The world of work is changing fast and technology is changing even faster. Research suggests that in the next 20 years at least 35% of the current jobs in the UK are at risk of computerisation or automation. As organisations communicate, collaborate and innovate is evolving, new skills and roles are gaining prominence. But are organisations and individuals prepared for this pace of change? And in this new technological landscape, can the future of work be human? 

In this episode we chat with Dr Nicola Millard, BT Global Services, David Woodward, SDWorx and CIPD’s own David D’Souza about the ways in which technology is affecting work and working lives. From flexible working and automation to analytic reporting and office environments, this episode will explore how technology is changing the way organisations operate, the effect this is having on its employees and the challenges (and opportunities) that HR and L&D can face.

Podcast 125: HR tech revolution - friend or foe

Macarena Rosmanich
Un signo en tu sombra (2018)

Pablo Coello, sopran saxophone.
Live recording. Concierto Corrossion Resistance. 
Centro Cultural o Vello Cárcere, Lugo, Spain.

Un signo en tu sombra (2018) for sopran saxophone

House Sparrows.  Recorded along a country road in the early morning/  17th of July 2019 at 5.50am.  NT1A's, MixPre, Marantz PMD661.  Recording 3294.  Image by pixabay.com/users/Katzenspielzeug-28968.  More details . . . 	We have been getting some good weather lately so I made the most of it and headed out to record for three mornings recently before the recording season comes to an end, as the birds will fall silent soon, August being a very quiet time in the birdsong calendar. 
For a very long time I have wanted to record House Sparrows.  They seem like such an easy species to record and in a way they are, but the problem is to record them with no man-made noise in the background as these birds are very well named - where you get houses you nearly always have house sparrows, but then where you get houses, you get people therefore you usually get noise.  Back in the 1990’s I recorded one Sparrow in analogue in Coolgreany village but it didn’t sound good, the level being a tad high.  
Lately I heard some chirping from the birds in a garden of a house at the top of the New Line road, a road I go on my way to and from work.        
15th of July 2019 was even better, the weather was perfect.  Along the way I saw the sun rising, an orange ball surprisingly far north.  Lots of mist hanging over the landscape, I love it when it is like that.  Back to the same area as the day before.  Spent longer recording and had less or no problems with noise, only later after about 7.10am did a few jets head out overhead, but by then I had a good few recordings.  I recorded Sparrows in a few different places in that area so as to get some variety of call notes.  Listening to them for some time I realised that they made more than chirping sounds, rather there was a lot of different pitches of chirps and other calls.  Only once did I get a look at a Sparrow, one appeared out from a dense clump of vegetation.  Loved how tolerant they were, you simply plonk the mic in front of them and record !  Compare this to some species, where if they even see you in the distance, that is enough, they are gone.  Later it occurred to me how happy I was for about an hour while I made those recordings.  
The 17th I was there again, it was a dull morning with rain and wind forecast, though fairly calm and dry for the early morning.  I returned again, not because I had not got enough recordings but this time I wanted to get the birds in Stereo.  Back at the dense hedge again I quickly got recording, there was no annoying tapping from inside the shed nearby, however it sounded like a horse in that shed was moving about, sometimes hitting against something metal which would make a loud clang, these were edited out later.  Once I heard what sounded like a plastic bag being rustled, what was going on in there ?   Up by the other shed one Sparrow chirped loudly while some sheep could be heard, they were probably inside the shed.  I like how each morning is different, this morning had sheep, the other morning had no sheep to be heard, however the horses were more likely to whinny.  
From that time on there was a torrent of aircraft so I packed up and went home.  The Varta batteries lasted for all three days even though these also served me in Finland, these seem to be better than Duracell Ultra.   A lot of the pleasure in recording is the later processing and listening.  All in all, for the 3 mornings, I got over one hour twenty minutes worth of material, (not always Sparrows).   I was surprised there was no dogs in the area to spoil the recordings.  There seems to be no name for the area I was in, but on the 1 to 50,000 map it gives the two nearest town lands as being named Mooreshill and Ballinvally.

House Sparrows - 17 July 19 - 5.50 am.

Strange love, is rare, 
Embrace it if you dare,
Strange loves, can fade,
With a pocket full of tears,
Wept through all those years,
And a suitcase, full of dreams,
Empty now, or so  it seems,

I stopped the rain fall,  I stood to face all,
I rise again, I rise again

Strangers and neighbours, updated  status,
Taking their chance, Like your never gonna get again

I stopped the rain fall,  I stood to face all,
I rise again, I rise again

If  you ever find a way to feel, You can really work and make it real,
Should I ever make a move for you, you can love me if you feel it too

I stopped the rain fall,  I stood to face all,
I rise again, I rise again    X 2

So love breaks
you Hide away,
Rise up,  shout out   (Rising)
Shine on, move on     (Rising)
Break free, with me,   (Rising)
Stand and face up, leave it this way...

Words and music - K. Fleming & S. Grieve
Recorded and mixed @ Barn Studios - Autumn 2019

09/11/2019

The Tempus Collective - "Rise"

Diane Seuss is a poet, a thinker, a seer, a sayer - an oracle of sorts. Her collection Four-Legged Girl is a complete game changer in the way it:
-tells stories, 
-captures the way we remember, reinvent, forget, 
-manages to shock and touch and move us,
-catches us off guard and draws us only further in.

It Wasn't A Dream is a collection of six settings of Seuss's poems from her collection. It is for soprano, tenor and piano four-hands. I composed it for the Brooklyn Art Song Society in 2018. Here is the final setting, which is a combination of the poems Jesus With His Cup and an epigram that uses a portion of We Fear The Undulant. Thanks to soprano Charlotte Mundy, tenor Andrew Fuchs, and pianists Miori Sugiyama and Michael Brofman.

Epigram: We Fear The Undulant from It Wasn't A Dream (2018)

My Favorite Coffee Shop

Testing Vintage Russian microphone....

སྒྲ་ཨང་། KADZT3333472
མཁས་པ་གཞན། [གཞུང་ཆེན།] སྤྱིའི་ཨང་། ༦༢༢
འཁྲིད་མཁན། དགེ་བའི་བཤེས་གཉེན་ཐུབ་བསྟན་རིན་ཆེན། 
ཁྲིད་གཞུང་གི་མཚན་ཆ་ཚང་།  ཚད་མ་རྣམ་འགྲེལ་གྱི་ཚིག་ལེའུ་བྱས་པའི་རྣམ་བཤད་ཐར་ལམ་ཕྱིན་ཅི་མ་ལོག་པར་གསལ་བར་བྱེད་པ་ཞེས་བྱ་བ། 
མཛད་པ་པོ། རྒྱལ་ཚབ་དར་མ་རིན་ཆེན། [༡༣༦༤-༡༤༣༢] དགེ་ལྡན་པའི་རྗེ་ཡབ་སྲས་གསུམ་གྱི་ཡ་གྱལ། དགའ་ལྡན་ཁྲི་ཐོག་གཉིས་པ། 
སྒྲིག་དུས། ༢༠༢༠ ལོའི་ཟླ་གསུམ་པའི་ཚེས་བཅུ་དྲུག

Namdrel Tharlam Salchet Lewu Sumpa

རྣམ་འགྲེལ་ཐར་ལམ་གསལ་བྱེད་ལེའུ་གསུམ་པ། ༼༠༢༽

This song was made by https://soundcloud.com/idriselba during the quarantine.
https://twitter.com/idriselba/status/1241058543723139073?s=20

Photo edited by soundcloud.com/baschigi

The Long Road 2 (Single)

The Long Road 2 (Quarantine song) by Idris Elba

CREATIVE TALK podcast

[Recommended] MC139 - 8 วิธีสร้างบริษัทที่คนอยากทำงานด้วย

See the score: https://issuu.com/utsyochakraborty/docs/chakraborty_a_concerto_for_piano_and_orchestra

A Concerto for Piano and Orchestra (2020-21) 

1. A Triptych: Prelude - Partita - Toccata I (0:00-10:30)
2. Introduction - Cadenza - Nocturne (10:30-20:05)
3. Finale - Toccata II (20:05-29:12)

to Nicolas Kingman, on his 45th birthday. 

"A Concerto for Piano and Orchestra" was composed between the months of August and December 2020, with revisions being made in January 2021. Writing a concerted piece for piano with orchestra had always been something I wanted to do. After six abortive attempts over a span of 7 years did this piece come along. As time passed, my own conception of the work changed. I wanted to create a piece in which the orchestra had an important role to play and was not just merely accompanying the piano. Each instrumental group is an individual voice, or as Harry Birtwistle says "voices in a football chorus". The piece is laid out in three movements, closely interconnected to each other. The first movement is a Triptych, beginning with a brash and aggressive prelude and then leading into a playful game (thus, partita) before concluding with a rhythmically agile toccata. The second movement, a nocturne, is linked to the previous movement via a cadenza. This movement features a melody, developing slowly in the winds and brass, with commentary from the Piano, percussion and strings, till there is an almost exultant release of energy making that developing melody present itself uninterrupted. This leads directly into the third movement, which transforms the material of the toccata of the first movement into a frantic, jovial dance which dies away in the spirit of the nocturne. 

The work is a 45th birthday present for Nicolas Kingman, with whom I have had some wonderful conversations in music and who "wanted to hear the Piano Concerto quite eagerly!" 


A Concerto for Piano and Orchestra (2020-21)

An easy way to get quick access to some recent works of mine. These selections will be regularly updated as performances of new works and projects become available. Contact me with any queries. REQUEST: Should you wish to play my work, I ask you include it on a program that is representative & includes a number of pieces by POC and/or female or non-binary identifying people.

Epigram: We Fear The Undulant from It Wasn't A Dream (2018)

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