In One Ear

Our guests on this episode are Misaki Kishi, a doctoral researcher at the National Museum of Ethnology in Japan, Brendan Anthony, music producer of thirty years' experience, head of the Production and Entrepreneurship Major at the Queensland Conservatorium, Griffith University, and author of Learning to Be a Popular Music Producer and Katie Ambrose, researcher and Visiting Lecturer at the School of Arts and Creative Technologies at the University of York. We start by discussing various aspects of gender and music. Misaki talks about Javanese Wayang Kulit – the traditional musical puppet theatre performance practice. As part of her project she is learning to be a female Dalang, the puppet artist who also narrates, sings and directs the gamelan orchestra performance: traditionally a male role. Brendan's new book argues for moving the identity of the producer away from a technocentric model and towards a much broader definition including people skills – and how these skills can be taught. Katie developed the concept of the Female Ear with Amandine Pras and Jude Brereton, mirroring the idea of the Female Gaze from film. Her research looks at whether a technologically mediated society has accelerated gender diversity in traditionally conservative choral environments. This episode was presented by Stefanie Barschdorf and Simon Zagorski-Thomas. The production team were Stefanie Barschdorf, Maciej Kierzkowski, Luiz Alberto Moura, Gittit Pearlmutter and Simon Zagorski-Thomas.

Our guests on this episode are Bardia Hafizi, a doctoral candidate in ethnomusicology at Istanbul Technical University, Dr Dan Pratt, Associate Professor and Course Leader for BA Recording, Mixing and Production and MA Record Production at the London College of Music, University of West London and Dr Kristina Kelman, Associate Professor and Study Area Coordinator for Music at Queensland University of Technology, and founder of Vermilion Records, Australia's first student run record label. We start by discussing the concept of immersion as a technique for research and learning. Bardia talks about his autoethnographic study of the sound worlds of Istanbul. Dan and Kristina talk about large-scale immersive experiential projects as educational tools. Both of them have organised student groups running large recording projects (Dan's 500 songs), and label and tour management (Kristina facilitating tours in India and Australia and launching the student-run Vermillion Records. This episode was presented by Stefanie Barschdorf and Simon Zagorski-Thomas. The production team were Stefanie Barschdorf, Maciej Kierzkowski, Luiz Alberto Moura, Gittit Pearlmutter and Simon Zagorski-Thomas.

Our guests on this episode are Bardia Hafizi, a doctoral candidate in ethnomusicology at Istanbul Technical University, Dr Dan Pratt, Associate Professor and Course Leader for BA Recording, Mixing and Production and MA Record Production at the London College of Music, University of West London and Dr Kristina Kelman, Associate Professor and Study Area Coordinator for Music at Queensland University of Technology, and founder of Vermilion Records, Australia's first student run record label. We start by discussing the concept of immersion as a technique for research and learning. Bardia talks about his autoethnographic study of the sound worlds of Istanbul. Dan and Kristina talk about large-scale immersive experiential projects as educational tools. Both of them have organised student groups running large recording projects (Dan's 500 songs), and label and tour management (Kristina facilitating tours in India and Australia and launching the student-run Vermillion Records. This episode was presented by Stefanie Barschdorf and Simon Zagorski-Thomas. The production team were Stefanie Barschdorf, Maciej Kierzkowski, Luiz Alberto Moura, Gittit Pearlmutter and Simon Zagorski-Thomas.

Our guests on this episode are Niamh Gallagher, a disabled violist, performer and practice researcher. She is a doctoral scholar at Goldsmiths, University of London, Marc Duby, a professional bassist and academic researcher in music, joining us from the University of South Africa, and Elisa Rumici, who is pursuing a doctorate in artistic research at the Hochschule für Musik Freiburg, Germany. We start by discussing Niamh's practice-led research project which is entitled Authentic Bodies – Diverse Embodiment and Disabled Identity in String Performance Practice. Marc discusses both "What Musicking Affords", which is part of the 21st Century Music Practice Cambridge Elements series, and his role as one of the first C21MP Research Fellows working on our Open Research Project format - looking at the idea of musical instruments as partners rather than just tools. Elisa is an award-winning pianist who has performed widely all across Europe and teaches extensively. Here she discusses the challenges and rewards of working with unfamiliar piano repertoire, both in performance and pedagogy. This episode was presented by Stefanie Barschdorf and Simon Zagorski-Thomas. The production team were Stefanie Barschdorf, Maciej Kierzkowski, Gittit Pearlmutter and Simon Zagorski-Thomas - with a special thanks to Maciej for getting the edit ready on time.

The Extended Play version of episode 4 was presented by Stefanie Barschdorf and Simon Zagorski-Thomas. The production team were Stefanie Barschdorf, Luiz Mouro, Maciej Kierzkowski, Gittit Pearlmutter and Simon Zagorski-Thomas - with a special thanks to Gittit for getting the edit ready on time.Our guests on this episode are Márton Gábor Szives, a percussionist, researcher and teacher at the Doctoral School of Arts of the University of Pécs, supported by the Hungarian Academy of Arts, Wellington Gordon, the chair of the 2027 C21MP Conference, a bassist, audio engineer and educator at the Commercial Music programme at Florida State University, and Remy Haswell-Martin from the University of West London and Adam Martin from the University of Huddersfield, co-authors of a forthcoming Element in the 21st Century Music Practice series on "Creative Interactions in Collaborative Songwriting". We start by discussing the developments in contemporary Marimba performance technique that led Márton to his current PhD and he discusses that process of collaboration with ten composers in which he explored these new techniques for them as a way to stimulate their ideas for new compositions. Wells Gordon participated in the first C21MP conference and will be talking about hosting the 2027 conference at Florida State University and how we're going to be exploring Music and the Extended Mind. Remy and Adam discuss some of the social factors that affect collaborative song writing - looking at them from a phenomenological and affect theory perspective to explore both the positive and negative emotions that can have an impact on collaborative song writing.

Our guests on this episode are Márton Gábor Szives, a percussionist, researcher and teacher at the Doctoral School of Arts of the University of Pécs, supported by the Hungarian Academy of Arts, Wellington Gordon, the chair of the 2027 C21MP Conference, a bassist, audio engineer and educator at the Commercial Music programme at Florida State University, and Remy Haswell-Martin from the University of West London and Adam Martin from the University of Huddersfield, co-authors of a forthcoming Element in the 21st Century Music Practice series on "Creative Interactions in Collaborative Songwriting". We start by discussing the developments in contemporary Marimba performance technique that led Márton to his current PhD and he discusses that process of collaboration with ten composers in which he explored these new techniques for them as a way to stimulate their ideas for new compositions. Wells Gordon participated in the first C21MP conference and will be talking about hosting the 2027 conference at Florida State University and how we're going to be exploring Music and the Extended Mind. Remy and Adam discuss some of the social factors that affect collaborative song writing - looking at them from a phenomenological and affect theory perspective to explore both the positive and negative emotions that can have an impact on collaborative song writing. This episode was presented by Stefanie Barschdorf and Simon Zagorski-Thomas. The production team were Stefanie Barschdorf, Luiz Mouro, Maciej Kierzkowski, Gittit Pearlmutter and Simon Zagorski-Thomas - with a special thanks to Gittit for getting the edit ready on time.

This extended edit of episode three of the podcast is presented by Stefanie Barschdorf and Simon Zagorski-Thomas. The production team were Stefanie Barschdorf, Maciej Kierzkowski, Gittit Pearlmutter and Simon Zagorski-Thomas. Our guests on this episode are Martyna Kosecka, a PhD candidate and research fellow at the Norwegian Academy of Music, Oslo, Paul Archbold, a composer of acoustic and electroacoustic works, a lecturer in electronic and produced music at the Guildhall School of Music and Drama in London and a research fellow at the School of Advanced Studies, University of London and Samantha Bennett, a professor of music in the School of Music, College of Arts and Social Sciences at the Australian National University Principal Fellow of the Higher Education Academy and Chair of the International Association for the Study of Popular Music. We start by discussing what kinds of general conclusions can be drawn from looking at individual cases studies in their various fields. The video about Martyna's project - "Mini-opera: on the dramaturgy of protest" - can be found on the C21MP.ORG website and here she discusses the process behind creating short operas and experimental theatre works that combine music, theatre, mixed media, and sociopolitical themes with a particular focus on women's lives in Iran, Poland and Norway. Paul discusses a series of video documentaries to be shared on the website which explore the work of several composers through interviews and documentary films about the rehearsal and performance of their work. Sam discusses her new Cambridge Element which is available open access for the first two weeks of May 2026 and thereafter by subscription or purchase on "Secrets and Revelations in Music and Audio Technology Cultures". She explores the culture of trade secrets in the world of audio production.

The podcast is presented by Stefanie Barschdorf and Simon Zagorski-Thomas. The production team were Stefanie Barschdorf, Maciej Kierzkowski, Gittit Pearlmutter and Simon Zagorski-Thomas. Our guests on this episode are Martyna Kosecka, a PhD candidate and research fellow at the Norwegian Academy of Music, Oslo, Paul Archbold, a composer of acoustic and electroacoustic works, a lecturer in electronic and produced music at the Guildhall School of Music and Drama in London and a research fellow at the School of Advanced Studies, University of London and Samantha Bennett, a professor of music in the School of Music, College of Arts and Social Sciences at the Australian National University Principal Fellow of the Higher Education Academy and Chair of the International Association for the Study of Popular Music. We start by discussing what kinds of general conclusions can be drawn from looking at individual cases studies in their various fields. The video about Martyna's project - "Mini-opera: on the dramaturgy of protest" - can be found on the C21MP.ORG website and here she discusses the process behind creating short operas and experimental theatre works that combine music, theatre, mixed media, and sociopolitical themes with a particular focus on women's lives in Iran, Poland and Norway. Paul discusses a series of video documentaries to be shared on the website which explore the work of several composers through interviews and documentary films about the rehearsal and performance of their work. Sam discusses her new Cambridge Element which is available open access for the first two weeks of May 2026 and thereafter by subscription or purchase on "Secrets and Revelations in Music and Audio Technology Cultures". She explores the culture of trade secrets in the world of audio production.

The podcast is presented by Stefanie Barschdorf and Simon Zagorski-Thomas. The production team were Stefanie Barschdorf, Maciej Kierzkowski, Luiz Mouro, Dan Pratt, Ashley Stein and Simon Zagorski-Thomas. Our guests on this episode are Maarika Autio, a PhD candidate at the University of the Arts, Sibelius Academy, Finland, Michael MacDonald from McEwan University, Edmonton, Alberta in Canada and Sarah Angliss, an Ivor Novello Award winning composer and sound designer working at the Augmented Instruments Lab at the Dyson School of Design Engineering, Imperial College London . They all talk about their relationship with practice research. Maarika talks about using her performance on balafon and electronics to explore ideas of cultural appropriation and creativity. Michael discusses his ideas for a 21st century Relational Camerata which will be a joint project with the research centre developing a contemporary version of the 16th century Florentine Camerata. Sarah was one of the ten participants in the C21MP Townshend Studio Research Challenge where they explored Pete Townshend's extraordinary collection of vintage and contemporary electronic musical instruments housed at the University of West London. The website presents videos from the Townshend Studio Research Challenge, one about Maarika's practice research and by Michael explaining some of the details about the plans for the Relational Camerata.

The podcast is presented by Stefanie Barschdorf and Simon Zagorski-Thomas. The production team were Stefanie Barschdorf, Maciej Kierzkowski, Luiz Mouro, Dan Pratt, Ashley Stein and Simon Zagorski-Thomas. Our guests on this episode are Maarika Autio, a PhD candidate at the University of the Arts, Sibelius Academy, Finland, Michael MacDonald from McEwan University, Edmonton, Alberta in Canada and Sarah Angliss, an Ivor Novello Award winning composer and sound designer working at the Augmented Instruments Lab at the Dyson School of Design Engineering, Imperial College London . They all talk about their relationship with practice research. Maarika talks about using her performance on balafon and electronics to explore ideas of cultural appropriation and creativity. Michael discusses his ideas for a 21st century Relational Camerata which will be a joint project with the research centre developing a contemporary version of the 16th century Florentine Camerata. Sarah was one of the ten participants in the C21MP Townshend Studio Research Challenge where they explored Pete Townshend's extraordinary collection of vintage and contemporary electronic musical instruments housed at the University of West London. The website presents videos from the Townshend Studio Research Challenge, one about Maarika's practice research and by Michael explaining some of the details about the plans for the Relational Camerata.