Jeremiah Cawley's guest appearances

Jeremiah Cawley

The Choral Contrarians

Duhawk Digest

Jim Collins

TJ Miller

Heidi Nelson

Albert Pinsonneault

Jim Collin

Jim Padilla

Beth Mund

Mike Doyle

Steven Parker

Mike Gibson

Patrick Reidy

Keith Thraen-Borowski

Lynn Gallagher

Audrey Miller

David Rodgers

OwlTail

Whatnot

Eric is joined by friend of the cast Dr. Jeremiah Cawley to discuss what in the world musicians (students, teachers, and professionals) can do to continue growing during the silence of isolation.  Many musicians are thrust into awkward living situations where traditional practice regimens are not feasible or even possible.  What types of things can we do or practice instead to make a "musical deposit" towards the future when collaboration may begin again in earnest.  Are there are things that could be done, whether in isolation or normal times?Some resources mentioned in podcast:- Edlund, L. (1963). MODUS NOVUS Larobok I Fritonal Melodilasning Lehrbuch in Freitonaler Melodielesung, Studies in Reading Atonal Melodies. AB Nordiska Musikforlaget/Edition Wilhelm Hansen Stockholm.- Hall, A. C. (2005). Studying rhythm. New Jersey: Pearson Education. - Hindemith, P. (n.d.). Elementary training for musicians. London: Schott &amp; Co. Ltd . - Rogers, N., &amp; Ottman, R. W. (2019). Music for sight singing. New York: Pearson. 

Eric is joined by friend of the cast Dr. Jeremiah Cawley to discuss what in the world musicians (students, teachers, and professionals) can do to continue growing during the silence of isolation.  Many musicians are thrust into awkward living situations where traditional practice regimens are not feasible or even possible.  What types of things can we do or practice instead to make a "musical deposit" towards the future when collaboration may begin again in earnest.  Are there are things that could be done, whether in isolation or normal times? Some resources mentioned in podcast: - Edlund, L. (1963). MODUS NOVUS Larobok I Fritonal Melodilasning Lehrbuch in Freitonaler Melodielesung, Studies in Reading Atonal Melodies. AB Nordiska Musikforlaget/Edition Wilhelm Hansen Stockholm. - Hall, A. C. (2005). Studying rhythm. New Jersey: Pearson Education. - Hindemith, P. (n.d.). Elementary training for musicians. London: Schott &amp; Co. Ltd . - Rogers, N., &amp; Ottman, R. W. (2019). Music for sight singing. New York: Pearson.

Shh... Audiate and Whatnot. Feat. Dr. Jeremiah Cawley

Hosts: Robert WaterburyProducer: Trent HanselmannGuest: Jeremiah Cawley

Hosts: Robert Waterbury Producer: Trent HanselmannGuest: Jeremiah Cawley

E12 | Jeremiah Cawley - Music Programs

In what amounts to a double episode, Richard and Eric are joined by special guest Dr. Jeremiah Cawley, and plunge into the deep end of the pool to discuss the state of criticism and its usefulness in the choral world.  What is a critic and what is good criticism?  Do we as a culture have a growing distaste, distrust, or maybe misunderstanding of what criticism is?  Are there sources of good, impactful criticism that can be relied upon in the choral community?  What is the future of this increasingly rare form of art?Adorno, T.W. (1995).  Bach Defended Against His Devotees.  Prisms (pp. 135-146)  Massachusetts: MIT Press Cambridge.Allison, J. (Aug., 2015).  Prom 32: Eric Whitacre, review: ‘overstayed its welcome.’  The Telegraph.Ebert, R. (Sept., 2008).  “Critic” Is A Four-Letter Word. Roger Ebert’s Journal Online.Hewett, I. (Sept., 2012).  Religious music for the commitment-phobe. The Telegraph.Maritain, J. (1935). Art and Scholasticism.  University of Notre Dame.Mendelsohn, D. (Aug., 2012)  A Critic’s Manifesto. The New Yorker.

In what amounts to a double episode, Richard and Eric are joined by special guest Dr. Jeremiah Cawley, and plunge into the deep end of the pool to discuss the state of criticism and its usefulness in the choral world.  What is a critic and what is good criticism?  Do we as a culture have a growing distaste, distrust, or maybe misunderstanding of what criticism is?  Are there sources of good, impactful criticism that can be relied upon in the choral community?  What is the future of this increasingly rare form of art? Adorno, T.W. (1995).  Bach Defended Against His Devotees.  Prisms (pp. 135-146)  Massachusetts: MIT Press Cambridge. Allison, J. (Aug., 2015).  Prom 32: Eric Whitacre, review: ‘overstayed its welcome.’  The Telegraph. Ebert, R. (Sept., 2008).  “Critic” Is A Four-Letter Word. Roger Ebert’s Journal Online. Hewett, I. (Sept., 2012).  Religious music for the commitment-phobe. The Telegraph. Maritain, J. (1935). Art and Scholasticism.  University of Notre Dame. Mendelsohn, D. (Aug., 2012)  A Critic’s Manifesto. The New Yorker.

Where Have All the Critics Gone?  Feat. Dr. Jeremiah Cawley