Deke Sharon Workshops
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Girl Talk: Feminist Phonocentrism As Act of Resistance in the Musical Hair
Articles Sarah Browne Girl talk Girl talk: Feminist phonocentrism as act of resistance in the musical Hair Sarah Browne University of Wolverhampton Sarah Browne is Head of the School of Performing Arts at the University of Wolverhampton. She has worked extensively as a conductor, arranger and music director. Her research interests include the politics of race and feminist approaches to musical theatre, American musicals of the 1960s, and stage-to-screen transitions of musicals. She has contributed to edited collections for Oxford University Press, Routledge, and Palgrave. Contact: The School of Performing Arts, The Performance Hub, Walsall Campus, University of Wolverhampton,Gorway Road, Walsall WS1 3BD, UK E-mail: [email protected] https://orcid.org/0000-0003-2002-9794 Abstract In response to Wollman’s assertion that ‘despite its left-leaning approach to the many social and political issues it tackles, Hair is jarringly old-fashioned in its depictions of women’, this article instead proposes that Hair’s sung moments function as acts of resistance against the hegemonic, patriarchal values of musical theatre in both form and content. By adopting Annette Schlichter’s proposition of a ‘feminist phonocentrism’ which positions the voice as a ‘metaphor of agency and self-representation [...] thereby allowing for an authentic self-presence’, the analysis presented illustrates a rejection of historical discourses that persistently link the female voice to an absence of social and cultural authority. With specific reference to songs from the score and their interpretations, this article celebrates ‘girl talk’ forming at the margins. Keywords Hair girl groups feminist phonocentrism gender African American In her 2014 article, entitled ‘Busted for Her Beauty: Hair’s Female Characters’, Elizabeth Wollman observes the musical’s ‘landmark status’ but questions its ‘jarringly old- fashioned approach in its depictions of women’, branding it as nothing short of ‘sexism’ (Wollman 2014: 1). -
Barbershop: a Cappella's Martial Art by Deke Sharon You're Young, You
Barbershop: A Cappella’s Martial Art By Deke Sharon You're young, you're scrappy. You want to be the best. You started singing in school, like everyone: choir, maybe a couple musicals. Karaoke with some friends, talent shows. Then some collegiate a cappella. But you don't want to just be fine. That's not enough. You want to be great. You want technique, you want moves. You need to learn karate...except contemporary a cappella doesn't have a traditional refined martial art...does it? It does. It's called Barbershop. And you're about to get the best schooling a young'un can, including: BLEND: There's no blend like a barbershop blend. They don't just match their vowels, they align their diphthongs as they sweep from one vowel to the next. Four guys sounding like one guy. Why does blend matter? Because each vowel has a very specific "fingerprint" — frequencies in the harmonic series— and when the vowels are perfectly aligned, it helps lock down... TUNING: You think four voices can only create four notes? Guess again. When you lock your voices into perfect tune with the same vowels you cannot only create additional notes above yours, you can even create the perception of a bass note below the human vocal range. That's right, that's the vocal equivalent of some kind of dark arts ninja magic. But it works, and it happens every day, along with... DYNAMICS: Pop music on the radio has had the life squashed out of it. Learn how to sing quieter than you thought you could, and make a group sound that's louder than you have, without microphones. -
Wells Fargo Center for the Arts Welcomes the SING-OFF LIVE! Tour Thursday, April 9, 2015 Featuring Bay Area’S Own Sanfran6
Media Contact: James Smith | Charles Zukow Associates 415.296.0677 or [email protected] Print quality images available: http://wellsfargocenterarts.org/media/ Wells Fargo Center for the Arts welcomes THE SING-OFF LIVE! Tour Thursday, April 9, 2015 Featuring Bay Area’s Own SanFran6 FAN FAVORITES VoicePlay, Street Corner Symphony and The Exchange FROM THE HIT NBC A CAPPELLA MUSIC COMPETITION WILL ALSO APPEAR Tickets on sale now! Santa Rosa, CA (March 12, 2015)— Wells Fargo Center for the Arts (50 Mark Spring Road in Santa Rosa) welcomes a one-night-only performance of The Sing-Off Live! Tour on Thursday April 9, 2015 at 8:00 pm. The Sing-Off, NBC’s number one rated a cappella music competition is on a 55-city national tour. Tickets for The Sing-Off Live! Tour are $45 and $35, and are on sale now. They may be purchased online at wellsfargocenterarts.org, by phone at 707.546.3600, and in person at 50 Mark West Springs Road in Santa Rosa. The Sing-Off Live Tour! will feature The Sing-Off fan favorite groups VoicePlay (season 4) and Street Corner Symphony (season 2), plus this season’s The Exchange, and the Bay Area’s own San Fran6. On tour the groups will perform their a cappella versions of this year’s chart topping hits as well as favorite arrangements from the TV show. The stage performance will offer the ultimate a cappella experience, giving fans of the TV show the rare opportunity to see their favorite groups perform live, and offer a cappella music aficionados (or enthusiasts) an incredible evening of some of the country’s top talent. -
Abstract Phd a Cappella Arraning English
Abstract: „Contemporary A Cappella - Arranging and Producing“ My PhD-thesis gives an insight into contemporary a cappella arranging. It focuses on two a cappella groups of the United States who emerged from the a cappella boom since the foundation of Contemporary A Cappella Society by Deke Sharon in the year 1991. Both Groups, each won the a cappella casting show The Sing off - Pentatonix in 2011 and Home Free in 2012 - and started/continued their career as professional a cappella singers. I will mainly focus on the arrangements of Pentatonix and Home Free in terms of writing- and production process and in what way the Music is released as media (CD, Spotify, iTunes, music video and sheet music). By using music analysis I am trying to understand how the arrangements of the above mentioned groups are processed and what techniques they use. With this knowledge I plan to explore these ideas via qualitativ empirical methods in the field of contemporary a cappella: interviews with arrangers, producers and a cappella singers, participating observation through camps, rehearsals and concerts, and being part of production-, mixing- and mastering sessions with the a cappella groups, arrangers and audio engineers. After gathering these informations I’m planing to transform them into a (german) „how to…“-guide for music teachers and conductors to create their own arrangement „in the style of …“. My central aim is to combine popular music research with music pedagogy to feed back knowledge I achieved to the actors in the field. Keywords: a cappella, arrangement, contemporary, popular music, Pentatonix, Home Free Max Stadler is a professional a cappella arranger, singer and conductor. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
COLLEGIATE a CAPPELLA NEWSLETTER L October, 1990 "How Can You Guys Make Music Without Any Instruments?" VOZIHYIB 1, Number 1 |
COLLEGIATE A CAPPELLA NEWSLETTER l October, 1990 "How can you guys make music without any instruments?" VOZIHYIB 1, Number 1 | Welcome. are more adventuresome at resembling a brochure-type You now have in your hands heart, we will be offering 1/6, "press release." We all have a the One artifact 0f Westem 1/3,1/2, and full page ads for pretty good idea of how great Civilization that is even close $10, $15, $20, and $30, re- we all are..- to being as ubiquitous among spectively. Albums and con- We 11180 have 8 00111918 a cappella circles as a Nylons certs aren't the only things of "open columns": Road Trip album. you can advertise. If you're Tales, Arranger's Corner. Inside you'll nd con- planning a tour in another Anyone can contribute, and if tributions, from a number of part of the country and want you can think up any other different groups, in the form people to know about it, take interestingtopics, let us know. of articles,notices, editorials, outanad. Ifyou area supplier If you're so inclined to columns, personals, adver- or demander of a cappella editorialize, there's always tisements, and letters to the arrangements, an ad in the "Kick the Can", our letters to editor. Eventually, as every- CAN will surely prove to be continued on page 15 one becomes more involved, worthwhile. The deadline for the newsletter will serve as a advertising in our next issue Contents; forum for inter-group dia- (December lst) is November ' logue. 15th. Call the CAN, or send Pg_2 KICK THE CAN your ad (doesn't have to be letters to the editors The. -
The Phenomenological Experience of Singing in Vocal Harmony With
A Phenomenological Experience of Singing Vocal Harmony With Another Person A Thesis Submitted to the Faculty of Drexel University by Krista F. Winter in partial fulfillment of the requirements for the degree of Masters of Creative Arts in Therapy May 2009 © Copyright 2009 Krista F. Winter. All Rights Reserved ii Acknowledgments To my dad for being my biggest fan, I miss you. To mom, for constant support, telephone calls, and the gift of faith you have passed on to me. For prayers and patience. For being someone that I aspire to be. To my family, for your love and strength. For prayers, African safaris, skype calls and text messages. For family traditions, new and old. For putting up with your little sister and for being proud of your little sister. I appreciate you beyond words. To my friends, for your time, listening ears, and words of encouragement. For moments of laughter, sushi and box seats at the Kimmel, popcorn, and prayers. As always, your love, your patience and your grace are life-giving and unparalleled. To Paul Nolan, for your excitement and personal interest in this topic. For your advisement, motivation during challenging times, honesty, and support. I appreciate your investment of time, patience through my doubts, and cheers for my progress. To Dr. Sherry Goodill, for supporting me on my thesis committee. For your insight, suggestions, and guidance throughout all aspects of my growth as a clinician and researcher. I appreciate your encouragement and excitement for the finished product. To Sr. Donna Marie Beck, for taking an unexpected opportunity and fully committing. -
AQA Music a Level Area of Study 4: Music for Theatre
AQA Music A Level Area of Study 4: Music for Theatre NAME: TEACHER: 1 Contents Page Contents Page number What we are studying 3 Timeline 4 Kurt Weill 5 The Threepenny Opera 6 Rise and Fall of Mahagonny 9 Richard Rodgers 10 Oklahoma! 11 Carousel 15 Stephen Sondheim 16 Sweeney Todd 17 Into The Woods 21 Claude-Michel Schonberg 22 Miss Saigon 23 Les Miserables 26 Jason Robert Brown 27 The Last Five Years 28 Parade 31 Essay Questions and unfamiliar listening tests 32 Vocabulary specific to this unit 33 2 One essay question will be set on this topic. You will choose between answering an essay on Music for Theatre or on Jazz. You will need to answer listening questions and shorter essay questions on both topics, so you must study both. You will be studying these named artists and these suggested pieces from the board: Artists Pieces (Suggested listening) Kurt Weill Rise and Fall of the City of Mahagonny: - ‘Alabama Song’ - ‘Havana Song’ The Threepenny Opera: - ‘Ballad of Mack the Knife’ - ‘Jealousy Duet’ - ‘Pirate Jenny’ Richard Rogers Oklahoma!: - ‘Oh, What a Beautiful Mornin’’ - ‘Lonely Room’ - ‘Oklahoma’ Carousel: - ‘Louise’s Ballet: Pas de deux’ - ‘What’s the Use of Wond’rin?’ Stephen Sondheim Sweeney Todd: - ‘Prelude’ - ‘Green Finch and Linnet Bird’ - ‘A Little Priest’ - ‘My Friends’ Into The Woods: - ‘On the Steps of the Palace’ - ‘Agony’ - ‘Giants in the Sky’ - ‘Last Midnight’ Claude-Michel Miss Saigon: Schönberg - ‘I’d Give My Life for You’ - ‘Bui Doi’ - ‘I Still Believe’ Les Miserables: - ‘One Day More’ - ‘Bring Him Home’ Jason -
The History of Music Music Has Taken an Incredible Journey from Where It Started to Where It Is Today. It Is Arguably One Of
The History Of Music Music has taken an incredible journey from where it started to where it is today. It is arguably one of the most powerful forces we have as human beings. It can start a revolution, make a political statement, and even heal a war. Music can bring light where darkness has fallen and can heal those who have forgotten how to live. Music is an idea of unconditional expression and the feeling that no matter what happens, there is always hope. When given full creative ability to do anything regarding the history of modern music, I didn’t know where to start. I feel as if I could take about this forever and still not give it the credit it deserves. I concluded that I would form a chronological playlist. I felt that a playlist was one of the better ways to not only visually show the changes, but also audibly. The first thing that stands out when looking at the playlist is the titles of the songs. It starts off in the 1600s where we are graced with the birth of Opera. You’ll notice that all of the songs from this section have numbers in their titles and are mainly in a different language. These songs are from some of the first Operas that became well known. You’ll hear the difference in texture and melodic movement throughout these songs. The vocalists possess a large amount of vibrato that echoes in your ears. The harpsichord and strings make up the most of instrumental music during this period. -
TOTAL VOCAL with Deke Sharon
03-25 DCINY.qxp_GP 3/15/18 4:15 PM Page 1 Sunday Afternoon, March 25, 2018, at 2:00 Celebrating DCINY’s 10th Anniversary Season! Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director presents TOTAL VOCAL with Deke Sharon Deke Sharon , Guest Conductor, Arranger, & Creative Director Shelley Regner , Guest Soloist Matthew Sallee , Guest Soloist VoicePlay , Special Guests Shemesh Quartet (Mexico) , Special Guests Distinguished Concerts Singers International All arrangements by Deke Sharon unless otherwise noted TOBIAS BOSHELL I’ve Got The Music in Me (from The Sing-Off ) Distinguished Concerts International Soloists: LYDIA BROWELL, GABRIELLA DERKE, ALEXIS DILUCIA, KAT HAMMOCK, MARY LASTER, CHLOE MESOGITIS, SARA PARKER, ALEXANDRA PRODANUK, CARSON RICHMOND, HANNAH SALLEY BOBBY TROUP Route 66 (from Groove 66 ) CATHY DENNIS, HENRIK JONBACK, PONTUS WINNBERG, CHRISTIAN KARLSSON Toxic (from Pitch Perfect 3 ) JESSE HARRIS, NORAH JONES Don’t Know Why ROOM 100, PETERS TOWNSHIP HIGH SCHOOL, Featured Ensemble JOHN FOGERTY Proud Mary TONY VELONA Lollipops And Roses ITTAI MAZOR, BRUNO CISNEROS, SARA GONZALES, RUBÉN BLADES, GILBERTO SANTA ROSA Latin Medley SHEMESH QUARTET, Featured Ensemble David Geffen Hall Please make certain your cellular phone, pager, or watch alarm is switched off. 03-25 DCINY.qxp_GP 3/15/18 4:15 PM Page 2 RANDY NEWMAN When She Loved Me (from D Cappella ) DUFFY, STEVE BOOKER Mercy EVOLVE, CHESAPEAKE HIGH SCHOOL, Featured Ensemble LOUIS PRIMA Sing, Sing, Sing LIONEL RICHIE All Night Long (from -
Tonal Ambiguity and Melodic-Harmonic Disconnect in the Music of Coldplay
“All That Noise, and All That Sound:” Tonal Ambiguity and Melodic-Harmonic Disconnect in the Music of Coldplay by Nathanael Welch Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the Music Theory and Composition Program YOUNGSTOWN STATE UNIVERSITY August, 2015 “All That Noise, and All That Sound:” Tonal Ambiguity and Melodic-Harmonic Disconnect in the Music of Coldplay Nathanael Welch I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: Nathanael Welch, Student Date Approvals: Dr. Jena Root, Thesis Advisor Date Dr. Randall Goldberg, Committee Member Date Dr. Tedrow Perkins, Committee Member Date Dr. Steven Reale, Committee Member Date Dr. Salvatore A. Sanders, Associate Dean of Graduate Studies Date i ABSTRACT Within the music of Coldplay there often exists a disconnect between the melody (vocal line) and the harmony (chord pattern/structure). It is often difficult to discern any tonal center (key) within a given song. In several of the songs I have selected for analysis, the melodies, when isolated from the harmonic patterns, suggest tonal centers at odds with the chords. Because of its often stratified pitch organization, Coldplay’s music is sometimes in two keys simultaneously. Exploring the disconnect between melody and harmony, I will show how that can lead to tonal ambiguity in the sense that there is no one key governing an entire song. -
How They Got Over: a Brief Overview of Black Gospel Quartet Music
How They Got Over: A Brief Overview of Black Gospel Quartet Music Jerry Zolten October 29, 2015 Jerry Zolten is Associate Professor of Communication Arts & Sciences, American Studies, and Integrative Arts at the Penn State-Altoona. his piece takes you on a tour through black gospel music history — especially the gospel quartets T — and along the way I’ll point you to some of the most amazing performances in African American religious music ever captured on film. To quote the late James Hill, my friend and longtime member of the Fairfield Four gospel quartet, “I don't want to make you feel glad twice—glad to see me come and glad to see me go.” With that in mind I’m going to get right down to the evolution from the spirituals of slavery days to the mid-twentieth century “golden age” of gospel. Along the way, we’ll learn about the a cappella vocal tradition that groups such as the Fairfield Four so brilliantly represent today. The black gospel tradition is seeded in a century and a half of slavery and that is the time to begin: when the spirituals came into being. The spirituals evolved out of an oral tradition, sung solo or in groups and improvised. Sometimes the music is staid, sometimes histrionic. Folklorist Zora Neale Hurston famously described how spirituals were never sung the same way twice, “their truth dying under training like flowers under hot water.”1 We don’t know the names of the people who wrote these songs. They were not written down at the time.