russia was given the world through twentieth century and these three composers just for example stravinsky prokofiev just the code which nearly every week in my plans i know well i've noticed that your orchestra is playing more russian composers of the twentieth century stravinsky just coffee if you just mention the then then there ever since you you you put in she calls giggling and i don't know traditionally well known is that what we started with is it because music for you isn't just business but it's a mission you want to promote the people that you think are. a little bit forgotten in some places you see great composers they are able to work at least twenty five thirty years maybe schubert of mozart or not so lucky they didn't leave that long but we need twenty five thirty or forty or fifty years they compose a lot some of those pieces compositions become very things even verdi is more famous or prose and less famous so the truth about chick or ski is that even joe cosby has more famous. compositions on them that sort of real world in general is hugely popular i mean ski years prokof

what bradley did is he took performances of musicians, in this case, a clarinetist playing stravinskywe had people come into the laboratory and we turn off the sound. as they listened, they had to write what they heard going on emotional and structurally. a different group of people came in and they had the sound on and the video off. a third group had both. it turned out the group that only saw the performance and were unfamiliar with the ps new a great deal about the emotional structure, when the emotional peaks were, they knew a great deal about the tension in the peace, and i knew a great deal about where the phrases began, just by looking. but when you saw and heard, the amount of information conveyed was more than the sum of its parts. we corroborated this later with elektra physiological measurements, skin response, the amount you sweat while listening or viewing, correlated with the musical content of the peace. -- piece. >> maybe i should pay more attention to my sweating. >> to the extent that your body movements are evocative of time and place, feelings, they are naturally

the lady i went with, who was the men for for stravinsky, leonard bernstein, i studied with her in parise years. she said, there are only 12 notes. you learn what everybody did with them until they send 13, you will be okay. nothing has ever bothered me no matter whether it is big band, bee-bop, do-op, hip-hop, no problem. >> it is hard to go anywhere without finding your imprint, whether it is television or music. >> did you imagine when you were playing that trumpet you would be everywhere? >> absolutely not. i have learned to -- art linkletter used to live next door to me before he died. he used to say to me, quincy, just make god laugh. don't make plans. we have nothing to do with it. i have always believed that music is, we are terminals for a higher power. i can feel it. it goes through you, man. i get curious how you guys get all these ego. the ego is the higher power coming through you. i believe that. as you go to your creativity with humility with grace. >> we will be right back. >> would you consider doing a record for me? i said, man, are you crazy? is the pope a catholic. i