Yesterday was the first day of classes, but I did not have any classes to attend. I normally would on Mondays, but my conducting class was cancelled (my teacher was moving his son into college). Choir is not happening this week because we are holding choir auditions. So today, Tuesday, is my first day of classes. I have two classes this morning. So, perhaps I will have homework and I look forward to that.
It's very interesting to sit in on auditions. I did not get to hear anyone sing yesterday afternoon, as the person who was supposed to be greeting had to leave to take her daughter to a doctor's appointment. I look forward to listening and evaluating more singers today.
There is no men's chorus. I sent an e-mail to the directors last night about this. Mainly, I offered my assistance if they decided a men's chorus was something they wanted to begin (I know- I'm crazy. I have no time for that, but I think it's a worthy cause).
I planned out my first Chapel Choir rehearsal as well. What a fun time! I think things will be great.
This weekend I need to pick out some pieces for the bell choir, too.
By the way, I like the Oxford comma. I don't like reading things that don't have the Oxford comma.
Tuesday, August 27, 2013
Saturday, August 24, 2013
Domination
Crushed it. Both placement exams.
Okay, in reality, I am unsure of what my scores were. Maybe I received the minimum 70%, but I do know that I "passed" the exams so I will have no survey course work to do.
My entire semester will be focused on early music. I can hardly wait. Both choral lit and choral conducting are plainchant through Renaissance, plus I am taking Counterpoint before 1600 and Renaissance Notation. And I'm singing. I'm not sure if this semester could be more perfect- at least academically. Early music, conducting, and singing.
Tomorrow I reward myself by studying Thomas Tallis. I told myself that if I did not pass, I would review whatever material I thought I did not know. Although to be honest, I would not have known what material I did not know. I felt fairly comfortable with both exams. However, I passed, so I will be fun studying Thomas Tallis and his sacred music. I might also spend some time with Byrd's Mass for 3 Voices.
Okay, in reality, I am unsure of what my scores were. Maybe I received the minimum 70%, but I do know that I "passed" the exams so I will have no survey course work to do.
My entire semester will be focused on early music. I can hardly wait. Both choral lit and choral conducting are plainchant through Renaissance, plus I am taking Counterpoint before 1600 and Renaissance Notation. And I'm singing. I'm not sure if this semester could be more perfect- at least academically. Early music, conducting, and singing.
Tomorrow I reward myself by studying Thomas Tallis. I told myself that if I did not pass, I would review whatever material I thought I did not know. Although to be honest, I would not have known what material I did not know. I felt fairly comfortable with both exams. However, I passed, so I will be fun studying Thomas Tallis and his sacred music. I might also spend some time with Byrd's Mass for 3 Voices.
Friday, August 23, 2013
Last Placement Exam... Ever
Placement exams are done. I should find out results tomorrow.
I guess... this means I'm about to truly become a DMA student. I'm ready. I'm excited.
This weekend I have nothing I have to study, although my Choral Conducting professor said he will be e-mailing an assignment. I may try to study some scores for fun, if I have time... it's kind of a big weekend.
I felt good about the theory placement exam. I didn't know all the answers, specifically the last question of the exam. But the rest of it should be right unless I made a dumb mistake. But then again, theory has never been a struggle. And it's undergraduate theory they are testing on.
And, I felt decent about the history placement exam. I knew almost all the answers on the first two questions (related to early music). And I knew most of the answers on the last two pages of the exam (believe it or not, 20th century history). I may have gotten some things switched around. For example, the person who brought Neopolitan opera to somewhere or something... I forgot the question, but I wasn't exactly sure of the answer, so I made an educated guess. There was also a question that said, " Which of the following people did not compose music?" It was between Cosima Wagner and Alma Mahler. I did not know anything about Mahler's wife. I know a little bit more about the history of Cosima and had never heard of her composing, so that sounded right to me. I looked it up later. That's right- she didn't compose.
The other thing that is tough: whenever I feel good about an exam, I second guess myself (does it EVER stop?). Maybe I'm overly confident? There is always that warning voice that says, "What if I just think I know but I don't?" Anyways, I feel pretty good, for the most part, about both exams. We'll see. Tomorrow.
I guess... this means I'm about to truly become a DMA student. I'm ready. I'm excited.
This weekend I have nothing I have to study, although my Choral Conducting professor said he will be e-mailing an assignment. I may try to study some scores for fun, if I have time... it's kind of a big weekend.
I felt good about the theory placement exam. I didn't know all the answers, specifically the last question of the exam. But the rest of it should be right unless I made a dumb mistake. But then again, theory has never been a struggle. And it's undergraduate theory they are testing on.
And, I felt decent about the history placement exam. I knew almost all the answers on the first two questions (related to early music). And I knew most of the answers on the last two pages of the exam (believe it or not, 20th century history). I may have gotten some things switched around. For example, the person who brought Neopolitan opera to somewhere or something... I forgot the question, but I wasn't exactly sure of the answer, so I made an educated guess. There was also a question that said, " Which of the following people did not compose music?" It was between Cosima Wagner and Alma Mahler. I did not know anything about Mahler's wife. I know a little bit more about the history of Cosima and had never heard of her composing, so that sounded right to me. I looked it up later. That's right- she didn't compose.
The other thing that is tough: whenever I feel good about an exam, I second guess myself (does it EVER stop?). Maybe I'm overly confident? There is always that warning voice that says, "What if I just think I know but I don't?" Anyways, I feel pretty good, for the most part, about both exams. We'll see. Tomorrow.
Tuesday, August 20, 2013
Another Choir
I volunteered to conduct another choir. I may be crazy. But this group sounds like fun. It's a volunteer group that are all employees of a nearby hospital. It has not been a large group- 15 people this last year. There are no real limitations on what I type of music I can conduct. The group sings twice (well, four times). Twice in December (one at the hospital, one at the senior center) and twice in May.
I pulled some music to look at it yesterday. They have a music library, as at one point they were funded by an arts grant. I am not so sure the choir is as well funded now. I guess I will learn more as I get involved.
The rehearsals are once a week over people's lunch. We won't begin for a few weeks yet, which is great- because I would not be ready to begin next week. Okay, that's not true. I COULD begin next week, but I really wouldn't want to.
I am not sure where all the time has gone. I have no more open days. The few hours I have open, I will spend studying (after, of course, this blog post).
The ELCA's 25th anniversary is coming up. My choir is going to be one of the choirs singing at the synod worship. I think I have selected our piece. It's an arrangement of "Let All the World" by Daniel Kallman. I'm really excited about this.
I pulled some music to look at it yesterday. They have a music library, as at one point they were funded by an arts grant. I am not so sure the choir is as well funded now. I guess I will learn more as I get involved.
The rehearsals are once a week over people's lunch. We won't begin for a few weeks yet, which is great- because I would not be ready to begin next week. Okay, that's not true. I COULD begin next week, but I really wouldn't want to.
I am not sure where all the time has gone. I have no more open days. The few hours I have open, I will spend studying (after, of course, this blog post).
The ELCA's 25th anniversary is coming up. My choir is going to be one of the choirs singing at the synod worship. I think I have selected our piece. It's an arrangement of "Let All the World" by Daniel Kallman. I'm really excited about this.
Monday, August 19, 2013
An American Style
Did you know that Washington's favorite opera was "The Beggar's Opera?" It was written in 1728. Sometimes I forget that a young American would experience music from Europe.
When I think of early America, I often do not think of opera (or semi opera) or any sort of instrumental performance. I often just think of early singing schools, singing hymns and early American music.
What an interesting history America has with music. One of the few westernized countries that does not nor has ever had a national conservatory of music. In fact, rarely does the country sponsor any sort of music. It took years for composers to find some sort of "American" style of music for their compositions- and Dvorak was the first composer to try to incorporate a national style into his symphony. Oh, and Dvorak wasn't American. He was doing it to try to inspire the American composers to embrace music that was American. But the question had (and has) always been, "What is American music? What's the American style?"
And I wonder, are national styles even distinctive now? I don't know enough of contemporary works to have even a guess.
When I think of early America, I often do not think of opera (or semi opera) or any sort of instrumental performance. I often just think of early singing schools, singing hymns and early American music.
What an interesting history America has with music. One of the few westernized countries that does not nor has ever had a national conservatory of music. In fact, rarely does the country sponsor any sort of music. It took years for composers to find some sort of "American" style of music for their compositions- and Dvorak was the first composer to try to incorporate a national style into his symphony. Oh, and Dvorak wasn't American. He was doing it to try to inspire the American composers to embrace music that was American. But the question had (and has) always been, "What is American music? What's the American style?"
And I wonder, are national styles even distinctive now? I don't know enough of contemporary works to have even a guess.
Saturday, August 17, 2013
Warning: "Higher Level Music" bashing
Alright, it's time to come clean to my family, friends, and music community at large.
I hate it when I hear someone say they don't want to work with a certain age group (or, conversely, only want to work with a certain age group) because they want to make "higher level music."
I have always been disturbed by this trend. It started in undergrad; that was the first time I heard someone say, "I don't want to work with middle school kids because I want to make higher level music." It was said by someone who had only ever worked with high school students in practicum. I have heard this from undergrads that I have worked with (many of whom had never had ANY practicum experience); example: "I don't want to work with middle school students, because I just want to teach high school." My response: Oh? Really? Why just high school? The reply: "You can't really make higher levels of music with middle school students. But you can make music with high school students." I have heard from various people that a person cannot make real music with elementary students or church choirs or high school students. Lies- those are said by people who let their own limitations get in the way of teaching their ensemble good musicianship.
Makes. Me. Angry.
There is nothing wrong with not wanting to teach middle school, elementary, high school, college age, church groups, or professional groups, but it should be a choice separate from someone's perceived stigma of their "lower" or "higher" level of music. Because a good teacher-conductor can make good music at all levels. And really, what's the use of making ANY music if it is not good? That's a disservice to the ensemble, you, the listeners, and music itself.
I think the larger question is: What is "higher level music?" I have never heard a good piece of music (no matter how simple or difficult) and thought, "Well, I just don't want to do this one ever. It's a lower level of music."
Sometimes I wonder if people are afraid to be good at teaching younger ages because maybe they'll like it. A new colleague told me that after her degree is finished, she wants to continue teaching high school. She loves teaching high school. She's passionate about teaching high school. Another person in the field said to her, "Why would you want to teach high school? Don't you want to work with people who can make higher levels of music?"
Without high school, middle school, elementary teachers, without church choir directors who have children's choirs and without community youth choirs, I wouldn't have a job (and neither would the person posing these questions to my colleague). Beyond that, the world would have less enjoyers of music.
The point is: Good music should be the goal. I hate excuses (which is what "higher level music" sounds like to me). Just make good music.
I hate it when I hear someone say they don't want to work with a certain age group (or, conversely, only want to work with a certain age group) because they want to make "higher level music."
I have always been disturbed by this trend. It started in undergrad; that was the first time I heard someone say, "I don't want to work with middle school kids because I want to make higher level music." It was said by someone who had only ever worked with high school students in practicum. I have heard this from undergrads that I have worked with (many of whom had never had ANY practicum experience); example: "I don't want to work with middle school students, because I just want to teach high school." My response: Oh? Really? Why just high school? The reply: "You can't really make higher levels of music with middle school students. But you can make music with high school students." I have heard from various people that a person cannot make real music with elementary students or church choirs or high school students. Lies- those are said by people who let their own limitations get in the way of teaching their ensemble good musicianship.
Makes. Me. Angry.
There is nothing wrong with not wanting to teach middle school, elementary, high school, college age, church groups, or professional groups, but it should be a choice separate from someone's perceived stigma of their "lower" or "higher" level of music. Because a good teacher-conductor can make good music at all levels. And really, what's the use of making ANY music if it is not good? That's a disservice to the ensemble, you, the listeners, and music itself.
I think the larger question is: What is "higher level music?" I have never heard a good piece of music (no matter how simple or difficult) and thought, "Well, I just don't want to do this one ever. It's a lower level of music."
Sometimes I wonder if people are afraid to be good at teaching younger ages because maybe they'll like it. A new colleague told me that after her degree is finished, she wants to continue teaching high school. She loves teaching high school. She's passionate about teaching high school. Another person in the field said to her, "Why would you want to teach high school? Don't you want to work with people who can make higher levels of music?"
Without high school, middle school, elementary teachers, without church choir directors who have children's choirs and without community youth choirs, I wouldn't have a job (and neither would the person posing these questions to my colleague). Beyond that, the world would have less enjoyers of music.
The point is: Good music should be the goal. I hate excuses (which is what "higher level music" sounds like to me). Just make good music.
Thursday, August 15, 2013
Gentle Giant
Fine.
Closed the history book I was studying out of today after a long day of taking notes. I was so happy when I reached the section about rock music. Then I listened to Chuck Berry. That's a lot more fun than listening Cowell's The Banshee.
Then tonight I opened up the notebook in which I took notes and am starting the review of my notes while integrating more music and more Wikipedia/Oxford Dictionary of Music reading. Tonight I ended with the German Minnesänger, and will be there again tomorrow.
And for an early music type rock song from the '70s:
https://www.youtube.com/watch?v=Ro3eVIFzN5g
I had never heard of Gentle Giant before today. In canon... and there's a fugue! Actually, the canon is very much like a caccia, where the voices that are in canon exchange parts. Cool.
Closed the history book I was studying out of today after a long day of taking notes. I was so happy when I reached the section about rock music. Then I listened to Chuck Berry. That's a lot more fun than listening Cowell's The Banshee.
Then tonight I opened up the notebook in which I took notes and am starting the review of my notes while integrating more music and more Wikipedia/Oxford Dictionary of Music reading. Tonight I ended with the German Minnesänger, and will be there again tomorrow.
And for an early music type rock song from the '70s:
https://www.youtube.com/watch?v=Ro3eVIFzN5g
I had never heard of Gentle Giant before today. In canon... and there's a fugue! Actually, the canon is very much like a caccia, where the voices that are in canon exchange parts. Cool.
Wednesday, August 14, 2013
Contemporary History?
Leonard Bernstein once wrote, "... I have far more pleasure in following the musical adventures of SImon & Garfunkel or of The Association sining 'Along Comes Mary' than I have in most of what is being written now by the whole community of 'avant garde' composers... Pop music seems to be the only area where there is to be found unabashed vitality, the fun of invention, the feeling of fresh air. Everything else suddenly seems old-fashioned: electronic music, serialism, chance music- they have already acquired the musty odor of academicism."
This is what I'm thinking about as I am about to start my study of contemporary music history. Although, that's a contradiction... contemporary music history.
It seems as though the more documentation of historical things, the more difficult it is for historians to generalize. For example, there are lots of generalizations about early music. There are not multiple different music movements, each with it's own label, it's own chapter, it's own list of composers and typical forms. However, there are multiple chapters with multiple different sectional headings about mid-19th century music and beyond. I wonder if it would be to our benefit to be able to categorize it better. I'm not suggesting that I would like music to all fit neatly into one box; rather, I would like there to be more structure and framework in which to understand music and the historical movements of more recent times. And then again, maybe it's impossible to give more framework, as we are not far enough removed from the events.
The book I'm taking notes from is fine. I'm starting to find some irritations with it- such as it's intense focus on instrumental music in later periods. From 1850-1900, it had two pages about sacred music. That's it. But dozens of pages on instrumental music. I don't care to read multiple different pages on the break down of a variety of symphonies (their form, harmonic tendencies, etc). There was one sentence written about Brahms's Requiem. That sentence was basically saying, "Hey, there was sacred music. Brahms wrote a Requiem."
I have made and am making a list of composers who wrote vocal music during this time so that I can look up some of their vocal stuff once I have finished the book.
Who knows? Maybe there will be more about choral music in the upcoming chapters about Sergei Diaghilev, set theory, and Alban Berg...
Although, as a reminder to myself, my placement exam covers both instrumental and choral history. I just care a lot less about the instrumental stuff, so it seems very tedious.
This is what I'm thinking about as I am about to start my study of contemporary music history. Although, that's a contradiction... contemporary music history.
It seems as though the more documentation of historical things, the more difficult it is for historians to generalize. For example, there are lots of generalizations about early music. There are not multiple different music movements, each with it's own label, it's own chapter, it's own list of composers and typical forms. However, there are multiple chapters with multiple different sectional headings about mid-19th century music and beyond. I wonder if it would be to our benefit to be able to categorize it better. I'm not suggesting that I would like music to all fit neatly into one box; rather, I would like there to be more structure and framework in which to understand music and the historical movements of more recent times. And then again, maybe it's impossible to give more framework, as we are not far enough removed from the events.
The book I'm taking notes from is fine. I'm starting to find some irritations with it- such as it's intense focus on instrumental music in later periods. From 1850-1900, it had two pages about sacred music. That's it. But dozens of pages on instrumental music. I don't care to read multiple different pages on the break down of a variety of symphonies (their form, harmonic tendencies, etc). There was one sentence written about Brahms's Requiem. That sentence was basically saying, "Hey, there was sacred music. Brahms wrote a Requiem."
I have made and am making a list of composers who wrote vocal music during this time so that I can look up some of their vocal stuff once I have finished the book.
Who knows? Maybe there will be more about choral music in the upcoming chapters about Sergei Diaghilev, set theory, and Alban Berg...
Although, as a reminder to myself, my placement exam covers both instrumental and choral history. I just care a lot less about the instrumental stuff, so it seems very tedious.
Monday, August 12, 2013
A Great Idea... Really?
I am reviewing history because I do not want to take a remedial history course. And if I have to take the two remedial courses, so be it. But I would love to take different courses. The reason I bring this up (again) is because I am 271 pages into the 640 page book and have spent four days on it already. I am trying to get through 100 pages a day, although that didn't happen the first two days. However, now I am dedicated. I will get through at least 100 pages a day. At least. It takes a long time to read 100 pages, because I listen to all the music examples. I should reach the Classical era today. Too bad- I love early music and could study for hours about that. Nay, I could study for DAYS about early music.
But I have to be honest... castrati? Whose idea was that? And why? At what point did someone say, "Hey, I have a great idea, but we need a prepubescent boy who shows lots of musical promise. And of course, we will determine their life's work for them. Get me a surgeon!" Surely, the person listening would have went, "Whoa! Stop! Maybe we should try it on you first, buddy..."
And now what do we do with all those castrati opera roles? 3 options: 1) Use a woman, 2) Use a countertenor, or 3) transpose the notes down an octave. Options 1 and 2 are much more used.
I wonder what Bach thought of the practice.
But I have to be honest... castrati? Whose idea was that? And why? At what point did someone say, "Hey, I have a great idea, but we need a prepubescent boy who shows lots of musical promise. And of course, we will determine their life's work for them. Get me a surgeon!" Surely, the person listening would have went, "Whoa! Stop! Maybe we should try it on you first, buddy..."
And now what do we do with all those castrati opera roles? 3 options: 1) Use a woman, 2) Use a countertenor, or 3) transpose the notes down an octave. Options 1 and 2 are much more used.
I wonder what Bach thought of the practice.
Thursday, August 8, 2013
Music Creation
Musique concrète. Pointallism. Klangfarbenmelodie. Aleatory music. Metric modulation. Dodecaphonic. Planing. Coloristic chord succession. Dominant +7. So, the last few chapters of my theory book reviewed a bunch of concepts I hadn't thought about for awhile. I am so glad that most of it is recalled very quickly. I have been worried that I won't do well on the theory examine (imagine that... me, worried?), but it is a bit comforting to remember that theory was always something that came easily. I will continue to review theory, but today I look forward to starting history review. I have not decided if I will just start reading a history textbook and taking notes or if I will give myself time to read things I am interested in- such as my Brahms book or even Wikipedia.
Theory is a bit crazy at times. It is so orderly and logical. But the problem is when everybody tries to start breaking the composition "rules." Suddenly, there are limitless possibilities of what could happened with specific rules that may or may not have common progressions but all have exceptions. I love that about music. I also love that it is up to your ear to decide.
Music is so much about interpretation. I didn't understand that when I was younger. I was a passive listener, although I enjoyed it. It didn't occur to me that I could be the creator and shaper of music. I didn't learn that until... well, when did I learn that? Later. Even throughout most of college I was so focused on teaching that I didn't think about creating. But yet, I had wanted to.
In fact, I think most people want to create music. Who hasn't written their own songs? I did on the piano and guitar in middle school. I tried to compose and arrange in college. Even when I was little, I would make up my own melodies. I bet many people hum melodies they make up on the spot. That's music creation.
Wednesday, August 7, 2013
Les Noces
I registered for some classes. I have had a very good experience so far with the faculty here. I find them to be friendly, helpful, and organized. I knew this already, based on my experiences with them thus far through the admissions process, but it is really extremely wonderful. I should be able to get credit for my research class from my masters so that I do not have to retake it here.
It seems to be expected that most incoming students will pass the theory placement exam but fail the history exam. This is a bit intimidating. I have been reviewing theory now for about a week. I will continue to do so. Tomorrow I start reviewing history. I probably should have started reviewing history a week ago, but no matter. I would prefer to pass history and theory. I do not want to take a review theory class because that sounds horrendous. Also, if I fail the history exam, I would have to take TWO semesters of history review. And would count toward 2 out of my 3 history classes. And I signed up for a Early Music Notation class, which would be my other history class. I love history and do not want to "waste" my history credits on review classes. I want to take something interesting and specific. Because after conducting and education, history ranks up there with one of my passions in music.
So, let me talk briefly about Les Noces. The Wedding by Stravinsky. Svadebka in Russian. I wish I loved Stravinsky, but have not been inspired by him. Except this weird work. I say "weird" because every time I listen to it, I think, "This is such an odd work." But I love it. I love the use of soloists and I love the punctuation of the percussion and I love how the choir is sometimes prominent but sometimes takes a backseat to instruments. I hope I can gain more insight as to why I like it so much, because I lack the words.
It seems to be expected that most incoming students will pass the theory placement exam but fail the history exam. This is a bit intimidating. I have been reviewing theory now for about a week. I will continue to do so. Tomorrow I start reviewing history. I probably should have started reviewing history a week ago, but no matter. I would prefer to pass history and theory. I do not want to take a review theory class because that sounds horrendous. Also, if I fail the history exam, I would have to take TWO semesters of history review. And would count toward 2 out of my 3 history classes. And I signed up for a Early Music Notation class, which would be my other history class. I love history and do not want to "waste" my history credits on review classes. I want to take something interesting and specific. Because after conducting and education, history ranks up there with one of my passions in music.
So, let me talk briefly about Les Noces. The Wedding by Stravinsky. Svadebka in Russian. I wish I loved Stravinsky, but have not been inspired by him. Except this weird work. I say "weird" because every time I listen to it, I think, "This is such an odd work." But I love it. I love the use of soloists and I love the punctuation of the percussion and I love how the choir is sometimes prominent but sometimes takes a backseat to instruments. I hope I can gain more insight as to why I like it so much, because I lack the words.
Saturday, August 3, 2013
Vulnerability
After lolly gagging all morning and part of the early afternoon, I am finally at a coffee shop to do some article review and studying. Of course, this will happen after I write this blog post.
I am at my 9th coffee shop here. I like the atmosphere here perhaps the best? Or maybe because the baristas are very friendly. The chai is not the yummy sweet kind, but it doesn't have some of the spicy after bite that the other places have had. I have two more places to try in this town, I believe, plus two more up in the town where I work. So far, the best chai that I remember is the kind I tried when I came here for my audition, although I haven't been back there since we moved here. And there is a Starbucks next to the music area. I make no apologies about liking Starbucks, by the way. However, if possible, I prefer to support local coffee shops.
At any rate, not finding a chai I love is a good thing. I will drink less chai and more tea, thus intaking less calories and probably spending less money.
Beethoven Mass in C. That's on my iPod right now. Excuse me, iPhone. Is it assumed that all iPhones serve the function as a music player as well?
Recommendation: BBC Sacred Music series. I watched the first four episodes. The first one was about the Gothic Revolution. Then the second episode, my favorite of the four, is about Palestrina and the church. The third episode is about Thomas Tallis and William Byrd. Then fourth episode, which I want to rewatch, is about Bach and the Lutheran legacy. The next four episodes, which I believe are in their second series, include Faure and Poulence, Brahms and Bruckner, Gorecki and Part, and I believe the last episode is about modern sacred composers.
Let's talk about music, higher education, and professionalism for a moment.
Scenario one: You are a member of a graduate class talking about modern music. The composer of the next presentation? Whitacre. A few graduate students have made snide remarks about his music in the past. However, you are the presenter and are attempting to give a thorough understanding and listing of his music. Needless to say, one graduate student feels the need to remark about his music. Best course of action?
This was discussed last night with two new friends and future colleagues of mine. This happened. Both of them enjoy Whitacre's music. The presenter in this story was describing their experience last night and when this happened at the end of the year, commented that many high school students who have experienced Whitacre have grown to love choral music because of his compositions. They said, "I think I kept it professional and then I continued."
What would have I done? I am certainly not a person who likes confrontation. However, I feel that in the past two years, I have had to toughen up a bit when it comes to the strength of my opinion. I am not sure what I would have done, but I doubt I would have been as cool as the presenter in the story. But that begs the question: Is ignoring rude remarks about a composer professional? I would have said something more, but I don't think it would have been unprofessional. Or is engaging with the quipper considered unprofessional, even if they are an intelligent, thoughtful conductor themselves? What is "professional" in this situation versus what is "passive?"
Next: Imagine you are a conductor of a collegiate ensemble or professor of a class. How lightly do you tread as far as current events? What do you allow to enter your teaching versus not? I am not talking about standing up in front of a choir spouting off my political beliefs. I am talking specifically about relating the music you are singing to current events, even if there might be people who have a political stance on an issue. I think that is perfectly allowable, within reason. To think that we can perform music with all it's vulnerability without ourselves experiencing emotions about what's going on in the world? What a cold rehearsal. I think it's wonderful to encourage the human experience in our world to affect the performance of music, which is written from the human experience. I do not see that as unprofessional. But I wonder if others do.
But then again, vulnerability often makes people uncomfortable. And vulnerability is what you need in music. So says Weston Noble, at least. And I agree.
I am at my 9th coffee shop here. I like the atmosphere here perhaps the best? Or maybe because the baristas are very friendly. The chai is not the yummy sweet kind, but it doesn't have some of the spicy after bite that the other places have had. I have two more places to try in this town, I believe, plus two more up in the town where I work. So far, the best chai that I remember is the kind I tried when I came here for my audition, although I haven't been back there since we moved here. And there is a Starbucks next to the music area. I make no apologies about liking Starbucks, by the way. However, if possible, I prefer to support local coffee shops.
At any rate, not finding a chai I love is a good thing. I will drink less chai and more tea, thus intaking less calories and probably spending less money.
Beethoven Mass in C. That's on my iPod right now. Excuse me, iPhone. Is it assumed that all iPhones serve the function as a music player as well?
Recommendation: BBC Sacred Music series. I watched the first four episodes. The first one was about the Gothic Revolution. Then the second episode, my favorite of the four, is about Palestrina and the church. The third episode is about Thomas Tallis and William Byrd. Then fourth episode, which I want to rewatch, is about Bach and the Lutheran legacy. The next four episodes, which I believe are in their second series, include Faure and Poulence, Brahms and Bruckner, Gorecki and Part, and I believe the last episode is about modern sacred composers.
Let's talk about music, higher education, and professionalism for a moment.
Scenario one: You are a member of a graduate class talking about modern music. The composer of the next presentation? Whitacre. A few graduate students have made snide remarks about his music in the past. However, you are the presenter and are attempting to give a thorough understanding and listing of his music. Needless to say, one graduate student feels the need to remark about his music. Best course of action?
This was discussed last night with two new friends and future colleagues of mine. This happened. Both of them enjoy Whitacre's music. The presenter in this story was describing their experience last night and when this happened at the end of the year, commented that many high school students who have experienced Whitacre have grown to love choral music because of his compositions. They said, "I think I kept it professional and then I continued."
What would have I done? I am certainly not a person who likes confrontation. However, I feel that in the past two years, I have had to toughen up a bit when it comes to the strength of my opinion. I am not sure what I would have done, but I doubt I would have been as cool as the presenter in the story. But that begs the question: Is ignoring rude remarks about a composer professional? I would have said something more, but I don't think it would have been unprofessional. Or is engaging with the quipper considered unprofessional, even if they are an intelligent, thoughtful conductor themselves? What is "professional" in this situation versus what is "passive?"
Next: Imagine you are a conductor of a collegiate ensemble or professor of a class. How lightly do you tread as far as current events? What do you allow to enter your teaching versus not? I am not talking about standing up in front of a choir spouting off my political beliefs. I am talking specifically about relating the music you are singing to current events, even if there might be people who have a political stance on an issue. I think that is perfectly allowable, within reason. To think that we can perform music with all it's vulnerability without ourselves experiencing emotions about what's going on in the world? What a cold rehearsal. I think it's wonderful to encourage the human experience in our world to affect the performance of music, which is written from the human experience. I do not see that as unprofessional. But I wonder if others do.
But then again, vulnerability often makes people uncomfortable. And vulnerability is what you need in music. So says Weston Noble, at least. And I agree.
Thursday, August 1, 2013
Allocation of Time
As things settle down into a routine, I find that I am at liberty to re-energize my routine. I get to re-establish priorities and decide what my best options are and in the ways in which I work the best.
It may be because we do not have a kitchen table and chairs yet, but I have a difficult time finding a place to study where I can really focus. However, that will change soon.
I played through some music today on our horrendously out-of-tune piano. That will change as soon as I receive some recommendations for piano tuners in the area. I revised my thesis for print.
Tomorrow I will head to my work and do some planning of the rest of the church year.
And review some theory for my placement exams. Here is the big question now: I have heard the history test is very difficult. Most people don't pass it and have to take remedial history. So do I put a lot of time and effort into studying for it?
It may be because we do not have a kitchen table and chairs yet, but I have a difficult time finding a place to study where I can really focus. However, that will change soon.
I played through some music today on our horrendously out-of-tune piano. That will change as soon as I receive some recommendations for piano tuners in the area. I revised my thesis for print.
Tomorrow I will head to my work and do some planning of the rest of the church year.
And review some theory for my placement exams. Here is the big question now: I have heard the history test is very difficult. Most people don't pass it and have to take remedial history. So do I put a lot of time and effort into studying for it?
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