º 2 (2001), pp. 262-273*VARGA, Bálint A., Conversations with Iannis Xenakis. Faber and Faber, 1996XENAKIS, Iannis, Formalized Music: Thought and Mathematics in Composition. Pendragon Press, 1992—, Música de la arquitectura. Akal, 2009*XENAKIS, Iannis et al., “Xenakis on Xenakis”. Perspectives of New Music, vol. 25, n.º 1-2 (1987), pp. 16-63*XENAKIS, Iannis y Bálint András Varga, Conversations with Iannis Xenakis. Faber and Faber, 1996 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

durée : 01:58:39 - Jean-Paul Gasparian ; Trio Messiaen & Trio Xenakis ; Lucile Boulanger ; Diana Tishchenko ; Marielou Jacquard - par : Clément Rochefort - Jean-Paul Gasparian, piano, pour un programme arménien ; le Trio Messiaen, piano & cordes, et le Trio Xenakis, percussions ; Lucile Boulanger, viole de gambe ; Diana Tishchenko, violon, & Itamar Golan, piano ; Marielou Jacquard, mezzo, & Emmanuel Olivier, piano, pour un programme franco-russe - réalisé par : Claire Lagarde

If you are wondering how to create a sustainable money flow in the business, you CAN'T go around nervous system regulation. What is so fascinating to me is that your nervous system regulation and money flow are so connected to each other, especially when you want it to come in easeful. So if this is something you are interested in, as you are creating your business or scaling it.... welcome to get into this conversation with Ferryn Xenakis who is specialised iin Neurofesting, creating money flow from a mind body spirit connection. Flow state bundle: https://www.sacredrebels.academy/offers/XYzo3cN3 Creative Alchemy (embodiment through flow): https://www.sacredrebels.academy/upsell-creative-alchemy-program https://instagram.com/ferrynxenakis/

durée : 00:12:25 - "Vitrail" de Thierry Escaich par le Trio Messiaen et le Trio Xenakis - Le disque de contemporain de la semaine est celui de Thierry Escaich, "Vitrail", interprété par le Trio Messiaen et le Trio Xenakis et paru sur le label B. Records en juin 2024.

La existencia de ejecutantes musicales que no son compositores, o lo son pero prefieren consagrarse a interpretar, resulta crucial en la Historia de la Música. Gracias a esos encargos de los que se beneficia su desempeño, han hecho más grande la obra de los grandes compositores._____Has escuchadoImmer: pour violoncelle seul (1996) / Pascal Dusapin. Sonia Wieder-Atherton, violonchelo. RCA (2001)Plainsound Glissando Modulation: Raga in Just Intonation for Violin and Double Bass, op. 49 (2006-2007) / Wolfgang von Schweinitz. Helge Slaatto, violín; Frank Reinecke, contrabajo. NEOS (2009)Ryoanji: For Contrabass and Tape (1983) / John Cage. Stefano Scodanibbio, contrabajo. WERGO (2009)st/4: for string quartet (1955-1962) / Iannis Xenakis. Arditti String Quartet. Montaigne (2003)Wunderblock (Nebenstück II): pour accordéon et orchestre (2005) / Gérard Pesson. Teodoro Anzellotti, acordeón. Aeon (2009)_____Selección bibliográficaCLARKE, Eric F. y Mark Doffman, Distributed Creativity: Collaboration and Improvisation in Contemporary Music. Oxford University Press, 2017COOK, Nicholas, Beyond the Score: Music as Performance. Oxford University Press, 2013COUROUX, Marc, “Evryali and the Exploding of the Interface: From Virtuosity to Antivirtuosity and Beyond”. Contemporary Music Review, vol. 21, n.º 2-3 (2002), pp. 53-67DUNCAN, Stuart Paul, “Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity'”. Perspectives of New Music, vol. 48, n.º 1 (2010), pp. 136-172*FLENDER, Reinhard David, Freie Ensembles für Neue Musik in Deutschland eine Studie des Instituts für kulturelle Innovationsforschung an der Hochschule für Musik und Theater Hamburg. Schott, 2007HILL, Peter, “Xenakis and the Performer”. Tempo, n.º 112 (1975), pp. 17-22*HOWARD, Philip, “‘Evryali': Beyond the Surface (What I Learned from ‘Evryali' by Performing It)”. Perspectives of New Music, vol. 42, n.º 2 (2004), pp. 144-157*LAWSON, Colin y Robin Stowell (ed.), The Cambridge History of Musical Performance. Cambridge University Press, 2012*MABRY, Sharon, Exploring Twentieth-Century Vocal Music. Oxford University Press, 2010*MADURELL, François, L'ensemble Ars Nova: Une contribution au pluralisme esthétique dans la musique contemporaine, 1963-1987. L'Harmattan, 2003MCPHERSON, Gary E. (ed.), The Oxford Handbook of Music Performance. Volume 1. Oxford University Press, 2022*—, The Oxford Handbook of Music Performance. Volume 2. Oxford University Press, 2022*PACE, Ian, “Notation, Time and the Performer's Relationship to the Score in Contemporary Music”. En: Unfolding Time: Studies in Temporality in Twentieth Century Music. Editado por Darla Crispin. Leuven University Press, 2009SILVERTHORNE, Diane V. (ed.), Music, Art and Performance from Liszt to Riot Grrrl: The Musicalisation of Art. Bloomsbury Publishing, 2021*WEISBERG, Arthur, Performing Twentieth-Century Music: A Handbook for Conductors and Instrumentalists. Yale University Press, 1993*WRIGHT, David C. H., “The London Sinfonietta 1968-2004: A Perspective. Twentieth-Century Music, vol. 2, n.º 1 (2005), pp. 109-136 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

durée : 00:30:08 - « Transistors » de Giani Caserotto - par : Anne Montaron - Pour France Musique et pour le trio Xenakis, Giani Caserotto a composé une suite de miniatures acoustiques mais inspirées de A à Z par les musiques électroniques : Transistors - réalisé par : Olivier Guérin

A la fin des années 1950, Pierre Schaeffer et Iannis Xenakis se sont échangé de multiples lettres. Le premier avait fondé une dizaine d'années plus tôt la 'musique concrète'. Le second venait de réaliser Concret PH pour le pavillon Philips de l'exposition universelle de Bruxelles. Deux compositeurs qui partageaient le point commun d'avoir été formé à Polytechnique, qui avaient certainement une grande conscience de l'importance de l'autre, mais qui n'avaient pas la même conception des rapports entre musique et science. Metaclassique accueille deux témoins : Jacqueline Schaeffer qui a été la compagne de Pierre Schaeffer de 1959 jusqu'à sa mort, en 1995, et Mâkhi Xenakis, la fille de Iannis Xenakis, mais aussi deux musicologues qui se sont intéressés à l'un et l'autre des compositeurs : côté Xenakis, Pierre Carré et côté Schaeffer, Nicolas Debade. Une émission produite et réalisée par David Christoffel. Photo Iannis Xenakis par Laszlo Ruszka/INA via Getty Images Photo Pierre Schaeffer par Ulf Andersen/Getty Images Merci pour votre écoute Par Ouïe-Dire c'est également en direct tous les jours de la semaine de 22h à 23h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Par Ouïe-Dire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/272 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Welcome to The Empowerment Exchange, where we believe in the power of transformation through shared wisdom and inspiration. Join us on a journey of self-discovery, growth, and empowerment as we engage in candid conversations with thought leaders, experts, and everyday individuals who have embarked on their own paths of personal development.In each episode, we explore a wide range of topics designed to uplift and motivate you to become the best version of yourself. From practical tips for achieving your goals to insightful discussions on overcoming challenges, our goal is to provide you with the tools, insights, and encouragement you need to thrive in every aspect of your life.Whether you're seeking guidance in relationships, career advancement, wellness, or simply looking to enrich your mindset, The Empowerment Exchange offers a safe space for learning, reflection, and connection. Get ready to be inspired, empowered, and equipped to create positive change in your life and the world around you.Tune in to The Empowerment Exchange and join the conversation today!PS: If You are a Coach or Consultant Looking to Grow your business organically and reduce stress then Join our Biz School Community with 50% off Today.Here is More information Link Below-https://www.skool.com/biz-school-community-4365?invite=db4c04ac4e1945a6942e3396caf656baBuild your own Community 2 weeks Free Skool Platform Triall: https://www.skool.com/refer?ref=6ffb188375cb4188963b34eb9b4200d8Links: My Facebook: https://www.facebook.com/InulC786My LinkedIn :https://www.linkedin.com/in/inul-chowdhury-818a00157?My TickTok : https://www.tiktok.com/@inulchowdhury?_t=8jcs1NKOq1p&_r=1My Instagram:https://www.instagram.com/inulchowdhury786?igsh=cjdyY2hkb2RnNHFwMyPodcasts : https://podcasters.spotify.com/pod/show/inulchowdhury786My Website : www.inulchowdhury.comAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy Hosted on Acast. See acast.com/privacy for more information.

On today's episode, I talk to composer Doug Bielmeier. Originally from Buffalo, Doug started out playing in indie rock bands before shifting his focus to composition, which he received both bachelors and masters degrees for. His music has been described as an "extension of Xenakis's early electroacoustic tape pieces", and his albums include 2017's Betty and the Sensory World, 2018's Costa Mesa Rocking Chair, and 2019's Beast of Bodmin Moor. Doug also holds a PhD in education and is a professor at Northeastern University in Boston. In addition to this all, Doug is the creator and host of The Process, a podcast that focuses on the creative process for experimental music. His most recent album Music for Billionaires was released by New Focus Recordings at the end of October, and it is great! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here!  

Retired Brigadier General Dr. Steve Xenakis is Executive Director of the American Psychedelic Practitioners Association, a group of clinicians who are interested in developing and promoting the mainstream use of psychedelic and plant medicines for the treatment of mental health conditions. APPA works to educate practitioners on best practices and explores AI's potential role in identifying patients who could benefit from psychedelic therapies.   Steve explains, "This is a multidisciplinary group. As the treatments unfold, we're seeing it's multidisciplinary. We have psychiatrists, psychologists, social workers, advanced nurse practitioners, and physician's assistants because it's a team approach. When we look at the best treatments and therapies, these people come together. They can collaborate in terms of not only prescribing the medications but also conducting the therapy and supporting the patients who come to them for help." "They've come into this organization because they realize that to promote these treatments and therapies there needs to be a pathway to mainstream them into US healthcare. For many, for the past several decades, a number of practitioners have been using these medicines compounds and treatments. Still, they've had to be in the so-called underground because, since 1972, the use of MDMA and psilocybin has been illegal. And only recently have we seen ketamine be used. And there are other substances." "As we think about it, and particularly with the momentum with MDMA and psilocybin in getting approval from the FDA, there's an interest in now bringing this out upfront and getting them into US healthcare and to go through what the processes are to get that done. That's how this organization has come together and been conceived." #APPA #AmericanPsychedelicPractionersAssociation #MentalHealth #Psychiatry #Psychedelics #AlternativeTherapy #PTSD #MDMA #Psilocybin #AI appa-us.org Download the transcript here

Retired Brigadier General Dr. Steve Xenakis is Executive Director of the American Psychedelic Practitioners Association, a group of clinicians who are interested in developing and promoting the mainstream use of psychedelic and plant medicines for the treatment of mental health conditions. APPA works to educate practitioners on best practices and explores AI's potential role in identifying patients who could benefit from psychedelic therapies.   Steve explains, "This is a multidisciplinary group. As the treatments unfold, we're seeing it's multidisciplinary. We have psychiatrists, psychologists, social workers, advanced nurse practitioners, and physician's assistants because it's a team approach. When we look at the best treatments and therapies, these people come together. They can collaborate in terms of not only prescribing the medications but also conducting the therapy and supporting the patients who come to them for help." "They've come into this organization because they realize that to promote these treatments and therapies there needs to be a pathway to mainstream them into US healthcare. For many, for the past several decades, a number of practitioners have been using these medicines compounds and treatments. Still, they've had to be in the so-called underground because, since 1972, the use of MDMA and psilocybin has been illegal. And only recently have we seen ketamine be used. And there are other substances." "As we think about it, and particularly with the momentum with MDMA and psilocybin in getting approval from the FDA, there's an interest in now bringing this out upfront and getting them into US healthcare and to go through what the processes are to get that done. That's how this organization has come together and been conceived." #APPA #AmericanPsychedelicPractionersAssociation #MentalHealth #Psychiatry #Psychedelics #AlternativeTherapy #PTSD #MDMA #Psilocybin #AI appa-us.org Listen to the podcast here

La evolución del conocimiento y del arte en el siglo XX nos ha dado obras y reflexiones que continúan siendo de inspiración para nosotros con obras e ideas en las que podemos volver para encontrar nuevos estímulos, mirarlos desde distintas perspectivas que siempre nos ayudarán a desvelar algo del presente que estamos viviendo. Hoy nos centramos en la trayectoria de tres autores: Edgard Varese, John Cage y Iannis Xenakis que transformaron no solamente la música sino que a través de la música plantearon una manera de estar en el mundo, de escuchar y de interpretar el entorno. Junto a fragmentos de obras de estos autores escucharemos la voz de Julio Martínez Calzón Ingeniero de Caminos, especializado en puentes y estructuras que desafortunadamente nos dejó el pasado 26 de septiembre. Se trata de un fragmento del audio extraído de un documental dedicado a Xenakis en el que se recoge la compleja contribución artística, científica y técnica del compositor.Escuchar audio

Welcome to the Green Rush, a KCSA Strategic Communications Production, a weekly conversation at the intersection of cannabis, psychedelics, the capital markets and culture.  This week Nick Opich and Lewis Goldberg are back for a new episode with special guest Brigadier General (Ret.) Stephen N. Xenakis, MD, Executive Director of the American Psychedelic Practitioners Association (APPA). Steve joins us this week to discuss what led him to the military and psychiatry and what it was like taking this path while his peers explored drugs and the counterculture movement, as well as his work with APPA and its publishing of the first professional practice guidelines for psychedelic-assisted therapy practitioners. In this conversation, Steve also helps us to better understand our veteran and military men and women's behavioral health needs and how his psychiatric and military expertise uniquely primed him to help APPA in its mission to safely integrate psychedelics into the U.S. healthcare system. If you are interested in learning more about Steve and the work he's leading with the team at APPA, visit the links in our show notes. Also, be sure to follow Steve and APPA on LinkedIn and other top social media platforms. So, sit back and enjoy our conversation with General Xenakis of the American Psychedelic Practitioners Association. Links, mentions, and socials: American Psychedelic Practitioners Association: https://www.appa-us.org/ Donate to APPA: https://creative-visions.networkforgood.com/projects/196482-american-psychedelic-practitioners-association-appa Professional Practice Guidelines for Psychedelic-Assisted Therapy Practitioners: https://www.appa-us.org/standards-and-guidelines  APPA LinkedIn: https://www.linkedin.com/company/american-psychedelic-practitioners-association/ APPA X (formerly Twitter): https://www.twitter.com/apsychedelicpa/ APPA Instagram: https://www.instagram.com/apsychedelicpa/ General Xenakis LinkedIn: http://linkedin.com/in/stephen-xenakis-5b950312/   Show Credits: This episode was hosted by Nick Opich and Lewis Goldeberg of KCSA Strategic Communications.  Special thanks to our Program Director Shea Gunther. You can learn more about how KCSA can help your cannabis and psychedelic companies by visiting www.kcsa.com or emailing greenrush@kcsa.com. You can also connect with us via our social channels: X (formerly Twitter): @The_GreenRush Instagram: @thegreenrush_podcast LinkedIn: https://www.linkedin.com/company/thegreenrushpodcast/ Facebook: https://www.facebook.com/TheGreenRushPodcast/  YouTube: https://www.youtube.com/channel/UCuEQkvdjpUnPyhF59wxseqw?disable_polymer=true

In this episode, Kyle interviews General Stephen Xenakis, MD: an adult, child, and adolescent psychiatrist who retired from the U.S. Army in 1998 at the rank of Brigadier General and began a career starting up medical technology companies and clinical practice to support human rights and new methodologies of healthcare.  In June, he became the new Executive Director of the American Psychedelic Practitioners Association (APPA), whose mission is to bring practitioners together as a community; develop the best training programs and practices; shift to a more patient-centered, integrated model of care; eventually accredit practitioners to practice with legal substances; and overall, help to make these new modalities more mainstream.  He discusses their path to success, which began with their publishing of the first professional practice guidelines for psychedelic-assisted therapy practitioners, and will continue on with ethical guidelines and clinical practice guidelines in the future. And he talks about the idea of a safety net for people who have adverse effects from psychedelic journeys; what clinicians need to know about psychedelics; concerns over accessibility; and the importance of identifying the correct treatments for the correct patients, as each person's path to healing will likely be drastically different. Click here to head to the show notes page. 

For paramedics, click HERE for CAPCE credits! The next frontier in Prehospital medicine is prehospital blood use.  The AABB (formerly the American Association of Blood Banks) is an international authority on transfusion medicine and tissue banking. The Trauma, Hemostasis and Oxygenation Research (THOR) Network is an international multidisciplinary network of civilian and military providers.  Together AABB-THOR has been working to achieve the dream of utilizing prehospital blood.  In our June Deep Dive, we discuss the manuscript:  THOR-AABB Working Party Recommendations for a Prehospital Blood Product Transfusion Program  with guest authors Christopher Winckler MD & Mark Yazer MD Click here to download it today! As always THANK YOU for listening. Hawnwan Philip Moy MD (@pecpodcast) Scott Goldberg MD, MPH (@EMS_Boston) Jeremiah Escajeda MD, MPH (@jerescajeda) Joelle Donofrio-Odmann DO (@PEMems) Maia Dorsett MD PhD (@maiadorsett) Lekshmi Kumar MD (@Gradymed1) Greg Muller DO (@DrMuller_DO) Works Discussed Newberry, R., Winckler, C. J., Luellwitz, R., Greebon, L., Xenakis, E., Bullock, W., ... & Mapp, J. (2020). Prehospital transfusion of low-titer O+ whole blood for severe maternal hemorrhage: a case report. Prehospital Emergency Care, 24(4), 566-575. https://www.tandfonline.com/doi/abs/10.1080/10903127.2019.1671562 THOR (Trauma Hemostasis and Oxygenation Research Network Website: https://rdcr.org/ Zhu, C. S., Pokorny, D. M., Eastridge, B. J., Nicholson, S. E., Epley, E., Forcum, J., ... & Jenkins, D. H. (2019). Give the trauma patient what they bleed, when and where they need it: establishing a comprehensive regional system of resuscitation based on patient need utilizing cold‐stored, low‐titer O+ whole blood. Transfusion, 59(S2), 1429-1438. https://onlinelibrary.wiley.com/share/ZCET9NGYI2GRV8ZF8WNH?target=10.1111/trf.15264

The world may be shrinking, but it doesn't always feel that way. As product design leaders Krissi Xenakis and Jocelyne Dittmer explain, it's more important than ever to get aligned around culture and craft, balancing the needs of the business with the needs of the team. Especially with remote and distributed teams, collaboration around complementary … The post 111 / Using Data to Inform Design, with Krissi Xenakis & Jocelyne Dittmer appeared first on ITX Corp..

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

[EP149] Manifestation & money with Ferryn Xenakis @ferrynxenakis 1:1 Private Mentorship Application: https://forms.gle/z6kNUxgpedsC2PUK9 www.madbarn.ca www.madbarn.com use code "springeneq" --- Send in a voice message: https://anchor.fm/jessicaparr/message

Synopsis Many 20th century composers were scarred by the violence and turmoil of their times—but none quite so literally as the Greek composer, engineer, and architect Iannis Xenakis, who died at the age of 78 on today's date in the year 2001. In the early 1940s, Xenakis was a member of the Communist resistance in Greece, fighting first the German occupation, then, as the war ended, the British. In 1945, when Xenakis was 23, his face was horribly disfigured by a shell fragment fired by a British tank, resulting in the loss of one of his eyes. Two years later he was forced to flee to Paris. As he himself laconically put it: "In Greece, the Resistance lost, so I left. In France, the Resistance won." Xenakis wanted to write music, but earned his living as an architect and engineer in Paris at Le Courbusier's studio. Xenakis designed and was involved in major architectural projects for Le Courbusier, including the famous Philips pavilion at the 1958 World's Fair in Brussels. As a composer, Xenakis wrote highly original music that was meticulously ordered according to mathematical and scientific principles, but sounded intensely emotional, almost primeval. His music might even be described as "Pre-Socratic," as Xenakis seemed to echo the theories of the early Greek thinker Pythagoras, who saw a relationship between music, mathematics, and religion. Music Played in Today's Program Iannis Xenakis (1922-2001) Opening of A Colone New London Chamber Choir; Critical Band; James Wood, conductor. Hyperion 66980 Huuem-Duhey Edna Michell, violin; Michael Kanka, cello Angel 57179

This week, Karin welcomes Jules Xenakis, transformational recovery coach, to the show for our newest episode, “Peeling Back the Layers of Suffering with Jules Xenakis.” Tune in to learn about how suffering can be a launch pad for personal growth, finding meaning in suffering, pressures to “grow up” in a competitive environment, allowing space and time to process difficult emotions, the use of psychedelics for healing and creating new neuropathways, and the importance of trust between clients and treatment providers.Jules Xenakis' is the Director of Partnerships and a Transformational Recovery Coach for the coaching company Being True To You. Jules works primarily with teenagers and young adults who have previously been diagnosed with things such as depression, anxiety, PTSD, eating disorders, self-harm, suicidal ideation, and substance use, all of which were components of her own healing journey. Jules draws on her own experience of eating disorder recovery, which she struggled with for ten years before gaining food freedom and learn to love herself, using it as an asset in her current work. Her mission is to help people transform out of the addictive attachments keeping them tethered to suffering, with the belief that suffering holds valuable life lessons.

Mario Diaz de Leon: Things Come & Go Composer/guitarist Mario Diaz de Leon, whose influences range from hardcore punk to Xenakis, and whose masterful integration of electronics with classical instruments is documented here in concerts recorded at Roulette between 2009-22 in solo works and with the Talea and TAK ensembles, International Contemporary Ensemble, and flutist Laura Cocks. https://roulette.org/

Composer/guitarist Mario Diaz de Leon, whose influences range from hardcore punk to Xenakis, and whose masterful integration of electronics with classical instruments is documented here in concerts recorded at Roulette between 2009-22 in solo works and with the Talea and TAK ensembles, International Contemporary Ensemble, and flutist Laura Cocks. Photo: Ebru Yildiz

El artista griego Iannis Xenakis ha sido una de las figuras más personales e influyente del arte de la segunda mitad del siglo XX. Ingeniero de formación, ha dejado una innovadora obra como músico y arquitecto, en la que la aplicación de modelos matemáticos le permitió lograr nuevos lenguajes artísticos. Sus conocidos politopos, propuestas innovadoras de espectáculos de fusión de luz y sonido en dialogo con grandes espacios únicos, que realizó para escenarios tan impactantes como Persépolis en 1971 o Micenas en 1978, son un claro precedente del actual concepto de instalación artística y espectáculo performativo. En 2022 se cumple el centenario de su nacimiento y Documentos RNE se acerca a su figura con el espacio Xenakis, la alianza entre arte y ciencia, de Ana Vega Toscano. El documental sonoro parte de la propia visión del artista a través de una recreación biográfica realizada con fragmentos de entrevistas recogidas en el libro Conversations with Xenakis, del húngaro Bálint András Varga. Igualmente se rescata su propia voz del Archivo de RTVE, gracias a una entrevista realizada al compositor en su estudio de París en el año 1986. Se cuenta también con la participación de la arquitecta Susana Moreno, coordinadora del grado de Fundamentos de la Arquitectura de la Universidad Europea de Madrid y autora del libro Arquitectura y Música en el siglo XX; y del compositor Adolfo Núñez, fundador y director del Laboratorio de Informática y Electrónica Musical del INAEM y profesor de la UAM y de la Escuela Superior de Música Reina Sofía. Xenakis, que nació en 1922 en la localidad rumana de Ballin, vivió en carne propia la crudeza de la Segunda Guerra Mundial; acontecimientos que inspiraron muchas de sus obras posteriores. Formado en la Universidad de Atenas como ingeniero, en 1947 tuvo que exiliarse de Grecia. Terminó recalando en París donde comenzó a trabajar en el estudio de Le Corbusier, una de las figuras más destacadas de la arquitectura del siglo XX, mientras continuaba con su formación musical, iniciada ya en Grecia. En 1955, el estreno de su obra musical, Metátasis, en el festival de música de Donaueschingen, le reveló como una de las personalidades más originales del panorama compositivo. En paralelo inició su andadura como arquitecto, con obras como el convento de La Tourette. Momento álgido en su carrera sería el famoso Pabellón Philips, creado para la exposición de Bruselas de 1958, donde también presentó una pionera obra electroacústica, Concret PH. Toda su obra, ya sea musical, arquitectónica o performativa, se encuentra entrelazada por su ideario humanista, que le llevó a formular una importante obra teórica en numerosos artículos y libros, como es el caso de Músicas formalizadas. Precursor de la utilización de la informática y los ordenadores como herramienta de ayuda a su creación, supo aunar arte y ciencia como dos caras de una misma moneda, dos formas de conocimiento indisolublemente unidas en el hombre. Escuchar audio

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

Notre premier invité s'appelle Laurent Bardainne, son groupe Le Tigre d'Eau Douce. Après Love Is Everywhere, Laurent Bardainne emporte son Tigre d'Eau Douce dans une exploration dédiée à l'astre du jour. Arnaud Roulin (complice de Bardainne dans Thomas de Pourquery Supersonic et feu Poni Hoax) à l'orgue Hammond, Sylvain Daniel (Camélia Jordana et l'ONJ) à la basse, Philippe Gleizes à la batterie, Roger Raspail aux percussions : c'est avec le même quartet de fidèles qu'il a écrit ces nouvelles aventures félines. Le saxophone mat de Bardainne laissant les grands noms du jazz spirituel faire écho dans ses clés, le compas musical ouvert depuis le hip hop jusqu'aux rythmes africains, de Pharoah Sanders jusqu'à Kruhangbin et Sault, Hymne Au Soleil (hommage à la composition du même nom de Lili Boulanger) guide le Tigre dans un voyage onirique et cinématographique. Vers une soul rétro futuriste où synthétiseurs et chœurs féminins s'invitent, eux aussi, à briller dans les rayons solaires. Aux commandes de son biplan, la carlingue personnalisée d'une peinture reproduisant le coup d'une patte à quatre griffes, Laurent Bardainne l'avait enfin retrouvé. Lui dont il avait perdu la trace à la faveur d'une escapade chimérique à travers plaines et forêts. Robe orange rayée de noir. Vif, rapide, bondissant. Dans l'immaculé doré du désert noyé de soleil, sa silhouette gracieuse se dessinait distinctement. Le Tigre d'Eau Douce. Par une mélodie de saxophone ténor captivante, de celles auxquelles il le savait réceptif, Bardainne lui signala sa présence depuis les airs. Même précédé par sa réputation, le super prédateur reste toujours à l'affût. La venue de son maître, il l'avait anticipée depuis quelques mesures déjà, depuis qu'il avait perçu, portés par les vents, les rythmes africains qui secouaient la mécanique de l'engin volant. Sûr de son fait et de la route à emprunter dans cette infinité ocre, l'œil brillant de malice d'avoir repéré l'ombre qui allait accompagner son effort, le Tigre entama sa course. Et toute la physionomie de ce qui jusque-là ressemblait à un désert changea alors.   Déblayée par les grooves organiques et le souffle de l'orgue Hammond, la voie s'ouvrait au Tigre à mesure qu'il progressait. Ses pattes s'enfonçaient dans les profondeurs du jazz pour en ressortir couvertes de soul, l'écume filait depuis ses babines, laissant dans sa traîne sablée des cristallisations hip hop. Dans cette émulation à l'esthétique seventies sophistiquée, où ses crocs saillants ne reflétaient plus que la lumière du saxophone, les touches de synthétiseurs finissaient même par leur faire entrevoir le futur. Arrivés à destination, le moteur du biplan secoué de hoquets et suppliant qu'on le refroidisse, Bardainne et son félin haletant se posèrent. Ensemble, ils contemplèrent l'oasis prospère et onirique, habitée par cette musique qui avait accompagné leur périple. Redoutables pour qui s'égare, les rayons de l'astre solaire étaient devenus ces alliés miraculeux capables de faire naître et renaître la vie. Et ce n'était peut-être pas le Tigre d'Eau Douce qui l'avait attiré là, mais Laurent Bardainne qui l'avait poussé jusqu'ici...   Titres joués - Oh Yeah - La Vie la Vie la Vie voir le clip  - Hymne au Soleil voir le clip Jazz à Vienne 2021  - Jou An Nou Rivé (Feat. Célia Wa) - Oiseau (Feat Bertrand Belin) écouter clip audio   Puis nous recevons Oan Kim dans la #SessionLive.   Oan Kim est un saxophoniste, chanteur, compositeur, ainsi que réalisateur et photographe franco-coréen. Il sort l'album Oan Kim & the Dirty Jazz (auto-prod) À 5 ans, sa mère le met au violon (c'était ça ou le violoncelle), qu'il pratique pendant 15 ans. À l'adolescence, il se passionne pour le jazz et se met au saxophone alto, puis ténor. Persuadé qu'il doit aussi être un pianiste correct pour devenir compositeur, il étudie le piano jazz à la Bill Evans Piano Academy. Il se passionne pour la musique contemporaine, suit les conférences de Pierre Boulez au Collège de France, étudie les partitions de Berio, Nono, Ferneyhough, Xenakis, Cage, fréquente l'IRCAM comme d'autres les discothèques. Il poursuit en même temps des études d'écriture musicale au CSNM de Paris, étudiant l'harmonie et l'orchestration avec Jean-François Zygel, le contrepoint, la fugue, l'analyse musicale avec Michael Levinas et la musique indienne avec Patrick Moutal. Depuis, il compose des musiques pour l'audiovisuel (documentaire et télé) et pour l'Art contemporain, collaborant notamment régulièrement avec l'artiste Jungwan Bae et les photographes de l'agence MYOP. Enthousiasmé par la scène indé, il décide d'y participer et crée le groupe de rock Film Noir (un album sorti chez le Son du Maquis), puis le duo electro-rock Chinese Army (trois EP sortis notamment sur le label Balades Sonores) qu'il forme avec le guitariste Benoît Perraudeau. Avec ces deux formations, il fait plus de 80 concerts en France et à l'étranger.   Depuis 2019, il renoue avec le saxophone jazz et entame un nouveau projet que la pandémie le pousse à développer en solo, entre jazz et musiques modernes, quelque part entre Pharoah Sanders et Radiohead.. Par ailleurs à ses activités musicales, il est aussi un photographe et réalisateur de documentaire ayant reçu plusieurs prix (Prix Swiss Life à 4 mains, Silver Horn du Krakow Film Festival, Prix des Nuits Photographiques, Tomorrow's Artist Prize Sungkok Museum), membre co-fondateur de l'agence M.Y.O.P de photographes indépendants. Titres interprétés - Mambo, Live RFI voir le clip  - Agony, extrait de l'album Oan Kim & the Dirty Jazz voir le clip  - Wong Kar Why, Live RFI voir le clip   Musiciens - Oan Kim, saxophone et voix - Benoît Perraudeau, guitare - Paul Herry-Pasmanian, basse - Brice Tillet, batterie.   Son Benoît Letirant, Fabien Mugneret, Mathias Taylor   Bonus, clip de Teenage Riot, une reprise de Sonic Youth (Rediffusion du 11 mars 2022)

We'll be back with a new episode next week but for now please enjoy this favourite from the archive, first published in October 2021: This week were joined by inspirational author Stefanos Xenakis to explore the theme of connection as a factor in mental health. Including how the experiences our guest had in therapy helped shape his optimistic outlook and appreciation for others You can find The Simplest Gift by Stefanos Xenakis HERE Find the infographic and research Bobby mentions HERE Here we go! Mental is the brain-child of Bobby Temps, who lives and thrives while managing his own mental health. Each Thursday we delve into a factor or condition that affects the mind and how to better manage it. You can now join our Subsription on Apple Podcasts to support the show and get new episodes ad free… Petition to 'Get Mental Health Education on the School Curriculum' - Join us at bit.ly/MentalPetition Join the movement on: Facebook, Twitter & Instagram We also have a very blue website with loads of great resources HERE

Exilé, révolutionnaire, ingénieur, architecte et compositeur. À l'occasion du centenaire de la naissance de Xenakis, la Philharmonie de Paris célèbre toutes les facettes de l'artiste.

Un 29 de mayo hace cien años nacía el compositor griego Iannis Xenakis. Ingeniero de formación, Xenakis revolucionó el panorama musical de la segunda mitad del siglo XX con un enfoque único que ponía las matemáticas en el centro del proceso compositivo como nunca se había hecho hasta entonces. Desde su pieza Metastasis (1953/54), cuyo glissando inicial marcaría una época, publica la revista Scherzo, Xenakis no dejó de profundizar en nuevas formas de control para modular la masa y densidad del edificio sonoro, usando la teoría de probabilidades y creando la que se conoce como “música estocástica”. La teoría de juegos, la teoría de grupos o el álgebra de Boole son algunas de las herramientas que Xenakis empleó en sus partituras, aunque la abstracta y sofisticada formulación matemática convive en su música con un concepto primigenio del sonido, una contundencia y una expresividad que hablan de manera directa a cualquier tipo de oyente. Porque, como él mismo decía, “la música es la expresión de las visiones del universo, de sus olas, de sus árboles, de sus hombres, al igual que las teorías fundamentales de la física moderna, de la lógica abstracta y del álgebra". Hoy escucharemos la primera composición electroacústica de Xenakis, Diamorphoses.

Episode 56: Interview with Mâkhi XENAKIS and James HARLEY on the 100th anniversary of Iannis XENAKIS’ birth.   Produced with support from the Research Fund, College of Arts, University of Guelph.

durée : 00:24:48 - Xenakis Keqrops, musique concertante - par : Anne-Charlotte Rémond - Dans cet épisode de Musicopolis, Anne-Charlotte Rémond revient sur la création de Keqrops du compositeur Iannis Xenakis. - réalisé par : Claire Lagarde

Giannis Klearchou Xenakis (also spelled for professional purposes as Yannis or Iannis Xenakis; Greek: Γιάννης "Ιάννης" Κλέαρχου Ξενάκης, pronounced [ˈʝanis kseˈnacis]; 29 May 1922 – 4 February 2001) was a Romanian-born Greek-French avant-garde composer, music theorist, architect, performance director and engineer. After 1947, he fled Greece, becoming a naturalised citizen of France eighteen years later.[1] Xenakis pioneered the use of mathematical models in music such as applications of set theory, stochastic processes and game theory and was also an important influence on the development of electronic and computer music. He integrated music with architecture, designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances.

What are some of the commonly-believed myths about meditation? What are the benefits and risks? Join me as I discuss meditation: the good, the bad, and the ugly. Check out the Youtube Channel for a few meditation resources (will be expanding!): https://www.youtube.com/channel/UCO5n25rkQY4iSPBysUo0N2w/featured References Afonso, R. F., Kraft, I., Aratanha, M. A., & Kozasa, E. H. (2020). Neural correlates of meditation: a review of structural and functional MRI studies. Frontiers in Bioscience (Scholars Edition), 12, 92-115. Anderson, T., Suresh, M., & Farb, N. A. (2019). Meditation benefits and drawbacks: empirical codebook and implications for teaching. Journal of Cognitive Enhancement, 3(2), 207-220. Baer, R. A., Lykins, E. L., & Peters, J. R. (2012). Mindfulness and self-compassion as predictors of psychological wellbeing in long-term meditators and matched nonmeditators. The Journal of Positive Psychology, 7(3), 230-238. Farias, M., Maraldi, E., Wallenkampf, K. C., & Lucchetti, G. (2020). Adverse events in meditation practices and meditation‐based therapies: A systematic review. Acta Psychiatrica Scandinavica, 142(5), 374-393. Galante, J., Galante, I., Bekkers, M. J., & Gallacher, J. (2014). Effect of kindness-based meditation on health and well-being: a systematic review and meta-analysis. Journal of consulting and clinical psychology, 82(6), 1101. Goldberg, S. B., Tucker, R. P., Greene, P. A., Davidson, R. J., Wampold, B. E., Kearney, D. J., & Simpson, T. L. (2018). Mindfulness-based interventions for psychiatric disorders: A systematic review and meta-analysis. Clinical Psychology Review, 59, 52-60. Hilton, L., Hempel, S., Ewing, B. A., Apaydin, E., Xenakis, L., Newberry, S., ... & Maglione, M. A. (2017). Mindfulness meditation for chronic pain: Systematic review and meta-analysis. Annals of Behavioral Medicine, 51(2), 199-213. Kiken, L. G., & Shook, N. J. (2011). Looking up: Mindfulness increases positive judgments and reduces negativity bias. Social Psychological and Personality Science, 2(4), 425-431. Koncz, A., Demetrovics, Z., & Takacs, Z. K. (2021). Meditation interventions efficiently reduce cortisol levels of at-risk samples: A meta-analysis. Health psychology review, 15(1), 56-84. Luberto, C. M., Shinday, N., Song, R., Philpotts, L. L., Park, E. R., Fricchione, G. L., & Yeh, G. Y. (2018). A systematic review and meta-analysis of the effects of meditation on empathy, compassion, and prosocial behaviors. Mindfulness, 9(3), 708-724. Rusch, H. L., Rosario, M., Levison, L. M., Olivera, A., Livingston, W. S., Wu, T., & Gill, J. M. (2019). The effect of mindfulness meditation on sleep quality: a systematic review and meta‐analysis of randomized controlled trials. Annals of the New York Academy of Sciences, 1445(1), 5-16. Shi, L., Zhang, D., Wang, L., Zhuang, J., Cook, R., & Chen, L. (2017). Meditation and blood pressure: A meta-analysis of randomized clinical trials. Journal of hypertension, 35(4), 696-706.

In this episode, we discuss the music of the late Iannis Xenakis, a widely performed 20th century composer who's 100th birthday was just celebrated in Paris with an exhibition and multiple concerts. Xenakis, whose experimental use of mathematics and architecture in composing music anticipated so much of the 21st century and whose musical scores can be baffling to even the most seasoned interpreter wrote a work for pipe organ that still to this day, stretches the capabilities of the performer and the organ itself. We first sit down with organist Suanne Kujala was chosen to perform this work at the recent celebrations in Paris. This notoriously difficult piece by Xenakis continues to challenge countless performers around the world since its publication in 1974. Our second guest, Eun-Joo Ju is an organist at Presbyterian Home, and Kenilworth Union Church in Illinois; her keen interest in this work, led to her choosing it as the subject for her thesis studies     You can check out our patreon at www.patreon.com/futurestops 

A nosy trombonist (Melissa Brown) chats to fellow brass professionals about their careers, how they got there, and what music they'd happily put in the bin. In this episode trumpet player, educator, and manager of London Brass Andy Crowley tells us about Buckingham Palace having an influence on his early playing, about working with the team at London Brass, and about his feelings on the music of Xenakis. All episodes recorded during COVID-19 lockdown via video call programmes. There are occasional technical glitches - please bear with us! Facebook: Bold as Brass Podcast Instagram: @boldasbrasspodcast Show artwork: Stuart Crane Music credit: Upbeat Forever by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/5011-upbeat-forever License: http://creativecommons.org/licenses/by/4.0/

La miro. Es mi mano. Distinta a la imagen que culturalmente poseo: larga, dedos puntiagudos y en las articulaciones exactitud matemática de acuerdo al ritmo de Mahler, Yupanqui, Xenakis. Mi mano cuadrada. Plana. No están en ella ni el monte de Júpiter ni el de Venus ni el de la Luna. Sí el mapa de siete generaciones que me preceden: guerreros, labradores, albañiles, truhanes, hilanderas, modistas apretando el terrón el puñal la sangre el pañuelo empapado de sudor la humilde violeta el dedal el huso la baraja. Mírala, bruja de todo alquimería, quiromántica. Mi destino no está escrito en las líneas de la mano, está en el Universo. Lo rigen el tiempo y el espacio: la gigantesca espiral de la Historia: ese milagro.

durée : 00:06:20 - Classic & Co - par : Anna Sigalevitch - Ce week-end, la Philharmonie de Paris une série de concerts au compositeur, la Cité de la musique une exposition jusqu'au 26 juin, et les éditions Actes Sud publie une nouvelle édition, revue et augmentée, du livre que sa fille, Mâkhi Xenakis, lui a consacré.

Notre 1er invité s'appelle Laurent Bardainne, son groupe Le Tigre d'Eau Douce.   Après Love Is Everywhere, Laurent Bardainne emporte son Tigre d'Eau Douce dans une exploration dédiée à l'astre du jour. Arnaud Roulin (complice de Bardainne dans Thomas de Pourquery Supersonic et feu Poni Hoax) à l'orgue Hammond, Sylvain Daniel (Camélia Jordana et l'ONJ) à la basse, Philippe Gleizes à la batterie, Roger Raspail aux percussions : c'est avec le même quartet de fidèles qu'il a écrit ces nouvelles aventures félines. Le saxophone mat de Bardainne laissant les grands noms du jazz spirituel faire écho dans ses clés, le compas musical ouvert depuis le hip hop jusqu'aux rythmes africains, de Pharoah Sanders jusqu'à Kruhangbin et Sault, Hymne Au Soleil (hommage à la composition du même nom de Lili Boulanger) guide le Tigre dans un voyage onirique et cinématographique. Vers une soul rétro futuriste où synthétiseurs et chœurs féminins s'invitent, eux aussi, à briller dans les rayons solaires. Aux commandes de son biplan, la carlingue personnalisée d'une peinture reproduisant le coup d'une patte à quatre griffes, Laurent Bardainne l'avait enfin retrouvé. Lui dont il avait perdu la trace à la faveur d'une escapade chimérique à travers plaines et forêts. Robe orange rayée de noir. Vif, rapide, bondissant. Dans l'immaculé doré du désert noyé de soleil, sa silhouette gracieuse se dessinait distinctement. Le Tigre d'Eau Douce. Par une mélodie de saxophone ténor captivante, de celles auxquelles il le savait réceptif, Bardainne lui signala sa présence depuis les airs. Même précédé par sa réputation, le super prédateur reste toujours à l'affût. La venue de son maître, il l'avait anticipée depuis quelques mesures déjà, depuis qu'il avait perçu, portés par les vents, les rythmes africains qui secouaient la mécanique de l'engin volant. Sûr de son fait et de la route à emprunter dans cette infinité ocre, l'œil brillant de malice d'avoir repéré l'ombre qui allait accompagner son effort, le Tigre entama sa course. Et toute la physionomie de ce qui jusque-là ressemblait à un désert changea alors.     Déblayée par les grooves organiques et le souffle de l'orgue Hammond, la voie s'ouvrait au Tigre à mesure qu'il progressait. Ses pattes s'enfonçaient dans les profondeurs du jazz pour en ressortir couvertes de soul, l'écume filait depuis ses babines, laissant dans sa traîne sablée des cristallisations hip hop. Dans cette émulation à l'esthétique seventies sophistiquée, où ses crocs saillants ne reflétaient plus que la lumière du saxophone, les touches de synthétiseurs finissaient même par leur faire entrevoir le futur. Arrivés à destination, le moteur du biplan secoué de hoquets et suppliant qu'on le refroidisse, Bardainne et son félin haletant se posèrent. Ensemble, ils contemplèrent l'oasis prospère et onirique, habitée par cette musique qui avait accompagné leur périple. Redoutables pour qui s'égare, les rayons de l'astre solaire étaient devenus ces alliés miraculeux capables de faire naître et renaître la vie. Et ce n'était peut-être pas le Tigre d'Eau Douce qui l'avait attiré là, mais Laurent Bardainne qui l'avait poussé jusqu'ici...     Titres joués - Oh Yeah - La Vie la Vie la Vie voir le clip  - Hymne au Soleil voir le clip Jazz à Vienne 2021  - Jou An Nou Rivé (Feat. Célia Wa) - Oiseau (Feat Bertrand Belin) écouter clip audio.   Puis nous recevons Oan Kim dans la #SessionLive.     OAN KIM est un saxophoniste, chanteur, compositeur, ainsi que réalisateur et photographe franco-coréen. Il sort l'album Oan Kim & the Dirty Jazz (auto-prod) À 5 ans, sa mère le met au violon (c'était ça ou le violoncelle), qu'il pratique pendant 15 ans. À l'adolescence, il se passionne pour le jazz et se met au saxophone alto, puis ténor. Persuadé qu'il doit aussi être un pianiste correct pour devenir compositeur, il étudie le piano jazz à la Bill Evans Piano Academy. Il se passionne pour la musique contemporaine, suit les conférences de Pierre Boulez au Collège de France, étudie les partitions de Berio, Nono, Ferneyhough, Xenakis, Cage, fréquente l'IRCAM comme d'autres les discothèques. Il poursuit en même temps des études d'écriture musicale au CSNM de Paris, étudiant l'harmonie et l'orchestration avec Jean-François Zygel, le contrepoint, la fugue, l'analyse musicale avec Michael Levinas et la musique indienne avec Patrick Moutal. Depuis, il compose des musiques pour l'audiovisuel (documentaire et télé) et pour l'Art contemporain, collaborant notamment régulièrement avec l'artiste Jungwan Bae et les photographes de l'agence MYOP. Enthousiasmé par la scène indé, il décide d'y participer et crée le groupe de rock Film Noir (un album sorti chez le Son du Maquis), puis le duo electro-rock Chinese Army (trois EP sortis notamment sur le label Balades Sonores) qu'il forme avec le guitariste Benoît Perraudeau. Avec ces deux formations, il fait plus de 80 concerts en France et à l'étranger.     Depuis 2019, il renoue avec le saxophone jazz et entame un nouveau projet que la pandémie le pousse à développer en solo, entre jazz et musiques modernes, quelque part entre Pharoah Sanders et Radiohead.. Par ailleurs à ses activités musicales, il est aussi un photographe et réalisateur de documentaire ayant reçu plusieurs prix (Prix Swiss Life à 4 mains, Silver Horn du Krakow Film Festival, Prix des Nuits Photographiques, Tomorrow's Artist Prize Sungkok Museum), membre co-fondateur de l'agence M.Y.O.P de photographes indépendants.   Titres interprétés - Mambo, Live RFI voir le clip  - Agony, extrait de l'album Oan Kim & the Dirty Jazz voir le clip  - Wong Kar Why, Live RFI voir le clip.     Musiciens - Oan Kim, saxophone et voix - Benoît Perraudeau, guitare - Paul Herry-Pasmanian, basse - Brice Tillet, batterie.   Son : Benoît Letirant, Fabien Mugneret, Mathias Taylor.   Bonus, clip de Teenage Riot, une reprise de Sonic Youth.

Mâkhi Xenakis, artiste plasticienne, est l'invitée du 10ème épisode de Femmes artistes / Artistes femmes le podcast.   Avec elle, nous avons parlé de son parcours de fille d'artiste devenue artiste malgré tout, des obstacles qui ont forgé sa personnalité à la fois forte et profondément vulnérable. Elle, qui a du s'opposer pour laisser son âme d'artiste - et d'amoureuse fidèle -  se déployer, malgré la volonté de ses parents, et plus particulièrement de Iannis Xenakis, son père.   Au fils de ses rencontres, de David (son mari) à Louise Bourgeois, en passant par Joan Mitchell, Mâkhi raconte son histoire d'artiste, de femme et mère durant les années 90. Tandis que la rivalité inter-artistes et le patriarcat bat son plein, dans le monde de l'art contemporain...  On parle aussi des folles, qui ont fini par cramer en enfer, des hystériques, de Charcot, de l'anxiété de Louise Bourgeois, d'Antigone, des araignées, du syndrome de l'imposteur, et de la dépression.     Pendant cet entretien, nous avons aussi évoqué :  Les artistes qui inspirent son travail  Louise Bourgeois, Françoise Petrovitch, Francis Bacon, Alberto Giacometti, Joan Mitchell   Références littéraires  Les folles d'Enfer, par Mâkhi Xenakis, Éditions Actes Sud   Antigone     Oeuvre décrite en intro de l'épisode : Les folles d'enfer. Sculpture exposée dans le jardin de la Pitié Salpetriere en 2014.   Le site internet de Mâkhi Xenakis : www.makhi-xenakis.com  Ses œuvres figurent pour certaines dans les collections publiques du Centre Pompidou, à la Maison Rouge, la manufacture des Gobelins, etc.     D'ici là, suivez-moi sur la page instagram du podcast @artistesfemmeslepodcast et sur mon fil twitter @adakafel.  Femmes artistes / Artistes femmes est un podcast entièrement indépendant créé et produit par Ada Kafel. Ada Kafel est artiste peintre et maman d'un petit garçon. On peut voir son travail sur son site internet https://www.adakafel.com/ ou sa page instagram @a_felka.  Musique d'introduction : Leonie Pernet, Butterfly feat. Malik Djoudi  Musique de fin : Brahms, sonate pour violoncelle et piano, Jacqueline du Pre au violoncelle, Daniel Barenboim au piano        

Fans of the band, Dr. Nerve will be quite familiar with the incredible musicality of pianist KATHLEEN SUPOVE. She is a champion of new music and has presented her multimedia series, "The Exploding Piano" as a way of reaching a wider audience with the music of Xenakis, Scelsi, Debussy, Eve Beglarian, and Randall Woolf, plus many others. www.supove.com

Captain Josh Xenakis DROPS WISDOM about being a Virginia Beach Fire Fighter. He also talks about "AREA 52" in Utah!!