Joining us this week is percussionist, composer, and regular guest host: Caleb Pickering. His works are often performed by high schools in his home state of Texas, and he is regularly commissioned for ensemble and solo works. Currently, he is at work on a collection of intermediate snare solos.
A current DMA student at James Madison University, he is a wonderful addition to the percussion faculty.
Watch here. Listen below.
0:00 Intro and Hello. Westworld banter
4:08 Caleb's ensemble writing and style
11:25 Writing for varying student abilities/levels in percussion ensembles.
16:56 Casey: What's the sound?
23:36 Facebook question from Jade Hails: Balancing your academic life with a performance/composing career?
28:21 Laurel: When/why humans develop recognition of emotion in music, a study in China.
45:55 Ben: Four musical solo works that are gesture based. Thierry de Mey, "Silence Must Be!"
; Mark Applebaum, "Aphasia"; SR9 Trio "This is Not a Ball"; Cangelosi, "Bad Touch" (shout out to Kyle Maxwell-Doherty and his dissertation)
1:07:48: Caleb: thoughts on classroom teaching and classroom teaching.
1:15:00 Facebook question from Overton Alford: When did your compositions start to take-off?
A current DMA student at James Madison University, he is a wonderful addition to the percussion faculty.
Watch here. Listen below.
0:00 Intro and Hello. Westworld banter
4:08 Caleb's ensemble writing and style
11:25 Writing for varying student abilities/levels in percussion ensembles.
16:56 Casey: What's the sound?
23:36 Facebook question from Jade Hails: Balancing your academic life with a performance/composing career?
28:21 Laurel: When/why humans develop recognition of emotion in music, a study in China.
45:55 Ben: Four musical solo works that are gesture based. Thierry de Mey, "Silence Must Be!"
; Mark Applebaum, "Aphasia"; SR9 Trio "This is Not a Ball"; Cangelosi, "Bad Touch" (shout out to Kyle Maxwell-Doherty and his dissertation)
1:07:48: Caleb: thoughts on classroom teaching and classroom teaching.
1:15:00 Facebook question from Overton Alford: When did your compositions start to take-off?
