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Follow host Sasha Khokha on Twitter \u003ca href=\"https://twitter.com/KQEDSashaKhokha\">@KQEDSashaKhokha\u003c/a>, Senior editor Victoria Mauleón \u003ca href=\"https://twitter.com/mauleonsf\">mauleonSF\u003c/a>, Director Suzie Racho \u003ca href=\"https://twitter.com/SRacho\">@sracho\u003c/a>\u003cbr>Email us: \u003ca href=\"mailto:calreport@kqed.org\">calreportmag@kqed.org\u003c/a> \u003cbr>Tweet us \u003ca href=\"https://twitter.com/CalReportTweets\">@CalReportTweets\u003c/a>","blurbImageAlt":"Illustration of a brown bear with ocean sunset in background","blurbImageUrl":"https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg","previewID":""},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"kqed/post-list","attrs":{"layout":"cardsRecent","query":"posts/news,arts,science?program=the-california-report-magazine,tcrarchive&queryId=15e2893a01e","title":"The California Report Magazine Episodes","useSSR":true,"seeMore":true,"sizeBase":12,"sizeSeeMore":12},"innerBlocks":[],"innerHTML":"","innerContent":[]},{"blockName":"core/paragraph","attrs":[],"innerBlocks":[],"innerHTML":"\n\u003cp>\u003c/p>\n","innerContent":["\n\u003cp>\u003c/p>\n"]},{"blockName":"kqed/section","attrs":{"heading":""},"innerBlocks":[{"blockName":"core/heading","attrs":{"textAlign":"left"},"innerBlocks":[],"innerHTML":"\n\u003ch2 class=\"wp-block-heading has-text-align-left\">\u003cstrong>Funding for TCR Is Provided By\u003c/strong>\u003c/h2>\n","innerContent":["\n\u003ch2 class=\"wp-block-heading has-text-align-left\">\u003cstrong>Funding for TCR Is Provided By\u003c/strong>\u003c/h2>\n"]},{"blockName":"core/paragraph","attrs":[],"innerBlocks":[],"innerHTML":"\n\u003cp>Support for The California Report is provided by \u003ca href=\"https://www.chcf.org/\">California Health Care Foundation\u003c/a>, \u003ca href=\"https://schmidtfutures.com/\">Eric & Wendy Schmidt\u003c/a>, \u003ca href=\"https://www.irvine.org/\">The James Irvine Foundation\u003c/a>, \u003ca href=\"https://www.montereybayaquarium.org/\">Monterey Bay Aquarium\u003c/a>, \u003ca href=\"https://stanfordhealthcare.org/\">Stanford Health Care\u003c/a>, and \u003ca href=\"https://westly.org/\">Westly Foundation\u003c/a>.\u003c/p>\n","innerContent":["\n\u003cp>Support for The California Report is provided by \u003ca href=\"https://www.chcf.org/\">California Health Care Foundation\u003c/a>, \u003ca href=\"https://schmidtfutures.com/\">Eric & Wendy Schmidt\u003c/a>, \u003ca href=\"https://www.irvine.org/\">The James Irvine Foundation\u003c/a>, \u003ca href=\"https://www.montereybayaquarium.org/\">Monterey Bay Aquarium\u003c/a>, \u003ca href=\"https://stanfordhealthcare.org/\">Stanford Health Care\u003c/a>, and \u003ca href=\"https://westly.org/\">Westly Foundation\u003c/a>.\u003c/p>\n"]}],"innerHTML":"\n\u003cdiv class=\"wp-block-kqed-section\">\n\n\u003c/div>\n","innerContent":["\n\u003cdiv class=\"wp-block-kqed-section\">",null,"\n\n",null,"\u003c/div>\n"]},{"blockName":"kqed/biographies","attrs":{"heading":"The Team","bioType":"white"},"innerBlocks":[{"blockName":"kqed/biographies-item","attrs":{"mediaURL":"https://ww2.kqed.org/app/uploads/2021/07/vmauleon-1542x1542-1.jpg","mediaAlt":"Victoria Mauleon","name":"Victoria Mauleón","position":"Senior Editor, The California Report Magazine","bio":"\u003ca href=\"/author/vmauleon\">Victoria Mauleó\u003c/a>\u003ca href=\"https://www.kqed.org/author/vmauleon\">n\u003c/a> is The California Report Magazine's senior editor, overseeing the production and editorial direction of the program. 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She is a graduate of San Francisco State’s Broadcasting and Electronic Communication Arts program, where she managed the school’s radio station and hosted a sound art show. In addition to working on The California Report Magazine, Amanda has been KQED’s radio archivist and reported stories for the Bay Curious podcast. 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Rain. Barbed Wire. Sounds of a Vineyard Become A Musical Score in ‘Harvest in Twelve Parts’ \u003c/b>\u003c/a>\u003c/h2>\n\u003cp>In California, music and winemaking seem to go together. Visit any of the state’s countless wineries and you can hear all kinds of music, from jazz and folk, to classical and Americana. But one artist on the Central Coast takes that connection especially seriously: he spent years making an album full of sounds from a vineyard. Reporter Benjamin Purper takes us to San Luis Obispo to learn more about a sonic journey through a Central Coast wine harvest.\u003c/p>\n\u003ch2 class=\"routes-Site-routes-Post-Title-__Title__title\">\u003ca href=\"https://www.kqed.org/news/12005160/how-this-petaluma-cheesemaker-finds-inspiration-in-music\">\u003cb data-stringify-type=\"bold\">How Music Inspires the Cheeses at this Petaluma Dairy\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Soyoung Scanlan is one of California’s most celebrated cheese-makers. But years ago, before she’d ever really eaten cheese, she had another love. Growing up in South Korea, she trained in classical piano. So every cheese she’s made over the last 25 years has a musical name and connection. For her series California Foodways, Lisa Morehouse visited the cheesemaker in the hills outside Petaluma.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kpbs.org/news/living/2024/08/15/five-years-ago-he-lost-his-vision-at-the-estuary-he-found-other-ways-to-see\">\u003cstrong>After Losing His Vision, a Tour Guide Finds Other Ways To See\u003c/strong>\u003c/a>\u003c/h2>\n\u003cp>KPBS in San Diego recently launched a new series, sharing stories of volunteers. We’ll be bringing you some of those profiles, starting with Ron Peterson, a guide at the Tijuana River Estuary. After losing his sight, Ron now leads a very unique kind of tour.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1726860736,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":256},"headData":{"title":"How These Wine and Cheesemakers Fold Music Into Their Recipes | KQED","description":"Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast. Birds. Rain. Barbed Wire. Sounds of a Vineyard Become A Musical Score in ‘Harvest in Twelve Parts’ In California, music and winemaking seem to go together. Visit any of the state’s countless wineries and you can hear all kinds of music, from jazz and folk, to classical and Americana. But one artist on the Central Coast takes that connection especially seriously: he spent years making an album full of sounds from a vineyard. 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Rain. Barbed Wire. Sounds of a Vineyard Become A Musical Score in ‘Harvest in Twelve Parts’ \u003c/b>\u003c/a>\u003c/h2>\n\u003cp>In California, music and winemaking seem to go together. Visit any of the state’s countless wineries and you can hear all kinds of music, from jazz and folk, to classical and Americana. But one artist on the Central Coast takes that connection especially seriously: he spent years making an album full of sounds from a vineyard. Reporter Benjamin Purper takes us to San Luis Obispo to learn more about a sonic journey through a Central Coast wine harvest.\u003c/p>\n\u003ch2 class=\"routes-Site-routes-Post-Title-__Title__title\">\u003ca href=\"https://www.kqed.org/news/12005160/how-this-petaluma-cheesemaker-finds-inspiration-in-music\">\u003cb data-stringify-type=\"bold\">How Music Inspires the Cheeses at this Petaluma Dairy\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Soyoung Scanlan is one of California’s most celebrated cheese-makers. But years ago, before she’d ever really eaten cheese, she had another love. Growing up in South Korea, she trained in classical piano. So every cheese she’s made over the last 25 years has a musical name and connection. For her series California Foodways, Lisa Morehouse visited the cheesemaker in the hills outside Petaluma.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kpbs.org/news/living/2024/08/15/five-years-ago-he-lost-his-vision-at-the-estuary-he-found-other-ways-to-see\">\u003cstrong>After Losing His Vision, a Tour Guide Finds Other Ways To See\u003c/strong>\u003c/a>\u003c/h2>\n\u003cp>KPBS in San Diego recently launched a new series, sharing stories of volunteers. We’ll be bringing you some of those profiles, starting with Ron Peterson, a guide at the Tijuana River Estuary. After losing his sight, Ron now leads a very unique kind of tour.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/12005008/how-these-wine-and-cheese-makers-make-music-part-of-the-recipe","authors":["236"],"programs":["news_72","news_26731"],"categories":["news_21291"],"featImg":"news_12004835","label":"source_news_12005008"},"news_12005040":{"type":"posts","id":"news_12005040","meta":{"index":"posts_1716263798","site":"news","id":"12005040","score":null,"sort":[1726858804000]},"guestAuthors":[],"slug":"birds-rain-barbed-wire-sounds-of-a-vineyard-become-a-musical-score-in-harvest-in-twelve-parts","title":"Birds. Rain. Barbed Wire. Sounds of a Vineyard Become A Musical Score in ‘Harvest in Twelve Parts’","publishDate":1726858804,"format":"standard","headTitle":"Birds. Rain. Barbed Wire. Sounds of a Vineyard Become A Musical Score in ‘Harvest in Twelve Parts’ | KQED","labelTerm":{"term":26731,"site":"news"},"content":"\u003cp>On a recent foggy morning, composer and winemaker Brook Munro stood perfectly still next to a row of grapevines, listening to a chorus of birds and insects. He likes to tune into the sounds of the vineyard early, well before any visitors show up to the tasting room at the Claiborne and Churchill Winery in San Luis Obispo’s Edna Valley.\u003c/p>\n\u003cp>\u003ca href=\"https://www.brookmunro.com/\">Munro\u003c/a> is keenly aware of the sounds of the winemaking process — as both a lifelong musician and a professional winemaker. He spent years figuring out how to combine these two passions with his debut album \u003ca href=\"https://www.brookmunro.com/test-music\">“Harvest in Twelve Parts,” which draws on \u003c/a>sounds he recorded from the wine harvest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wD8BgLk7pQ8\u003c/p>\n\u003cp>“One of my favorite things to do is to record unique sounds or ordinary sounds and manipulate them — bend them to my will, so to speak,” said Munro, who’s toured with a rock band called “The Mighty Fine” and scored several \u003ca href=\"https://www.brookmunro.com/watch\">indie films\u003c/a>. “I’ve recorded everything from kitchen sinks to toothbrushes to the sound of cars.”\u003c/p>\n\u003cfigure id=\"attachment_12004870\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004870\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED.jpg\" alt=\"A man wearing a hat and a dark shirt holds a wine glass behind a counter in a tasting room.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In Clairborne & Churchill Winery’s tasting room, Brook Munro taps a wine glass to create a sound he used throughout “Harvest in Twelve Parts.” \u003ccite>(Benjamin Purper for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2021, Munro — who’s worked as a manager at Claiborne and Churchill for 15 years — had an idea: to record the sounds of the vineyard during harvest season, one of the busiest and most vibrant parts of the winemaking process.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The artistry of winemaking and music-making are quite similar. There [are] a lot of inputs and a lot of variables that are controlled and some that are not controlled,” Munro said. “This idea just kind of struck me: what would it sound like if I could express winemaking from a musical perspective?”\u003c/p>\n\u003cfigure id=\"attachment_12004869\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED.jpg\" alt=\"A man wearing a hat and dark shirt has his hands in a grapevine.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">At Claiborne & Churchill Vineyard, Brook Munro demonstrates how pulling on a trellis wire creates a sound he used on the track “Jubilaüm.” \u003ccite>(Benjamin Purper for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Munro took a field recorder and captured sounds like bird calls, the twang of a trellis wire, and the splash of rainwater hitting the grapes. He then manipulated those sounds in his music software to create virtual “instruments” he could arrange into melodies and harmonies.\u003c/p>\n\u003cp>“At the time, I didn’t know what the album would sound like,” he said. “I knew that it would be experimental to a degree. I didn’t know how much. I thought perhaps I [could] make the whole album literally just the sounds from the winery.”\u003c/p>\n\u003cfigure id=\"attachment_12004874\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED.jpg\" alt=\"A man wearing headphones, a hat and jean jacket holds two mallets near a wine barrel.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brook Munro records himself hitting a wine barrel with mallets. \u003ccite>(Courtesy of Michelle Cordova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With two harvests’ worth of sounds, Munro got to work arranging them into music. Some of the tracks on “Harvest in Twelve Parts” have clear melodies, while others feature more of an ambient, experimental soundscape. Munro also decided to blend the recordings with traditional instruments like cello and guitar to create a unique musical experience.\u003c/p>\n\u003cp>But it’s not just experimentation for its own sake — for Munro, every song has a story, even if there aren’t any words.\u003c/p>\n\u003cp>“I wanted it to be a sonic journey through harvest,” he said. “And to do so, it had to go through kind of an arc in a way…The first track is a prologue, the final track is an epilogue, and everything else is the journey.”\u003c/p>\n\u003cfigure id=\"attachment_12004871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED.jpg\" alt='Rows of grapevines with a sign that reads \"Pinot Noir.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rows of pinot noir grapevines at Claiborne & Churchill Winery in San Luis Obispo’s Edna Valley. \u003ccite>(Benjamin Purper for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each of the album’s twelve tracks has distinct sounds and moods. Tracks like “Jubilaüm” and “Under the Harvest Sky” feature recordings of birds and have a tranquil quality, while some tracks like “What We Overcome” use rain sounds to create a dire, intense feel. Only one track, “Harvest for Orchestra,” was recorded exclusively on traditional instruments — by the Cape Town Philharmonic — with no processed vineyard sounds.[aside postID=\"arts_13963901,arts_13961151\" label=\"Related Stories\"]\u003c/p>\n\u003cp>On other tracks, it can be hard to tell the difference between traditional instruments and field recordings that Munro digitally processed to sound like instruments. “Macerated Lines,” for example, begins with a xylophone-like sound that Munro created by striking wine glasses with a soft mallet.\u003c/p>\n\u003cp>“Through some digital processing, I could then create this really cool sound, almost like a toy piano,” he said. “Probably 75 percent of the album is all recorded on nontraditional instruments, but a lot of them are layered in such a way where you could hear a sound, and it’s actually four different winery sounds creating one tone.”\u003c/p>\n\u003cfigure id=\"attachment_12004873\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED.jpg\" alt=\"A hand crushes grapes while the other holds audio equipment.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brook Munro records himself crushing wine grapes during harvest season. \u003ccite>(Courtesy of Michelle Cordova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Munro said he hopes “Harvest in Twelve Parts” inspires others to embrace experimentation — in both music and wine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If someone else took their experiences into the vineyard, into the cellar, into the barrel room, and they crafted something musically or artistically, it would be beautiful, and it wouldn’t sound like me — it would sound like them,” he said. “Music and wine, the end result is always going to be very much an extension of the person who created it.”\u003c/p>\n\n","blocks":[],"excerpt":"At the Claiborne and Churchill Winery in San Luis Obispo’s Edna Valley, composer and winemaker Brook Munro has written work inspired by the harvest that incorporates the sounds of the vineyard.","status":"publish","parent":0,"modified":1726686998,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":928},"headData":{"title":"Birds. Rain. Barbed Wire. Sounds of a Vineyard Become A Musical Score in ‘Harvest in Twelve Parts’ | KQED","description":"At the Claiborne and Churchill Winery in San Luis Obispo’s Edna Valley, composer and winemaker Brook Munro has written work inspired by the harvest that incorporates the sounds of the vineyard.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Birds. Rain. Barbed Wire. Sounds of a Vineyard Become A Musical Score in ‘Harvest in Twelve Parts’","datePublished":"2024-09-20T12:00:04-07:00","dateModified":"2024-09-18T12:16:38-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"True","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/286cc785-fcaf-4fce-a7ba-b1ed01700fcf/audio.mp3","sticky":false,"nprByline":"Benjamin Purper","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/12005040/birds-rain-barbed-wire-sounds-of-a-vineyard-become-a-musical-score-in-harvest-in-twelve-parts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent foggy morning, composer and winemaker Brook Munro stood perfectly still next to a row of grapevines, listening to a chorus of birds and insects. He likes to tune into the sounds of the vineyard early, well before any visitors show up to the tasting room at the Claiborne and Churchill Winery in San Luis Obispo’s Edna Valley.\u003c/p>\n\u003cp>\u003ca href=\"https://www.brookmunro.com/\">Munro\u003c/a> is keenly aware of the sounds of the winemaking process — as both a lifelong musician and a professional winemaker. He spent years figuring out how to combine these two passions with his debut album \u003ca href=\"https://www.brookmunro.com/test-music\">“Harvest in Twelve Parts,” which draws on \u003c/a>sounds he recorded from the wine harvest.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wD8BgLk7pQ8'\n title='//www.youtube.com/embed/wD8BgLk7pQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“One of my favorite things to do is to record unique sounds or ordinary sounds and manipulate them — bend them to my will, so to speak,” said Munro, who’s toured with a rock band called “The Mighty Fine” and scored several \u003ca href=\"https://www.brookmunro.com/watch\">indie films\u003c/a>. “I’ve recorded everything from kitchen sinks to toothbrushes to the sound of cars.”\u003c/p>\n\u003cfigure id=\"attachment_12004870\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004870\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED.jpg\" alt=\"A man wearing a hat and a dark shirt holds a wine glass behind a counter in a tasting room.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In Clairborne & Churchill Winery’s tasting room, Brook Munro taps a wine glass to create a sound he used throughout “Harvest in Twelve Parts.” \u003ccite>(Benjamin Purper for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2021, Munro — who’s worked as a manager at Claiborne and Churchill for 15 years — had an idea: to record the sounds of the vineyard during harvest season, one of the busiest and most vibrant parts of the winemaking process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The artistry of winemaking and music-making are quite similar. There [are] a lot of inputs and a lot of variables that are controlled and some that are not controlled,” Munro said. “This idea just kind of struck me: what would it sound like if I could express winemaking from a musical perspective?”\u003c/p>\n\u003cfigure id=\"attachment_12004869\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED.jpg\" alt=\"A man wearing a hat and dark shirt has his hands in a grapevine.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">At Claiborne & Churchill Vineyard, Brook Munro demonstrates how pulling on a trellis wire creates a sound he used on the track “Jubilaüm.” \u003ccite>(Benjamin Purper for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Munro took a field recorder and captured sounds like bird calls, the twang of a trellis wire, and the splash of rainwater hitting the grapes. He then manipulated those sounds in his music software to create virtual “instruments” he could arrange into melodies and harmonies.\u003c/p>\n\u003cp>“At the time, I didn’t know what the album would sound like,” he said. “I knew that it would be experimental to a degree. I didn’t know how much. I thought perhaps I [could] make the whole album literally just the sounds from the winery.”\u003c/p>\n\u003cfigure id=\"attachment_12004874\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED.jpg\" alt=\"A man wearing headphones, a hat and jean jacket holds two mallets near a wine barrel.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brook Munro records himself hitting a wine barrel with mallets. \u003ccite>(Courtesy of Michelle Cordova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With two harvests’ worth of sounds, Munro got to work arranging them into music. Some of the tracks on “Harvest in Twelve Parts” have clear melodies, while others feature more of an ambient, experimental soundscape. Munro also decided to blend the recordings with traditional instruments like cello and guitar to create a unique musical experience.\u003c/p>\n\u003cp>But it’s not just experimentation for its own sake — for Munro, every song has a story, even if there aren’t any words.\u003c/p>\n\u003cp>“I wanted it to be a sonic journey through harvest,” he said. “And to do so, it had to go through kind of an arc in a way…The first track is a prologue, the final track is an epilogue, and everything else is the journey.”\u003c/p>\n\u003cfigure id=\"attachment_12004871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED.jpg\" alt='Rows of grapevines with a sign that reads \"Pinot Noir.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rows of pinot noir grapevines at Claiborne & Churchill Winery in San Luis Obispo’s Edna Valley. \u003ccite>(Benjamin Purper for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each of the album’s twelve tracks has distinct sounds and moods. Tracks like “Jubilaüm” and “Under the Harvest Sky” feature recordings of birds and have a tranquil quality, while some tracks like “What We Overcome” use rain sounds to create a dire, intense feel. Only one track, “Harvest for Orchestra,” was recorded exclusively on traditional instruments — by the Cape Town Philharmonic — with no processed vineyard sounds.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13963901,arts_13961151","label":"Related Stories "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On other tracks, it can be hard to tell the difference between traditional instruments and field recordings that Munro digitally processed to sound like instruments. “Macerated Lines,” for example, begins with a xylophone-like sound that Munro created by striking wine glasses with a soft mallet.\u003c/p>\n\u003cp>“Through some digital processing, I could then create this really cool sound, almost like a toy piano,” he said. “Probably 75 percent of the album is all recorded on nontraditional instruments, but a lot of them are layered in such a way where you could hear a sound, and it’s actually four different winery sounds creating one tone.”\u003c/p>\n\u003cfigure id=\"attachment_12004873\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED.jpg\" alt=\"A hand crushes grapes while the other holds audio equipment.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brook Munro records himself crushing wine grapes during harvest season. \u003ccite>(Courtesy of Michelle Cordova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Munro said he hopes “Harvest in Twelve Parts” inspires others to embrace experimentation — in both music and wine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If someone else took their experiences into the vineyard, into the cellar, into the barrel room, and they crafted something musically or artistically, it would be beautiful, and it wouldn’t sound like me — it would sound like them,” he said. “Music and wine, the end result is always going to be very much an extension of the person who created it.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/12005040/birds-rain-barbed-wire-sounds-of-a-vineyard-become-a-musical-score-in-harvest-in-twelve-parts","authors":["byline_news_12005040"],"programs":["news_72","news_26731"],"categories":["news_8"],"tags":["news_1425","news_17286","news_22018","news_3800","news_1275"],"featImg":"news_12004875","label":"news_26731"},"news_12005160":{"type":"posts","id":"news_12005160","meta":{"index":"posts_1716263798","site":"news","id":"12005160","score":null,"sort":[1726830012000]},"guestAuthors":[],"slug":"how-this-petaluma-cheesemaker-finds-inspiration-in-music","title":"How Music Inspires the Cheeses at This Petaluma Dairy","publishDate":1726830012,"format":"standard","headTitle":"How Music Inspires the Cheeses at This Petaluma Dairy | KQED","labelTerm":{},"content":"\u003cp>Soyoung Scanlan is one of California’s most celebrated cheesemakers, but growing up in South Korea, she never imagined this career. In fact, cheese wasn’t even part of her early life.\u003c/p>\n\u003cp>“I didn’t eat cheese until I was like 18 or 19 because cheese was not available,” she said. “From the U.S. Army, we could get processed cheese, like Kraft singles. Yellow plastic-looking things.”\u003c/p>\n\u003cp>She was born in Seoul in the late 1960s. Both her parents had experienced the Japanese occupation, the Korean War, and poverty. They connected over their shared love of classical music, Scanlan explained.\u003c/p>\n\u003cp>“The only place there were pianos was in the churches. So the way my father met my mom was he was playing Chopin, and my mom walked into the church, and they fell in love.”\u003c/p>\n\u003cp>Growing up, Scanlan said that their house had no refrigeration, but it did have a garden and lots of music. Her father was her first piano teacher.\u003c/p>\n\u003cp>“I read music first,” she said. “I learned how to read music before I learned the alphabet.”\u003c/p>\n\u003cfigure id=\"attachment_12004840\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004840\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED.jpg\" alt=\"An Asian woman sits playing a grand piano.\" width=\"2000\" height=\"1362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-1536x1046.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-1920x1308.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soyoung Scanlan plays her piano at her home in San Francisco on Sept. 5, 2024. Music has always been a part of Scanlan’s life. She named her dairy, Andante Dairy, after a musical tempo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scanlan studied chemical engineering, got a graduate degree in biotechnology, and worked in a cancer research center. She came to the U.S. to get a Ph.D. in molecular biology. Her first week in Boston, she went to the symphony, and ended up sitting next to the man who would become her husband.\u003c/p>\n\u003cp>The couple went on a trip to France, rented a farmhouse and took a fateful visit to a farmers market, where Scanlan met a cheesemonger who gave her a perfectly ripe piece of goat cheese from the hill town of \u003ca href=\"https://www.paxtonandwhitfield.co.uk/shop/buy-cheese-online/by-type/soft-cheese/rocamadour\">Rocamadour\u003c/a>.\u003c/p>\n\u003cp>“It was almost melting on my hand, like ice cream,” Scanlan said with a kind of reverence. She remembers the near-liquid center almost oozing out of the delicate rind. She basically had to drink it out of her hand.\u003c/p>\n\u003cp>“That was the first goat milk cheese in my life,” she said, “and it had so much flavor. I said, ‘I need to go to the place where it was made because I think I can actually taste the rocks and the air and something very dry. I can taste it.’ ”\u003cbr>\n[ad fullwidth]\u003cbr>\nThey spent a day driving to Rocamadour, where she said the rocks and the hills and the air did smell like that cheese she’d tasted.\u003c/p>\n\u003cp>The experience was an epiphany about the power of milk.\u003c/p>\n\u003cp>Scanlan said she read hundreds of books and articles about milk’s biophysical properties and about its history. In the late 1990s, now living in Northern California, she met other cheese obsessives and started making a cheese that used milk from both goats and cows. She found it fulfilled her scientifically curious mind more than life in a lab.\u003c/p>\n\u003cp>“But I had no clue if it was good or not,” she said.\u003c/p>\n\u003cfigure id=\"attachment_12004835\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED.jpg\" alt=\"Two women pour milk from a pale into a large metal vat.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcela Mejia (left) and Soyoung Scanlan pour goat milk into a cheese vat at Andante Dairy in Petaluma on Sept. 3, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She took a few pieces to Napa’s Oakville Grocery, the North Bay’s go-to gourmet store of the time. People there shared it with folks who worked at the revered restaurant, The French Laundry. Scanlan was invited to prepare a tasting for chef Thomas Keller.\u003c/p>\n\u003cp>It’s a day she said she won’t forget. She remembers shaking when she entered the busy kitchen, asking for the famous chef.\u003c/p>\n\u003cp>“All the prep tables were full of salmon and lamb.”\u003c/p>\n\u003cp>But when the chef announced it was time for a cheese tasting, staff cleared the tables and put out a tablecloth and formal serving plates and utensils. Everyone in the kitchen removed their dirty work aprons, put chef’s jackets on, and held their breaths while Scanlan presented Thomas Keller with a tiny box holding only six pieces of cheese.\u003c/p>\n\u003cp>[aside label=\"more California Foodways stories\" tag=\"california-foodways\"]\u003c/p>\n\u003cp>He tasted, smiled, and walked away from the table. Everyone else in the kitchen knew that meant he liked it.\u003c/p>\n\u003cp>“And they serve my cheese every day, ever since,” Scanlan said.\u003c/p>\n\u003cp>It was only after that day that Scanlan named her company \u003ca href=\"https://www.andantedairy.com/\">Andante Dairy\u003c/a> and decided to give each cheese a musical name. She explains that sometimes, an aspect of the cheese makes her think of the musical inspiration for its name. Sometimes, she has music on her mind, and she decides to create a compatible cheese.\u003c/p>\n\u003cp>One of her first was Nocturne, a blue-gray, ash-covered, truncated pyramid inspired by Chopin’s composition, meant to be played at dusk.\u003c/p>\n\u003cp>There’s Minuet, a triple-cream goat’s milk cheese, finished with a cow’s milk crème fraîche. Scanlan created it to be eaten while sipping champagne.\u003c/p>\n\u003cp>“I wanted to do something pretty and elegant, like the dance, \u003ci>minuet\u003c/i>.”\u003c/p>\n\u003cp>Her cheese called Piccolo is, appropriately, tiny. Even though Largo is made from the same curd, it’s four times the size and ages so long that it develops a deeper flavor.\u003c/p>\n\u003cp>Cheesemaking is hard on the body, and Scanlan knows she can’t do this forever, but she still has cheeses she wants to make inspired by music. Like Rubato, the tempo mark for forgotten time.\u003c/p>\n\u003cp>“You are free from any directions. There is a melody, but you can do whatever you want, whatever speed,” she said. And that metaphor appeals.\u003c/p>\n\u003cfigure id=\"attachment_12004838\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED.jpg\" alt=\"A hand shapes a block of cheese.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soyoung Scanlan wraps up Metronome cheese, named after a device that produces rhythms to help musicians play in time, at Andante Dairy in Petaluma on Sept. 3, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She said she dreams of being able to just put aside the commercial time pressures of orders and budgets, forgetting time while she is making, and just helping the cheese become what it’s meant to be in its own time.\u003c/p>\n\u003cp>Given the huge role music plays in Scanlan’s life, it’s kind of surprising that there is no music playing in the Andante Dairy workroom on the day of our visit.\u003c/p>\n\u003cp>“I have very, very sensitive hearing,” Scanlan said. “Sometimes, when it is a little too much, it interferes in my brain.”\u003c/p>\n\u003cp>So the small workspace is quiet – no pumps, only the buzzing of a paddle spinning in a vat of milk. It’s sourced from the goats that graze on the rolling hills just out the door.\u003c/p>\n\u003cp>Scanlan monitored the temperature carefully and added milk by hand.\u003c/p>\n\u003cp>“I’m still fascinated by this whole process,” she said. “It’s like magic.”\u003c/p>\n\u003cp>Letting the milk in the vat agitate for a bit, Scanlan moved to a cheese press, where rounds of her newest cheese, Ballade, were squeezed overnight. She removed the 5-inch discs from their cheesecloth wrappers, flipped each round, and put them back in the mold for more, even pressing. She’ll finish the rind with pomegranate molasses inspired by the tree just outside the window.\u003c/p>\n\u003cp>Next, she turned to tall buckets filled with cow’s milk that she pasteurized the day before, for a slow curdling.\u003c/p>\n\u003cp>Scanlan is just over 5 feet tall. In her workroom, every waist-high bucket of milk is on wheels, and every work table is on casters so that the tiny cheesemaker can move them herself.\u003c/p>\n\u003cfigure id=\"attachment_12004843\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED.jpg\" alt=\"An Asian woman sits at a grand piano next to a window.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soyoung Scanlan flips the pages of her piano books at her home in San Francisco on Sept. 5, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She scooped the slow-curdled Jersey cow’s milk into cheesecloth bags, nestled in a draining tray that looked like a trough, and it became clearer why Scanlan prefers a workspace with few distractions. Her sensitivities help her tune into the cheese. She said she feels the weight, the density of the curds when she scoops. She can smell the difference between goat and cow milk – she said if cow milk is cotton, goat milk would be Irish linen, a bit finer.\u003c/p>\n\u003cp>Of course, for someone with a highly trained ear, Scanlan pays attention to the sounds in the cheesemaking process.\u003c/p>\n\u003cp>“The sound tells you so much. The sound of curd falling into the bag, it actually tells you how much is solid in the milk.”\u003c/p>\n\u003cp>Scanlan said that when she’s working, the only music she needs is the constant drip of the whey draining out of cheesecloth.\u003c/p>\n\u003cp>“This is my temple. Yep,” she said. “And I guess cheesemaking, it is my prayer.”\u003c/p>\n\u003cp>\u003ci>This story is part of the series \u003c/i>\u003ca href=\"https://californiafoodways.com/\">\u003ci>California Foodways,\u003c/i>\u003c/a>\u003ci> about food, agriculture, and the people that make both possible in each of California’s 58 counties.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Soyoung Scanlan of Andante Dairy is one of California's most celebrated cheesemakers. Born in South Korea, each of her cheeses is named for something musical, reflecting her background as a trained pianist.","status":"publish","parent":0,"modified":1726778044,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":43,"wordCount":1528},"headData":{"title":"How Music Inspires the Cheeses at This Petaluma Dairy | KQED","description":"Soyoung Scanlan of Andante Dairy is one of California's most celebrated cheesemakers. Born in South Korea, each of her cheeses is named for something musical, reflecting her background as a trained pianist.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"How Music Inspires the Cheeses at This Petaluma Dairy","datePublished":"2024-09-20T04:00:12-07:00","dateModified":"2024-09-19T13:34:04-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"True","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"The California Report Magazine","sourceUrl":"https://www.kqed.org/californiareportmagazine","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/0e4f61db-8a62-4d09-beee-b1ed01700fc5/audio.mp3","sticky":false,"excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/12005160/how-this-petaluma-cheesemaker-finds-inspiration-in-music","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soyoung Scanlan is one of California’s most celebrated cheesemakers, but growing up in South Korea, she never imagined this career. In fact, cheese wasn’t even part of her early life.\u003c/p>\n\u003cp>“I didn’t eat cheese until I was like 18 or 19 because cheese was not available,” she said. “From the U.S. Army, we could get processed cheese, like Kraft singles. Yellow plastic-looking things.”\u003c/p>\n\u003cp>She was born in Seoul in the late 1960s. Both her parents had experienced the Japanese occupation, the Korean War, and poverty. They connected over their shared love of classical music, Scanlan explained.\u003c/p>\n\u003cp>“The only place there were pianos was in the churches. So the way my father met my mom was he was playing Chopin, and my mom walked into the church, and they fell in love.”\u003c/p>\n\u003cp>Growing up, Scanlan said that their house had no refrigeration, but it did have a garden and lots of music. Her father was her first piano teacher.\u003c/p>\n\u003cp>“I read music first,” she said. “I learned how to read music before I learned the alphabet.”\u003c/p>\n\u003cfigure id=\"attachment_12004840\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004840\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED.jpg\" alt=\"An Asian woman sits playing a grand piano.\" width=\"2000\" height=\"1362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-1536x1046.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-1920x1308.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soyoung Scanlan plays her piano at her home in San Francisco on Sept. 5, 2024. Music has always been a part of Scanlan’s life. She named her dairy, Andante Dairy, after a musical tempo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scanlan studied chemical engineering, got a graduate degree in biotechnology, and worked in a cancer research center. She came to the U.S. to get a Ph.D. in molecular biology. Her first week in Boston, she went to the symphony, and ended up sitting next to the man who would become her husband.\u003c/p>\n\u003cp>The couple went on a trip to France, rented a farmhouse and took a fateful visit to a farmers market, where Scanlan met a cheesemonger who gave her a perfectly ripe piece of goat cheese from the hill town of \u003ca href=\"https://www.paxtonandwhitfield.co.uk/shop/buy-cheese-online/by-type/soft-cheese/rocamadour\">Rocamadour\u003c/a>.\u003c/p>\n\u003cp>“It was almost melting on my hand, like ice cream,” Scanlan said with a kind of reverence. She remembers the near-liquid center almost oozing out of the delicate rind. She basically had to drink it out of her hand.\u003c/p>\n\u003cp>“That was the first goat milk cheese in my life,” she said, “and it had so much flavor. I said, ‘I need to go to the place where it was made because I think I can actually taste the rocks and the air and something very dry. I can taste it.’ ”\u003cbr>\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nThey spent a day driving to Rocamadour, where she said the rocks and the hills and the air did smell like that cheese she’d tasted.\u003c/p>\n\u003cp>The experience was an epiphany about the power of milk.\u003c/p>\n\u003cp>Scanlan said she read hundreds of books and articles about milk’s biophysical properties and about its history. In the late 1990s, now living in Northern California, she met other cheese obsessives and started making a cheese that used milk from both goats and cows. She found it fulfilled her scientifically curious mind more than life in a lab.\u003c/p>\n\u003cp>“But I had no clue if it was good or not,” she said.\u003c/p>\n\u003cfigure id=\"attachment_12004835\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED.jpg\" alt=\"Two women pour milk from a pale into a large metal vat.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcela Mejia (left) and Soyoung Scanlan pour goat milk into a cheese vat at Andante Dairy in Petaluma on Sept. 3, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She took a few pieces to Napa’s Oakville Grocery, the North Bay’s go-to gourmet store of the time. People there shared it with folks who worked at the revered restaurant, The French Laundry. Scanlan was invited to prepare a tasting for chef Thomas Keller.\u003c/p>\n\u003cp>It’s a day she said she won’t forget. She remembers shaking when she entered the busy kitchen, asking for the famous chef.\u003c/p>\n\u003cp>“All the prep tables were full of salmon and lamb.”\u003c/p>\n\u003cp>But when the chef announced it was time for a cheese tasting, staff cleared the tables and put out a tablecloth and formal serving plates and utensils. Everyone in the kitchen removed their dirty work aprons, put chef’s jackets on, and held their breaths while Scanlan presented Thomas Keller with a tiny box holding only six pieces of cheese.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"more California Foodways stories ","tag":"california-foodways"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He tasted, smiled, and walked away from the table. Everyone else in the kitchen knew that meant he liked it.\u003c/p>\n\u003cp>“And they serve my cheese every day, ever since,” Scanlan said.\u003c/p>\n\u003cp>It was only after that day that Scanlan named her company \u003ca href=\"https://www.andantedairy.com/\">Andante Dairy\u003c/a> and decided to give each cheese a musical name. She explains that sometimes, an aspect of the cheese makes her think of the musical inspiration for its name. Sometimes, she has music on her mind, and she decides to create a compatible cheese.\u003c/p>\n\u003cp>One of her first was Nocturne, a blue-gray, ash-covered, truncated pyramid inspired by Chopin’s composition, meant to be played at dusk.\u003c/p>\n\u003cp>There’s Minuet, a triple-cream goat’s milk cheese, finished with a cow’s milk crème fraîche. Scanlan created it to be eaten while sipping champagne.\u003c/p>\n\u003cp>“I wanted to do something pretty and elegant, like the dance, \u003ci>minuet\u003c/i>.”\u003c/p>\n\u003cp>Her cheese called Piccolo is, appropriately, tiny. Even though Largo is made from the same curd, it’s four times the size and ages so long that it develops a deeper flavor.\u003c/p>\n\u003cp>Cheesemaking is hard on the body, and Scanlan knows she can’t do this forever, but she still has cheeses she wants to make inspired by music. Like Rubato, the tempo mark for forgotten time.\u003c/p>\n\u003cp>“You are free from any directions. There is a melody, but you can do whatever you want, whatever speed,” she said. And that metaphor appeals.\u003c/p>\n\u003cfigure id=\"attachment_12004838\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED.jpg\" alt=\"A hand shapes a block of cheese.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soyoung Scanlan wraps up Metronome cheese, named after a device that produces rhythms to help musicians play in time, at Andante Dairy in Petaluma on Sept. 3, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She said she dreams of being able to just put aside the commercial time pressures of orders and budgets, forgetting time while she is making, and just helping the cheese become what it’s meant to be in its own time.\u003c/p>\n\u003cp>Given the huge role music plays in Scanlan’s life, it’s kind of surprising that there is no music playing in the Andante Dairy workroom on the day of our visit.\u003c/p>\n\u003cp>“I have very, very sensitive hearing,” Scanlan said. “Sometimes, when it is a little too much, it interferes in my brain.”\u003c/p>\n\u003cp>So the small workspace is quiet – no pumps, only the buzzing of a paddle spinning in a vat of milk. It’s sourced from the goats that graze on the rolling hills just out the door.\u003c/p>\n\u003cp>Scanlan monitored the temperature carefully and added milk by hand.\u003c/p>\n\u003cp>“I’m still fascinated by this whole process,” she said. “It’s like magic.”\u003c/p>\n\u003cp>Letting the milk in the vat agitate for a bit, Scanlan moved to a cheese press, where rounds of her newest cheese, Ballade, were squeezed overnight. She removed the 5-inch discs from their cheesecloth wrappers, flipped each round, and put them back in the mold for more, even pressing. She’ll finish the rind with pomegranate molasses inspired by the tree just outside the window.\u003c/p>\n\u003cp>Next, she turned to tall buckets filled with cow’s milk that she pasteurized the day before, for a slow curdling.\u003c/p>\n\u003cp>Scanlan is just over 5 feet tall. In her workroom, every waist-high bucket of milk is on wheels, and every work table is on casters so that the tiny cheesemaker can move them herself.\u003c/p>\n\u003cfigure id=\"attachment_12004843\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED.jpg\" alt=\"An Asian woman sits at a grand piano next to a window.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soyoung Scanlan flips the pages of her piano books at her home in San Francisco on Sept. 5, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She scooped the slow-curdled Jersey cow’s milk into cheesecloth bags, nestled in a draining tray that looked like a trough, and it became clearer why Scanlan prefers a workspace with few distractions. Her sensitivities help her tune into the cheese. She said she feels the weight, the density of the curds when she scoops. She can smell the difference between goat and cow milk – she said if cow milk is cotton, goat milk would be Irish linen, a bit finer.\u003c/p>\n\u003cp>Of course, for someone with a highly trained ear, Scanlan pays attention to the sounds in the cheesemaking process.\u003c/p>\n\u003cp>“The sound tells you so much. The sound of curd falling into the bag, it actually tells you how much is solid in the milk.”\u003c/p>\n\u003cp>Scanlan said that when she’s working, the only music she needs is the constant drip of the whey draining out of cheesecloth.\u003c/p>\n\u003cp>“This is my temple. Yep,” she said. “And I guess cheesemaking, it is my prayer.”\u003c/p>\n\u003cp>\u003ci>This story is part of the series \u003c/i>\u003ca href=\"https://californiafoodways.com/\">\u003ci>California Foodways,\u003c/i>\u003c/a>\u003ci> about food, agriculture, and the people that make both possible in each of California’s 58 counties.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/12005160/how-this-petaluma-cheesemaker-finds-inspiration-in-music","authors":["3229"],"programs":["news_72","news_26731"],"categories":["news_223","news_24114","news_8"],"tags":["news_17886","news_27626","news_333","news_2509"],"featImg":"news_12004839","label":"source_news_12005160"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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