A second interview with composer, Dr. James P. Walsh Pt.5(conclusion)

Part 5- What to do with all this information and experiences from training and Columbia experience- COMPOSE!; Ricard Strauss; derivation of  hyper regions from hyper-tonality and movements of the tone row; Pat Carpenter's observations on those discoveries, new problems and the re-insertion of feeling and emotion; conflicts of aims that arose at Columbia- Musicology or Composition; Walsh's approach to teaching composition and how that differs from Columbia; helping to realize students' wildest creative fantasies; difficulties that arise in teaching composition; what is the current language in music?; musical sleepwalkers and other types of musicians; reflections on Viennese music culture and comparisons with New Orleans music culture; how Walsh is working now; interest in techno and DJ's and what that suggests.

2nd Interview with James P. Walsh(conclusion)

A second interview with composer, Dr. James P. Walsh Pt.3

Part 3- Influence of music pedagogy on music practice; music architecture manuals; historical roadblocks caused by building permanent monuments to yourself; more on Pat Carpenter; How Schoenberg's music was disseminated despite unpopularity; the problem with style designators; organic unity as the way artists think; Pat Carpenter directing Walsh to Monod; changes in music atmosphere at Columbia through electronic music; The malibu Dolphins and being back in the New York punk scene; Willie Bobo Shaw; Wayne Kramer; authentic standpoint; the Guild of Composers and real first exposure to Monod's music.

2nd James Walsh Interview part 3