What’s the difference between a fiddle and a violin?

How did an English jig turn into a Virginian reel?

And what do Bach’s violin sonatas have in common with folk tunes from Finland?

In The Listening Service today Tom Service explores fiddles, fiddlers, and fiddle tunes from around the globe, looking at how they connect communities, reflecting the stories of migrants and musicians across time, and staying true to tradition whilst continually changing. And how have classical composers incorporated fiddle tunes into their work? From Max Bruch’s Scottish Fantasy, based on tunes found in a library in Munich, to Aaron Copland’s Rodeo Hoe-Down, an orchestral transformation of the Kentucky fiddler Bill Stepp’s tune Bonaparte’s Retreat.

Our witnesses today are Pete Cooper, who learnt classical violin as a teenager before discovering busking and ending up fiddling in West Virginia, and Lori Watson whose music and research draw on the landscapes and folklore of the Scottish Borders where she grew up.

Producer: Ruth Thomson

Tom Service explores the endless potential of musical variations on a theme. On the one hand it's the simplest of all musical ideas - take a basic tune and play around with it - and yet on the other, it's a deeply profound reflection of life, as small sequences of musical DNA provide the building blocks for structures of ever increasing complexity.

What have the Pet Shop Boys and Prokofiev got in common? How can you sing about not wanting money at the same time as making it? What does it feel like to burn a million pounds? Tom Service explores how our transactional economy underpins centuries of music making from Notre-Dame’s patronage of the polyphonic Perotin, to Beethoven writing a symphony for £100 and Wagner losing over a million on the premiere of his operatic masterpiece The Ring cycle.

Our Listening Service witness today is macroeconomist, fund manager and sometime cellist Felix Martin, who has written the unauthorised biography of money.

Producer: Ruth Thomson

Tom Service immerses himself in the topsy-turvy world of Gilbert and Sullivan, and finds things are seldom what they seem...

With Derek Clark of Scottish Opera and pianist and composer Richard Sisson.

What's it like to play second fiddle in an orchestra? Or to sit beside the first horn or trumpet as they garner the limelight with their flashy solos and are stood up for a bow by the conductor at the end of the concert? Are orchestral seconds a tribe of self-effacing, embittered Eeyore-ish wannabees, or does it involve a set of skills and a personality just as musically vital as their more lauded colleagues?

Tom Service seeks answers with the help of London Symphony Orchestra principal second violin David Alberman, second trumpet with English National Opera and the Academy of St Martin in the Fields Will O'Sullivan and the Berlin Philharmonic's second horn, Sarah Willis.

David Papp (producer)

What’s the difference between a cornet and a trumpet? How did Czech music and a hill in Dorset sell a million loaves? What happened at Manchester’s Belle Vue Zoological Gardens in 1853? Tom Service answers these questions and many more as he explores the world of brass bands: our witnesses are the music director of the Elland Silver Youth Band, Samantha Harrison, who’s immersed in today’s competitive banding world, and composer Gavin Higgins, who’s written a ballet for brass band.

Producer: Ruth Thomson

Tom Service examines the intimate relationship between music and our minds. How does music affect our mental health? How do we use music to alter, deepen or understand the way we feel?

Tom Service explores "tunes for 'toons" - the music that accompanies cartoons from the earliest Mickey Mouse to the sophisticated animations of today. Unlike conventional film soundtracks, cartoon music is often upfront and very much part of the manic action of cartoons. And that distinctive breakneck energy has inspired concert composers such as John Zorn. Tom talks to Daniel Goldmark, author of Tunes for 'Toons, about the music of Hollywood animated cartoons of the 1930s to the 1950s; and to Lolita Ritmanis, LA-based composer for many recent animations including Batman: The Animated Series.

How did Leoš Janáček, a committed Czech nationalist whose intensely personal response to the places, landscapes and traditions of his Moravian homeland, produce music that is not only instantly recognisable but also viscerally connects to audiences all over the world? And how, in the last decade of Janáček's life, did a chance encounter with a woman almost 40 years his junior release a surely unparalleled burst of creative energy and a spate of late, great masterpieces?

Tom Service goes in search of Leoš Janáček, composer and man, in the company of musicologist and conductor Nigel Simeone, and Relate Counsellor Simone Bose.

David Papp (producer)

How does harmony work? How do certain chord sequences bring a sense of tension and release, and actually how many chords do you really need? With improvisor extraordinaire Wayne Marshall at the piano and choral director Patrick Allies.