Gaudeamus | Podcast Curious Ears

Gaudeamus | Podcast Curious Ears

The way we listen to music is highly determined by our predominant musical exposure during our youth. Tuning system, rhythm, form, timbre, ornaments, are all unconsciously assimilated, shaping how we will pay attention when listening. The adult ear misses many of the subtleties of radically new musical input. Whether that is flamenco, opera, Carnatic music, Javanese gamelan, spectralism: the first times we really listen, our attention is reluctant to engage. For curious ears this is an attractive challenge. Their intuition tells them: there must be something precious behind that first layer of sound I can barely follow. What’s more: listening skills are contagious! That day you witnessed your friend crying with an opera aria; or attended a wedding where everybody clapped and danced flamenco; or joined an Arabic concert where most of the public would sigh in a thrill at certain turns of the voice. The podcast series Curious Ears, initiated by Dutch international festival Gaudeamus Muziekweek, explores how experienced listeners can convey their sensorial background, passion and joy to a new listener. Let’s get technical, but personal; cognitive, yet intuitive. A friend is sharing their musical intimacy with us. Enjoy.

  1. Jun 12

    Rosie Murphy: A Journey Of The Harp's History Through Contemporary Sounds: Irish History to Arab Maqam

    In this episode of Curious Ears, Irish harpist, composer and improviser Rosie Murphy takes the listener on a journey through the harp's history. Rosie's career and artistic vision, being deeply rooted in the origins and significance of the harp across the globe, seeks to honour the cultures, harpists and music makers who have come before her, dating from as far back as 5,000 years ago to the present day. Rosie explores this from researching the political history of the harp in Ireland, playing music inspired by Irish folk music and Irish traditions of bardic accompaniment to exploring the harp's origins in Southwest Asia; examining sources in Chester Beatty Library, premiering an extended Maqam composition by composer Saad Haddad, and seeking to understand the Maqam with Sami Abu Shumays. The podcast features guest appearances by Saad Haddad and Sami Abu Shumays. Playlist of music featured : It rained when people prayed (live performance), Riwa Saab and Rosie Murphy paidir chiúin a rá for harp and electronics (2024) by Rosie Murphy Fighe/The Wee Weaver (2026) a live improvisation by Rosie Murphy Tasalsul II (2024) by Saad Haddad Takemitsu's Dream Harp Arrangement by Greg Caffrey https://www.instagram.com/kelsorosie/ https://www.youtube.com/@therosiemurphy https://saadnhaddad.com/ https://maqamlessons.com/ http://www.samiabushumays.com/ https://www.gregcaffrey.com/ Watch an interview about this podcast episode with Rosie and Gaudeamus programmer Jonás Bisquert here: https://youtu.be/62V0fmN3o9M

    Rosie Murphy: A Journey Of The Harp's History Through Contemporary Sounds: Irish History to Arab Maqam
  2. 07/19/2024

    Emine Bostancı + Ardashes Agoshian: Kemenche of Istanbul, Cretan Lyra and Contemporary Music

    Emine Bostancı and Ardashes Agoshian talk about contemporary music and traditional instruments: Kemenche of Istanbul and Cretan Lyra with sympathetic strings. Emine Bostancı (Turkey/ Netherlands) is on a mission: performing on traditional instruments, she aims to push the boundaries and bridge the gap between traditional Ottoman-Turkish and contemporary classical music. In this episode, she introduces her instruments, summarises their historical and traditional context, and speaks about her doctoral research and artistic practices and projects. Her guest, composer Ardashes Agoshian, highlights the intrigue and opportunities for composers in writing new music for traditional instruments. Full playlist of music: 00:00-04:39 Ardashes Agoshian: Fragment from "Ancient Istanbul Tales" for septet, III. mov., "Kız Kulesi" (Maiden's Tower) 04:40-06:20 Emine Bostancı Solo kemenche improvisation 06:36-07:24 Ardashes Agoshian: "Ancient Istanbul Tales", IV. mov., Final of the Interlude, " The Afternoon at the Grand Bazaar" 07:25-11:05 Ardashes Agoshian: Fragment from "Ancient Istanbul Tales", V. mov., "Khalkedon" (The ancient name of the decent neighbourhood of Istanbul, now known as Kadıköy, which is thought to be the place where Byzantium was first founded) 11:06-14:13 Emine Bostancı "Ghost Secrets" (Dareyn) 14:25-15:56 Ardashes Agoshian: Fragment from "Ancient Istanbul Tales", VI. mov., "Constantine's dream" 16:13-23:42 Ardashes Agoshian: Fragment from "Ancient Istanbul Tales", VII. mov., "Beyazıt'ta Panayır" (Fair in Beyazıt) 24:04-26:44 Ardashes Agoshian: Fragment from "Ancient Istanbul Tales", I. mov., "Hagia Sophia" 26:52-30:53 Ardashes Agoshian: Fragment from "Ancient Istanbul Tales", II. mov., "Samatya" (The ancient name of the decent neighbourhood of Istanbul. The name is still unofficial using by the residents. Agoshian's birthplace.) 30:54-32:36 Ardashes Agoshian: Fragment from "Ancient Istanbul Tales", III. mov., "Kız Kulesi" (Maiden's Tower) 32:38-33:32 Ardashes Agoshian: Fragment from "Contact" for classical kemenche/Cretan Lyra and double bass, IV. mov, "The Ambassadors", (After the painting of H. Holbein) 33:40-34:28 Ardashes Agoshian: Fragment from "Contact", V. mov, "Tea'n Coffee" 34:33-35:27 Ardashes Agoshian: Improvisation from "Contact", 35:33-37:16 Ardashes Agoshian: Fragment from "Contact", VII. mov, "Silk Road" 37:23-38:13 Ardashes Agoshian, Fragment from "Contact", IX. mov, "Orient Express 1883" 38:20-38:47 Ardashes Agoshian: "Ancient Istanbul Tales", IV. mov., Final of the Interlude, " The Afternoon at the Grand Bazaar" 38:50-39:59 Ardashes Agoshian: Fragment from "Ancient Istanbul Tales", I. mov., "Hagia Sophia" 40:06-41:12 Ardashes Agoshian: Fragment from "Ancient Istanbul Tales", VII. mov., "Beyazıt'ta Panayır" (Fair in Beyazıt) 41:16-42:06 Ardashes Agoshian: Fragment from "Ancient Istanbul Tales", VI. mov., "Constantine's dream" 42:15-43:22 Ardashes Agoshian: Fragment from "Ancient Istanbul Tales", VII. mov., "Beyazıt'ta Panayır" (Fair in Beyazıt) 43:30-44:44 Ardashes Agoshian: Fragment from "Ancient Istanbul Tales" for septet, III. mov., "Kız Kulesi" (Maiden's Tower)

    Emine Bostancı + Ardashes Agoshian: Kemenche of Istanbul, Cretan Lyra and Contemporary Music

About

The way we listen to music is highly determined by our predominant musical exposure during our youth. Tuning system, rhythm, form, timbre, ornaments, are all unconsciously assimilated, shaping how we will pay attention when listening. The adult ear misses many of the subtleties of radically new musical input. Whether that is flamenco, opera, Carnatic music, Javanese gamelan, spectralism: the first times we really listen, our attention is reluctant to engage. For curious ears this is an attractive challenge. Their intuition tells them: there must be something precious behind that first layer of sound I can barely follow. What’s more: listening skills are contagious! That day you witnessed your friend crying with an opera aria; or attended a wedding where everybody clapped and danced flamenco; or joined an Arabic concert where most of the public would sigh in a thrill at certain turns of the voice. The podcast series Curious Ears, initiated by Dutch international festival Gaudeamus Muziekweek, explores how experienced listeners can convey their sensorial background, passion and joy to a new listener. Let’s get technical, but personal; cognitive, yet intuitive. A friend is sharing their musical intimacy with us. Enjoy.