James Stewart

VPR Classical Host

James Stewart is VPR Classical's afternoon classical host. As a composer, he is interested in many different genres of music; writing for rock bands, symphony orchestras and everything in between.

James received a Bachelor of Science in Music with an emphasis in Composition from Toccoa Falls College in Northeast Georgia in 2001. In 2007, James earned his Master's of Music in Composition from the University of North Carolina School of the Arts in Winston-Salem, North Carolina. There he also made connections with the Open Dream Ensemble, an outreach arm of UNCSA and the Kenan Institute for the Arts.

James wrote original music for five children's shows and spent three years as music director, tour manager, and company member. In 2014, James received his Doctorate of Musical Arts from The Hartt School of Music at the University of Hartford in Connecticut. James is currently living in Burlington, Vermont with his wife, Meredith and two sons, Jeremiah and Isaac.

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James: You’re hearing recording artist Bobby McFerrin at the 2009 World Science Festival. I asked a couple of my colleges at Vermont Public Radio to watch a video of Bobby leading the crowd in a musical, communal social experiment and give us their reactions.

Timeline: Bone Flutes

Nov 13, 2017
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Music lies close to the foundation of our common humanity. Let me explain what I mean.

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We start with a recording I made almost 13 years ago of my oldest son, Jeremiah. He’s a teenager now, runs track, plays cello and already sings lower than his dad. Like most parents, I remember spending hours holding Jeremiah as an infant; marveling at his little hands and feet and watching him begin to take in the world around him. I laughed as he discovered his own fingers, smiled as he began to recognize faces and listened intently as he began to make and mimic sound. I listened to his coos and cries, his moans and gurgles, waiting to hear his first words. There was a sense of pride that I felt when he said, “Dada” in the tiny, thin baby voice.

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Let’s start from the beginning… Where does music come from? I believe that music is at the heart of everything. It is the language of a vibrating, living cosmos. And this isn’t exaggeration; this is the basis of a current theory about what truly makes up the universe.

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Music has always been created with a specific venue in mind. The composer may not know who will be in the audience or how it will be received but they know it has to be played on an instrument or sound system in a place. Throughout all of history, whether it was a church, a ballroom, a dance hall, an opera house or a dive bar, music was written to fill that location.

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In the 20th century no medium affected culture more than film. The music written to accompany the images, story and dialogue has become a huge part of the movie-going experience. In many cases it’s impossible to separate the musical theme from the film itself; the two become one in our minds.

Timeline: Minimalism

Apr 3, 2017
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The music of the early 20th century was marked by increasing complexity and abstraction. Serialism and the chance practices of John Cage and his followers created an aesthetic that stood opposed to the Romanticism of the century before. In the '60s and '70s a counter-reaction began to emerge as a new group of young composers sought to free themselves from the strict rules of atonalism and serialism and embrace the simplicity of minimalism.

Every morning, for more than 75 years, American composer Elliott Carter would awaken and go to his studio to write music. Carter and his wife, Helen Frost-Jones, lived in the same apartment in Greenwich Village in New York, since 1945. He was one of the most prolific composers of the 20th century, composing over 40 works after the age of 90. Carter’s music encompasses many of the influences and styles that shaped the last 100 years of music.

James Stewart / VPR

Musical labels are useful. The title of a genre or style comes in handy in the record store, on the radio or for streaming services. But these labels can also be problematic and divisive.

James Stewart

In 1952, on a summer day in Woodstock, New York, pianist David Tudor held an outdoor recital of contemporary piano music. During this concert he premiered a new work by composer John Cage. For this performance, Tudor sat at the piano with the lid closed, keys covered for 4 minutes and 33 seconds, split into 3 movements. The results of this performance are still controversial to this day.

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In the second half of the 20th century, technology evolved at an ever-increasing pace. The ability to capture a performance and manipulate recorded sound allowed musicians, artists and composers a freedom that they had never experienced before. It all started with the advent and adoption of magnetic tape.

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As a composer, Aaron Copland desired to be as American in his music as Mussorgsky and Stravinsky were Russian. He was always interested in expressing his Inscape, the true emotions happening within him. His writings, music and instruction helped bring the rigor of the European tradition to American music and influenced a generation of composers.

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His life embodied the American dream. Starting from nothing, he used his talents and musical intuition to build a fortune and an international reputation. George Gershwin’s music touched a diverse array of audiences and forms, from popular song to concerti to opera. In his short life he helped shape the future of American music.

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The modern American musical is usually associated with the “triple threat”, singing, dancing and acting. It is also the culmination of costume and set design utilizing resources and technology that would make Wagner jealous. The line that connects operas to musicals is a complicated one, influenced by shifting cultural tastes, commercial enterprise and a wide ocean.

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Aaron Copland, Jean Franciax, Elliot Carter, Philipp Glass and Quincy Jones; what do all of these musicians have in common? They were all students of Nadia Boulanger. Nadia was a composer, conductor and teacher. For seven decades, out of her family’s flat in Paris, she taught some of the most influential composers of the 20th century.

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Ralph Vaughan Williams spent 60 years in the public eye as a composer, conductor, professor and writer. His work set off a renaissance of English music in the 20th century.

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Russian composer, Dmitri Shostakovich saw himself a Soviet man first and a composer second. He felt that it was his duty to compose music for his countrymen that reflected the heart of the Soviet ideal. He left behind 15 symphonies and 15 string quartets that stand as some of the most influential works of the 20th century.

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As World War II began to rage across Europe and the Pacific, communication technology had spread to most of the world. Radio and recording allowed a unified soundtrack of the conflict shared across continents and oceans. Both sides of the war began to practice the art of propaganda in an effort to inspire their people or demoralize their enemies. Music played an important role in this effort to control the hearts of the populace as each country strove to find their musical voice during the war.

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When he heard harmony, he saw color. Olivier Messiaen was not just a visionary composer; he was an organist, an ornithologist and a professor of world-wide acclaim. He was influenced by Ancient Greek theory, Hindu and Japanese culture, his own Roman Catholic faith and the songs of his feathered friends. His music stands as a pillar of the avant-garde in the 20th century.

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Today, music is everywhere. Invisible signals fly through the air carrying every possible genre and style that a person could ever want. We can access them from our homes, cars and phones enjoying content from around the world. In the 19th century this type of technology was just a dream in the minds of scientists and inventors, but the 20th century saw an explosion of communication and the rise of a device we call the radio.

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