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“The Stargate Tapes” album was released in 2013, and consists of music originally recorded from 1978-1989 by the space music band, Emerald Web (Kat Epple and Bob Stohl). Taken from original master tapes and recorded using revolutionary and prototypal music technology, many of these tracks have never been on vinyl or CD until now. The music is created on a huge variety of synthesizers, along with Lyricon, flutes, guitar, vocals, EWI, and piano.
Kat Epple composed the music and sound effects for this movie trailer.
On April 2, President Obama announced the BRAIN Initiative, Brain Research through Advancing Innovative Neurotechnologies. The project had its genesis in a meeting convened in September 2011 by Kavli Foundation vice-president of science programs Miyoung Chun. The ideas generated at that meeting were published in Neuron (June 2012), as a proposed direction - and a challenge - for neuroscience.
The BRAIN Initiative is an audacious attempt to accelerate our search for solutions to understand and treat devastating disorders like depression, Alzheimer’s, autism and traumatic brain injury; to decipher the inner language of the brain; and even explore the mysteries of the mind. Key scientists include TSN Advisory Board Chair Terry Sejnowski (now a member of the BRAIN Working Group advising NIH Director Francis Collins) and Ralph Greenspan, newly appointed Director of CBAM (Center for Brain Activity Mapping) at UC San Diego.
TSN will be featuring conversations with BRAIN participants, and developing a unique archive of filmed conversations to document the progress of the project.
This video was commissioned by the Kavli Foundation and produced, in collaboration with Science Visualization, by The Science Network.
Posted on September 5th, 2011 by Kat.
Categories: Interviews and press.
Kat Epple specializes in creating custom music for museum exhibitions, gallery installations, educational presentations, archaeological documentaries, and historical tours. Featuring historical period music, dramatic passages, regional, interpretive, and ethnic instruments. The authentic, quality, and appropriate original music is composed to be used as background and foreground music in headset, headphone and amplified speaker systems. Interesting original music complements and enhances the voice over and helps to make the content more interesting and fun. Kat Epple music productions can work within a tight budget and time deadlines. A professional, digital, audio soundtrack can be delivered in whatever file format is required. Some of the museums and galleries featuring Ms. Epple’s music are: Metropolitan Museum of Art, Florida Natural History Museum, Randell Research Institute, Useppa Island Historical Society, Alliance for the Arts, Imaginarium Children’s Museum, Naples Holocaust Museum, Art of the Olympians, Guggenheim Museum, and The Nature Conservancy.
Emmy Award-winning, Peabody Award-winning, and Grammy-nominated composer and flutist, Kat Epple, has performed at the Guggenheim Museum, Metropolitan Museum, United Nations, and the National Gallery. She has released 23 CDs of original music, and composes music for television, including “National Geographic”, PBS, CNN, “Nova”, and “Guiding Light”.
Kat Epple website
Contact at: Music@KatEpple.com
A SOUND ECONOMY
Gulf and Main Magazine
How local musicians are weathering the tough financial storm
by Dan Prowse Whicker
Famous psychologist Abraham Maslow once said, “A musician must make music, an artist must paint, a poet must write, if he is to be ultimately at peace with himself.” Anyone with a strong creative side can relate to that sentiment, as can those who are close to someone with a creative spirit. There is a force deep inside of every artist that compels them to pursue their craft, to share it with the world in some way no matter what their circumstances. Indeed, for the true artist, the hardest of times cannot stop the flow of creativity. Rather, the drive often becomes stronger in the face of adversity.
In Southwest Florida, there is a group of artists that understands this all too well—our local musicians. They entertain us through the good times, when business is booming, people are happy, and money is flowing through the local economy. They are also there for us when times are tough, when things are slow, people need relief, and money is tight.
The business side of music is something that Southwest Florida musician Kat Epple also knows very well. Like Heck, she’s managed to continue with her music full-time despite a tough economy, but she credits her business and marketing skills with keeping her going.
For the past twenty years, Epple has witnessed a lot of change in the local music scene, both good and bad. “About three years ago,” she says, “it seemed like everything just completely dropped.” Art galleries, where Epple would often perform world flute music at openings, lacked budgets for live music, and her musician friends who entertained in clubs went from performing five nights a week to two nights if they were lucky. “I think that there was a lot of panic from club owners and gallery owners, thinking, ‘Oh my God, what are we going to do?’” recalls Epple.
During those years, many of her friends had to seek day jobs to make ends meet. That might not seem so bad to the rest of us, but according to Epple, what it means for musicians is less rehearsal time, less time for networking to find venues, and less time to market themselves musically.
What helped Epple get through some lean years was her differentiation. Since she prides herself on performing only original music, she attracts a different audience and different venues. Art events, concerts, and other special events are her outlets, instead of restaurants and clubs. She also does a lot of work in film scoring and soundtracks, which, despite becoming a little harder to find during the past three years, has kept her employed and able to stay in music full-time.
Epple has found that business savvy must be combined with musical talent if a musician wants to perform full-time. Likewise, fans and venues should understand that their support really can make or break a musician. “They are a business,” she says. “If you don’t support them, they will have to go get a different kind of job, and they may decide to never try it again. It is so much work to make a living as a musician.”
With families, bills, and the usual concerns of life, our local musicians are really just regular people who have a passion for their music and for sharing it with others. Sometimes, it’s easy to forget that the person under the colored lights and behind the microphone has the same daily struggles as everyone else. They seem happy and are uniquely talented; we want them to be above any problems so that they can help us to escape ours. Yet, as most of them will tell you, they need us as much as we need them.
A Florida native with degrees in business and theology, Dan Prowse Whicker is a fiction and freelance writer based in South Fort Myers.
“Lucia’s Letter” Best News Documentary/Special on WGCU (NPR)
Written and produced by Amy Tardif
Original music by Kat Epple
2011 Edward R. Murrow Award
2010 New York Festivals Gold World Medal
The Power of Music
By Mike James
When others would sit on their hands and watch the world go to pot, Kat Epple picks up her flute and plays—and plays.
The Ft. Myers woman, an internationally known recording artist, will be coming to The Renaissance Academy at Florida Gulf Coast University in Punta Gorda Tuesday, March 8 to share her love of music. FGCU is located at 117 Herald Court in downtown Punta Gorda.
“I really enjoy talking about music and bringing new forms of music to people, helping them to see and feel music in a brand new way” she said, “I try to bring more music into their world and more appreciation of music’s power to heal, relax, and help enjoy life in general.
During her talk at FGCU, which will take place from 1:00 to 2:30 p.m. March 8, Epple will talk about her collection of flutes, play music from several of her 23 albums, and talk about the influence of music in people’s lives.
John Steinbeck wrote that humans share a common soul, a tenet to which Epple subscribes.
“Often when we listen to the radio or the tunes in our CD collection we miss out on other music,” she said. “Music can be a way of opening up people to new ideas.”
Epple knows of what she speaks. Her latest project is collaboration with heavy metal guitarist Devin Townsend, who grew up listening to Epple’s haunting, evocative flute music. She speaks of her travels to other lands where, she says, she starts out as a “blonde American woman but, as I play, I become an honored guest and a member of the village.”
Epple even talks to the animals, ala Dr. Doolittle. She has played for dolphins and elephants, and remarked on how their appreciation often mirrors the reception from humans.
Of a group of dolphins, for example, she said that “the babies would listen for a while, swim away and come back, which the juveniles didn’t stick around—sort of like our demographics.” She recalls playing for an elephant at the Oakland, California zoo, and how the creature twirled her trunk in lazy arabesques while swaying with her front legs.
The busy flutist will continue her benefit work for the environment March 19, 2011 at the Bonita Springs Riverside Park Bandshell during a fundraiser for Corkscrew Regional Ecosystem Watershed Land Trust, one of many contributions she makes.
She is an Emmy Award-winning performer and composer who has written music for television shows as varied as those of National Geographic or the soaps.
“I really love that, making the music for all of those soap operas,” she said. “Almost any mood or theme will come up in the soaps. I welcome the challenge of stepping outside my musical comfort zone to create music I otherwise would not do”
The Renaissance Academy is committed to providing diverse learning opportunities in Charlotte County.
For details on how to reserve a seat for this event contact Nancy Staub at FGCU, 941-505-0130.
Mike James is a freelance writer.
Year in review for Knight Arts: Miami dance performance was ‘transformational’
Dancers from the Merce Cunningham Dance Company wow Miami at the Adrienne Arsht Center. Courtesy of the Adrienne Arsht Center/Photo by Justin Namon.
BY DENNIS SCHOLL
I love a good top ten list, and this year has been a year of transformative experiences for the Knight Arts program. So I thought I’d take a minute and list some of the amazing cultural events that took place this year in the eight cities where Knight Arts concentrates funding
I’ve been preaching the mantra that the future for arts presenters is to let audiences curate their own experience. Never was that approach more evident than in the six, 30-minute presentations by the Merce Cunningham Dance Company in Miami during Art Basel week.
The place where the audience typically sits had been turned in a 30-foot high sculpture of white boxes, exercise balls and other flotsam and jetsam by Miami’s Daniel Arsham. Spectators proceeded to the stage where they were free to move around three areas where the dancers, dressed in costumes designed by Robert Rauschenberg, performed.
The dancers moved between three stages, with two to six dancers per stage. Tired of the first area? Move to the second. Stand as close to the edge of the dance floor as you like, hear the dancers’ exertion, see the sheen of their sweat. This is no “I dance, you sit still and watch for two hours from 30 rows away” performance … instead the dancers’ opportunity to move was also made available to the audience.
Alberto Ibargüen, Knight Foundation’s president and CEO, has been telling me for years how special the troupe is (I think he went to all six shows over three nights!). Seeing the awestruck look on the faces of the audience members was confirmation of the transformational nature of the experience.
For the complete list, with events from other cities, go to Knightarts.org.
This Article appeared in the Miami Herald: Sonic Combine performs with Cunningham Dance Company
With the audience on stage, it’s real `Event’
BY JORDAN LEVIN
Merce Cunningham may have died a year and a half ago, his dances are still vividly, confoundingly alive. The Event that the Merce Cunningham Dance Company performed at the Adrienne Arsht Center Thursday night brought to exhilarating life the value Cunningham placed on looking and listening — heightening your awareness to deliciously disorienting heights.
A Cunningham Event is a collage of sections from different dances, and each one is different. The Event staged here in Miami, part of the MCDC’s final, worldwide Legacy Tour and repeating twice a night through Saturday, was layered with other unique factors. The audience streamed into the Ziff Ballet Opera House to find the orchestra seats filled with a towering pyramid of white cubes and globes, a sculptural “set'’ created by artist Daniel Arsham. Instead of sitting in the plush seats, the audience stands on the cavernous, exposed stage, surrounding the 13 dancers performing on three large stage areas, one sunken, one at floor level, one a low platform, arranged in a sort of giant cloverleaf pattern.
The sense of anticipation and uncertainty starts even before the performance — where should you stand? Look? The score played by musicians Kat Epple, Laurence Getfored, John King and Lawrence Voytek, seated around the perimeter, bounces and echoes from speakers also ringing the stage, yawning, eerie, sweetly ricocheting sounds. Christine Shallenberg’s harsh white lights illuminate the towering black walls as much as the performance areas.
Once the splendid dancers stride in and begin, things become even more dizzying. Clad in brightly colored unitards designed by Robert Rauschenberg, they dance simultaneously in all three stage areas, in shifting, self-contained worlds of dancing. Everywhere you look you see movement — serene Andrea Weber lifted up and over by a quartet of men, a woman slowly tilting into arabesque, a hopping trio, a leg slashing up here, a head turned there — and you see it through the bodies and heads of the audience, drifting and walking, blocking your view of one stage, framing another. Surrounded by echoing sound and moving limbs, you find yourself more aware — as if the whole, enormous space were a kind of performing bubble.
Sometimes the sections of dancing seemed coordinated: three trios taking place simultaneously. There seemed to be more lifts on the sunken stage, raising your awareness of the towering height of the ceiling. Daniel Madoff did a section of Totem Ancestor, a jagged solo Cunningham created in 1942, and it still looks fresh and startling.
The dancers seem more human when they’re so close — we see them smile, sweat, catch each other’s eyes, and as they stretch or sit alongside the performance area, waiting to enter, they still seem part of the dance. Everything, in fact, seems part of the dance.
Read more: http://www.miamiherald.com/2010/12/03/1954809/with-the-audience-on-stage-its.html#ixzz18QgtCjL2
Eight time Emmy Award winning composer and flautist Kat Epple has released 14 CDs of original music both as a solo artist and in harmony with others. She composes and produces film and video soundtracks for the National Geographic Society, Nova, Guiding Light and others. A once bashful freshman intent on learning anthropology, Kat says she first began performing and improvising as an Edison College freshman. “I would play flute under the library stairs because it had a nice reverberation. People would hear the flute and not know where it was coming from, and occasionally another musician would find me and start to play guitar or another instrument with me. I played for my own enjoyment and at Edison I realized that it could be appreciated by others. It didn’t have to be Mozart. That’s where I started becoming a composer. “
A student of anthropology, she found inspiration in Professor George Huggins, who taught in the 1970s. “When I travel I study the music and collect the flutes from other cultures,” she says. Edison offered a “young, progressive atmosphere that encouraged spontaneity. The teachers and staff were all very approachable. I couldn’t afford to go to the university right away. Edison provided a gentler way to be tossed out of the nest. “
Her peers and instructors nurtured an innate yearning for a life of accomplishments. “I think I always set out to have an exciting life and I wouldn’t settle for anything less,” she says. Schooled in the midst of the Viet Nam war and the Women’s Liberation Movement, she made up her mind to “grab life with both hands.”
In the 30 years since graduation from Edison in 1972, she has traveled the world over, exploring the complex nature of communication and music’s influence on all forms of life. Using her flute to initiate a dialog understood across the planet, she has played for birds and frogs, elephants and bush men. The crystalline clarity of her music draws admiring audiences wherever she goes. “In my travels I’ve been many places where I didn’t speak the language and would start out being considered an outsider and then after playing music it would be a quick transition to someone they would want to know better. “ She’s seen dolphins hover at the surface of the water to listen, and elephants within earshot dance.
Her biggest challenge, she says, is marshalling the courage to “to step on stage in front of thousands of people. If people are sitting there in a darkened room [waiting to hear your play], you need to create something that is worthy of that.” The United States representative to a world wide peace organization, she hopes to dedicate the remainder of her life to fostering world understanding and tolerance through her music.