OPEN SOURCE: On The Margins of Music - Alan Lomax & Anthony Burgess

First, our guest John Szwed has written a classic American biography of Alan Lomax, aptly subtitled "The Man Who Recorded the World." Alan Lomax's career began when he was 15, when he and his father set off with early Edison recording equiptment on what they called a "hobo-ing" trip through the South at the height of the Great Depression. Part talent scout, part anthropologist, Alam Lomax became obsessed with rooting global cultures onto musical elements, performance styles, and the way that people stand and move together in space.

Then, conductor Paul Philips has been leading the Brown Unversity orchestra this winter in the symphonic music of Anthony Burgess. Phillips has just published "A Clockwork Counterpoint," exploring the interplay between literary and musical structures in Burgess's impressive cannon. Burgess's masterpiece "A Clockwork Orange," he tells us, was written in sonata form. Burgess's orchestral style was post-modern before post-modernism had a name -- a blend of styles and rhytms, instruments and vocals, ballet and raunchy pub songs -- and somehow, it all fits together.

First, our guest John Szwed has written a classic American biography of Alan Lomax, aptly subtitled "The Man Who Recorded the World." Alan Lomax's career began when he was 15, when he and his father set off with early Edison recording equiptment on what they called a "hobo-ing" trip through the South at the height of the Great Depression. Part talent scout, part anthropologist, Alam Lomax became obsessed with rooting global cultures onto musical elements, performance styles, and the way that people stand and move together in space.

Then, conductor Paul Philips has been leading the Brown Unversity orchestra this winter in the symphonic music of Anthony Burgess. Phillips has just published "A Clockwork Counterpoint," exploring the interplay between literary and musical structures in Burgess's impressive cannon. Burgess's masterpiece "A Clockwork Orange," he tells us, was written in sonata form. Burgess's orchestral style was post-modern before post-modernism had a name -- a blend of styles and rhytms, instruments and vocals, ballet and raunchy pub songs -- and somehow, it all fits together.