The music industry, including classical music, has long been impacted by gender-based discrimination. From the struggles of historical figures like Nannerl Mozart, Clara Wieck Schumann, and Amy Beach to the ongoing challenges women continue to face today, progress has been slow and hard-earned. While performers and composers often receive the spotlight in classical music contexts, music producers and audio engineers are crucial to how music is created, recorded, and shared in the modern world. It’s worth noting that few classical musicians receive formal education in music technology and audio production, and many have had little contact with this aspect of music making, as classical music tends to be performed live more than it is recorded. For those who wish to develop these skills, they often must do so through self-study, unless they choose to specialise in this field and pursue further study. In recent years, initiatives have emerged to support women in music production, with organisations, collectives, and projects working to inspire and empower those interested in this area of music creation, opening doors that were once closed. In this blog post, we will explore the background of audio engineering in classical music, and introduce readers to some initiatives supporting women in this aspect of music! Music Production in Classical Music Although classical compositions have (usually) traditionally been intended for live performance, today’s audiences increasingly engage with the genre through recordings. This shift has made classical music more accessible, breaking down barriers like geographic limitations, mobility challenges, and financial constraints, allowing listeners worldwide to enjoy these works without attending concerts in person. Some classical music works WERE specifically designed for the recording medium, such as Gian Carlo Menotti’s opera "The Old Maid and the Thief". Composed as a radio opera, it was crafted with the understanding that its unique storytelling and character development would work in a recorded format. Classical and classical-inspired film scores, like Sergei Prokofiev's score for "Alexander Nevsky", were also conceived with the recording medium in mind, using orchestration that enhances the cinematic experience. Other notable examples of the crossover between live classical music and recorded music include avant-garde works such as John Cage's "Imaginary Landscape No. 1", which features innovative use of radio and recorded sounds, pushing the boundaries of traditional music composition. Contemporary classical compositions often incorporate digital instruments and sounds, exemplified by works like Max Richter’s "Sleep", which combines live performance with electronic elements and soundscapes specifically designed for immersive listening experiences. These examples highlight how the recording medium has not only expanded the reach of classical music but also inspired new creative possibilities within the genre. The recording, mixing, and mastering phases of classical music production present unique challenges that demand specialised skills. Producers and audio engineers must navigate specific factors, such as the acoustic complexity of an orchestra or the dynamic range of an opera singer. The microphone setup for an orchestra is quite different from that of a rock band, requiring careful positioning to capture the ensemble's full sound. Meticulous management of equalisation, reverb, and pitch correction is crucial to preserving the authentic character of a live performance. Skilled producers and engineers do not need to be classical musicians themselves to grasp the best practices for recording this genre. They recognise that specialised techniques are essential in classical music production to create polished, cohesive final tracks that are suitable for playback on any audio device. By leveraging their expertise in sound engineering, they can enhance the listening experience while staying true to the integrity of the music. Sound Garden : classical music immersion Just a short word about Sound Garden! Founded by classical singer Kayla Collingwood, Sound Garden is an online hub to engage with classical music, no matter your age or level of knowledge or experience! Through online content, digital products, and more, Sound Garden's aim is to provide resources for discovering classical music in all its forms. Women in Music Production Initiatives Women are increasingly taking on technical roles in music production, bringing fresh perspectives and innovations to both classical and contemporary genres. As more women develop their skills in the technical aspects of music creation, they not only enhance classical recordings but also contribute their knowledge to various production projects. This growing presence is supported by numerous initiatives, collectives, and projects empowering women in music production. Photo of Isobel Anderson by Georgina Piper The podcast " Girls Twiddling Knobs " began in 2020 as a response to a lack of music tech resources targeting women and gender non-conforming people. Hosted by Isobel Anderson, the podcast episodes present deep dives into the stats, industry context and individual stories that bring voice to the experiences of women in music technology today, and nuanced and intimate interviews between some of the most innovative artists making music with technology. Three episodes of their Season 6 release (episodes dropping from October 2024) in particular hold relevance for listeners who are interested in classical music: An interview with contemporary classical/folk duo Fran & Flora discussing their process of co-producing their most recent album, Precious Collection. These artists have long-standing individual careers as contemporary classical and folk instrumentalists, but their collaborative project has allowed them to rework these genres through electronics and improvisation. This conversation focuses on the production decisions behind Precious Collection, how this process of producing the album together has informed their understanding of the term producer and their experience as women in music. An interview with Rebekah Reid, a classical violinist and composer who shares her use of live looping and electronics and why she believes these technologies could be more embraced in the world of classical music. As a woman of colour in classical music, she also shares her experiences in music from this perspective. The season finale special: a binaural journey through the composition process of Shiva Feshareki and Sarah Angliss. Both composers have been commissioned to write new works for Icebreaker Ensemble by the Science Museum Group, with performances being held in February at both The Science Museum in London and The National Science and Media Museum in Bradford. The episode explores the process of commissioning as well as how composers refine and develop their pieces when writing for a specific ensemble and performance concept. You can listen to the podcast here: Resources Here is a list of some other initiatives of interest related to women in music/music production ( contact Sound Garden if you know of others which should be added to the list, especially if they are focused on classical music!): Music Production for Women (MPW) Women in Music SoundGirls Dallas Symphony Women in Classical Music Symposium Amplify Her Voice Women in Music Production Female Classics (German language) Yorkshire Sound Women Saffron Records Cactus City She Said So In the Key 2% Rising Women PowHER Music Femnoise (Spanish language courses)

Opera, a multifaceted and multidisciplinary art form, has enthralled audiences for centuries with its blend of music, drama, and visual spectacle. Tracing its roots from the liturgical dramas and early forms of sung theatre of the Middle Ages to the innovative contemporary productions of today, the works of the Western classical opera repertoire showcase social/political/technological shifts, changes in tastes and cultural expression, and the possibilities of artistic creativity. Let's explore ten examples that highlight this genre's rich history and enduring appeal. What is opera? Opera is a unique form of theatre that combines singing (usually by unamplified voices, trained according to the classical vocal tradition), orchestral music (or other instrumental accompaniment), drama, and often dance to tell a story. What we consider now as opera originated in Italy at the end of the 16th century, with Jacopo Peri's "Dafne", produced in Florence in 1598. This art form has evolved over the centuries, incorporating various styles and traditions. It is characterised by its use of expressive melodies and harmonies, as well as its emphasis on the capabilities of the human voice. The narratives often explore complex themes, emotions, and stories, making it a deeply immersive experience. Operas are typically performed in an opera house, with sets and costumes that enhance the storytelling. These elements may attempt to recreate the historical time period of the original work/story, or may be reimagined by directors, designers, and other people on the creative team. The music of an opera is created and orchestrated by a composer, and the text is written by a librettist (who may have written the entire text themselves, or may have reworked an existing story from another form of writing). These two people/roles generally work very closely together, and in some cases one person takes on the role of both librettist and composer - for example, in the works of Wagner. In the historical context of European society, composers (and librettists) were predominantly men, reflecting prevailing gender roles of the time. However, Francesca Caccini (1587-1646) broke this tradition as the first recorded woman composer to craft an opera. Her pioneering work paved the way for subsequent generations of female composers who have since made significant contributions to the operatic repertoire. Within a standard "number" opera, there are smaller sections which can be excerpted. Here are a few common ones: Overture/prelude - The opening music, which often features musical themes and motifs which can be heard later in the opera. Recitative/dialogue - A recitative is a sung/spoken text which is used to carry the plot. Some operas and similar works of this genre contain spoken dialogue instead. Aria - A song performed by a solo character, and which usually gives an insight into their inner world. Ensemble (duet/trio/quartet/etc) - A sung section, similar to an aria, where multiple characters perform together. The musical phrases of each character are intricately interwoven, reflecting their relationships and the emotions the composer aims to convey. Chorus - A musical excerpt typically performed by a group of singers who do not have solo roles. Instead, they represent a collective character, such as townspeople or observers, providing general commentary on the action. Choruses are traditionally divided into four vocal parts: soprano, alto, tenor, and bass. More recent operas (from around the late 19th century onwards) are often "through composed", meaning that the work is conceived as an entire piece without these smaller sections which can easily be sung in other contexts. The principal characters of an opera are performed by soloists, and different voice types are assigned by the composer to each role. Often this involves an element of typecasting; romantic leads and young heroes are most often played by tenors and sopranos, and secondary characters/antagonists are most often played by lower-voiced singers. You can find out more about classical voice types here . The development of opera Opera has undergone significant evolution since its inception. Early operas, such as Claudio Monteverdi's "L'Orfeo", were characterised by their emphasis on the dramatic expression of text and the pioneering use of recitative, which allowed for greater fluidity between speech and song. The Baroque era saw opera flourish with composers like George Frideric Handel and Jean-Baptiste Lully. This period emphasised grandeur and spectacle, with elaborate da capo (repeated section, with "ornaments" (virtuosic embellishments to the vocal line)) arias. The stories often featured mythological or historical themes. During the Classical era, composers such as Wolfgang Amadeus Mozart refined opera with a focus on structural clarity, balance, and the integration of music and drama. Mozart's operas, including "The Marriage of Figaro" and "Don Giovanni", are renowned for their sophisticated character development and the seamless blend of orchestration and vocal lines. The Romantic era brought a heightened emotional intensity, complex harmonies, and nationalistic elements to opera. Composers like Giuseppe Verdi and Richard Wagner pushed the boundaries of the genre. Verdi's works, such as "La Traviata" and "Aida", are celebrated for their memorable melodies and deep emotional content, while Wagner revolutionised opera with his concept of the Gesamtkunstwerk, or "total work of art," epitomised in his epic "Ring Cycle." The 20th century witnessed a diversification of operatic styles, from the expressionism of Alban Berg's "Wozzeck" to the minimalist approach of Philip Glass's "Einstein on the Beach". This era also saw the incorporation of new compositional and vocal techniques and the exploration of contemporary themes, reflecting the rapidly changing social and cultural landscape. In the 21st century, opera continues to evolve, embracing new technologies and multimedia elements. Contemporary composers create works that address current issues and experiment with form and presentation. Opera in this era is marked by a blending of traditional elements with innovative approaches, ensuring its relevance and appeal to modern audiences. Examples "Le Jeu de Robin et Marion" by Adam de la Halle (c. 1283) : While not considered an opera in its more developed form, this work is considered the earliest surviving secular French play with music, and is an important precursor. It combines elements of pastoral drama (between rural characters, especially involving a shepherd/shepherdess) and musical interludes. The characters of Robin and Marion are not the same as in the tale of Robin Hood, but rather they are a knight and shepherdess. "L'Orfeo" by Claudio Monteverdi (1607) : One of the earliest operas, notable for its use of recitative and its dramatic portrayal of the Orpheus myth. "Giulio Cesare" by George Frideric Handel (1724) : Known for its virtuosic arias and elaborate orchestration, exemplifying the grandeur of Baroque opera. "The Marriage of Figaro" by Wolfgang Amadeus Mozart (1786) : Celebrated for its sophisticated character development, intricate ensembles, and the seamless integration of music and drama. It is also notable for its commentary (both in the original story by Beaumarchais and in the opera) on social hierarchies in European society at that time. Sound Garden : classical music immersion Just a short word about Sound Garden! Founded by classical singer Kayla Collingwood, Sound Garden is an online hub to engage with classical music, no matter your age or level of knowledge or experience! Through online content, digital products, and more, Sound Garden's aim is to provide resources for discovering classical music in all its forms. "Der Freischütz" by Carl Maria von Weber (1821) : An early Romantic opera that incorporates German folklore and supernatural elements, with a strong sense of nationalism. "La Traviata" by Giuseppe Verdi (1853) : Known for its emotional depth, memorable melodies, and its portrayal of societal issues and personal tragedy. "Tristan und Isolde" by Richard Wagner (1865) : A landmark in Romantic opera, featuring Wagner's revolutionary use of "leitmotifs" (musical motifs to represent specific characters and other features) and his concept of the Gesamtkunstwerk (a comprehensive artistic creation that synthesises multiple art forms, such as music, drama, poetry, visual arts, and stagecraft, into a unified whole). "Salome" by Richard Strauss (1905) : Noted for its intense emotional expression and innovative orchestration, based on Oscar Wilde's play (and the Biblical tale of King Herod and John the Baptist). "Peter Grimes" by Benjamin Britten (1945) : A cornerstone of 20th-century opera, renowned for its psychological depth, complex characters, and evocative musical depiction of the sea. "Ainadamar" by Osvaldo Golijov (2003) : A contemporary opera exploring the life and death of Spanish poet Federico García Lorca, blending elements of flamenco, Arabic music, and contemporary classical music. 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A young child's day is filled with learning - every experience is important as they grow and develop! The preschool years are critical for personal/interpersonal, intellectual, emotional, and physical development; why not integrate classical music into the learning journey? Here are 6 (more than 6, in fact!) suggested activities to help your child to engage with classical music, targeting some of the different focus skills for this age group! Want a child-friendly playlist with selected classical music works all ready to go? Head to the Early Childhood section in the Learning Hub! Focus Skills and Classical Music Activities Literacy/Communication and language Early literacy learning consists of developing skills in speaking/listening and reading/writing - competencies which are necessary for all other learning. These skills are essential for being able to understand and communicate feelings, experiences, opinions, and more. Other abilities, such as fine motor movements and letter recognition, are also crucial in the development of these larger skills. All of these can be developed through age-appropriate play activities and regular home life! Select classical pieces that tell a story through music (like "Peter and the Wolf" by Prokofiev). As you and your child listen together, discuss what you both can hear. Here are some prompts: Does this music sound fast or slow? Does it make you want to be still, to get up and dance, or something else? How does this music make you feel? Happy/sad/excited/calm/scared/amazed/etc... How many different timbres (sounds) can you hear? Is there just one instrument being played/sung, or can you hear more than one? What does this instrument sound like? Does it sound high or low? Harsh or gentle? Big or small? Does the sound of this instrument make you think of a particular animal? A colour? A food? A person? How do you think the sound on this instrument might be created (striking/blowing/plucking/rubbing/etc.)? Do you think the music might be telling a story? What do you think the story might be? Are there different characters? Where do you think the story is taking place? What are you some words you could use to describe this music? If your child is learning to read and write, you could select some words related to the chosen musical work and use these words in activities specific to these skills. Physical development It's time for a dance party, of course! Your child may like to dance freely, or they may like to use props they can shake, twirl, and move about with, such as maracas/a well-sealed container of pasta, ribbons/scarves, or their favourite soft toy. Encourage your child to explore the movements they can make with their bodies and how they can interact with the space around them. Can they stretch high, low, side-to-side? Can they create shapes with props or with their bodies? Can they turn in circles? Can they make big/small, fast/slow movements? If you have child-friendly musical instruments available, or simply pots and pans or other sound-making items around the home, set up a sound exploration activity. Allow your child to experiment with creating their own melodies and rhythms. Sound Garden : classical music immersion First, a short word about Sound Garden. Founded by classical singer Kayla Collingwood, Sound Garden is an online hub to engage with classical music, no matter your age or level of knowledge or experience! Through online content, digital products, and more, Sound Garden's aim is to provide resources for discovering classical music in all its forms. Personal/Emotional/Social development Play various classical pieces conveying different emotions (e.g., joy, sadness, excitement). Guide your child in identifying and discussing the feelings evoked by the music. Here are some further activity ideas you can use to extend this activity, or which may be suitable for earlier developmental stages and non-verbal children: Create a picture/craft inspired by the way the music makes your child feel. Emotively "conduct" the music (or family/friends as they sing songs/play instruments). A "musical freeze" game, where your child dances freely until you pause the music. The child then freezes in a pose that reflects the emotion of the music. Play scenarios, using dolls, puppets, or other character toys, to create stories inspired by the music. Numeracy Music is full of opportunities for numeracy learning! Foundational numeracy concepts such as one-to-one correspondence (matching up one thing with another) can be learned in tandem with music listening. Place some sets of identical items in front of your child (for example: crayons, erasers, and colouring pens), and ask them to count the item sets into their groups, while the music plays in the background. Listening to music more closely is the perfect opportunity to practice identifying patterns, spotting sequences, and counting! Put on some music with a strong, steady "pulse", and see if you can tap/clap/stamp/count in time to the beat. Practice creating and repeating rhythmic patterns! Understanding the World Through opportunities to explore, observe, and discover, children learn to make sense of the world around them. Many different activities can play a part in this, and music can be the soundtrack to your child's adventures! For example, you and your child can discover classical music works related to nature while exploring in the woods together. If you're planning to stay indoors, you can create play trays/tuff trays/small world set-ups inspired by musical works. For example, you could listen to the "Carnival of the Animals" by Saint-Saëns and use some toy animals and other items/ingredients to create an animal-themed play tray. Arts Provide art supplies for your child to create visual artworks inspired by the music. This encourages creativity, imagination, and the connection between music and visual expression. This could be painting, drawing/colouring, collage-making, sculpture-making, or any other visual arts activity! The only limit is your imagination! Classical music can play a part in all kinds of learning activities, as a central element which your child can engage with directly, or in the background while focusing on other tasks. What other activity ideas do you have? Drop them in the comments!

The product - Discover classical music inspired by spring! In this music education resource, ten classical music works have been selected, on the topic of spring. Ten pages of information and activities for each composer/work will help you to kick start the topic! Perfect for homeschoolers, music teachers, music lovers, and anyone who needs a resource to help children to engage with classical music! This product is also available on the topic of Autumn/Fall This product is available as a digital download PDF, 13 pages including front and back covers. Suitable for school-aged children. Listen to the music The selected pieces referenced in the product can be found here. Contact us if any of the links stop working! Antonio Vivaldi: The Four Seasons: La primavera (Spring) Ludwig van Beethoven: Violin Sonata No. 5 (“Spring” Sonata) Felix Mendelssohn: Song without words, Op. 62, No. 6 Robert Schumann: Im wunderschönen Monat Mai Gustav Mahler: Symphony No. 1, "Titan" Sound Garden Products Online products and courses for all ages - pair this product with the Classical Composer Profiles! Camille Saint-Saëns: Samson et Dalila: Printemps qui commence Aaron Copland: Appalachian Spring Franz Schubert: Frühlingsglaube (Faith In Spring) Claude Debussy: Printemps (Spring) Frederick Delius: On Hearing the First Cuckoo in Spring Learn more about Sound Garden

Lithuanian musician Emilija Karaliūtė specialises in performing classical/folk music and more with a unique traditional instrument: the kanklės. In this guest post, learn all about the origin and particularities of this special instrument! Sound Garden : classical music immersion First, a short word about Sound Garden. Founded by classical singer Kayla Collingwood, Sound Garden is an online hub to engage with classical music, no matter your age or level of knowledge or experience! Through online content, digital products, and more, Sound Garden's aim is to provide resources for discovering classical music in all its forms. Lithuanian music and the kanklės Lithuania, located in the Baltic region of Northern Europe, boasts a rich cultural heritage reflected in its unique customs. Lithuanians strive to preserve these customs through folk dancing, traditional music, art, and other means. The country’s dedication to preserving its history is evident in events such as the Song and Dance Celebration, which brings the nation together to showcase and celebrate its longstanding traditions; the year 2024 marks the celebration's centenary anniversary. Lithuania has its own national instrument, the kanklės, which belongs to the Baltic Psaltery family. This includes instruments such as the Latvian kokles, Estonian kannel, Finnish kantele, and Russian gusli, among others. The kanklės is a traditional instrument which carries a beautiful and significant message. When a family member died, Lithuanians would go to the forest and cut a tree to make the kanklės; they believed that whenever you played the instrument, the dead person spoke through the strings. Following this heartfelt message, it is easy to see why it has been dubbed the "singing tree" by some! Kanklės with 5, 7, 9, or 12 strings originated in the XV century and were initially used to accompany church singing and later in folk music. In 1964, attempts were made to transform traditional kanklės into concert kanklės, showing a desire to integrate the instrument into Western Europe's classical music scene. The kanklės, also known as concert kanklės due to its use in concert settings, has 29-32 strings that span over four octaves. The added strings and chromatic levers on the kanklės allow players to expand their repertoire by adapting pieces written for other instruments, such as piano, harp, marimba, or any other instrument with two staves. Insights from a kanklės specialist As a musician who specialises in playing this unusual instrument, it is very interesting to follow and analyse the process of arranging a well-known classical piece for the instrument that it was never meant to be played on. I enjoy playing classical music by renowned composers like Debussy, Hasselmans, Handel, or Bach - but that means that these pieces were written before the concert kanklės even existed! That is not to say that the pieces cannot be performed on this traditional instrument; they simply need to be applied effectively. Every instrument has limitations, such as octave range or some technique restrictions; what matters is how you 'battle' these limitations and use them to your advantage. I typically have to bring up lower notes an octave, because the instrument does not have that many bass notes. To maintain a smooth flow in music, we may need to remove some notes due to chromatism levers on the side of the kanklės that need to be moved up or down while playing. Playing classical music on the kanklės can be challenging. If we take any of Debussy's pieces as an example, we can see that he mainly wrote for the piano, and the techniques for the piano and strings are very different. However, my perspective on the kanklės’ limitations has changed, I no longer prioritise performing the piece in the same way as a pianist would. Because I am already performing a piece that was not written for my instrument, I believe it opens up possibilities for limitless interpretation. Find out more I am now a dedicated classical music performer in London; I came to the UK from Lithuania with the goal of popularising a relatively unknown instrument. I am a classically trained musician with a folk fusion - the subtitle of my personal website (balticstrings.org) is 'Where Classical Meets Folk', and that is because I explore my journey of how a traditional instrument coming from the XV century that was primarily used to play folk music evolved and began to discover its possibilities within the context of classical music. For more on my experience playing the Lithuanian national instrument kanklės in London, UK, visit my newly launched website: balticstrings.org. Instagram: https://www.instagram.com/emilijakaraliute/ Youtube: https://www.youtube.com/channel/UCXlMoPDKo2sDB9L4GdTvKYQ Sound Garden

Classical music, or Western art music, has a long and rich history, beginning after the fall of the Roman Empire and continuing to progress today! Let's take a look at the evolution of this genre of music, through a crash course overview of the standard historical era divisions. Each era represents the artistic tastes, political and social changes, and the general characteristics of Western societies at different times in history; music has always been a reflection of humanity! Early Music (500-1600 AD) The Early Music period is largely associated with religious music, in particular "chant" styles, from simple monophonic (one voice) chants of the Medieval Era, evolving into intricate polyphonic (many voices) compositions. Secular music, such as the music of the troubadours, folk songs, and more, were also common, but we have fewer surviving musical scores and other sources of information to enable us to perform this music now. In the Renaissance Era, music began to become more complex as the Early Music period drew to a close. Listen to: 1. Gregorian Chant - "Kyrie Eleison" 2. Guillaume de Machaut - "Messe de Nostre Dame" 3. Josquin des Prez - "Mille regretz" Baroque Era (1600-1750) The Baroque Era marked the beginning of the Common Practice period, where music began to really be codified and to follow rules of tonality (having a "home" key) and what we know as traditional music theory. Baroque music reflected the architectural tastes of the time, with ornate compositions, dynamic contrasts, and the popularisation of purely instrumental music. Following on from the Renaissance Era, the relationships between notes and musical phrases were very important, following strict rules of "counterpoint". Listen to: 1. Johann Sebastian Bach - "Brandenburg Concerto No. 3" 2. George Frideric Handel - "Water Music: Alla Hornpipe" 3. Antonio Vivaldi - "Gloria: Gloria in excelsis Deo" Classical Era (1750-1830~) The tastes of the Classical Era were quite the opposite of the Baroque. Music was characterised by clarity and structure, and beauty was found in simplicity and lightness. The influence of Antiquity was evident, both in the artistic styles and in the values and stories artists sought to share through their art. This was the time during which the early piano became the dominant keyboard instrument, and musical forms such as symphonies and string quartets were popularised. Listen to: 1. Wolfgang Amadeus Mozart - "Le nozze di Figaro: Deh vieni, non tardar" 2. Ludwig van Beethoven - "Piano Trio in E-flat Major, Op. 1, No. 1: Allegro" 3. Franz Joseph Haydn - "Symphony No. 94 in G Major: II. Andante" Romantic Era (1830~-1900) The Romantic Era takes us on an emotional rollercoaster (not only involving love), with passionate expression and sweeping melodies. Composers were began to explore the horizons beyond tonality, telling stories through a diverse range of both vocal and instrumental musical forms. Music was being performed on a much grander scale, with works being composed for large-scale operatic forces and expanded orchestras (as well as works for smaller instrumental and vocal groupings, such as art songs for solo voice and piano). Listen to: 1. Pyotr Ilyich Tchaikovsky - "Swan Lake" (final scene) 2. Frederic Chopin - "Nocturne in E-flat Major, Op. 9, No. 2" 3. Franz Schubert - "Erlkönig" 20th Century The 20th Century heralded the start of the "new music" era, where conventions and rules were being shattered as composers sought to find the possibilities and limitations of music. Technological advancements, war, globalisation, and many other shifts civilisation was going through inspired the arts. Multiple artistic (including musical) movements were occurring at once, from the highly experimental and avant-garde works, through to minimalist works. Listen to: 1. Igor Stravinsky - "The Rite of Spring: Sacrificial Dance" 2. Arvo Pärt - "Spiegel im Spiegel" 3. Steve Reich - "Different Trains: II. Europe, during the war" 21st Century In the 21st century, classical music continues to evolve and develop alongside humanity and our discoveries and advancements. Composers take inspiration from the past and all it has taught us so far, and forge new paths as the future unravels its possibilities. How will the music of this century be remembered? Listen to: 1. John Adams - "On the Transmigration of Souls" 2. Missy Mazzoli - "Breaking the Waves: His name is Jan" 3. Anna Clyne - "Night Ferry" Notes Bear in mind that the era divisions are not exact; some historians place the beginning and end dates differently. This is because society is never in 100% agreement about what is good or trendy at any given time, and classical music era divisions are based on what was generally in vogue in many different Western countries! Take some time to explore each era further and to discover the composers and works which resonate with you! If you would like to dive deeper, check out the Introduction to Classical Music online course, or book a 1:1 Classical Music Immersion session (online or in Paris) with classical singer and music educator Kayla Collingwood! What will you listen to next?

Introducing our Composer Activity Guide: Wolfgang Amadeus Mozart for parents and carers of children aged 0-6! This guide introduces you and your child/ren to Mozart and his works through a simple text for the adults and older children, and two stages of activities for each musical work. Here's some of the feedback we've been getting so far: "Easy to understand." "A great guide and reference point that is so accessible for even those with little musical knowledge." "A great reference for simplifying and making the music understandable and fun!" "Just brilliant!" Activities are designed to be able to be adapted for different ages and stages (our youngest tester is 6-months-old, and we hope this product will grow with you and your child)! This product is currently available as a digital download. How it works: Purchase the product. You will receive a link to download. Print and go! Return to this blog post to listen to the musical excerpts. We have heard from our testers that children have expressed interest in writing their own music! We haven't included that exact activity in this guide, but one of our testers was very successful in printing out a page from a score (here's a link to Mozart's "Piano Sonata No. 16" - one of our featured works, and a FREE printable large staff in both black and white and multi-colour versions) for the children to use as inspiration (copying some of the elements they saw in the music into their own design). You will find a similar activity in the second product of our Composer Activity Guide series: Franz Liszt. We have also had a lot of interest in creating a similar product for early childhood centres/kindergartens/etc., so we are working on this for the future. We would love to hear your stories and see your pictures of our guide in action! Ready to buy? Happy Mozart-ing! Join our mailing list At Sound Garden : classical music immersion, we are always adding to our products and resources, with content for all ages and levels of classical music experience! Want to be updated on future product launches? Join our mailing list! Playlist Bought the product, or just want to listen to some Mozart? Here's our playlist with all the referenced works! Learn more about Sound Garden Click here to browse the site!

The product - Discover classical music inspired by autumn/fall! In this music education resource, ten classical music works have been selected, on the topic of autumn/fall. Ten pages of information and activities for each composer/work will help you to kick start the topic! Perfect for homeschoolers, music teachers, music lovers, and anyone who needs a resource to help children to engage with classical music! This product is available as a digital download PDF, 13 pages including front and back covers. Suitable for school-aged children. Listen to the music The selected pieces referenced in the product can be found here. Contact us if any of the links stop working! Antonio Vivaldi: The Four Seasons: L’autunno (Autumn) Renaldo Hahn: Chanson d'automne (Autumn Song) Arnold Bax: November Woods John Cage: The Seasons: Fall Astor Piazzolla: The Four Seasons of Buenos Aires: Otoño Porteño Sound Garden Products Online products and courses for all ages - pair this product with the Classical Composer Profiles! Tōru Takemitsu: Ceremonial - An Autumn Ode Einojuhani Rautavaara: Autumn Gardens Thea Musgrave: The Seasons: Autumn Franz Joseph Haydn: The Seasons: Der Herbst (Autumn) Pyotr Ilyich Tchaikovsky: The Seasons: October: Autumn's Song Learn more about Sound Garden

Welcome Matt Spangler and Lucy Mauro to the Sound Garden blog! In this post, discover the fascinating story of American 19th/20th century composer Margaret Ruthven Lang. Be sure to check out the podcast "The Ladies Speak" to learn more about Lang and other American women composers from this time period! About Matt Spangler is a writer and podcaster. His latest series, "The Ladies Speak", explores the lives and achievements of the great American women classical composers of the 19th and early 20th centuries. Lucy Mauro is a Grammy-nominated pianist and Associate Professor of Piano at West Virginia University. She has written on Margaret Lang for Choral Journal and The Bulletin of the Society for American Music. A Dramatic Entrance: Shining a Light on an American Classical Pioneer "Tea room" - Charles Dana Gibson The high society women and men, in their tailor-mades, nipped shirtwaists, tailcoats and bowlers, paid scant attention to the slender and petite young woman, her hair tied back in a chignon, as she made her way nervously down the gaslit corridors of the Boston Music Hall to her balcony seat. Little did the patrons know that the woman who slunk low in her blue and white moreen chair, her head swimming with thoughts of the million little things that could go wrong with the evening’s performance, was about to make music history. The young woman was Margaret Ruthven Lang, and it was the evening of April 8, 1893. Under the baton of Arthur Nikisch, her Dramatic Overture became the first piece composed by a woman performed by a major American symphony orchestra. The score does not survive – likely tossed onto the hearth during one of Lang’s periodic purges of her work – but the programme, which has been preserved, frames the piece in terms of influences by the great male composers of the time. Margaret Ruthven Lang, 1900 “The dramatic overture,” the programme note begins, “shows the same general tendency to adhere to the spirit of the sonata form, with a very free interpretation of the letter of the law, that we find in many of Schumann’s symphonic movements”. The note goes on to say the “overture is scored for the classical ‘grand orchestra’, with trombones, big drum, and cymbals, but without bass-tuba, bass-clarinet, English horn, or any of the unusual instruments that go to make up the modern ‘Wagnerian’ orchestra. It is especially noticeable, too, that the stronger brass instruments (trumpets and trombones) have been reserved for special effects, and often do not figure at all in fortissimo passages. In this the composer has followed both Beethoven and Wagner in one of their most characteristic veins in instrumentation". The performance was met with great enthusiasm from the crowd, who, before the players could resume with the Haydn, Tchaikovsky, and Dvořák works that filled out the rest of the bill, called back Nikisch three times. It would be another three years, however, before the Boston Symphony’s celebrated programming of Amy Beach’s Gaelic Symphony (Symphony in E minor, Op. 32). Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Amy Beach Like Beach, her Second New England School friend and colleague, Lang’s star gradually rose over the American Romantic era. Fuelled by her connections to Wagner and Liszt (Lang’s father was renowned Boston conductor B.J. Lang), and private instruction from George Chadwick (later named director of the New England Conservatory), Lang published approximately 150 orchestral and chamber music works, piano solos, arias, and songs between 1887 and 1917 (and is believed to have written some 30 other works that, like the Dramatic Overture, were destroyed). Her compositions were performed on both side of the Atlantic, including the 1889 Exposition Universelle in Paris, which featured several of her songs; the 1893 Chicago World’s Fair, which featured the Witichis Overture; and an 1896 performance of the Armida aria for soprano by the Boston Symphony. She sold nearly 121,000 copies of the sheet music for Irish Love Song, penned in 1895, and by 1897, according to one account, she had “attained a position which puts her among the four leading women composers of the time,” the others being Beach, Cécile Chaminade and Augusta Holmès. Lang abruptly quit composing in 1917, at the age of 50, stating modestly she “had nothing to say” at that point. An Episcopalian, she devoted much of her remaining 55 years writing religious pamphlets she called “Messages from God,” which she distributed around the world using royalties from her music sales. Four years before her retirement, Stravinsky ignited a seismic change in music in Paris, and the work of Romantics like Lang quickly fell out of fashion and faded into obscurity. Lang’s extant compositions can be heard on Delos’ All the Heart of Me: The Choral Music of Margaret Ruthven Lang; Love is Everywhere – Songs of Margaret Ruthven Lang, Vol. 1; New Love Must Rise: Selected Songs of Margaret Ruthven Lang, Vol. II; and From the Unforgetting Skies: The Piano Music of Margaret Ruthven Lang. Listen to Lang's "Starlight" here, performed by Lucy Mauro: Learn more about Sound Garden

Introducing young children and babies to the wonderful world of music in general is a gift which will last a lifetime; classical music should definitely be included among the genres explored! From works by famous composers like Mozart, Beethoven, and Bach to works by lesser-known or contemporary composers, the children in your life (and you as the parent or carer!) have plenty of options to discover! We've selected four examples of classical music and also created a larger Spotify playlist, curated especially for babies, toddlers, and pre-schoolers! You can also visit the "Learning Hub" section on our site for more resources and media. Liza Lehmann - There are fairies at the bottom of our garden Liza Lehmann was a soprano classical singer and singing teacher as well as being a composer. She retired from singing in 1894 and then concentrated on composing (largely vocal) musical works. "There are Fairies at the Bottom of Our Garden" is a song for voice and piano, composed in 1917 to a text by Rose Fyleman. Fyleman's most noted poetic works were stories for children about fairy folk. Listen out for the unexpected ending... who do you think the Fairy Queen might be 🤔? Gioachino Rossini - The Thieving Magpie: Overture The overture (opening) from the opera "La gazza ladra" (The Thieving Magpie) was reputedly composed the day before the first performance! Supposedly, Rossini was locked in a room by the conductor of the orchestra, where he was guarded by stagehands who threw each completed page out the window and down to a copyist. The story is about Ninetta - a young servant girl, who is accused of stealing a silver spoon. She is saved from her sentence at the last minute when the true thief is revealed: a magpie! While the complete opera is not suitable for small children (and rarely performed in any case!), the overture and other excerpts certainly are! Listen out for the snare drums! Discover the Sound Garden shop Online products and courses for all ages Matyas Seiber - The Owl and the Pussycat Hungarian-born British composer Seiber was a composer who drew from many different influences - from the folk-influenced music of his native Hungary to the boundary-pushing serialism method to jazz... and more! In 1953, Seiber set the well-known poem "The Owl and the Pussycat" by Edward Lear to music for high voice, violin, and guitar/piano. Pyotr Ilyich Tchaikovksy - The Nutcracker - Dance of the Sugarplum Fairy "The Nutcracker" (Щелкунчик) is a "fairy ballet" (балет-феерия), often performed at Christmas, as the story (by E. T. A. Hoffmann, adapted by Alexandre Dumas) takes place on Christmas Eve! This work became one of Tchaikovsky's most famous compositions. The character of the Sugar Plum Fairy appears in Act II during Clara and the Prince's voyage to the Land of Sweets. The Prince tells the Fairy how Clara saved him from the Mouse King. In Clara's honour, sweets are brought out and dances are performed. The Sugar Plum Fairy and her Cavalier perform the closing dances of the night before a final group waltz. The Fairy's dance is famous for its use of the magical, bell-like celesta instrument! Playlist If you are a Spotify user, listen to our Classical Music for Preschoolers playlist: Immerse Yourself in Classical Music

Victor Alexeeff began his conservatory studies at the age of 7 in Toronto. He showed great promise as a young pianist, having begun lessons at the age of 4, encouraged by his grandfather. At the age of 9, he appeared on the album "A Tribute to Walt Disney", and throughout his studies he appeared on numerous television and radio programmes. He received numerous scholarships as a student. He is renowned for his performances of works by Chopin and Prokofieff. As well as completing formal piano studies and developing his reputation as a pianist, Victor explored and developed other interests and skills, which became integrated within his eclectic musical career. A major part of this is composition; he composes for film, television, and other outlets - his credits include such diverse projects as scoring for "Criminal Minds" and creating the music for a 700m tunnel at the Detroit International Airport . He has also performed experimental and rock music, and is a music producer. Recently, he has released a new album: "Classics Unleashed". This album explores what the music of Bach, Vivaldi, and Beethoven might have sounded like were they composing in the 21st century with digital elements at their fingertips. Using modern technology, Victor reimagines the great works of these legendary composers. Victor's compositions: Prelude in C Minor, BWV 847: Allegro by J. S. Bach (reimagined) Symphony No. 7, Op. 92: II. Allegretto by Ludwig van Beethoven (reimagined) Discover the Sound Garden shop Online products and courses for all ages Victor's top 5 classical music works: Stravinsky: The Rite of Spring Holst: The Planets Debussy: La Mer Rachmaninoff: Piano Concerto #3 Prokofieff: Piano Concerto #2 Immerse Yourself in Classical Music

Welcome back to guest writer AleahFlute/Aleah Fitzwater! In her last post, Aleah introduced us to "7 Strange Classical Composers". This time, learn about the music of the Balkan region of Europe - an area with many cultural, religious, and historic influences. While each country has its own unique culture, the shared historical experiences of the people in the region mean that they also have some shared elements. The stamp of Balkan folk/traditional music customs can be found in the art music (classical music) and contemporary music works of the Balkan countries and beyond! About Hey there! My name is Aleah Fitzwater. I am a classical flutist and music teacher gone rogue. I used to teach music in the public schools. I’m still a classical cat, but now I write blogs about niche music topics like weird composers and music digitising. I also arrange and record classical flute versions of alternative/pop songs, like those by Linkin Park and Panic! at the Disco. Today I am going to teach you a little bit about the music of the Balkans. I recently discovered that one of my grandparents had Balkan ancestry. This wasn’t much of a surprise, though, because he was adopted into the family. Additionally, because of the war on Ukraine, I thought it would be interesting to delve into some of the music of South-eastern Europe. Let’s go! The Balkans The Balkans are a group of countries which lie on a peninsula, together bordering Italy, Ukraine, and Hungary. According to Britannica.com, not everyone agrees on the exact components of the region, though many can agree that the Balkans do include Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Kosovo, Montenegro, North Macedonia, Romania, Serbia, and Slovenia. Historians also typically include Greece and parts of Turkey in the definition of the region (Britannia). The term “Balkan” is sometimes considered to be negative due to the area's turbulent history and the stereotypes that followed. Some experts say it is more acceptable to refer to this group of countries as “The Western Balkans” or “Southeastern Europe” (Ertan Munoglu). Others argue that the term “Balkan” is acceptable as it is, as long as you don’t insinuate it’s a separate entity from Europe. The Balkans are rich in culture, combining Greek, Finnish, Turkish, and Slavic heritages together. As far as religion goes, Islam and Catholicism are both prominent. You can hear a lot of Jewish and Armenian influences in the music of this region today. (IEmed/ Maria Djurdjevic) One thing that binds the Balkans together is the fact that these countries were all under the rule of the Ottoman empire at some point in time. Let’s delve into some of the folk instruments from this melting pot of a peninsula. Note: This article discusses general elements found in the music of the Balkan region. Some features are particular to certain countries and areas, and found less in others. Here is a summary of elements mentioned and some of the places where they can commonly be found (in the Balkans and beyond): Balkan Accordion - Slovenia, Croatia, Bosnia and Herzegovina, North Macedonia, Serbia Balkan Fiddle - Bulgaria (called the gadulka), Romania, Croatia Tamburica - Serbia, Bosnia and Herzegovina, Croatia, Slovenia, and Hungary Gusle - Dinarides Region Cimbalom - Hungary, Romania, Greece, Poland, Latvia, Lithuania, and Estonia Darbuka - Albania, widely used across most of the Balkans Doumbek - Iraq, Iran, Greece, Armenia, Azerbaijan, Turkey Giada/Balkan Bagpipe - Albania, Romania, Serbia, Croatia, Macedonia, Turkey Kaval - Albania, Romania, Kosovo, Bulgaria, Serbia, North Macedonia, Turkey, Armenia Balkan Brass/Truba - Serbia, North Macedonia, Bulgaria, Moldova, and Romania Balkan Folk Instruments Accordions Bowed Strings and Lutes Hammer Dulcimers Doumbek and Darbuka Bagpipes Clarinets and End-Blown Flutes Brass Instruments Accordions One key feature of the Balkan style of the accordion is that it has a tone chamber. A tone chamber, or cassato, is a box that lengthens the path that the air takes inside of the instrument. The result is mellow and unique. In the context of a song, it sounds surprisingly like traditional Jewish music (Klezmer). Here is an example of an accordion being played in the Balkan style. Bowed Strings and Lutes Instruments from the bowed string and lute families used in this region include the mandolin, guitar, and fiddle. The Balkan fiddle is a violin-type instrument, but is a little different than what you may be familiar with. Rather than being composed of multiple pieces of wood, the instrument is often carved from a single large log, or even made from a gourd. The Balkan fiddle is often paired with end-blown flutes and other strings. Two unique and lesser-known string instruments include the tamburica and the gusle. The gusle is a chordophone (stringed instrument) with only one string. The tamburica is a lute with a long neck. This instrument originated from a Persian lute called the tanbur. You can see a picture of it below: Hammer Dulcimers Hammer dulcimer-type instruments came from ancient Persia and spread far across the world. The cimbalom is an example of one of these instruments that evolved from Persia and are often played in the Romani style. It originated in Hungary in the 1800s. You can listen to an example with those quintessential rolled strings here. Doumbek and Darbuka The darbuka is a goblet-shaped drum that is very similar to the djembe. This drum is the essential percussion instrument in Balkan music. You can also find the more commonly known doumbek in this area. While many people associate doumbeks and darbukas with Egyptian/ African music, these instruments are also prominent in the music of the Balkans. According to Darkbukaplanet, the darbuka was originally from Albania and the Middle East and spread to the rest of the Balkans and to Asia through trade. Here is an image of a goblet-style drum: Bagpipes Think bagpipes are only found in Scotland and Ireland? Think again! The giada is a type of Balkan bagpipe which is only found in SE Europe. Check out the unique sound of this instrument in this TED talk. Clarinets and End-Blown Flutes End-blown flutes from this area are hand-carved and often look very ornate. There are many iterations of fipple flutes throughout the world. Fipple flutes are end-blown flutes with a plug (also known as a fipple) inside. The most common fipple/end-blown flute in the Balkans is called the kaval. It is very similar to the nay from Egypt and Persia. The kaval is traditionally made from horn or wood and was originally played by shepherds. The Ney: The Kaval: Clarinets played in the Balkan style sound markedly different from clarinets in the Western classical context. There are more glissandi (sliding sounds), and the instrument sounds very voice-like. The plethora of bends and ornamentation in this video will give you a good idea: Brass Instruments Balkan brass is a huge part of the culture. It is a unique combination of folk music that was fused with military music. This type of music is called "Truba". Truba ensembles include the following instruments: Trumpets Flugelhorns Tubas Baritones Wagner tubas Percussion Of the instruments in Truba, the least commonly known is the Wagner tuba. These brass instruments combine features of the French horn and the tuba, which makes them sound mellow and unique. Discover the Sound Garden shop Online products and courses for all ages Other unique features of Balkan music Epic/Epos Poetry Set to Music The gusle has an important place in Balkan cultures. It is the instrument that accompanies traditional epic poetry and legends. A person, titled the guslar, is both the accompanist and storyteller. The guslar must also know how to improvise. Both stories and historical events were told through this style of playing. Albanian songs about heroes and valour are one example. Serbian epic poetry is notably different from other Balkan poetry, as it only consists of shorter epos, rather than epics. The Serbian tradition tells love stories in the form of ballads and recreates historical events. According to Wikipedia, many of these songs detail Serbia's struggle for liberation from the Ottoman empire. One famous example is the life of Janko Mitrović (Јанко Митровић), a fearless leader from Croatia. His death was the start of the Serbian revolution. (Wiki/Wikimili_Janko) Harmonic Language Gusle music is largely chromatic (uses tones that do not belong to the diatonic/ major scale), and sometimes the vocals are microtonal (In-between notes). Turkish melodic structures - Makam and Ayak - are sets of rules for music performance. According to Turkishmusicportal, Makam is the most important concept in Ottoman-Turkish music. Makam could be compared to classical modes (scales) in Western music theory. There are rules for rhythm (usual), melody (seyir), and intervals (cinsler). Ayak, on the other hand, is more related to folk music. Pentatonic (five-note) scales are also used in Balkan folk music. Here is an example of improvisation on one of the Makams on an oud: Aksak Rhythms Aksak is the Turkish word for “limping” and refers to the combination of uneven sets of beats: 2+3. Aksak rhythms can be found in Turkey, the Middle East, and many of the surrounding regions. You can hear Aksak rhythms in Balkan dance music; time signatures such as 5 /8, 7 /8, and 11/8 are all common. In comparison, Western music typically uses time signatures such as 4/4, 3/ 4, and 6/8. Aksak is part of something called Ottoman music theory, which greatly differs from traditional Western classical theory. In Turkey, Aksak is the combination of 2+2+2+3 only (Wiki/Aksak) whereas Aksak in other countries refers to uneven sets of rhythms as a whole. You can still hear the Aksak rhythmic influence in many genres, such as in this original jazz tune by Dave Brubeck titled ‘Blue Rondo à la Turk’ and Emerson, Lake, & Palmer’s ‘Finale Medley’. Karşilama and Other Dances Folk dances are an integral part of the culture of the Balkans. And, as you’ve probably already noticed, the music of Turkey had a huge influence on the Western Balkans as a whole. Because of the Aksak rhythms and rhythmic ornamentations, dancers listen to macro beats (The larger, overarching rhythm) in order to keep their time. Karşilama is a dance originating from Turkey, which spread throughout the surrounding regions, particularly to Greece. Karşilama means to welcome, or a greeting, in Turkish. It is a couple’s dance that is often performed at festivals (Karsilamas/Wiki). Ken Shorley gives an excellent demonstration of the drum beat of this dance here: Another popular dance from this region includes the circle dance called The Horo, which used to be a way of courting (TheCultureTrip). It is now considered the national dance of Bulgaria. It sounds and looks shockingly Irish. This is actually because Bulgarian rhythms made their way into Celtic culture, rather than the other way around. Take a listen here: Modern Balkan Music Truba has made its way into the world of electronic music, where traditional-sounding melodies get mixed in with beats. The 2015 hit song “Worth It” by Fifth Harmony features elements of Balkan music. Muni Long (Priscilla Renea) is a producer from Florida who wrote and produced the song “Worth It”. Her trademark is integrating Balkan elements into her R&B and rap songs. In addition to this, they welcomed saxophonist Ori Kaplan, who played the saxophone riff. Kaplan is actually a member of the group Balkan Beat Box, a fusion group that combines elements of Jewish, Balkan, Middle-Eastern, Electronic, and punk music together. Take a listen here: Some other bands that have Balkan influences include: Gogol Bordello Beirut A Hawk and a Hacksaw Amsterdam Klezmer Conclusion The music history found woven in the cultures of this region is far too expansive to capture in just one article. But I hope you learned something today! You can follow Aleah on social media or listen to her flute covers here: Instagram Facebook Spotify References The Balkans https://www.britannica.com/place/Balkans Balkan Instruments https://eefc.org/balkan-culture/instruments/#:~:text=Many%20different%20instruments%20are%20played,combinations%20and%20numbers%20of%20instruments. Labeling the Balkans https://www.helvetas.org/en/eastern-europe/about-us/follow-us/helvetas-mosaic/article/September2018/Labeling-the-Balkans#:~:text=The%20term%20'Balkan'%20has%20developed,move%20away%20from%20its%20use. Aksak Rhythm https://en.wikipedia.org/wiki/Aksak Blue Rondo / Piece https://en.wikipedia.org/wiki/Blue_Rondo_%C3%A0_la_Turk Darbuka Drum https://tribune.com.pk/story/51389/darbuka-a-little-known-percussion-instrument https://www.iemed.org/publication/the-balkans-past-and-present-of-cultural-pluralism/#:~:text=The%20Balkan%20Peninsula%20is%20usually,Ugric%2C%20Greek%20and%20Turkish%20origin. Gusle Music/ Guslar https://www.britannica.com/art/guslar Dance: Karsilimas https://en.wikipedia.org/wiki/Karsilamas Horo https://theculturetrip.com/europe/bulgaria/articles/horo-the-history-behind-bulgarias-national-dance/ Balkan Brass https://en.wikipedia.org/wiki/Balkan_brass Makam http://www.turkishmusicportal.org/en/types-of-turkish-music/turkish-classical-music-the-makam-phenomenon-in-ottoman-turkish-music Serbian Epic Poetry https://www.byarcadia.org/post/serbian-epic-poetry-101-an-element-of-oral-tradition Accordion Tone Chambers https://www.lamalleauxaccordeons.fr/en/content/9-voices-in-tone-chamber Balkan Map https://commons.wikimedia.org/wiki/File:Geographic_map_of_Balkan_Peninsula.svg The Darbuka https://www.darbukaplanet.com/pages/darbuka-history Immerse Yourself in Classical Music