MBP

AyseDeniz was considered a child prodigy in her native Türkiye and made her concerto debut when she was nine, with the Gordion Chamber Orchestra playing J.S. Bach’s Keyboard Concerto No. 5. At thirteen, she had already performed as a soloist with various orchestras under conductors including Ibrahim Yazici, Fahrettin Kerimov, Antonio Pirolli, Cem Mansur, Engin Sakpinar, Ertug Korkmaz, Rengim Gokmen, Vladimir Sirenko, and Kirill Karabits.
As a young pianist, AyseDeniz attended prestigious summer festivals including the Verbier Academy, Music Academy of the West, Aspen Music Festival and School, PianoTexas, Goslar Konzertarbeitswochen, Tel Hai, and Beijing International Music Festival, studying with renowned piano pedagogues such as Menahem Pressler, Jerome Lowenthal, Arie Vardi, Yoheved Kaplinsky, as well as Lang Lang. In middle school, AyseDeniz moved to Spain for half a year to study with the renowned Bach interpreter Rosalyn Tureck, becoming one of her last students.
In 2009, she completed her Bachelor's Degree at Eastman School of Music (Rochester NY) in the studio of Douglas Humpherys with all semesters on Dean's List, and received the Howard Hanson and Clements Scholarships as well as the John Celentano Excellence in Chamber Music Award. In 2011, She completed her Masters in Piano Performance at the Royal Academy of Music in London, under the tutelage of Christopher Elton, and received the Maud Hornsby Award, graduated with Merit, and also completed the Licentiate of the Royal Academy of Music Teaching Certificate.
Throughout her early career, AyseDeniz has given concerts around the world including Cathedral of Christ The Savior Moscow (Russia); L’Eglise Verbier (Switzerland); Duke’s Hall, Steinway Hall, Kings Place London (UK); Bellapais Antique Monastery (Northern Cyprus); Kiev Central Park of Culture Open Air Hall, Lysenko Hall (Ukraine); PepsiCo Hall (TX), Kilbourn Hall (NY), Harris Hall (CO), Pacific Amphitheater (CA) in USA; Teatro Cine Chacabuco (Argentina); Teatro Cine Gouveia, Teatro das Figuras Faro, Centro Cultural de Ãlhavo, Centro Cultural da Gafanha da Nazare, Groove Cascais (Portugal); Galleria d’Arte Moderna, San Fedele Milan, Teatro Dario Fo Venice, and St. Giorgio Cathedral Palermo (Italy); Silent Green Kulturquartier Berlin and Konzertsaal Friedenskapelle Münster (Germany); Sofia Central Military Club (Bulgaria), Ambato City Hall (Ecuador); Afundación and Mar de Vigo (Spain) and in almost all of Türkiye’s most important music halls including Süreyya Opera House, Albert Long Hall, CRR, CKM and Zorlu PSM (Istanbul), State Opera House (Eskisehir); City Hall (Adana); Atatürk Cultural Center & KSÜ Yunus Emre Cultural Center (Antalya); Opera Hall (Mersin); Hikmet Simsek Cultural Center, (Izmir); METU, CSO and MEB Sura (Ankara).
AyseDeniz Links:
www.adpianist....
Mr. Bill’s Links:
Website: mrbillstunes.com/
Discord: / discord
Bandcamp: mrbill.bandcam...
KZbin: / mrbillstunes
Linktree: linktr.ee/mrbi...
Podcast Produced & Edited by Robert Fumo:
www.upwork.com...

[@0Human1]

lol...funny to hear her perspective coming from the EDM world...the misconceptions/stereotypes are strong (on both sides)...people like what they like!

[@lemonberries]

Great questions lately, Bill

[@JesminKhatun-h1p]

Hernandez Sharon Anderson Jason Thompson Melissa

[@fistachu71]

Oyche Doniz to nawet nie jest on

[@floriankettenbach6117]

Damn, i wish you asked her what she thinks is the minimal amount of elements that makes something music. I would have loved to hear her answer. It was a very nice interview anyway! Here's what I think: if you keep taking away elements and still find music in anything, then i guess there's only one answer to it: Tempo. literally any sound can be perceived as music and it doesnt matter if the sound is happennig just once, twice or if there are different sounds all the time. everything happens in a certain Tempo and our brain detects that. no tempo has to be precise in order for us to recognise it, so BPM is not important either. the human brain primarly tries to find patterns in pretty much everything and we are very good at it. so if any sound can be music (no silence) then the only thing we are left with is Tempo. But perhaps even that has its limitations. appereantly the lowest BPM humans can detect is 33 or 26 BPM. but as i already said, tempo doesn't have to be precise for us to be recognised. So I say that even lower BPMs can be recognised by us as a pattern and that for me is the last element you can remove. going down even further: I guess what makes up Tempo for us is that it is a pattern. so maybe, all we need to perceive something as music is any kind of a pattern. in combination with a sound source of couse. So, my answer to this is: Pattern(s) (and the last pattern you can remove is Tempo) - probably I love this question and all the different answers to it!

[@interaktiveaudio]

Thanks a lot this is in my opinion the best episode of Mr Bill podcast I love classical music and for sure classical musician are on another level of understanding music respect to people making electronic pop or other contemporary staff but this is true only for a few. Most of them they are acting as an oscillator in the hands of a conductor I think that composing music is not only a question of skills but mostly a deep dive inside yourself and a connection to the real moment with the world you’re living in .at this level of understanding becomes a question of understanding life in his complete form and this is really really really difficult .we are lucky enough to live in a moment where instruments are much easier to play and technology help a lot but mostly we are only fooled by marketing acting as a conductor to buy staff we don’t need.music is soul and until now there is no soul in AI but it is a great tool like many others and if we become good as Mr bill or ayse deniz we can take advantage of it otherwise we lost our soul and we become robots . At the end better to study and live the life without fear ❤