tag:blogger.com,1999:blog-47548987204388214932024-03-12T23:14:17.460-06:00The Choir GirlBlogging about all things choir, music, and performance relatedmisssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.comBlogger344125tag:blogger.com,1999:blog-4754898720438821493.post-60855728460826937572024-03-11T12:00:00.006-06:002024-03-11T12:58:52.356-06:00Guest Speech to the University of Alberta Madrigal Singers<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJJHjWe6I9JE7g-seDVXyU9wJr6c85hQKD2gaS7F7zYnMZx5M0D4-1ZEpyLT9C-j8Rg__yzZqd2UiH9rrFVgfm8a5AeTGmYcOAj9kA71E_kctqtJGQEcOtDOyiObv64heUcCBf0VSwA2uiaZgjql8jxLU6bGB5sh88iCMl3q_sUyO6iB61qRY_WCU4erwt/s4032/IMG_3388.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJJHjWe6I9JE7g-seDVXyU9wJr6c85hQKD2gaS7F7zYnMZx5M0D4-1ZEpyLT9C-j8Rg__yzZqd2UiH9rrFVgfm8a5AeTGmYcOAj9kA71E_kctqtJGQEcOtDOyiObv64heUcCBf0VSwA2uiaZgjql8jxLU6bGB5sh88iCMl3q_sUyO6iB61qRY_WCU4erwt/w300-h400/IMG_3388.HEIC" width="300" /></a></div>Dear readers,<p></p><p>This speech was presented live on March 9, 2024 at the University of Alberta Faculty Club for the Madrigal Singers Brunch Concert and Fundraiser. </p><p>At the request of some individuals, I have published it below, enjoy!</p><p style="text-align: center;">-----</p>
<p>Greetings U of A friends, family, and administrators,</p><p>Thank-you to Tim Shantz and the University of Alberta Madrigal Singers, otherwise referred to as MAD’s from this point onwards, for inviting me here today to speak at your brunch fundraiser. </p><p>My name is Sable Chan and I am MAD’s alumni from 2008.
I currently work as a S-LP with the public school board and run my own <a href="http://www.sablechan.com">private practice</a> where I have an interest in the area of voice therapy. I see patients referred from Ear, Nose, Throat specialists and work with patients diagnosed with vocal nodules, polyps, fatigue, chronic cough and more. I work with everyday speakers and singers. </p><p>I sing with <a href="https://www.procoro.ca/">Pro Coro Canada</a>, <a href="https://canadianchamberchoir.ca/welcome/">The Canadian Chamber Choir,</a> and co-founded <a href="https://linktr.ee/Femmevocalquartet?fbclid=IwAR0kbl-PntXTe3GKsM9Mh2Q9nDvfDon2e5_ALo4_42y2UD6cI1kmYs7XHiI">FEMME Vocal Quartet</a>. In addition, I have been blogging about choir music for the past 15 years on <a href="http://TheChoirGirl.Ca">TheChoirGirl.Ca</a>. It was due to a combination of these factors that led to my recognition in <a href="https://edifyedmonton.com/people/top-40/2019/sable-chan/">Edify Magazine’s Top 40 Under 40 Class of 2019</a>. </p><p>As I began to reflect on my time in MAD’s, I acknowledge that my time was short, but significant, in my professional formation as a singer and health sciences professional. MAD’s was a challenge to fit into a packed Science schedule; however, there was an auspicious alignment of timetable factors in my 4th year at the University. I recall the excitement as I left my Biology lectures on the Engineering part of campus and strolled over to the Fine Arts Building for MAD’s rehearsal on a Monday afternoon. It was my first time singing in a mixed choir, as most of my early choral singing experiences were in treble voice ensembles at Schola Cantorum and <a href="http://www.cantilonchoirs.ca">Cantilon Choirs</a>. Some highlights from that MAD’s season included singing my very first Handel’s Messiah at the Winspear and competing in the Cork International Choral Festival. </p><p>Growing up as a chorister in Edmonton, MAD’s held this prestige in my mind as one of the most elite groups I could sing in as a young adult. I was elated when I auditioned and was accepted in my 4th year. Suddenly, I was connected to a network of passionate singers from many places and areas of study. There is an incorrect assumption that choristers at the U of A are all Music majors. In fact, singers come from all different faculties. I was delighted to know I was not the only student in Sciences and began connecting with fellow singing friends to strengthen my networks all across campus. To this date, some remain my closest friends. In fact, I just sang at a wedding of two fellow MAD’s alumni who got married to one another this past June! </p><p>I know that when people think: University teams, they may instinctively mention areas such as sports or research. However, I think the artistic contributions of providing rich, creative opportunities, such as University music ensembles, contributes significantly to the ecosystem of the University. There is a significant population of students and staff at the U of A and it is nourishing to have opportunities to engage with a wide range of interests. We need all of these factors: athletics, research, innovation, leadership, arts and more to contribute to a diverse and healthy campus. Singing in MAD’s allowed me an opportunity to represent the U of A at local, national, and even international levels when we went to compete in Ireland at the Cork Choir Festival! </p><p>While in MAD’s, I recall the fun and excitement of the social and performance calendar of MAD’s life: there were fundraisers to organise, Halloween parties to host, early morning radio segments to perform at, Valentine’s Day quartet gigs to sing in HUB, and it was with a mix of the most warm-hearted and loving humans. The opportunity to sing at such a high level, while completing my degree, provided me with an outlet of artistic expression, social connection, and reassuring reminders of self-confidence. </p><p>No matter how much I might have struggled on an Immunology midterm, I knew that when I went to MAD’s rehearsal, my insecurities would lighten as I made music with others. There would be a temporary reprieve from the everyday burdens of life and burning, existential questions like: “what am I going to do with a Science degree?” Instead, we would synchronise our breath, work on musical details in Bach motets, and fall into a musical flow that seemed untouched by external time. </p><p>There is a lightness and heaviness we all carry within us at any given moment. Singing allows us to release and share that. Instead of letting those feelings stay stuck in our body, we can mobilise and release those sentiments with a group coordination of our breath and voice. </p><p>Choir is my means of communication and connection with others. I suspect it may be for some of you, as well. Choir, to this day, allows me to learn about new music cultures and continue to connect with new friends. I continue to write about choral music topics on my blog because I love reflecting on my own artistic choral practice. I also feel like in a world with a decreasing amount of arts media and discourse, it is important to have accessible outlets to share current perspectives on choral music. </p><p>I love how there is always more to learn in singing. I have seen how music-making has changed in my life: it’s more and less important at any given time. However, I have always been singing. I continue to sing. And I will always be a singer. </p><p>I hope you all will as well. </p><p>I am grateful to be sharing this time and space with you here today. Thank-you.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq6rNjVvN-nHnrGew5IfruBTZZ9e0sz0EuB4SWRmSUCn_TgCERH5EoqYZxsRs3p-0Rl-H6-PdqZLQHzEmznBMUGXud6Ipmv7cnRiaL5js4ELKFlw28_OIgQH6zxDHiyWstAlyBeEaV7RC-QOImVfihT3a6mDZLBjUJZQm2sT8bA75ZOF8zelTxnUHnn4Oi/s4032/IMG_3386.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq6rNjVvN-nHnrGew5IfruBTZZ9e0sz0EuB4SWRmSUCn_TgCERH5EoqYZxsRs3p-0Rl-H6-PdqZLQHzEmznBMUGXud6Ipmv7cnRiaL5js4ELKFlw28_OIgQH6zxDHiyWstAlyBeEaV7RC-QOImVfihT3a6mDZLBjUJZQm2sT8bA75ZOF8zelTxnUHnn4Oi/w300-h400/IMG_3386.HEIC" width="300" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifj0L2S8OroT0Q06z9qcD0XTGQUpiva-cd7SIIHfc1t943D82-RVSWKEYQlusR7nccRrd_6sok7PesbWtVwMyuYYpx2Aib3EmNEfpIWTgDdG_N2mAOP1PIpgGvhZ8vuTIu34B1SUjd-mLk49tGT-Bp4EVu6HM8UhdkvgndDAHtrvPWENuBiA3ik7pbLLGP/s4032/IMG_3384.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifj0L2S8OroT0Q06z9qcD0XTGQUpiva-cd7SIIHfc1t943D82-RVSWKEYQlusR7nccRrd_6sok7PesbWtVwMyuYYpx2Aib3EmNEfpIWTgDdG_N2mAOP1PIpgGvhZ8vuTIu34B1SUjd-mLk49tGT-Bp4EVu6HM8UhdkvgndDAHtrvPWENuBiA3ik7pbLLGP/w300-h400/IMG_3384.HEIC" width="300" /></a></div><p></p>misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-68725290434759570862024-03-03T11:00:00.039-07:002024-03-04T14:15:08.368-07:00Unlearning Within a Choral Community<p></p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlnD-XehB9oimQYYlxFu820vdhajmU8P118RtafMXM6Uv4MqwYUTKE2oI1TDEt9QwloPbGVcUSJ4_5g-XqvVc0faxdDRMJDXe3DtHa4hvD0AC3MNsEero-uxuW_3_h-Nc3WLPq58dHIfIoEBkbJKKCBfh9r-Rfwzb04FVlB9kxE_KndxW6-jyeWbqXnznM/s1600/78b6e1e2-8383-469e-a653-b669f9fd0b50.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlnD-XehB9oimQYYlxFu820vdhajmU8P118RtafMXM6Uv4MqwYUTKE2oI1TDEt9QwloPbGVcUSJ4_5g-XqvVc0faxdDRMJDXe3DtHa4hvD0AC3MNsEero-uxuW_3_h-Nc3WLPq58dHIfIoEBkbJKKCBfh9r-Rfwzb04FVlB9kxE_KndxW6-jyeWbqXnznM/w640-h426/78b6e1e2-8383-469e-a653-b669f9fd0b50.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo by Andy Rice</td></tr></tbody></table>Dear readers,<p></p><p>I had the pleasure two weeks ago of reconnecting with my <a href="https://canadianchamberchoir.ca/welcome/">Canadian Chamber Choir (CCC)</a> choral community. It has been seven years since I last sung with the group in-person on our Chicago tour of 2017. I was grateful to be a part of many online professional development sessions the CCC offered and I also had the opportunity to be a part of and the virtual choir premiere of Edward Enman's "Unimagined Light." </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="385" src="https://www.youtube.com/embed/ZvwDX6NRCJo" width="464" youtube-src-id="ZvwDX6NRCJo"></iframe></div><p></p><p allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" iframe="" src="https://www.youtube.com/embed/ZvwDX6NRCJo?si=0ezJIbPl-Kkdegz6" title="YouTube video player" width="560"></p><p><br /></p><p>However, re-entering the touring process this time looked different because we were not just performing a set of prescribed choral scores, but rather, the CCC was committed to developing a new work with Composer, <a href="https://www.husseinjanmohamedmusic.com/">Hussein Janmohamed</a>. The CCC had already begun work with Janmohamed in the Fall when there was an incubation period with him in Winnipeg; however, on this most recent tour in Calgary, the CCC was committed to present a new, collaboratively created work in performance. Leading up to the in-person collaborative sessions together, Janmohamed shared his <a href="https://tspace.library.utoronto.ca/bitstream/1807/128229/2/Janmohamed_Hussein_202306_PhD_thesis.pdf">Doctoral dissertation research</a> from the University of Toronto, readings on Shia-Ismali traditions and Muslim cultures, and Spotify playlists sharing music from the pluralistic South Asian sound worlds that he grew up with. I was part of an online zoom session during one of the CCC's work with Janmohamed in the Fall. Regardless of that virtual introduction, I still felt like I was coming in as a newcomer to the collaborative incubation sessions scheduled during this tour. However, this sense of feeling like an outsider was soon abolished when Janmohamed began our session by humming a drone, which we all picked up instantaneously, and he sang a South Asian Ismaili devotional poem (<a href="https://ginans.usask.ca/#gsc.tab=0">ginan</a>) in Hindi to open our session space together. There was an overwhelming feeling of: we are all welcome.</p><p>It is not my first experience working with choral improvisation before. I have been significantly influenced by my work with Lone Larsen at the Banff Centre Choral Art residency, and hearing <a href="https://vono.se/en/home">VoNo</a>, a professional ensemble based out of Stockholm that embraces choral improvisation and collaborative co-creation. I feel that the more you release and play within the sandbox of choral improvisation, the more comfortable one begins to feel when the parameters of the sandbox shift. What I felt was most profound in terms of singing self-discovery during those Banff sessions was the sense of freedom in terms of expression and how that translated into a sense of ease with my vocal instrument. I was connected to the purpose of communication through voice. I was not focused on the biomechanics of singing. I also sang what felt natural to me in those moments. I thrived off the knowledge that nothing I could do was wrong. Everything I chose to do or not do was an acceptable offer. It was thrilling!</p><p>Thus, I was humming with excitement to come into those incubation sessions with Hussein. We assembled into small groups to play. I was so curious to hear the voices of those in the choir in an intimate way. The CCC is a cherished group of choral peers and I do not usually get the opportunity to hear everybody as individuals within a choral setting. We would break out, play, reassemble to see what different small groups came up with, and see which of those aspects would make their way into our collaborative composition together. CCC Artistic Director, Dr. Julia Davids, seamlessly decentralized her leadership role and integrated herself as a fellow co-creator, experimenting alongside others in the choral collective. Janmohamed would record these fragments for us to listen to and process later. We listened to the audio clips and shared thoughts that came up. Upon the whiteboard brainstorm, keywords and phrases were written down: </p><p></p><ul style="text-align: left;"><li>low drones</li><li>clusters built on future melodies</li><li>laments</li><li>conversations</li><li>individual voices, duets, trios</li><li>harmonizing and responding</li><li>angst/anger/tightening</li><li>vocal calls</li><li>movement</li><li>rhythmic components</li><li>irregular rhythms</li><li>wild</li><li>drone pulses</li><li>arrival together</li><li>unison</li></ul>Janmohamed was vocal that it was a struggle for him to resist the urge to write music down for us. I could also sense that some choristers would have preferred a structure, any structure to ground our compositional process together. There was a tangible mix of tensions in the air between performing notated music yet an active resistance of doing just that. I could feel the unlearning happening around me. Some singers struggled, some were neutral, some singers looked enthralled, and many of us fluctuated between those states throughout the entire process. As singers, we can forget that we have been singing longer than there has been music written down for us to read. It was about taking a step back and deciding what we wanted to say, evaluate our motivations, and choose collectively how we wanted to do that. It is a process that takes organizational support, a unified intention to co-create a work to present, and time to allow this collaborative process to happen.<br /><p></p><p>There were moments during those small groups where there was a suspended feeling of musical flow and magic. Janmohamed outlined a South Asian inspired modal colour we were encouraged to play within it. He facilitated and channelled the feeling of play. A sense of security, openness, and curiosity to experiment was present. We began to hear raw vocal textures and lamenting lines emerge from the singers. I heard voices emoting messages ranging from sorrow to certainty. Within the few days leading up to the concert premiere of the work, we did have to decide, as a group, the general structure we would choose to present. Dr. Davids was instrumental in helping to gather and organize our thoughts and transitions as well as provide cues to keep us aligned during the live performance. The supportive feedback and outside eye of Dr. Davids and another chorister, Deb, helped us with the staging elements throughout the piece. Thus, we were able to feel confident in remembering what we were singing and doing for the initial performances. </p><p>We acknowledged that the piece would always be changing. It would never be finished. It was a framework that would evolve each time a group of singers returned to it. To me, that is the most exciting part of unlearning: singing what emerges and not just what we are told.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSxXObyoZpbgD3w2N11Qarc7NcFh2-dlJBTtNbuUedqjqZf-U0ngsR-dtLkqC1QBQZ9UDuOBVLKFW41i3xYvxGIzN1ck915-RJe_KPCq6pG9pkMx7I1V74uPxgKS0SSxoc5FHr7Hq0wwCh0orU8RrIv94hooOrvwsAgdJighk-zirzznikE8Tx0uh6a8tT/s1600/f4630628-24bc-41db-80b2-ffa14c3f7d70.JPG" style="margin-left: auto; margin-right: auto; text-align: center;"><img alt="Photo by Andy Rice" border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSxXObyoZpbgD3w2N11Qarc7NcFh2-dlJBTtNbuUedqjqZf-U0ngsR-dtLkqC1QBQZ9UDuOBVLKFW41i3xYvxGIzN1ck915-RJe_KPCq6pG9pkMx7I1V74uPxgKS0SSxoc5FHr7Hq0wwCh0orU8RrIv94hooOrvwsAgdJighk-zirzznikE8Tx0uh6a8tT/w640-h426/f4630628-24bc-41db-80b2-ffa14c3f7d70.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo by Andy Rice</td></tr></tbody></table><br /><div>Published with permission from Hussein Janmohamed in message dialogue he shared with me regarding this blog entry:</div><div><br /></div><div><blockquote><i>"I think it is interesting how as singers and as conductor and composer we were all grappling with how we wanted to organize music in the ways we have learned to, and how we wanted to also resist that, as you have said. The interplay of order and indeterminacy was always here, and that was interesting for me. Especially that for me as a facilitator commissioned to compose something with the choir, I could not help but fall into the trap of telling the choir what to do, what and when to sing. I had to really challenge my own musical upbringing both in Western replicative arts, and in Ismaili traditional transmission that what people received and did replicated what they were taught...which inevitably came with artistry, craft, and a sense of unity, but also came with expectations of behaviour, thought, and action. I was panicking that I needed to 'write' the music out, or give the choir a graphic score of some sort, or whatever it was, but as soon as I sat on the notational software, I could not. The way we were singing, the tones, the modes, the movement between notes, etc. was not something I could give an instruction for. We had embodied a kind of sonic way of being that was in itself a resistance to the notated forms of defined melodies we are so used to, and that I believe embraced a completely different way of listening and sounding, enacting a performer as a composer way of being."</i></blockquote></div>misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-3660990113445079382024-01-19T09:00:00.121-07:002024-01-19T09:00:00.125-07:00Fifteen Years to This Day<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_J2_DYvCKEGejZmDTn3wesP4mG7GCSLmP3BrMzaiE1yms4VPjKEsuBMagRuEF5Qy65-4QEDOIUmpt0Y45J46_phfX9x2YqG9FtZQK2YZkG35sW89iIvpl-NULH6lbUmRddiS0AgDEZKpPhsP2cPKdw-j9n8Wl0sOzubU2v3snFSHqGa_gIOWOBqjeYQb/s1024/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_J2_DYvCKEGejZmDTn3wesP4mG7GCSLmP3BrMzaiE1yms4VPjKEsuBMagRuEF5Qy65-4QEDOIUmpt0Y45J46_phfX9x2YqG9FtZQK2YZkG35sW89iIvpl-NULH6lbUmRddiS0AgDEZKpPhsP2cPKdw-j9n8Wl0sOzubU2v3snFSHqGa_gIOWOBqjeYQb/w640-h480/1.jpg" width="640" /></a></div><br />Dear Choir Girl readers,<p></p><p>My blog is 15 years old! I am as surprised as you. While I have contemplated with the idea of retiring this blog, a few readers convinced me it is not yet time. </p><p>There is less arts journalism all the time. It is rare for a magazine or newspaper to even have funds to contract an arts and entertainment writer for local coverage these days. If you are lucky enough to get a writer in attendance at your event, you'd be lucky to have one that is knowledgeable enough to comment and critique the performance. It feels like the platforms with quality artistic discourse are ones run by the writer themselves, with some kind of Patreon subscription to make their work financially sustainable. Sure, established, popular artists will still have an opportunity to get media coverage, but what about all the emerging voices and groups that have something to say? While I do not have the stamina to keep up with my choir posts of the past, I do feel there needs to be a platform to host artistic content. Thus, this blog continues to live on. I will continue to save this online space for me to publish choral musings of myself and others as occasions arise.</p><p>It was only five years ago that I published this <a href="http://www.thechoirgirl.ca/2019/01/ten-years-to-this-day.html">10 year recap</a>. It is heart-warming to see the array of beloved choral faces even today. It reminds me of singing opportunities I have been fortunate to experience. As well, it reminds me of how my blog has introduced me to so many artists that have significantly impacted my life. It is also sweet for me to see my very first blog post: <a href="http://www.thechoirgirl.ca/2009/01/beginning.html">The Beginning</a>, where I share my hopes and wishes for this blog. </p><div class="canva-embed" data-design-id="DADPAgD84eA" data-height-ratio="0.8000" style="background: rgba(0, 0, 0, 0.03); border-radius: 8px; padding: 547.195px 5px 5px;"></div><script async="" src="https://sdk.canva.com/v1/embed.js"></script><p>In the past five years, I have kept on with my singing adventures, albeit, in a more intentional and focused way. I feel it is a mix of getting older, maybe wiser, and rebalancing my singing desires with diminished energy levels post-pandemic. The pandemic really overhauled how I continued to sing or not sing with all the restrictions. It is surprising to see how many masked photos I have of myself in the slideshow round-up below. </p><p>I continue to feel an overwhelming gratitude towards this blog. Some of my closest friends began as blog readers first. If you meet me in person, you may notice that I speak more through actions than words. Reading what I am writing is the best of knowing me: my inner motivations, passions and thoughts. I sense a closeness with each reader. There is no way I can convey what I want in a quick, surface-level interaction if we were to meet in person. Thus, it means so much to me to know that you are taking your own personal time to read my content and connect with me. I have met so many fellow singers, composers, conductors, and members of my artistic community. I am moved by the flourishing and active choral scene we have here in Canada. </p><p>While I am not sure about the future artistic endeavours coming my way, I will be sure to post some adventures here as I go. On my schedule thus far is the <a href="https://canadianchamberchoir.ca/welcome/">Canadian Chamber Choir</a> tour in Calgary this February 2024 and Podium in Montreal this May 2024. </p><p>Until then, please enjoy this 15 year anniversary post slideshow!</p><p>Thank-you, dear readers, for continuing to read my choral musings.</p>
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misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-21330995082470595902022-05-24T10:00:00.012-06:002022-05-25T09:57:59.852-06:00Podium 2022<p> Dear fellow choral survivors of the pandemic,</p><p>We made it this far! Perhaps our laptops are all running a bit slower with the increased amounts of video recording and sound recording software we downloaded to complete virtual choir tasks, we have an increased array of lounge pants to work in, and we have a pre-zoom meet routine of clearing our rooms of pets and family before joining calls.</p><p>This past weekend was Podium 2022 in Toronto. The last one scheduled in May 2020 was cancelled. Fast forward two years and choral leaders, singers, choirs, administrators, exhibitors, and enthusiasts met for the first time in person once again. As primarily a choir blogger and choral singer participating in Podiums for the past 10 years, my relationship with the conference and festival has, not surprisingly, changed throughout the years. </p><p>In 2012, I was accepted to the National Youth Choir of Canada (NYCC) that would perform in Ottawa. Due to scheduling conflicts, I wasn't able to participate in NYCC but I still attended Podium because my community choir, Belle Canto, was invited to perform. Podium 2012 was marked a pivotal moment in the expanded vision of this blog. Instead of it being a platform speaking solely about my personal experiences in choir, I began to interview key choral voices in our country to generate a discourse. In a time where there is less formal writing about music, it's even more important to share and discuss what is happening now. My interviews with Lydia Adams, Ivars Taurins, Michael Zaugg, and Hilary Apfelstadt were interview articles I wrote as well as summaries on what was happening at the conference. At that time, I recall there being less than five people using Twitter to tweet the conference hashtag. There was no Instagram. I felt like I was the lone social media voice minus a few voices tweeting back to me. This <a href="http://www.thechoirgirl.ca/2012/10/tweet-me-embracing-social-media-at.html">paragraph</a> from my 2012 summary still resonates for me today: </p><p><br /></p><blockquote><blockquote><div class="MsoNormal" style="background-color: white; color: #44187f; font-family: "Times New Roman"; font-size: 12pt; margin: 0cm 0cm 0.0001pt;">My aim through actively using blogging and social media during Podium 2012 was to showcase the power through use of these social media tools. I know that people feel uncomfortable with making public statements over social media, but if we are accountable for our words… then what is the fear? There are always ways to use tools responsibly and social media is no different. As far as I am concerned, the more we can share information and discuss our experiences in an open musical forum, the more that people can benefit. If I ever wanted to go back and remember my conference activity all I would need to do is search for my Podium 2012 blog posts and tweets. It is easy to be wary of a form of communication that seems so foreign and public. It is even easier to dismiss them. All I ask is for people to consider and potentially embrace a new form of musical discourse. We are all looking for ways to connect; it is a shame to not consider implementing an instrument that works so effectively. As with any instrument, it can only be as good as its instrumentalist and there is no better way to learn than to practice.</div></blockquote></blockquote><p><br /></p><p>In Podium 2014, I was present once again since Pro Coro Canada was invited to perform in Halifax, NS. I continued my blog content creation by adding interviews with <a href="http://www.thechoirgirl.ca/search/label/Podium2014">Peter Togni, Cy Giacomin, and Matthew Emery</a>. Podium 2016 was in my hometown of Edmonton, AB and marked the start of a significant social media presence due to the assembly of the <a href="http://www.thechoirgirl.ca/2016/05/the-choral-avengers-at-podium-2016.html">Choral Avengers team.</a> What a dream team. A group of passionate, choral-minded individuals from across the country all met in Edmonton to cover every corner of conference and festival content. There was live tweeting, photos, and interview content leading up to the conference. I took a bit of a Podium break after that and the social media duties passed onto Amy Desrosiers, a member of the Choral Avengers, and to the Choral Canada staff and conference organizers. It was time to take a step back. </p><p>At that start of 2020, I was making plans to head to Podium 2020 in Montreal to attend as a delegate. No singing duties and no formal social media duties. Sure, I would post things to social media but without the pressure of timelines, scheduling, and content creation amidst the frenzy of the conference and festival itself. That was all placed on hold until this past weekend. I headed into Podium 2022 with the same plan but more worn down from the pandemic. I knew I lacked the stamina to jump in like I previously did. I would watch a session or concert for 1-2 hours and then rest or explore on my own for 1-2 hours. This was not hard to do with Toronto being filled with many neighbourhoods, restaurants, and friends I haven't seen in over 4 years. While it was joyful to see so many wonderful faces, both familiar and new, it was also overwhelming to see so many people. </p><p>The amount of overflowing, musical energy surpassed the reduced, cautious capacity I have developed over the past years to cope with the fact that there was a huge live music void in my life. While many choirs were singing in different ways throughout the pandemic, whether virtual or in-person and masked, there was an unease throughout all of it. Virtual singers would continually rehearse alone in their homes, ignoring the glare from their ring lights while staring at the dark zoom grid of fellow singers. They would resist the urge to do yet another recording of their part before submitting the final video and audio to their director. In-person singers wondered who would drop out of productions due to sickness, constantly assessing themselves using checklists to determine if they felt well enough to go to rehearsal, staying physically distant from other choristers at break, avoid eating lunch together, and leaving immediately after rehearsals to avoid gathering. For me, singing was not enjoyable at this time. I was anxious before every rehearsal. I would wonder if I was asymptomatic and was just going to infect my fellow singers. I derived little pleasure from singing into a fabric muzzle and bathing my face in my own oral humidity for extended periods of time. There was an underlying, persistent tension throughout all of it. However, I figured that some singing was still better than no singing. </p><p>Seeing the reunited faces and concert spaces come alive with music this past weekend was beyond nourishing and inspiring. We felt whole again. We collectively reopened a musical part of ourselves that has been closed for a long time. The pandemic has overwhelmed many of us with a debilitating sense of loss. It will take more time to process what has happened; however, at this Podium, we were able to begin the healing process together and begin opening our hearts to music-making once again.</p><p>A selection of photo memories follow:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEierOsENLLlXcNVPgf82-x_1eBSzRFkrIiNdHcOOqmPG7n02rAV75ygZyKPSH4LBJnivOWWYhLl5C9z-TW8bnaocZ9AIcGqbZ04YDUU5R6-yebGqWfO44ZGm-pzF20IgJFHk216xHDhh9wojhgmFJbnssv5Nsobe-fQxsqDA1iXz3C6CIy0gu7YjyeT7A/s2000/1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEierOsENLLlXcNVPgf82-x_1eBSzRFkrIiNdHcOOqmPG7n02rAV75ygZyKPSH4LBJnivOWWYhLl5C9z-TW8bnaocZ9AIcGqbZ04YDUU5R6-yebGqWfO44ZGm-pzF20IgJFHk216xHDhh9wojhgmFJbnssv5Nsobe-fQxsqDA1iXz3C6CIy0gu7YjyeT7A/w400-h320/1.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiUYthfqQD9lGTGHYEAYdyh-LGH0IIiDyojahl_O55q-z7ocersiEyF-1Xwxv74Sg8bqhbOc4xwqwalFs3BicMYNVHbRyGe-WPP17NPdO63Aw_U_uNCD64-YyuQ7e9EG9EZD_IoLO2XAYE3sGtczqCfVCD0bk4kq2A-I3quz1fjiBmOubBJH3mtQ7Nsw/s2000/2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiUYthfqQD9lGTGHYEAYdyh-LGH0IIiDyojahl_O55q-z7ocersiEyF-1Xwxv74Sg8bqhbOc4xwqwalFs3BicMYNVHbRyGe-WPP17NPdO63Aw_U_uNCD64-YyuQ7e9EG9EZD_IoLO2XAYE3sGtczqCfVCD0bk4kq2A-I3quz1fjiBmOubBJH3mtQ7Nsw/w400-h320/2.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3QbLQ8kDEzdwA-Fj3w6b4z1QvZVDXWAF8lAl3zZcrrGr4q1dMzxai6kO7SCBhy3pe0KfsgvagvutGrcqRy2vGWOUCCACe-Dqknke48TvZRwSwSVvn5d2EhFAsKTIUaCCj3D0w2gIviQguSBI5aspK3awqHzz4IgRTR5DGrbfSvYhX_er4xOfAOcBhjA/s2000/3.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3QbLQ8kDEzdwA-Fj3w6b4z1QvZVDXWAF8lAl3zZcrrGr4q1dMzxai6kO7SCBhy3pe0KfsgvagvutGrcqRy2vGWOUCCACe-Dqknke48TvZRwSwSVvn5d2EhFAsKTIUaCCj3D0w2gIviQguSBI5aspK3awqHzz4IgRTR5DGrbfSvYhX_er4xOfAOcBhjA/w400-h320/3.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHaxyTYDwCEAXEbUjJ6YPFuFLaAbVSK1f4G29cPYRkEoEk-4MWdhW5-aVafVEgbAUl-oburrC0HQqD3cth0tS8lZMDPQygZNA6hDdp6g2u7vVEg_8ToWvEZIpQVlygqWZYkuL3UG661yFgyzQYLP0zsNO9YSJFfySd1FgsC-p5eV-zffT9VfdiKip_ew/s2000/4.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHaxyTYDwCEAXEbUjJ6YPFuFLaAbVSK1f4G29cPYRkEoEk-4MWdhW5-aVafVEgbAUl-oburrC0HQqD3cth0tS8lZMDPQygZNA6hDdp6g2u7vVEg_8ToWvEZIpQVlygqWZYkuL3UG661yFgyzQYLP0zsNO9YSJFfySd1FgsC-p5eV-zffT9VfdiKip_ew/w400-h320/4.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn3DPGE_BfHN-aTZgkIiv7StN56eii3CrYU3PIaJ9jG2kdJjTu0ddSHlf2fkMV8FZUiCNYMLwnpOu5GUnGGy_rNwRydI7B79tqojUvw6CuJhPcjtiggbw5naSOtCGaLwjcNOD6iYc7XWmXJD-VkkUeTncbW7XkYqKiup6i5-MW1fxGnDXWnZng22EHSw/s2000/5.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn3DPGE_BfHN-aTZgkIiv7StN56eii3CrYU3PIaJ9jG2kdJjTu0ddSHlf2fkMV8FZUiCNYMLwnpOu5GUnGGy_rNwRydI7B79tqojUvw6CuJhPcjtiggbw5naSOtCGaLwjcNOD6iYc7XWmXJD-VkkUeTncbW7XkYqKiup6i5-MW1fxGnDXWnZng22EHSw/w400-h320/5.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_K1bBqHe2ayCeEGNGTYi1jQBWSPm3ke9UWY2lbcpmrnJoNLDjXXcpWWi6CPCX8PEpoURQKTIG5HfujE14K9Un6EhUutg5j-DVCfYYXyAzGV1u8VEuszOu8ePzhThElqK0k0YMxb2jYHnEZVInPkNTuDK1WVgbHYmbJ5Zf7Q3aoI1qckflQKPLPycC2g/s2000/6.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_K1bBqHe2ayCeEGNGTYi1jQBWSPm3ke9UWY2lbcpmrnJoNLDjXXcpWWi6CPCX8PEpoURQKTIG5HfujE14K9Un6EhUutg5j-DVCfYYXyAzGV1u8VEuszOu8ePzhThElqK0k0YMxb2jYHnEZVInPkNTuDK1WVgbHYmbJ5Zf7Q3aoI1qckflQKPLPycC2g/w400-h320/6.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTTsEoD0vojXx6OpA4cupNt53T2xhWGCkglEIGaHtMUhqcga3zooA_O-7HEstQqIdB3EfvqM78ma4ovRTw5smbgjYegNauCRCON30ncyfmt96kdZTaw8_snBIQnQsYJr9FyLosGc67bpi0E3mV0zNBZ27gk8SusflRby4Zk09hUBjMFuNbbIqT8m9wXA/s2000/7.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1600" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTTsEoD0vojXx6OpA4cupNt53T2xhWGCkglEIGaHtMUhqcga3zooA_O-7HEstQqIdB3EfvqM78ma4ovRTw5smbgjYegNauCRCON30ncyfmt96kdZTaw8_snBIQnQsYJr9FyLosGc67bpi0E3mV0zNBZ27gk8SusflRby4Zk09hUBjMFuNbbIqT8m9wXA/w400-h320/7.png" width="400" /></a></div><p></p>misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0Toronto, ON, Canada43.653226 -79.383184315.342992163821151 -114.5394343 71.963459836178842 -44.226934299999996tag:blogger.com,1999:blog-4754898720438821493.post-19972296533644546362022-02-18T12:00:00.001-07:002022-02-18T12:00:00.172-07:00The Beginning of Happiness <div class="separator"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiAgepMBZnZ9SJwy5fe8NNQJ8IrhWLrmv1JLJZ6s1lUSKiWg4wLr3rpjGcXuECMeOIGwUYPbibR7TyeaD0CdOQHzxYd0i9wnQxjIBpkkNBNpo1Ui0CCwcy2xCcD9LTAxpAVA9cSC-QNgfFw60YnFMLCTKrNCe_ksYYvpy1emKHe1-C07hmLnHOBL7C9MQ=s1400" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEiAgepMBZnZ9SJwy5fe8NNQJ8IrhWLrmv1JLJZ6s1lUSKiWg4wLr3rpjGcXuECMeOIGwUYPbibR7TyeaD0CdOQHzxYd0i9wnQxjIBpkkNBNpo1Ui0CCwcy2xCcD9LTAxpAVA9cSC-QNgfFw60YnFMLCTKrNCe_ksYYvpy1emKHe1-C07hmLnHOBL7C9MQ=w400-h400" width="400" /></a></div><br />Dear readers,</div><p></p>When a fellow live theatre goer shouted at me in the Fall 2021, "another survivor!!!" I chuckled at the statement. It took a moment before I realized that it was no exaggeration. I wish to acknowledge the hardship, adaptation, revision, planning, cancellations, equipment, protocols, and more that artists have had to navigate during this pandemic. We are, indeed, survivors. In these past two years, I have acquired black singer masks, more home recording equipment, attended zoom rehearsals when I don't feel well enough to attend in-person rehearsals, and rapid test before rehearsals. At this point in time, seeing singing faces covered with masks is the norm. I remember at one of my first rehearsals back in June 2021, I marvelled at how heads are attached to bodies, they're not just heads floating in a virtual meeting frame. How was it that 25 other bodies arrived at the same time and place to sing with me? It was such a sensory overload to hear that much sound but a welcome change to feel the energy of singers around me again.<div><br /><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj9vKdEP4AAuhG9Y280iE-dEkAPkDnc5tAJNWJEhmHXkzr8Wst9Vkm8VaTga6Q_UVCGnJ4ltGk7eA-_4d9qjsAqgzlIU7aMAzawWo9cP_0uqjmiZsFjG--9g9aenKcrOfTDBQ2JyW-E30WLNN89qAmi10AoYGyw_yZRRjJx89BBhEhnQygDl7bMn7V4Cg=s3780" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3780" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEj9vKdEP4AAuhG9Y280iE-dEkAPkDnc5tAJNWJEhmHXkzr8Wst9Vkm8VaTga6Q_UVCGnJ4ltGk7eA-_4d9qjsAqgzlIU7aMAzawWo9cP_0uqjmiZsFjG--9g9aenKcrOfTDBQ2JyW-E30WLNN89qAmi10AoYGyw_yZRRjJx89BBhEhnQygDl7bMn7V4Cg=s320" width="256" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rehearsal with Good Women in July 2021</td></tr></tbody></table>I have never been a fan of learning the hard way. I welcome the past wisdom and advice of those who have walked the path before me. However, these past 2 years felt different as we were all figuring out how to continue with Arts creation with fluctuating pandemic restrictions and risk levels. My collaborative project with FEMME Vocal Quartet and Good Women Dance Collective was no different as we cancelled our live show, "The Beginning of Happiness," weeks before the premiere. It was a project we had all been rehearing since July 2019 and planning even before that time. Amongst the artistic core in the Spring 2021, we decided that a film would be a realistic and safe way of seeing through the project. Director of Photography, Tamarra Lessard, assembled a crew for us to film in August 2021. There were many logistics to consider in adapting the live music + dance show to a film. Park permits needed to be obtained for evening filming, costumes had to be adapted to be used in water, and most significant, the score was shortened from one hour to 30 minutes. The film is now available for <a href="https://tickets.fringetheatre.ca/event/601:3753/601:25738/">streaming</a> from February 17-24, 2022. Half of the proceeds will be donated to <a href="https://winhouse.org/">WIN House</a>.</div><div><br /><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi6rskmODwG4s3NXpSnjVBlBiZ9QOvMf0K5sWzXNuqHnNy_qApFSOAOvQtqI747a-ev0fs2Rul4LkscVnsnkZxwl9BZ2WfWTqXf9oqmeulDtnveouDLulzlHMQRcUXkhHPJtHGb92J5vVxVUozzHIWqYoemx0D9sISm0vISdjw5SBjg2cOMJPEzJ-IbQA=s2224" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2224" data-original-width="2224" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEi6rskmODwG4s3NXpSnjVBlBiZ9QOvMf0K5sWzXNuqHnNy_qApFSOAOvQtqI747a-ev0fs2Rul4LkscVnsnkZxwl9BZ2WfWTqXf9oqmeulDtnveouDLulzlHMQRcUXkhHPJtHGb92J5vVxVUozzHIWqYoemx0D9sISm0vISdjw5SBjg2cOMJPEzJ-IbQA=w400-h400" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Beginning Happiness Performers and Crew for August 2021 filming</td></tr></tbody></table></div><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjXWvt1wcCb1akJn0OujQElnu85V2DNCiQ2Y46cKeAXNAVi_A-7D8UfxYCvVU7FUXDe07b70LdjwnKobADR6FNhGDfVZ4lOyK5BYD_PIW4C9Oh2ziv-qzZEfav1V2xM1AhnTTqeSqe3HtUVffksvrlKtvbfYDwFfeDq4r95dfuA97GooKzU9MGWkeflSQ=s4032" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjXWvt1wcCb1akJn0OujQElnu85V2DNCiQ2Y46cKeAXNAVi_A-7D8UfxYCvVU7FUXDe07b70LdjwnKobADR6FNhGDfVZ4lOyK5BYD_PIW4C9Oh2ziv-qzZEfav1V2xM1AhnTTqeSqe3HtUVffksvrlKtvbfYDwFfeDq4r95dfuA97GooKzU9MGWkeflSQ=w240-h320" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Recording at Silver Studios in May 2021 </td></tr></tbody></table><div>During our recording sessions in May-July 2021, FEMME recorded the entire one hour work at <a href="https://www.silverstudios.ca/">Silver Studios</a>. All the singers recorded their parts separately to stay covid safe and the recording engineers, Caleb Nelson and Amelia Chan, later layered the tracks to form the ensemble sound. This was possible since we sang to click tracks programmed to specific tempos and heard the playback of the other voices who had recorded their parts already.<p></p><p></p>My ears are greeted with the reunited sound of FEMME once again as listen to the album writing this post. The music is such sensitive and informed writing for treble voices. For a work that explores and reflects upon issues of domestic violence, there is a healing beauty within the musical storytelling. There is such a wide range of vocal textures created ranging from the warm feel of love to breathless unrest. After having this work living in my tablet for three years, I am so grateful that this music gets to live in the world. There is a wonderful sense of closure to be able to release this music and invite listeners in.</div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiAzNvvMvFaHJ3bmR44b1HYR1mDTrRMt0HBS-C6nUsEvNyJJUr8mmJD5_xtDpRrpXWmS5tElrOhgELAPV8yL7BRhgGBRl4aJBD2YiEwqQ6HUFf5bPSnOFFeRcYUoYhfJuqTPQKYz7A9O-ZmewbHaPJCmIZqvEK9bDiYiyQlmsVSmqZ6rYh2x7Yd9LMFdA=s4032" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEiAzNvvMvFaHJ3bmR44b1HYR1mDTrRMt0HBS-C6nUsEvNyJJUr8mmJD5_xtDpRrpXWmS5tElrOhgELAPV8yL7BRhgGBRl4aJBD2YiEwqQ6HUFf5bPSnOFFeRcYUoYhfJuqTPQKYz7A9O-ZmewbHaPJCmIZqvEK9bDiYiyQlmsVSmqZ6rYh2x7Yd9LMFdA=s320" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">FEMME Vocal Quartet during Aug 2021 filming</td></tr></tbody></table><br /><div><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>The album is available for streaming and download from <a href="https://femmevocalquartet.bandcamp.com/album/the-beginning-of-happiness">Bandcamp</a>. We suggest a price of $10 for download but will gratefully accept donations above that amount. Proceeds from the album will go towards FEMME's continued work to amplify a contemporary female perspective within choral music through new commissions and performance.</p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2558322637/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 786px; width: 350px;"><a href="https://femmevocalquartet.bandcamp.com/album/the-beginning-of-happiness">The Beginning of Happiness by FEMME Vocal Quartet</a></iframe><br /><br /><p><br /><br /></p></div></div></div>
misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0Edmonton, AB, Canada53.5461245 -113.493822925.235890663821152 -148.6500729 81.856358336178843 -78.3375729tag:blogger.com,1999:blog-4754898720438821493.post-82905050605698437412021-06-27T10:00:00.001-06:002021-06-27T10:00:00.234-06:00An Interview with Deirdre Kellerman<p> <span style="font-family: "Times New Roman"; font-size: 12pt; white-space: pre-wrap;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGgK90ut_j_Wd4lTuAviWKHjz0g9CgObI7ekBHTL9QZZThPmG06GIqT56u8t8LsKDrNCthoR12yB9nvpnjT1Dfoay7V9TgrcKwLOKLYopv45QJxH-utEAN7iREtIF9drEo2zVADmz6BMgC/s2048/Tone+Cluster.png" style="caret-color: rgb(0, 0, 0); font-family: arial, sans-serif; font-size: 12px; font-style: italic; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1155" data-original-width="2048" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGgK90ut_j_Wd4lTuAviWKHjz0g9CgObI7ekBHTL9QZZThPmG06GIqT56u8t8LsKDrNCthoR12yB9nvpnjT1Dfoay7V9TgrcKwLOKLYopv45QJxH-utEAN7iREtIF9drEo2zVADmz6BMgC/w640-h361/Tone+Cluster.png" width="640" /></a></p><span id="docs-internal-guid-7bb801ad-7fff-29bd-3c0e-0dea8184a531"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">There is no such thing as perfect. This theme emerges as I chat with <a href="https://www.tonecluster.org/">Tone Cluster</a>’s new Artistic Director, <a href="https://www.deirdrekellerman.com/">Deirdre Kellerman</a>. In fact, Kellerman feels that parting with the mindset of perfectionism holds the key to discovering who people are as singers.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This past year was Kellerman’s first working with Tone Cluster, a 2SLGBTQ+ choir based in Ottawa. Choir members met online for a weekly rehearsal and produced home audio and video recording content for their virtual performances. There are many singers that Kellerman has not even met in person. She acknowledges the amount of vulnerability for everyone participating in an online format. Kellerman shares her thoughts in this regard: “It was very hard to facilitate a safe space. The way I ended up doing it was going all in and programming intense and vulnerable concert themes: self-love, acceptance, and resiliency. I decided to lean in and that helped so much. It took the awkwardness out of Zoom when we were allowing ourselves to have conversations about resiliency and what that means in our life. Discussing this content in the streaming concerts. I think that was one of the things that got us through the year.”</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Though an online season had its challenges, Kellerman focused on taking this time to facilitate discussion. Allowing this space for discussion set the choir down a path of working through <a href="https://galachoruses.org/resource-center/a-new-harmony/">A New Harmony, a workbook developed by GALA Choruses</a>, the primarily North American umbrella for LGBTQ choirs. </span><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">They have started to have conversations about equity, access, and belonging in choruses. The workbook has different workshop resources to discuss aspects of mobility, race, gender identity, sexual orientation, socio-economic status, mental health, and neurodiversity. Tone Cluster is looking forward to continuing to use a New Harmony as a guide in the upcoming seasons.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/KS8otd4mPrA" width="479" youtube-src-id="KS8otd4mPrA"></iframe></span></div><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Oftentimes, during a regular performance season, there is a relentless pressure to learn music quickly for an upcoming performance. Whether conscious or subconscious, there is also a desire to have enough concert repertoire to justify the price of admission. “That is something I’ve always struggled with for several artistic reasons. Always feeling like there is a rush for singers to learn their music and a rush to get things done in rehearsal. Of course, that has to do with rehearsal methodology and efficacy, but it has been such a breath of fresh air to talk about why we’re singing particular pieces. It’s validating for me when I program something and hear the other singers’ connections to the music. It gives me a better sense of what clicks with them and doesn't and who they are as individuals, shares Kellerman.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">There have also been profound changes for choristers singing and recording at home for a year. This perseverance to continue singing during a pandemic is a huge challenge. In many ways, it would be easier not to sing at all. However, Tone Cluster’s weekly virtual check-ins helped to maintain a sense of community. In this online format, Kellerman was intentional in giving her singers space to create: “I occasionally gave them instructions on where they should be or how they should dress. I always give them the opportunity, for at least one song, to go and record wherever in their homes or in their surrounding community that feels most authentic to them for the piece. To be as creative as they want to be. That has been game changing.”</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Kellerman's view of a choir is not a mass of bodies singing together, but as a group made up of individuals, each with their own voice to share. With a social and political landscape that is becoming more charged with the inequalities facing people, both in the choral community and beyond, Kellerman reflects on her own approach to music making in this time: “Language matters… my journey with these ideas of decolonization and broadening what it means to be a choral artist has been about deconstructing the words success and excellence. Realizing it doesn’t always have to be music first. It can be connection, community, and stories first and that will allow us to create excellent music.”</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">There is a shift in approaches to collaborative choral leadership; however, rigid models of hierarchical teaching are still dominant in the classical music scene. This is a traditional model where a conductor determines the direction of music making. They likely have strong opinions of how to define musical excellence. Kellerman gives permission to their singers to not be focused on perfection, but instead, commit to communication of the music. It allows singers to experience the release from unhealthy expectations of perfectionism. Though these expectations can exist internally and externally, Kellerman has eliminated external ones in her role as a conductor. She goes further to clarify, “It doesn't mean that I don’t care about the quality of the music, because I do. I just think the way we get there can be in a more collaborative and engaging way with each other and the music. “</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">There is a huge role of unlearning that begins for any Artist when they begin to challenge whose definition of excellence they are trying to meet. Is it a Mentor? Organization? Conductor? Voice Teacher? Or perhaps one of the most critical yet, themselves? A toxic equation that outlines a direct relationship between performance expectations and self-worth.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Kellerman reminisces about the countless stories of shame singers have experienced throughout their training. Stories from a childhood where a singer was told that they need to mouth the words because their voice wasn’t good enough. They carry that vocal hesitation into adulthood and breakdown with gratitude as they enter a nurturing choral space as an adult. “Everyone has the right to sing,” states Kellerman with an assertive calmness. We need to “start from this place of ‘what stories do we want to tell? how do we feel about the music we’re singing?’ and stop talking about what styles or composers are for what singers,” states Kellerman.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Tone Cluster has a mix of demographics, such as young adults and recently retired, some newly out of the closet, some having lived decades within the queer commuity, and a significant number of allies that don’t identify as queer in the group as well. Kellerman elaborates, “they want to do better for each other. They want to learn how to be more accepting and welcoming. They are always striving for that. They are doing it in a way that is fun. They are serious about their inclusivity and enjoying their community together.”</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Kellerman shares her approach to programming for Tone Cluster this past year and the current show: “I was drawn to what are our lived experiences that are the same no matter how we identify within the choir. I am really interested in diving deeper into an individual basis. Whether that is stories of people who were living during the AIDS crisis, which is not that long ago, or talking about what it’s like to not know yourself or have labels for yourself or knowing where you land. Those are all really important for queer organizations to focus in on. Tone Cluster has a great history of singing and speaking about social justice focused topics. We can go farther with queer centered stories written by queer composers. We have such talent within the organization itself. There are poets and storytellers. I would really want the choir to be in front of an audience and feel like they are telling their story.”</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/cx35L1WEMq0" width="500" youtube-src-id="cx35L1WEMq0"></iframe></div><span style="font-family: "Times New Roman"; font-size: 12pt; white-space: pre-wrap;"> </span><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The idea of a decentralized form of leadership continues to surface during Kellerman’s verbal reflections, especially regarding the aspect of collaborative programming. While she acknowledges that there is so much ego that can be wrapped up in the role of conductor, she is interested to discover what a model of efficient collaboration can look like. Tone Cluster, in many ways, is an excellent group to explore this process of finding a new path of looking at leadership and direction. Kellerman hopes for the “singers in the choir, no matter their skill level or experience, to feel connected to the ensemble in an artistic way and that their voices are being valued.”</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In a pandemic year of creation, Kellerman remains curious about what is to come: “I am fascinated about what people would have learned about themselves in this year of isolated singing. I imagine there are going to be struggles, whether it is tuning, balance, or even the emotions of being back with people again and singing. I want to prepare for anything. I am also anticipating real strength and development of skills. People have been forced to sing and learn music on their own; what that’s going to mean for choral singing. I don’t anticipate that people will shy into the background and rely on other peoples voices. They have been forced to find their sound and to accept their sound.”</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Given the discussions that have occurred within Tone Cluster this past year, Kellerman is first to note that siloing can be a dangerous thing: “As much as it is beneficial to be talking about [equity] in a choral setting, I think this is a great opportunity as we are having these discussions to open the door a bit and note that all art forms are having these conversations. To be collaborating not just as an interesting way to get an audience through the door, but to diversify and deepen these stories and how they connect in our music community and audiences. I’ve always felt there’s been so many lines drawn between the choir world, the orchestra world or singer songwriter world and this is the time to be expansive,” reflects Kellerman, and “to collaborate not just for the sake of collaboration, but to connect, and create together.”</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><div style="caret-color: rgb(0, 0, 0); font-family: Helvetica; text-size-adjust: auto;"><span face="arial, sans-serif"><i><div class="separator" style="clear: both; font-size: 12px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmNtoLpsQEXZUCL6rGuaWPqi1MFMAERj_6HgUXRHjvgiafvOLwrM3GqY4_gjV_axxOtp4TBf3QVj1neHjKAb18xazbhyC4KHFR73RYwjdNbzbYC-dbk_dUiiPoCNFES_pNW0ayFz6KsUqD/s1235/Deirdre.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1235" data-original-width="1125" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmNtoLpsQEXZUCL6rGuaWPqi1MFMAERj_6HgUXRHjvgiafvOLwrM3GqY4_gjV_axxOtp4TBf3QVj1neHjKAb18xazbhyC4KHFR73RYwjdNbzbYC-dbk_dUiiPoCNFES_pNW0ayFz6KsUqD/w364-h400/Deirdre.jpg" width="364" /></a></div>Deirdre Kellerman is a choral conductor and vocal coach based in Ottawa, ON, where she is the newly appointed Artistic Director of Tone Cluster - quite a queer choir, as well as the Artistic Director of Hypatia's Voice Women's Choir. From 2015-2</i></span><i style="font-family: arial, sans-serif;">021, she was the Music Director at First Unitarian Congregation of Ottawa, and also worked as the Assistant Director of the Ottawa Choral Society. </i></div><div style="caret-color: rgb(0, 0, 0); font-family: Helvetica; text-size-adjust: auto;"><i><span face="arial, sans-serif"> </span><br /></i></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><div style="caret-color: rgb(0, 0, 0); font-family: Helvetica; text-size-adjust: auto;"><p class="gmail-font_7" style="border: 0px; line-height: normal; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span face="arial, sans-serif"><i>Deirdre has studied with Canada’s leading choral pedagogues, including a residency at the Banff Centre’s Choral Art program, studying with Michael Zaugg and Lone Larsen. She was nominated for the 2018 Leslie Bell Prize for Choral Conducting. An avid chorister, Deirdre has sung with a wide variety of ensembles, including Xara Choral Theatre, and the National Youth Choir of Canada. <br /><br />Deirdre holds a M.Mus in Conducting from the New England Conservatory and B.Mus in Vocal Performance from Acadia University.<br /></i></span></span></span></p><div class="separator" style="clear: both; font-size: 12px; text-align: center;"><span face="arial, sans-serif"><i><br /></i></span></div><span face="arial, sans-serif"><i><br /></i></span><p></p></div><br /></span>misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-33864270373781663482020-11-24T13:00:00.001-07:002020-11-24T13:01:26.065-07:00Do Not Be Afraid: A discussion on musical appreciation vs appropriation by Melissa Morgan<p></p><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0NpQmPR1W6lkti2IPkUNP6bgvN1_7mxI1WTVPikYjyQtqCuL14IKN9SrvG4O6FC4BrDSMhyLnKfPV0Ow4R3LlRTXBoTfPw-dk5MVlOc3OBnd9FTNnaJrVEY_Yem0m4GKlOvCr9qKAyN2U/s600/Decolozi+%2528TCG%2529.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="200" data-original-width="600" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0NpQmPR1W6lkti2IPkUNP6bgvN1_7mxI1WTVPikYjyQtqCuL14IKN9SrvG4O6FC4BrDSMhyLnKfPV0Ow4R3LlRTXBoTfPw-dk5MVlOc3OBnd9FTNnaJrVEY_Yem0m4GKlOvCr9qKAyN2U/w640-h214/Decolozi+%2528TCG%2529.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;">The subject of cultural appropriation verses cultural appreciation is a hot topic right now. While there are several books, articles, and blogs which address this subject, I have found that musicians and specifically choral conductors do not know what to do when programming music from a culture different from their own. My conducting colleagues have confided in me to say, “I want to be an ally, I want to diversify my program but I’m afraid that I will do it wrong. I do not want to offend anyone.” There is a real fear out there and these emotions of fear can have a firm grip on musicians. As a result, we tend to avoid certain music because we are afraid. We are afraid of what others will think; we are afraid that we will get it wrong; we do not want to be criticized, and not to mention, that we all have a lot going on and getting it wrong will simply add to the stress that currently exists in our lives. The goal of this blog is to encourage all musicians (myself included) to feel the fear, make the preparations, do the work, and go for it!</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Let’s talk about the subject of appropriation – what it is?</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">In March 2019, choral educator, conductor, composer, speaker, and writer, Dr. Rollo Dilworth, gave a presentation posted on the Chorus America website titled “<a href="https://www.chorusamerica.org/resource/demand-learning/exploring-cultural-appropriation-choral-music)">Examining Cultural Appropriation in the Preparation and Performance of Choral Music</a>”. I have found this presentation to be extremely helpful when trying to understand how to define appropriation. Let me summarize it for you.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Dilworth is a prolific composer who writes primarily in the gospel style. He mentions in his presentation that he receives numerous, almost daily, messages about how to authentically perform his music. He shares that conductors will often ask the questions:</div><div class="separator" style="clear: both; text-align: left;">“ Is it appropriate for me to even consider doing this music?”</div><div class="separator" style="clear: both; text-align: left;">“Am I allowed to perform this music when I do not identify with the culture?”</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">He highlights three categories of people that fit within the framework of his discussion. People who are:</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">1)<span style="white-space: pre;"> </span>Comfortable: This person perceives their identity as the “Insider” -- as someone who is comfortable embracing cultural traditions or norms, for whatever reason. Perhaps they are a member of the cultural group or perhaps they have lots of experience working and living within the norms of the cultural group (Dilworth 2019). </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">2)<span style="white-space: pre;"> </span>Somewhat: This person perceives their identity as someone who is moderately comfortable embracing cultural traditions or norms. Perhaps they feel confident in certain situations because they have a connection to a particular culture or group or perhaps, they are biracial or multi-racial (Dilworth 2019).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">3)<span style="white-space: pre;"> </span>Uncomfortable: this person perceives their identity as someone who is not comfortable embracing cultural traditions or norms. These people admit that they do not have any knowledge or experience in a particular culture and they perceive their identity as an, “outsider” (Dilworth 2019). </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From there, Dilworth refers to the Canadian philosopher, James Young and his book, Cultural Appropriation and the Arts in which Young defines and describes three types of appropriation (Young 2008):</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Young’s definition of appropriation is this: “when members of one culture (outsiders) take for their own, or for their own use, items produced by a member or members of another culture (insiders)”(Dilworth 2019).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">The three categories of appropriation as described by Young are:</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">•<span style="white-space: pre;"> </span>Object – “object appropriation occurs when the possession of a tangible work of art (such as a sculpture or a painting) is transferred from members of one culture to members of another culture” (Young 2008).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">•<span style="white-space: pre;"> </span>Content – “When this sort of appropriation occurs, an artist has made significant reuse of an idea first expressed in the work of an artist from another culture. A musician who sings the songs of another culture has engaged in content appropriation as has the writer who retells stories produced by a culture other than his own” (Young 2008).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">•<span style="white-space: pre;"> </span>Subject – “ . . . outsiders who represent in their artworks individuals or institutions from another culture. . . when this type of appropriation occurs no artistic product of a culture is appropriated. Instead artists appropriate a subject matter . . .” (Young 2008).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Something Dilworth highlights is that Young does not place a moral value on these definitions. He simply categorizes and defines terms for exactly what they are. Young does not state that subject, content or object appropriation is necessarily bad. In fact, Dilworth suggests in his presentation that appropriation is not always negative.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Dilworth introduces another scholar in his presentation, Richard Rogers, who argues that cultural appropriation “Is inescapable when cultures come into contact including virtual or representational contact”(Rogers 2006). Rogers explores the idea that unless we live in a culture without exposure to other cultures (i.e. we have never eaten another culture’s food, or worn their clothing or jewelry, read a book by an author from that culture, or watched a film -- which he argues are all levels of engaging in cultural appropriation -- then we are participating or have participated in cultural appropriation: it is unavoidable. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Armed with this information, Dilworth goes on to ask self-reflecting questions of himself and invites the presentation audience to do the same. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Question #1 – If according to scholars appropriation is inescapable – how do we navigate the arts without being offensive or harmful?(Dilworth 2019) </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Question #2 – Is there such a thing as acceptable cultural appropriation?(Dilworth 2019)</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">This is where Dilworth highlights three acceptable instances of appropriation (Dilworth 2019):</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">1)<span style="white-space: pre;"> </span>Cultural exchange – An agreed-upon time where two cultural groups mutually come together to learn and share with each other. This could include a tour exchange or some sort of cultural exchange. The key is that there are equal levels of power between cultural groups (Dilworth 2019).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">2)<span style="white-space: pre;"> </span>Cultural appreciation – using elements of a specific culture in our work but taking the necessary steps to honour, respect and value the original source (Dilworth 2019).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">3)<span style="white-space: pre;"> </span>Cultural assumption – a term coined by Dilworth – “used to define instances in which we harmlessly (and sometimes unknowingly) interact with culture outside of our own. Such examples include watching a film, listening to music, eating food” (Dilworth 2019).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">We all need to understand when appropriation is negative or simply wrong. Based on Young’s research, Dilworth mentions three ways in which cultural appropriation is wrong or objectionable:</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">1)<span style="white-space: pre;"> </span>Cultural appropriation as theft – Young defines this as “outsiders taking (without proper permission) property that belongs to insiders”(Young 2008), e.g., using an instrument such as an Indigenous ceremonial hand drum as part of a performance without asking permissions.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">2)<span style="white-space: pre;"> </span>Cultural appropriation as assault – “causing harm to a culture or members of a culture and in some cases threaten the viability of a culture (Young 2008),”e.g., recording the performance and selling it for profit without compensating the rightful owners of the drum.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">3)<span style="white-space: pre;"> </span>Cultural appropriation as profound offence – offense to one’s moral sensibilities (Young 2008), e.g., when an act of appropriation has been taken too far – when theft, assault and moral disrespect has taken place.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Dilworth then asks another question of himself and of the participants in the audience: What can we do to move forward?</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Here, I will refer to suggestions in which Dr. Floydd Ricketts, artistic director and conductor of Ensemble Noir in Montreal Quebec, recently shared in a webinar with the <a href="https://phoenixchoir.com/2020/07/webinar-making-music-in-the-mess-video">Phoenix Chamber Choir: Making Music in the Mess</a>. Ricketts gives nine insightful helpful tips in the webinar but I will highlight four, and then add a suggestion of my own and finally, conclude with another suggestion from Dilworth:</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">1.<span style="white-space: pre;"> </span>Recognize – “it is not enough for you to only acknowledge appropriation after someone brings it to your attention. The only way that we can go about ending appropriation or at least abating it, is for everyone to know what appropriation looks like, and to call it out. Be an ally” (Andrews 2020).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">2.<span style="white-space: pre;"> </span>Involve people – “Credit alone is not enough. If you want to engage in a culture that isn’t your own, involve people of that culture, ask them questions (assuming they want to be involved), and invite them to share their stories and experiences” (Andrews 2020).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">3.<span style="white-space: pre;"> </span>Education – “It is extremely important to be aware of historical context. In my opinion, this gets people into trouble more than any other point. If you don’t understand all the pain, trauma, the triumphs that lead to the development of a genre of music, you are bound to error. . . do your own in-depth research before seeking counsel from the community in question” (Andrews 2020).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">4.<span style="white-space: pre;"> </span>The hard truth – “Recognise that, unfortunately, even if you get all of this right, you may still be accused of appropriation. This is because there is seldom only one authority in a cultural community. Gaining permission from one authority does not mean that all other connected communities will agree with that authority. . . . while you may have done due diligence . . . knowledge is invisible, and it will not always be obvious to others that you have done the work. Be prepared to solidly answer questions about your familiarity with the material and the culture surrounding it” (Andrews 2020).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">5.<span style="white-space: pre;"> </span>Know your “why” – In his book, Start with Why, Thought leader, Simon Sinek, reminds us all to get to the heart of the matter (Sinek 2009). Know your purpose. Understand what are your true intentions. Believe in your “why” and others will recognize your authentic intentions and believe with you (Holley Jr. 2019).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">6.<span style="white-space: pre;"> </span>Find the original source – “There is an assumption that if music is published and in print then there is some level of permission. This may be the case but is not always the case. Therefore, one should acknowledge the original source, if need be or if in doubt, contact the original source for the permissions necessary. Do due diligence – we must be discerning” (Dilworth 2019).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">It is my hope that after reading this blog, someone will be empowered to move forward and explore the choral work of a culture for which they are not familiar, without fear. Acknowledge that engaging with a new culture, language, or musical style may present challenges. For this reason, preparation (research, engaging in conversation, actively seeking to develop relationships with ‘insiders’, listening, self-reflection, taking time) is key. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">We are living through challenging but very exciting times and with boundless opportunities. Now is not the time to ‘play it safe’ but it is the time to take the risk and teach fearlessly, love more, share what we know, and learn about what we do not know. If we make the preparations, make connections, do the research and necessary work, then we should not be afraid to share the stories of others but rather strive to break down cultural barriers in our choral communities.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b>Websites and links to repertoire lists and organizations:</b></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">African Diaspora Music Project: http://africandiasporamusicproject.org</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">African American Art Song Alliance: https://www.artsongalliance.org</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">AfriClassical.com: https://chevalierdesaintgeorges.homestead.com/index.html</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Beyond Elijah Rock: The non-idiomatic choral music of Black composers: </div><div class="separator" style="clear: both; text-align: left;">https://www.mlagmusic.com/research/beyond-elijah-rock</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Exigence: https://www.sphinxmusic.org/exigence-vocal-ensemble/</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Institute for Composer Diversity: https://www.composerdiversity.com</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Malaysian Choral Composers Series: Vivian Chua: https://tracywongmusic.com/posts/blog-mccs-vivianchua</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b>Sources:</b></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Andrews, N., Frédéricka Petit-Homme Condon, Leela MadhavaRau, Andre Myers, Floydd Ricketts (2020). Making Music in the Mess: A conversation towards a greater understanding of African Diasporic voices in Canadian Choral Music. Phoenix Chamber Choir Webinar. https://phoenixchoir.com/2020/07/webinar-making-music-in-the-mess-video: 1:20:17.</div><div class="separator" style="clear: both; text-align: left;"><span style="white-space: pre;"> </span></div><div class="separator" style="clear: both; text-align: left;">Dilworth, R. (2019). Exploring Cultural Appropriation in Choral Music. Chorus America Website, Chorus America.</div><div class="separator" style="clear: both; text-align: left;"><span style="white-space: pre;"> </span></div><div class="separator" style="clear: both; text-align: left;">Holley Jr., E. (2019). "Cultural Appropriation: From Culture Stealing to Culture Sharing." Retrieved Oct. 2, 2020, from https://www.chorusamerica.org/article/cultural-appropriation-culture-stealing-culture-sharing.</div><div class="separator" style="clear: both; text-align: left;"><span style="white-space: pre;"> </span></div><div class="separator" style="clear: both; text-align: left;">Rogers, R. A. (2006) From Cultural Exchange to Transculturation: A Review and Reconceptualization of Cultural Appropriation. Communication Theory 16, 474-503 DOI: https://doi-org.libproxy.uregina.ca/10.1111/j.1468-2885.2006.00277.x</div><div class="separator" style="clear: both; text-align: left;"><span style="white-space: pre;"> </span></div><div class="separator" style="clear: both; text-align: left;">Sinek, S. (2009). Start with why : how great leaders inspire everyone to take action. New York, Portfolio.</div><div class="separator" style="clear: both; text-align: left;"><span style="white-space: pre;"> </span></div><div class="separator" style="clear: both; text-align: left;">Young, J. O. (2008). Cultural Appropriation and the Arts. Malden, MA, Blackwell publishing.</div><div class="separator" style="clear: both; text-align: left;"><span style="white-space: pre;"> </span></div><div class="separator" style="clear: both; text-align: left;"><br /></div></div><br /><div class="separator" style="clear: both; text-align: center;"><div style="text-align: left;"><div><br /></div><div><div style="font-stretch: normal; line-height: normal; margin-bottom: 5px;"><span style="letter-spacing: 0.3px;"><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwaRAQbBUoesPxyunkwmYMWc8-0kLpSb3lZJ-PDKo2Th9xrm4eRLWxjGF7A670HqvTS64slw45CbbA0TwF8t9kkc3WrdiK3_xlKryCadUwnkFn-3JpoU1cOE0dOWublARQIHQeFUVry8_F/s2048/melissa_morgan_headshots09.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwaRAQbBUoesPxyunkwmYMWc8-0kLpSb3lZJ-PDKo2Th9xrm4eRLWxjGF7A670HqvTS64slw45CbbA0TwF8t9kkc3WrdiK3_xlKryCadUwnkFn-3JpoU1cOE0dOWublARQIHQeFUVry8_F/w640-h426/melissa_morgan_headshots09.jpg" width="640" /></a></div><span style="caret-color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; letter-spacing: normal; text-size-adjust: auto;"><div style="text-align: center;">Photo credit Danielle Tocker Photography</div></span><div class="separator" style="clear: both; text-align: left;"><span style="font-family: georgia;"><br /></span></div><p class="MsoNormal" style="caret-color: rgb(0, 0, 0); letter-spacing: normal; text-size-adjust: auto;"><span style="font-family: georgia;"><strong><span style="font-weight: normal; letter-spacing: 0.35pt;">Dr. Melissa Morgan </span></strong><span style="letter-spacing: 0.35pt;">is the Assistant Professor of Choral Music in the department of Media, Arts, and Performance at the University of Regina. An active conductor, she is frequently asked to serve as a guest clinician, adjudicator, and conductor with high school, children’s choirs, and church choirs throughout Canada. </span></span></p><p class="MsoNormal" style="caret-color: rgb(0, 0, 0); letter-spacing: normal; text-size-adjust: auto;"><span style="font-family: georgia;"><span style="letter-spacing: 0.35pt;">Dr. Morgan holds a Doctorate of Music Performance in Choral Conducting from the<span class="Apple-converted-space"> </span></span>University of Toronto,<span style="letter-spacing: 0.35pt;"><span class="Apple-converted-space"> </span>a Master of Music Performance in Choral Conducting from the University of Western Ontario, a Bachelor of Arts and a Bachelor of Music Education from the </span><span style="letter-spacing: 0.35pt;">University of Regina<span>. She is also an Associate of the Toronto Royal Conservatory of Music (ARCT) in piano, voice, and flute. <o:p></o:p></span></span></span></p><p class="MsoNormal" style="caret-color: rgb(0, 0, 0); letter-spacing: normal; text-size-adjust: auto;"><span style="font-family: georgia;"><span style="letter-spacing: 0.35pt;">For more information on Dr. Morgan please visit her website:<span class="Apple-converted-space"> </span></span><span style="letter-spacing: 0.35pt;"><a href="http://www.classicmel.ca/">www.classicmel.ca</a></span></span></p></span></div></div><div style="font-stretch: normal; line-height: normal; margin-bottom: 5px;"><span style="font-family: georgia; letter-spacing: 0.3px;"><br /></span></div><div style="font-stretch: normal; line-height: normal; margin-bottom: 5px;"><span style="letter-spacing: 0.3px;"><div class="normal" style="line-height: 16.8667px; margin: 0cm 0cm 0.0001pt;"><span style="font-family: georgia;">Have an idea or perspective you wish to share for this decolonizing choir series? <a href="https://docs.google.com/forms/d/e/1FAIpQLSfSQsKcSdax67awqx1njkPEe6PvfV_r_cxpmevwxPsQQXD3ww/viewform" style="text-decoration-line: none;">Let me know at this link.</a></span></div><div><br style="background-color: white; color: #44187f; font-size: 15.4px; letter-spacing: normal;" /></div></span></div></div></div>misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0Regina, SK, Canada50.4452112 -104.618894322.134977363821157 -139.7751443 78.755445036178855 -69.4626443tag:blogger.com,1999:blog-4754898720438821493.post-44642329880982650692020-07-31T09:00:00.020-06:002020-07-31T09:00:00.245-06:00Guest Blogger: A Conductor’s Self-Reflection by Gloria Wan<div class="separator" style="clear: both; text-align: center;"><span id="docs-internal-guid-3ad16c06-7fff-d9c9-1c4e-de8102cbecd8"><div class="separator" style="clear: both; text-align: left;"><div class="separator" data-original-attrs="{"style":""}" style="clear: both; text-align: center;"><font id="docs-internal-guid-3ad16c06-7fff-d9c9-1c4e-de8102cbecd8"><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0NpQmPR1W6lkti2IPkUNP6bgvN1_7mxI1WTVPikYjyQtqCuL14IKN9SrvG4O6FC4BrDSMhyLnKfPV0Ow4R3LlRTXBoTfPw-dk5MVlOc3OBnd9FTNnaJrVEY_Yem0m4GKlOvCr9qKAyN2U/s600/Decolozi+%2528TCG%2529.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="200" data-original-width="600" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0NpQmPR1W6lkti2IPkUNP6bgvN1_7mxI1WTVPikYjyQtqCuL14IKN9SrvG4O6FC4BrDSMhyLnKfPV0Ow4R3LlRTXBoTfPw-dk5MVlOc3OBnd9FTNnaJrVEY_Yem0m4GKlOvCr9qKAyN2U/w640-h214/Decolozi+%2528TCG%2529.png" width="640" /></a></div></font></div><div class="separator" data-original-attrs="{"style":""}" style="clear: both;"><br /></div><div class="separator" data-original-attrs="{"style":""}" style="clear: both; text-align: center;"><span id="docs-internal-guid-61fb1f91-7fff-615f-ad9e-a56b8de0598e"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">My name is Gloria. My parents bravely emigrated from Hong Kong to Canada over 40 years ago, making me proudly Chinese-Canadian. Additionally, I’m a conductor, educator, singer, instrumentalist, and Candy Crush enthusiast (</span><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Still? Yep</span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">). I’ve had my heart set on choir since my first encounter with a cluster chord in Grade 9, and an equally-large passion for contemporary, jazz, and pop music. Over the past decade and a half, I’ve had the immense privilege of learning, working, teaching, performing, and living in four provinces and states and two countries. By singing in a choir, I have experienced (and continue to do so) many makings of humanity which may otherwise be difficult to understand or approach without music.</span></p><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">However, I am beginning to evaluate the ways in which the choral education system is biased and how much of it is really rooted in colonialism. When you think of some of the world’s so-called</span><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> “greatest choral conductors,</span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">” how many of them are North American or European, and how many represent other regions or nationalities? Do most of those individuals fall under the first category? Why is this the case when the innately human tradition of singing has existed in </span><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">all regions </span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">for centuries? </span></p><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Addressing issues and systemic biases within an artform which we care so deeply about may be difficult to approach at first, but is absolutely essential in an effort to end traumatic and otherwise preventable experiences for our singers. To start, the dismantling of any biased system in which we are a part begins with self-reflection. In the months and years to come, I’m keen to find ways to uplift the voices in choral music which may not have received the proper recognition, dignity, and understanding that they deserve—especially those in Canada. </span></p><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Recently, I became an administrator on <a href="https://www.blogger.com/blog/post/edit/4754898720438821493/4464232988098265069#" id="https://www.instagram.com/choirisracist/">@choirisracist</a>, an Instagram platform dedicated to sharing anonymous personal stories of biases, racism, sexism, and microaggressions within the world of choral music, rehearsal, and performance. Inspired by other similar pages in related fields bearing the “______ is Racist” moniker, this platform has proven to be a necessary space for releasing past traumas, injustices, and other painful memories which contributors have been holding onto for years without a proper outlet; it is NOT a form of entertainment or “delivering the tea.” These stories exist as anonymous public statements, often facilitating a much-needed conversation and re-examination of our own practices as educators and choral musicians. </span></p><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“So you’re a conductor, and you help run a platform called “Choir is Racist”?” Yes. Although it was initially inspired by the “______ is Racist” network, these profiles all receive submissions of deep-seated issues that exist beyond the scope of racism. Again, the idea of “decolonizing” any educational space or making any curriculum more “anti-racist” must begin with the person administering it—or in our case, the person at the podium. In this self-reflection as a conductor, I admit I have been careless with my choices on some days — whether that be with word choice in rehearsal, programming, or other similar decisions. Working on the team of <a href="https://www.blogger.com/blog/post/edit/4754898720438821493/4464232988098265069#" id="https://www.instagram.com/choirisracist/">@choirisracist</a> is not only a way to practise this self-reflection constantly, but to help bring the greater choral community one step closer to facing these issues and fostering an anti-racist, anti-sexist culture. We know that change can be good and hope that it can come sooner if we start having these conversations out in the open with our mentors, students, colleagues, and audiences. </span></p><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 36pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">As we affirm these experiences from musicians around the world, I can’t help but to notice similarities coming up not only across posts, but many that are much too reminiscent of some of my own choral experiences as well. We will look at a handful of anonymous public submissions (</span><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><a href="https://www.blogger.com/blog/post/edit/4754898720438821493/4464232988098265069#" id="https://www.instagram.com/choirisracist/">view all posts on Instagram at @choirisracist if you feel inclined</a></span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">), and the biases present. I have included a few guiding questions which arose in my own self-reflection towards decolonizing our spaces.</span></p><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9sP6MBHZj4nr52aJijqddUIWfpYgiBMXAXQDhkwef1Q0UEoCX2QlKPt-Zi_VwLIlx06FJtAGuXj0u8Oqz0GD9zVEqlaY7vqQB6mj61ysV1tLjRrh8ALjM_IdHgwkyZ6T72dgLx7-d0gAc/s760/9.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="757" data-original-width="760" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9sP6MBHZj4nr52aJijqddUIWfpYgiBMXAXQDhkwef1Q0UEoCX2QlKPt-Zi_VwLIlx06FJtAGuXj0u8Oqz0GD9zVEqlaY7vqQB6mj61ysV1tLjRrh8ALjM_IdHgwkyZ6T72dgLx7-d0gAc/s320/9.png" width="320" /></a></div><br /><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQNsLG8CBab_nszz_rbU0SWLtFFTQO__tXjqJn-1QHk_PT82Qg6fPvUdbizaqBPzu0g9GId-sCav3-uv_VON1Rh07Z07JF66djeOn6cn549Mbo2X_JTq7Pk_fA6gbu78uL7fmlpg8pOnFJ/s753/12.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="753" data-original-width="753" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQNsLG8CBab_nszz_rbU0SWLtFFTQO__tXjqJn-1QHk_PT82Qg6fPvUdbizaqBPzu0g9GId-sCav3-uv_VON1Rh07Z07JF66djeOn6cn549Mbo2X_JTq7Pk_fA6gbu78uL7fmlpg8pOnFJ/s320/12.png" /></a></div><br /><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Rdnnediq9jPcTm15cTNScnjzfO76V-iHsP517gJaQQEryar5GkNEmjWe77P0-u305h7G640HaoJuk8xtoPJaexKP-143ZPDWNHTTcQ5pkuhyIMFMcvn-8DYSqNKJdmnSPAZZd2KQ7ZBs/s761/23.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="761" data-original-width="756" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Rdnnediq9jPcTm15cTNScnjzfO76V-iHsP517gJaQQEryar5GkNEmjWe77P0-u305h7G640HaoJuk8xtoPJaexKP-143ZPDWNHTTcQ5pkuhyIMFMcvn-8DYSqNKJdmnSPAZZd2KQ7ZBs/s320/23.png" /></a></div><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><br /></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 36pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 36pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Conductors often use imagery in rehearsal to describe or invoke a particular sound within an ensemble. You’ll hear phrases like, “Can I hear it brighter/darker/more crisp”, or even “picture a school of fish swimming in the water on a warm day at the beach.” Descriptive language can be effective when rehearsing to help singers mentally frame a piece and awaken musical contrast. However, it’s our job not to present any implied biases or stereotypes that most often do more harm than good.</span></p><ul style="margin-bottom: 0px; margin-top: 0px;"><li dir="ltr" style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">What is the sound</span><span style="font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> I am trying to describe, and are there any other less offensive ways or means I can utilize for sharing the musical idea I am teaching to my students? </span></p></li></ul><ul style="margin-bottom: 0px; margin-top: 0px;"><li dir="ltr" style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">What is the perceived undertone in using words like “sass,” “spice,” and “gang signs” in rehearsal, and are they appropriate? </span></p></li><ul style="margin-bottom: 0px; margin-top: 0px;"><li dir="ltr" style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Again, </span><span style="font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">what is the sound</span><span style="font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> to be achieved, and is the use of those particular words the best way to reach those goals?</span></p></li></ul></ul><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="border: none; display: inline-block; height: 265px; overflow: hidden; width: 265px;"><img height="265" src="https://lh3.googleusercontent.com/ZsGt6H3Sl-hDOEcjCZ8NbvmUdmfDtaH93qSEhmEo1fqxxfBpfZrfQxwvxFiDTyXqfoWsMme5ipktrRj_vey5W21K49v03tb-2d-dnWIPJERJkd4qVoeMVFjW1qjHxaVcqR9kTXKD" style="margin-left: 0px; margin-top: 0px;" width="265" /></span></span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="border: none; display: inline-block; height: 265px; overflow: hidden; width: 265px;"><img height="265" src="https://lh3.googleusercontent.com/oNYuPI2s5hgDn9QjMQwkfpckR7psd_gUMSmf7l2ITkgWULtWhbO7lE60KGBV5Cnlaa8Ri23uGqUqJgRHpS-6fwu6-jo4y4jKMS8k8iuzhi-fQBmOH6-hXcXRUoOGw9k_xUiBc3MI" style="margin-left: 0px; margin-top: 0px;" width="265" /></span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Some of us may be able to recall a rehearsal scenario in which the conductor says something like, “Hey everyone, let’s end on a good note. Let’s sing (name of spiritual/folk song/other cultural piece)”. Of course, we assume the conductor has good intentions with this. However, this music is too often not given the adequate rehearsal time which it deserves in comparison to time spent on other (typically Western or European) repertoire. </span></p><ul style="margin-bottom: 0px; margin-top: 0px;"><li dir="ltr" style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">What are these feelings of “fun” and “goodness” that I am trying to pass to my choristers through the singing of this music, when oftentimes the original makeup of it was rooted in deep oppression and suffering -- the very opposite of those feelings? </span></p></li></ul><ul style="margin-bottom: 0px; margin-top: 0px;"><li dir="ltr" style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Time in a choral rehearsal is far too often allocated to teaching diction in pieces by composers like Schnittke, Bach, or Monteverdi, as an example. </span></p></li><ul style="margin-bottom: 0px; margin-top: 0px;"><li dir="ltr" style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In what way(s) can we structure our rehearsals to make more time to educate not only ourselves and students sufficiently about non-Western repertoire, but to respect its cultural roots without degrading them in the name of a “good time”?</span></p></li></ul></ul><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 36pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Black voices matter, Black composers matter, and it is only fair that non-Western classical music be dedicated sufficient time and respect not only to be pronounced correctly, but truly understood correctly. </span></p><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="border: none; display: inline-block; height: 265px; overflow: hidden; width: 265px;"><img height="265" src="https://lh4.googleusercontent.com/2fiMQb24-j6-Yy2NCojy5-iHW1a9D0E2R-AhtYiUUXKwWXtYoDpalhN0B7-LR_HeIaK9GOtphhSjsQs6qrioEIiNx5IRP3dW3UddomfrCsCBC6L6z54E55Mhq__3_mBNt4og0fei" style="margin-left: 0px; margin-top: 0px;" width="265" /></span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 36pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 36pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Without a doubt, <a href="https://www.blogger.com/blog/post/edit/4754898720438821493/4464232988098265069#" id="https://www2.oakwood.edu/the-aeolians/">The Aeolians of Oakwood University</a> (dir. Dr. Jason Max Ferdinand) captured all our hearts at ACDA 2019, with a diverse concert program showcasing their absolute musicality on every level; the Aeolians were even nicknamed “the choir that broke ACDA.” However, their caliber as one of the top—if not the very top—choirs in the world existed long before their appearance at this conference. </span></p><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left; text-indent: 36pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">It was clear, however, that some participants were surprised when the Aeolians executed <a href="https://www.blogger.com/blog/post/edit/4754898720438821493/4464232988098265069#" id="https://www.youtube.com/watch?v=PGSHcQeOVmc">a Bach motet movement with brilliancy</a>. There is an inherent problem when Black choral music and Black musicians are not viewed in the same light as Western music and Western musicians, and when Black musicians are stereotyped to excel only at Black music. Even with this great imbalance, and in situations with limited resources, Black musicians are often more adept at performing Eurocentric Western music.</span></p><ul style="margin-bottom: 0px; margin-top: 0px;"><li dir="ltr" style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">To these folks, why is the sheer thought of Black competency surprising, and how is this perspective rooted in colonialism?</span><span style="font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p></li><li dir="ltr" style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">When commenting on the Aeolians’ performance at the conference, what is the meaning of separating Bach from the rest of their repertoire? </span></p></li></ul><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5L1x6aIdmrLz_8wDFEWzjfzM1ZTHuDYo_6ezV5HGQpW-NOqGnhthcTugiWqpf2HYVUs9RwjGxutF1GehgwAcmSIV1LXhBQqjhF7QLFDxmTIPwC3waey8iUlctwLvz9MSX_RU_Qz4IVOap/s762/IMG_5027.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="761" data-original-width="762" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5L1x6aIdmrLz_8wDFEWzjfzM1ZTHuDYo_6ezV5HGQpW-NOqGnhthcTugiWqpf2HYVUs9RwjGxutF1GehgwAcmSIV1LXhBQqjhF7QLFDxmTIPwC3waey8iUlctwLvz9MSX_RU_Qz4IVOap/w320-h318/IMG_5027.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzSABUJtoreyBUjJRxl40svVKdo1P-Bw1hPw1uGMzBvWA7P-B3r6Tp-Znu2MM2tIndOCGNW8OugUvQjfClEzsDvk6ujQdm0WZi7qKLsClPqiq6YJxwSVXWwF0YetXdjKZPIYx4TyRORQw1/s770/IMG_5028.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="761" data-original-width="770" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzSABUJtoreyBUjJRxl40svVKdo1P-Bw1hPw1uGMzBvWA7P-B3r6Tp-Znu2MM2tIndOCGNW8OugUvQjfClEzsDvk6ujQdm0WZi7qKLsClPqiq6YJxwSVXWwF0YetXdjKZPIYx4TyRORQw1/w320-h317/IMG_5028.jpg" width="320" /></a></div><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><br /></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Since adolescence, I’ve been incredibly insecure with all aspects of my voice from speaking, singing—reading out loud.I was either asked to sing high completely in head voice, or my voice was always much too low. To be honest, some of my most favourite memories in choir have been from singing at pitch with the tenors and baritones. Later on in academia, I noticed that the only repertoire written for the so-called “low female voice” mostly came either from Baroque composers like Vivaldi and Bach, or from channels outside of Western classical repertoire like jazz, pop, or rock. What it comes down to is that </span><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">the voice does not have a gender,</span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> provided that a singer is shown how the voice functions healthily in order to avoid any possible vocal injury. </span></p><ul style="margin-bottom: 0px; margin-top: 0px;"><li dir="ltr" style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In what ways can I remove designation of gender from my pedagogical practices for a more human-centred approach? What are some ways through which I can start implementing this right now (for example, using “lower voices” and “upper voices”)?</span></p></li><li dir="ltr" style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">How can I break down these barriers and societal constructs to provide experiences/opportunities (ex. solos, flexible voice parts, etc) for the students who are in front of me, regardless of the gender written on the music?</span></p></li></ul><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">… </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">We may not get it right the first time, or even ever fully get there, but if we don’t start re-evaluating now and checking our own ideologies and privileges, the same destructive biases will transfer to our students and perpetuate this harmful cycle. </span><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">If we consciously turn ourselves away from the deep-seated issues which we know exist within our own house, can we ever truly begin healing from generational trauma and unfairness?</span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> Generational trauma has no business in the choral space or any environment for that matter; it has </span><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">been</span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> time for this, and we might as well take this opportunity away from the physical rehearsal space to begin this much-needed work on our own.</span></p><div style="text-align: left;"><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Moving forward, @choirisracist will remain open as a platform for submissions in our hope that these stories do not repeat themselves and that they will remain as pieces for all musicians in self-reflection to each continuously “do better.” If we don’t, we risk committing a great disservice to our students and community as educators.</span></p><div><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“Don’t cancel the year that woke us up.” </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 9pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">- </span><span style="font-family: Arial; font-size: 9pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Original author unknown, 2020</span></p><div><br /></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">… </span></p><div style="text-align: left;"><i><br /></i></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><i><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Originally from Vancouver, BC, </span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Gloria Wan</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> is a first-year Doctor of Music student in Choral Conducting at the University of Alberta under the tutelage of Dr. Timothy Shantz, and is active as a conductor, singer, educator, and instrumentalist. Most recently, Ms. Wan was the Choral Music Director at Swift Current Comprehensive High School in Saskatchewan, additionally teaching English Language Arts, Psychology, and Arts Education. Her principal conducting study has been under the guidance of Drs. James Jordan and Joe Miller. Ms. Wan has taught music within various contexts and age levels, including elementary, middle, and high school. She has served as Assistant Conductor for Westminster Schola Cantorum, Alberta Youth Choir, Princeton GirlChoir and other ensembles, along with performing with and assisting a number of other vocal groups in the US and Canada. Ms. Wan has been a session presenter and poster presenter at the International Symposium on Singing and Song and Podium 2018, respectively. As a performer in various genres, she has appeared alongside esteemed ensembles such as the New York Philharmonic, Philadelphia Orchestra, National Youth Choir of Canada, and at venues such as the Forbidden City Concert Hall, the American Choral Directors Association National Convention, and two seasons at Spoleto Festival USA, amongst others. As an instrumentalist, Ms. Wan is in demand on guitar and percussion. Along with djembe on the single </span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Peace Song, </span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">she can be heard on Westminster Choir’s album</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> Martin: Mass for Double Choir</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. She has studied voice and piano privately, and holds Kodály Level III certification. Ms. Wan holds bachelor’s degrees in music and secondary education from the University of Alberta, and a master’s degree in choral conducting from Westminster Choir College.</span></i></p><div style="text-align: left;"><br /></div></span></div><div class="separator" data-original-attrs="{"style":""}" style="clear: both; text-align: center;"><a data-original-attrs="{"data-original-href":"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6T2OkWNyNXaTTmpZffw83TahjFEW2QYhS_JK5HwwR4_BigVEQOrB_YWNh0_alMNQ6TtHtCKATtWs9-B-x8YNnrubAu7OpYjp65U7KSNYja2C1Qe6r5G6uYulJK8LuPvuxh31npbBkHjp9/s323/Wan.JPG","style":""}" href="https://www.blogger.com/blog/post/edit/4754898720438821493/4464232988098265069#" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="323" data-original-width="268" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6T2OkWNyNXaTTmpZffw83TahjFEW2QYhS_JK5HwwR4_BigVEQOrB_YWNh0_alMNQ6TtHtCKATtWs9-B-x8YNnrubAu7OpYjp65U7KSNYja2C1Qe6r5G6uYulJK8LuPvuxh31npbBkHjp9/w333-h400/Wan.JPG" width="333" /></a></div><div class="separator" data-original-attrs="{"style":""}" style="clear: both;"><br /></div><div class="separator" data-original-attrs="{"style":""}" style="clear: both; text-align: center;"><div class="normal" data-original-attrs="{"style":""}" style="font-family: arial; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt; text-align: left;">Have an idea or perspective you wish to share for this decolonizing choir series? <a data-original-attrs="{"data-original-href":"https://forms.gle/7HUcZ61ByxDmrydC9"}" href="https://www.blogger.com/blog/post/edit/4754898720438821493/4464232988098265069#">Let me know at this link.</a></div><div style="text-align: left;"><br /></div></div></div></span></div>misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0Edmonton, AB, Canada53.5461245 -113.493822925.235890663821152 -148.6500729 81.856358336178843 -78.3375729tag:blogger.com,1999:blog-4754898720438821493.post-6818868335300965472020-07-23T09:00:00.004-06:002020-07-23T11:19:10.652-06:00Guest Blogger: Who’s Behind “Decolonizing the Choral Classroom”? by Kiernan M. Steiner<div class="normal" style="font-family: arial; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt;">
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<span style="font-size: 11pt;">In a recent <a href="https://www.instagram.com/p/CCl4Vf0gr1C/?utm_source=ig_web_copy_link">Instagram post</a>, I shared some questions that I have been considering for the past couple of years, and I would like to provide some more background information regarding that initial posting. First, I must acknowledge my positionality in this conversation. I am an able-bodied, cisgender woman of mixed race (Filipinx, English, Irish, and German), a transracial adoptee (adopted by a white family), and a third year doctoral student in choral conducting. I have had the privilege to work with many supportive teachers, professors, and advisors throughout my undergraduate and graduate work, and I am blessed to have friends and family members who have encouraged me along the way. It is this particularly unique lens, however, that has allowed me to reflect on my experiences from many different perspectives—from places of privilege, as well as marginalization. </span></div>
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<span lang="EN">Since the resurgence of the worldwide Black Lives Matter movement, in response to the murder of George Floyd and so many others, educators have been taking inventory on the many ways systemic racism has permeated the education system. Terms, such as “decolonizing” and “unsettling,” have been used by activists and Anti-Racist/Anti-Bias (ABAR) educators to refer to the dismantling of the imperialistic and white supremacist framework which operates within the American education system. This framework is seen in the traditional whitewashed teaching of the “First Thanksgiving” between the Pilgrims and the Native Americans, the celebration of Christopher Columbus, and the exclusion of ethnic studies in most K-12 school districts. In music education, white supremacy has not only affected the music that is taught (repertory), which is predominantly Western European and European American art music, but the methods of teaching (pedagogy) that values hierarchical relationships, discipline, rigor, and perfectionism. These principles are not inherently bad, but, rather, have been used to appropriate and degrade communal music making, oral traditions, popular music, and other non-Western musical traditions for centuries. It is important to acknowledge how traditions of Western European and European American art music have become “the standard” for comparison, which is inherently racist.<o:p></o:p></span><br />
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<span lang="EN">In recent conversations with colleagues and advisors, I have heard a broad spectrum of responses to the ideas of colonialism, imperialism, and white supremacy in choral music. Mainly, choir directors and conductors want to have a handbook or checklist to ensure their programs move in the “right” direction and away from racist policies. Unfortunately, there is no one perfect checklist or guide that can “right” all of our “wrongs,” partly, because not everything we do must be thrown out or changed, however, I believe everything we do must be deeply interrogated. As an educator, my loyalty and responsibility is not to uphold a tradition that was never built for me—a woman of color—but, rather, reimagine how this art form can serve the students that I work with presently, who should not be expected to dim their light to learn, perform, or love choral music. I believe the work that has to be done must start with each individual educator/director/conductor asking themselves: <i>How have I been complicit with traditional choral practices that disregard and abuse marginalized individuals and voices? </i> To initiate this self-reflection, here are some questions that help individuals dig deeper into issues concerning auditions, rehearsal techniques/content, and concert attire:</span></div>
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<span lang="EN">Photo description: Original “Decolonize the Choral Classroom” Instagram post by @decolonizing_kiki.</span></div>
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<span lang="EN">As I continue my studies in higher education, and strive to work in a collegiate/university setting someday, I have to accept that classical music still operates on a hierarchical model and reifies white supremacy. If I did not recognize this, I would be denying my personal experiences that have greatly shaped my reality as a music student, educator, and scholar-activist. More often than not, I am still the only woman or woman of color at the table. At the same time, I am also unlearning racism and identifying ways I have personally benefited from white supremacy. In continuing this work, my dissertation research will be a more thorough examination of power structures in collegiate choral programs. If you would like to follow my journey or connect with me, find me on Instagram (<a href="https://www.instagram.com/decolonizing_kiki/">@decolonizing_kiki</a>) and check out my website: <a href="http://www.kiernanmsteinermusic.com/"><span style="color: #1155cc;">www.kiernanmsteinermusic.com</span></a>!<o:p></o:p></span></div>
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<u><span lang="EN">Self-Reflection Prompts:</span></u><span lang="EN"><o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><span lang="EN">How am I engaging with these concepts of “decolonization” and “unsettling”?<o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><span lang="EN">Do these words bring up a positive or negative reaction?<o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><span lang="EN">What area (pedagogy, curriculum, classroom management, etc.) could I focus on this school year/season to address some of these concerns?<o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><span lang="EN">Who are the leaders in my school/organization that I can turn to for support and guidance?<o:p></o:p></span></div>
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<span lang="EN">Here are some more resources for further study:<o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><span lang="EN"><a href="https://www.blackvoicesmatterpledge.org/"><span style="color: #1155cc;">https://www.blackvoicesmatterpledge.org/</span></a><o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><span lang="EN"><a href="http://www.castleskins.org/"><span style="color: #1155cc;">http://www.castleskins.org/</span></a><o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><span lang="EN"><a href="https://www.earwolf.com/episode/are-we-hearing-a-crescendo-of-anti-racism-in-classical-music-with-dr-kira-thurman-and-ashleigh-gordon/"><span style="color: #1155cc;">https://www.earwolf.com/episode/are-we-hearing-a-crescendo-of-anti-racism-in-classical-music-with-dr-kira-thurman-and-ashleigh-gordon/</span></a><o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><span lang="EN"><a href="https://choralosophy.com/2019/08/18/episode-17-beyond-elijah-rock-with-dr-marques-garrett/"><span style="color: #1155cc;">https://choralosophy.com/2019/08/18/episode-17-beyond-elijah-rock-with-dr-marques-garrett/</span></a><o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><span lang="EN"><a href="https://choralosophy.com/2019/10/02/episode-20-choral-appropriation-or-cultural-sharing-with-brandon-boyd/"><span style="color: #1155cc;">https://choralosophy.com/2019/10/02/episode-20-choral-appropriation-or-cultural-sharing-with-brandon-boyd/</span></a><o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><span lang="EN"><a href="https://www.nytimes.com/2019/08/23/podcasts/1619-slavery-anniversary.html"><span style="color: #1155cc;">https://www.nytimes.com/2019/08/23/podcasts/1619-slavery-anniversary.html</span></a><o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><i><span lang="EN">How to Be An Anti-Racist</span></i><span lang="EN"> by Ibram X. Kendi<o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><i><span lang="EN">White Fragility</span></i><span lang="EN"> by Robin DiAngelo<o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><i><span lang="EN">Me and White Supremacy</span></i><span lang="EN"> by Layla Saad<o:p></o:p></span></div>
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<span lang="EN">●<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><i><span lang="EN">13th </span></i><span lang="EN">(documentary) directed by Ava DuVernay<o:p></o:p></span></div>
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<i><b><span lang="EN">Kiernan M. Steiner</span></b><span lang="EN"> is a third year doctoral student in Choral Conducting at Arizona State University, located in Tempe, Arizona. Her research interests are in curriculum inquiry, critical pedagogy theory, liberatory education, and her dissertation is an examination of power structures in collegiate choral programs throughout the United States. Kiernan’s goal is to break down barriers that have historically limited Black, Indigenous, and People of Color, womxn, the LGBTQIA+ community, individuals with disabilities, and other marginalized communities from having access to choral music education. In addition to her research, Kiernan is the director of the Sol Singers at ASU, teaches courses in beginning choral conducting and vocal/choral pedagogy, and advises an all-female a cappella group, called the Pitchforks. In recent years, she has presented research on gender studies, women in music, and queer theory in San Francisco, Dublin, and Boston. For more information, go to her website: <a href="http://www.kiernanmsteinermusic.com/"><span style="color: #1155cc;">www.kiernanmsteinermusic.com</span></a>.<o:p></o:p></span></i></div>
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<span lang="EN">Photo Credit: Jacob Moscovitch<o:p></o:p></span></div>
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<br /></div><div class="normal" style="font-family: arial; font-size: 11pt; line-height: 16.8667px; margin: 0cm 0cm 0.0001pt;">Have an idea or perspective you wish to share for this decolonizing choir series? <a href="https://forms.gle/7HUcZ61ByxDmrydC9">Let me know at this link.</a></div>
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misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0Phoenix, AZ, USA33.3122624 -112.035713733.2061279 -112.1970752 33.418396900000005 -111.8743522tag:blogger.com,1999:blog-4754898720438821493.post-76550531287681353042020-07-20T14:00:00.011-06:002020-07-20T14:16:15.460-06:00An Introduction to the decolonizing choir series<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0NpQmPR1W6lkti2IPkUNP6bgvN1_7mxI1WTVPikYjyQtqCuL14IKN9SrvG4O6FC4BrDSMhyLnKfPV0Ow4R3LlRTXBoTfPw-dk5MVlOc3OBnd9FTNnaJrVEY_Yem0m4GKlOvCr9qKAyN2U/s600/Decolozi+%2528TCG%2529.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="200" data-original-width="600" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0NpQmPR1W6lkti2IPkUNP6bgvN1_7mxI1WTVPikYjyQtqCuL14IKN9SrvG4O6FC4BrDSMhyLnKfPV0Ow4R3LlRTXBoTfPw-dk5MVlOc3OBnd9FTNnaJrVEY_Yem0m4GKlOvCr9qKAyN2U/w640-h214/Decolozi+%2528TCG%2529.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><p class="p1" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: left;">Dear Reader,</p><p class="p1" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: left;"><br /></p><p class="p1" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: left;">I am excited to share with you news about an upcoming decolonizing choir series hosted here on The Choir Girl Blog. </p><p class="p1" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: left;"><br /></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;">This series is not a guidebook to becoming a decolonized choral professional. Rather, the blog will be a platform to share information and stimulate discussion. There will be a series of posts ranging in content from guest bloggers, interviews, and personal reflections. Reading, questioning, reflecting, writing, and decolonizing is an ongoing process. This series will reflect the same. My hope is to provide an uncensored platform for people in the choral sphere to speak. The stage is for them to use as they wish.<span class="Apple-converted-space"> </span></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><br /></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;">Posts will be published on a flexible timeline. The first set of posts have been curated by me but I encourage you to <a href="#" id="https://tinyurl.com/tcgdecolonizingchoir" name="https://tinyurl.com/tcgdecolonizingchoir ">submit your article ideas as well.</a> I will approve writers and publish posts as long as there is interest and engagement. </p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span class="Apple-converted-space"><br /></span></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span class="Apple-converted-space">Sincerely,</span></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span class="Apple-converted-space"><br /></span></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span class="Apple-converted-space">The Choir Girl</span></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span class="Apple-converted-space"><br /></span></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;">Feel free to being the process by following the social media accounts below:</p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><br /></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><a href="https://www.instagram.com/choirisracist/">@choirisracist</a></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><a href="" id="https://www.instagram.com/composingisracist/" name="https://www.instagram.com/composingisracist/">@composingisracist</a></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><a href="" id="https://www.instagram.com/operaisracist/" name="https://www.instagram.com/operaisracist/">@operaisracist</a></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><a href="" id="https://www.instagram.com/amplifiedopera/" name="https://www.instagram.com/amplifiedopera/">@amplifiedopera</a></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><a href="" id="https://www.instagram.com/decolonizing_kiki/" name="https://www.instagram.com/decolonizing_kiki/">@decolonizing_kiki</a></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><br /></p><p class="p2" style="font-family: "helvetica neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><br /></p></div>misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-18164158464469226362020-03-02T17:50:00.002-07:002024-01-15T19:03:33.719-07:00An Interview with Konomi Kikuchi<div class="separator" style="clear: both; text-align: left;"><span style="border: medium none; display: inline-block; height: 581px; margin-left: 1em; margin-right: 1em; overflow: hidden; width: 442px;"> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_P4j_V5fBBnHwg7757nO_jjatRhEs09dYxwGePTIA9SetdrckKOFeH-A0oS9Mxqh8uMgDvBkWk4_HOgwrxzWM8jDYbPwX82znPoQLpdji2_KnBXDA4BaK3HwrHUSEdsYaarzM849EDBKEMp-ClpUu_pYbCgfQ1ffuuDH5OmPykNBpGVjc1_oAEgXgKKWy/s3264/IMG_9209.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="2448" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_P4j_V5fBBnHwg7757nO_jjatRhEs09dYxwGePTIA9SetdrckKOFeH-A0oS9Mxqh8uMgDvBkWk4_HOgwrxzWM8jDYbPwX82znPoQLpdji2_KnBXDA4BaK3HwrHUSEdsYaarzM849EDBKEMp-ClpUu_pYbCgfQ1ffuuDH5OmPykNBpGVjc1_oAEgXgKKWy/w480-h640/IMG_9209.JPG" width="480" /></a></div><br /></span></div>
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Japanese Dancer, Konomi Kikuchi, is an understudy dancer for The Beginning of Happiness. She took some time to share her thoughts regarding the rehearsal process so far:</div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>What is some of your background? </i></span></div>
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<b id="docs-internal-guid-ede49c95-7fff-8914-0dc1-6c312817fe3f" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-size-adjust: auto; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><br /></b></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I started training in classical ballet in Japan at the age of three. I graduated from Japan Music High School where I specialized in classical ballet. After that, I was at the Alberta Ballet School in Calgary as a part of their Postgraduate Program. I met a wonderful contemporary teacher at the Alberta Ballet School named Graham McKelvie. I was attracted to the charm of contemporary dance that was different than classical ballet. Now I am learning contemporary dance as an apprentice with Good Women Dance Collective.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Why did you decide to come to Canada?</i></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I was interested in learning ballet outside of Japan. At the time I chose Canada because I auditioned and was accepted to the Alberta Ballet School.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>What was the importance of dance for you growing up in Japan?</i></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Without dancing, I would be crazy. Dance is the most important to me. Dance is my favourite thing that makes me happy and sad and gives me a lot of emotions.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>What are some things that are similar or different between the dance culture in Edmonton and Japan?</i></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I thought about the differences between Edmonton and Japanese dance. My opinion is that Japanese people are good at fine-tuning the body direction and spacing of dancers lined up with one another. I was surprised at the richness of expression in the Edmonton dance community. There are many artistic and warm people. I am learning the importance of dance in my heart.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Do you have any thoughts on the rehearsal process and how the singers and dancers work together in this show?</i></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I think dancers and singers are connected by breath. Dancers need to breathe in order to dance. Singers also need breathing between creating sounds. I feel that both work because of breath.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>What is your favourite song or part in this show?</i></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">My favourite song is "How Beautiful” since the first time I heard it. It has a beauty that makes me want to hear it with my eyes closed.</span></div>
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<b style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-size-adjust: auto; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><br /></b></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>What is the challenge of being an understudy when you are learning all dance parts in the show?</i></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I am happy to know all the dancers' choreography. It's a very good learning experience because each character has a lot of things that I don't have. I am mainly Alison’s understudy. She is powerful and has energy that is strong and cool! She is a very kind person who teaches me what I do not understand and practices with me. She has everything I need. I am especially learning a lot from her!</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I had only danced the choreography before; however, this time, I was very interested because the dancers choreographed the movements and imagined what they would look like only after listening to the songs. This is an absolutely good experience for me.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>What do you think of having live music to accompany dance rather than a recorded track?</i></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Everything that is not recorded is fresh music, and the music that emanates from it impresses me. This time, the music of the four wonderful singers gives goosebumps. Music that is played live has something that resonates with human hearts.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Is there anything I missed that you would like to mention?</i></span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I am very grateful to be able to participate in all rehearsals as an understudy.</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Thank you very much.</span></div>
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Follow Konomi on Instagram <a href="https://www.instagram.com/konomi0919/">@konomi0919</a></div>
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The Beginning of Happiness</div>
Composed by Jane Berry<br />
Choreographed by Good Women Dance Collective<br />
Featuring Jane Berry, Sable Chan, Amy Voyer, Dawn Bailey (FEMME), Ainsley Hillyard, Kate Stashko, Alison Towne, and Rebecca Sadowski (GWDC). <br />
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Tickets are available at <a href="https://www.facebook.com/TIXontheSquare/" target="_blank">TIX on the Square</a>. Seating is limited, please book in advance. $25 General, $15 Student/Senior/CADA Members<br />
25% of the house will be held for pay-what-you-will tickets at the door.<br />
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<span id="docs-internal-guid-bbcebe39-7fff-89e6-78dd-9baa1a5b40ea" style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"></span>misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-60981672864058959292020-02-26T15:00:00.000-07:002020-02-26T15:18:23.175-07:00An Interview with Melissa Morgan<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Melissa Morgan’s professional world underwent significant change in 2019. Firstly, she decided to step away from duties with the Prairie Chamber Choir (PCC). The group was at a point where either there would be a major investment of time to continue the non-profit group established or it was time to refocus her energy into other work. Morgan was also teaching full-time at Luther College High School while at the same time she was directing the PCC. “In my mind, I needed to take some time for a work-life balance,” she reflected as she spoke with me over the phone. Morgan’s passion is evident when she speaks about music and education. She continued about the PCC, “In Regina, we didn’t have an SATB conducted choir that specialized in Prairie choral music but I had to make a choice. I decided that I would step away from the choir. Shortly after I knew [I would step away], a terrible thing happened - Dominic Gregorio, the Choral Director at the University of Regina, passed away.”</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">A heavy silence enters the phone line between Morgan and myself.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">The news of<a href="https://www.cbc.ca/music/dominic-gregorio-choral-conductor-and-regina-music-professor-has-died-1.5070091"> Gregorio’s death</a> shocked the Canadian choral community. His passion, advocacy, and presence within the community connected with many people. Morgan notes that the choral community is still trying to process the painful shock of his sudden death. “It was tough at the University here, his students adored him, he adored his students” she shares. Gregorio was always one to lend a helping hand and did for Morgan the week before his passing when he volunteered last minute to help with the Vancouver Chamber Choir concert. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2ByD9j_Ix57Dbmxjp77YrptwglI3f1zGITGRtrIbubELjqGJc-5dgwHkizCwbmYz1TNc7QjsRvQRhO34MnKyU7hGQmAHkGvTqZqUJ8cxAC51VHKJHi24hM-aACDFJXho1fhyJXM8MYaQC/s1600/Dom+Concert+-+Facebook.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center; white-space: normal;"><span style="color: black; font-family: inherit;"><img border="0" data-original-height="1600" data-original-width="1036" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2ByD9j_Ix57Dbmxjp77YrptwglI3f1zGITGRtrIbubELjqGJc-5dgwHkizCwbmYz1TNc7QjsRvQRhO34MnKyU7hGQmAHkGvTqZqUJ8cxAC51VHKJHi24hM-aACDFJXho1fhyJXM8MYaQC/s400/Dom+Concert+-+Facebook.jpg" width="258" /></span></a><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">“When his position came up [at the University of Regina],” Morgan shared , “there was a lot of uncertainty for me when I applied. Yet, I feel it’s a great honour to continue his legacy. Dominic did a lot of wonderful things for the University and the students. Everybody knew and loved him and it is my goal to nurture and continue the attitude of joy and culture of community and that he loved to spread.” revealed Morgan. It is hard to imagine a better individual to continue into Gregorio’s position at the University of Regina other than Morgan. She and the Music Faculty understood that the best way to honour Gregorio was to pick up and move on: “He wouldn’t want everybody moping around. He would want everybody to do their best, to keep moving forward, to keep being as excellent as they can. That’s what we have to do.” There will be a concert in remembrance of Dominic Gregorio on March 8, 2020 and a scholarship established in his name (please see the bottom of this post for more details). </span></span></div>
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<span style="font-family: inherit;"><span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">As with any new job, Morgan is experiencing a learning curve in her new position as Director of Choral Music at the University of Regina. This year is dedicated to developing her coursework and conducting the University choirs. One such course is the Introduction to Choral Techniques for primarily Music Education students. It required her to reflect on her own learning practices and how to translate that for her students. Some of these questions were to ask herself: “How do I approach teaching gesture, various beat patterns, what are the students doing with their bodies, and how do our bodies communicate with people in front of you… how do I introduce and teach the things that I have spent the last 25 years of my life trying to figure out?”</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">As a fellow woman of colour, I was very eager to hear Morgan’s thoughts on being a Black woman in a prominent Faculty position within the area of choral conducting. Morgan shares her family history to provide context, “I grew up here in Regina. My mom was a single mom, my dad passed away when I was four. My mom raised my sister and I. When my dad passed, my aunts and my grandmother came to help her because she was pregnant with my sister at the time. I grew up with my family being one of a handful of Black families living in Regina, Saskatchewan. In elementary school, my sister and I were oftentimes the only two Black kids in the building. In high school, it was me and one other girl, we were the two Black students in our grade. Throughout my university days there weren't a lot of Black students on campus and less in music. It was very sparse. I never had any Black teachers.” It is clear that Morgan speaks with an awareness of how others may have a certain perception of who she is because of her skin colour but this doesn’t impact her daily life. “I am a Black woman. I identify as that and I know I represent the community. But I find my character, how I treat people, my work ethic, the way I interact with others, that is number one. Second is being as knowledgeable as I can about my job,” she shares. She recounts a tale from her first years of teaching in a high school: </span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">“I had just finished my Masters in choral conducting and I ended up teaching a full-load of English. I got to school the first day, I was setting up in the classroom, a student walked in, I didn’t see the student. I was getting ready at my desk, and I heard, “What!?!?! they are hiring Black people now!?!?!,” Morgan looked up to see a Black, female student continue, “I never had a Black teacher ever!” She was like, “what is going on here?” She ended up in my class. We could talk about various things and she felt like she could relate to me. That really awoke me - brought an awareness to me that diversity matters. I’ve always been the only Black person in the classroom or at a teacher’s meeting. That’s just who I am, that’s my life. I’ve experienced racism but it doesn’t get the better of me. What I’m happy to see is that now there are teachers of colour in the classroom.”</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Morgan notes that there are probably only a handful of Black female conductors in Canada working at the university level and that there is work to do to get women of colour into these positions. She also shares how fortunate she has been to have strong, female mentors during her education such as Victoria Meredith who was her Masters supervisor at the University of Western Ontario and her Doctorate mentor, Hilary Apfelstadt who was at the University of Toronto. Morgan elaborates, “my race was never an issue. Those seeds of limitations were never placed on me. I always believed I could do it because everybody always told me I could.” Her influences of strong women extend beyond her academic mentors as she notes the importance of her colleagues at Luther College High School, her mother, sister, aunts and grandmother in her upbringing as well. It is evident that Morgan will also continue this role of support in the lives of her students and singers.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">“We’re all here for each other. That’s why we’re on this earth. I’m here for you, you’re here for me. However we interact or don’t interact, whatever you do has affected what I do. We’re all on this earth for each other. How can we interact with others to make this a better place? Forget what you look like, or what you’re wearing, what language you speak,” she shares with fervour. While 2019 was a year of change, Morgan speaks with a wisdom that recognizes that embracing the discomfort of change is the only way to move forward. </span></span></div>
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<span style="letter-spacing: 0.3px;"><span style="font-family: inherit;">Dr. Melissa Morgan is a choral conductor, educator and performer. Currently, she directs the choral program at the University of Regina where she also teaches courses in choral conducting and vocal diction. She is frequently asked to appear as a clinician, adjudicator and guest conductor throughout Canada. </span></span></div>
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<span style="letter-spacing: 0.3px;"><span style="font-family: inherit;">Dr. Morgan holds a Doctorate of Music Performance in Choral Conducting from the <a href="https://music.utoronto.ca/"><span style="letter-spacing: 0.3px;">University of Toronto</span></a>, a Master of Music Performance in Choral Conducting from the <a href="http://www.music.uwo.ca/"><span style="letter-spacing: 0.3px;">University of Western Ontario</span></a>, a Bachelor of Arts and a Bachelor of Music Education from the <a href="http://www.uregina.ca/finearts/music.html"><span style="letter-spacing: 0.3px;">University of Regina</span></a>. She is also an Associate of the Toronto Royal Conservatory of Music (ARCT) in piano, voice, and flute. Throughout her education she has had the privilege of studying with exemplary teachers. She is grateful to have worked under the supervision of Dr. Hilary Apfelstadt, Dr. Victoria Meredith, Kathryn Laurin, and Diana Woolrich. In October 2017, Dr. Morgan was named as one of <a href="http://www.cbc.ca/news/canada/saskatoon/future-40-2017-first-10-winners-1.4364890">CBC Saskatchewan's Future 40 under 40</a> recipients.</span></span></div>
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<span style="font-family: inherit; font-size: large;"><b>Dominic Gregorio Scholarship:</b></span><br />
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<span class="" style="background-color: white;"><span style="font-family: inherit;">A proud Filipino-Canadian, Dominic Gregorio was born and raised in Guelph, Ontario, completed a Bachelor of Arts degree in Music at the University of Guelph, a triple major Master of Music Degree (Voice, Choral Conducting, Music History) at the Temple University in Philadelphia, and a Doctor of Musical Arts Degree at the University of Southern California in Los Angeles, earning the prestigious medal, The Order of Arete in 2012. Dominic was Director of Choral Activities and an Associate Professor in the Department of Music at the University of Regina, and had a tremendous impact on campus and in the community. He was generous with his time and passionate about sharing his gift of music with the community.</span></span><br />
<span style="font-family: inherit;"><span style="background-color: white;"><br /></span>If anyone would like to donate to the scholarship please contact: the University of Regina Development Office and ask for <b class=""><span class="">Luanne Drake, </span></b><span class=""><b class=""><span class=""><a class="" href="mailto:Luanne.Drake@uregina.ca">Luanne.Drake@uregina.ca</a>; </span></b></span><span class="" style="background-color: white;">306-337-2450</span></span><br />
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<span class="" lang="EN-US"><span style="font-family: inherit;">Ella Gregorio and Irene Gregorio, Dominic’s mother and sister, and friends of Dominic Gregorio have established the <b class="">Dominic Gregorio Entrance Award </b>and <b class="">Dominic Gregorio Award </b>in memory of Dominic.</span></span></div>
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misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-91189448721944915092019-11-24T13:00:00.000-07:002019-11-26T14:31:02.073-07:00Voices In the Living Room<div class="separator" style="clear: both; text-align: center;">
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I will never tire of hearing the ranges of a human voice. There was a sense of warmth and play during <a href="http://www.newmusicedmonton.ca/">New Music Edmonton's UltraViolet</a> concert last night. They also invited guest vocalist and composer, Jane Berry, into their living room space. Chenoa Anderson, Allison Balcetis, Amy Nicholson, and Roger Admiral began with John Cage's Living Room Music as they each played items one would find around their home, such as a rifled through magazine or a 2x4 piece of wood. A rhythmic series of percussive taps and restless rustles of paper invited the audience into their on-stage domestic space. They also recited Gertrude Stein's "The World is Round," which introduced the voices of the instrumentalists into the space as well. They sat in a semi-circular formation complete with carpet on the floor, two recliners and two wooden chairs that looked like they had been been borrowed from a dining room set, a lamp on a side table, and even a plant perched at chairside. <br />
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<a href="https://www.musiccentre.ca/node/33524">Tanzer Lieder by Ana Sokolovic</a> is structured with three different language voices in the five movements from French, German, and English. Sokolovic's writing demanded an array of vocal technique from Berry from the wailing vocal glides in <i>Stimmen</i> to the haunting vocal suspensions in <i>Last Song</i>. There was a cohesive tension created from the instrumentalists and Berry's vocals throughout the movements. The sounds from the piano and cello strings often matched the held frequency from Berry's own vocal folds. The pulsating vibrato on the flute gave an audible sound to the fluctuating breath heard in a body.<br />
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Alyssa Aska's <i>The Woman and the Lyre: Sapphic Cycle</i> shared many movements of vocal and instrumental play. <i>I am more tremulous</i> had a racing agitation between Anderson and Berry and there was good use of created reverb in <i>Of the tacet earth</i> where Berry's live vocal input was processed live and fed back to the audience on speakers surrounding the audience. It changed the resonating space around Berry's voice.<br />
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<i>Chains </i>by Frederic Rzewski was by far one of the most playful as Berry read a local newspaper on the recent climate strike led by Greta Thunberg at the Alberta Legislature. Berry's speaking voice ranged from matter-of-fact to sarcastic depending on the sentence being read. A large repertoire of sounds were shared from tablet and phone ringtones, boxing gloves being used to play the piano, and the sound of the typewriter echoing the other voices on stage.<br />
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There was the world premiere of Berry's composition <i>The Break</i>, which shared text from a young woman, Cassandra Siwiec-Hlewka, with bipolar disorder. The poetry was from Siwec-Hlewka's first manic episode. Berry created opportunities for each instrument to have their own vocal line before introducing her own, which was the last in the progression. There was a sad beauty in the lyrical lines, but space between each instrumental introduction, as if space was being held for them on stage to be heard. There was this feeling of cyclical descent with text "catch me, under the water it's pulling me" and repeated phrases such as "I pray and I pray..." Out of the ebb and flow of vocal lines emerged a hopeful image of a flower blooming in the darkness. It was a beautiful image to finish the first half of the concert. An acknowledgement of the internal resilience that people possess even when their challenges are not visible.<br />
<br />misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-77608018898584396912019-06-20T12:00:00.000-06:002019-06-23T17:41:38.837-06:00An Interview with Conductor, Elaine Choi<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYFnwCX_5_y2tN3XirEeslXiSEQtzav7YGN2pMFc3Zr5Vc2UKWI365xD6STwEV54XJdsx20wu5-f2hpitFSjXkt2AW8j6MUAMfV2uOdoF3pV_oI2AZoyXeOEMWY4gPEoZVun3kXsxj98IU/s1600/Babel-20.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYFnwCX_5_y2tN3XirEeslXiSEQtzav7YGN2pMFc3Zr5Vc2UKWI365xD6STwEV54XJdsx20wu5-f2hpitFSjXkt2AW8j6MUAMfV2uOdoF3pV_oI2AZoyXeOEMWY4gPEoZVun3kXsxj98IU/s640/Babel-20.jpg" width="640" /></a></div>
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<span style="color: black; font-family: "arial"; font-size: 11.0pt;">Conductor and music
educator, Elaine Choi, is a citizen of two places. She has lived half of her
life in Canada and half of her life in Hong Kong. Choi is based in Toronto and
immigrated to Canada in 2002. Prior to that, she was living in Hong Kong for 17
years. She is the cultural ambassador that the Canadian choral scene needs with
her skills to facilitate the exchange of choral music between Canada and Asia.
Choi understands the void of Chinese choral music in Canada and, conversely,
the absence of Canadian choral music in Asia. Choi shares: “We sing a lot of
different languages. Choir is always a way to welcome people into a country or
place. But I have never had a chance to sing Mandarin choral music ever since I
came to Canada. Mandarin choral music is quite accessible. There is language
complexity that tends to scare people away.” Choi is well suited to be
make the introduction since her Doctoral thesis looked at the complexity of
Mandarin as lyric diction and the dissemination of Mandarin choral music. Her
goal is to have a choir that is not afraid to sing in Mandarin and this could
be a way to increase a singer’s comfort level by having a mix of non-native
speakers and native speakers in her group. On a previous visit to Hong Kong
four years ago, Choi realized that Asian choirs were unaware of Canadian choral
composers. When she informally polled choral musicians in Hong Kong, oftentimes
there was only one Canadian composer they would mention: Healey Willan.</span><span style="font-size: 10.0pt; mso-ansi-language: EN-CA;"></span></div>
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<span style="color: black; font-family: "arial"; font-size: 11.0pt;">Last year, she was invited to share Canadian choral music with The Chinese University of Hong Kong (CU) Chorus. She partnered with CU Chorus to arrange workshops with five
local high schools this July. Each school has chosen to learn a work by a contemporary
Canadian choral composer that they will workshop with Choi and members of </span><span style="color: black; font-family: "arial"; font-size: 11.0pt;"><span style="color: black; font-family: "arial"; font-size: 11.0pt;">Babεl</span>. One school will be tackling Eleanor Daley’s “Lake Isle of
Innisfree,” another will sing Mark Sirett’s “Things That Never Die” and there will be a mass choir with all five high schools, </span><span style="color: black; font-family: "arial"; font-size: 11.0pt;"><span style="color: black; font-family: "arial"; font-size: 11.0pt;">Babεl, and the CU Chorus</span> performing Matthew Emery’s “Sing Your
Song.” It is not often that a choir is created in response to an
international workshop request, but that is a factor in Babεl's formation. Choi
realized that if she brought singers with her to Hong Kong this July for these workshops
the music would further resonate with audiences. Choi and Babεl will also be working with the Caritas Institute and sacred
professional choir, <a href="https://www.facebook.com/pg/voxantiquahk/about/">Vox Antiqua</a>, to promote sacred Canadian choral works. </span></div>
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<span style="color: black; font-family: "arial"; font-size: 11.0pt;">Babεl is comprised of
singers that reflect the diversity of the Greater Toronto Area. The group includes non-Chinese
speakers, non-Chinese descent, international students studying at the
University, and many first and second generation Chinese, and some
who have parents that speak Chinese but who don't speak the language themselves. For the
latter, performing in Mandarin allows them access to a part of their culture
they have never been exposed to. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguAbVbTNRTeMQGIOr-nfWiZxoCTFzpDv6pVkMEN7N4dujBC_yoIRAgyD4cvtcA4ii4vJaiDpwp9e3ukjkoP6dGbIX_u2Erui8rT-WcQatYlAiwYyUN6j3RvBlIa17Dk7H51xU-Fw-TcEnd/s1600/Babel-37.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguAbVbTNRTeMQGIOr-nfWiZxoCTFzpDv6pVkMEN7N4dujBC_yoIRAgyD4cvtcA4ii4vJaiDpwp9e3ukjkoP6dGbIX_u2Erui8rT-WcQatYlAiwYyUN6j3RvBlIa17Dk7H51xU-Fw-TcEnd/s640/Babel-37.jpg" width="640" /></a></div>
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<span style="color: black; font-family: "arial"; font-size: 11.0pt;">Choi believes there are
two large contributing factors that has resulted in limited Mandarin choral
music in Canada: </span><span style="font-size: 10.0pt; mso-ansi-language: EN-CA;"></span></div>
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<span style="color: black; font-family: "arial"; font-size: 11.0pt;">1. Chinese is a hard
language to learn and can be intimidating for non-speakers. </span><span style="font-size: 10.0pt; mso-ansi-language: EN-CA;"></span></div>
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<span style="color: black; font-family: "arial"; font-size: 11.0pt;">2. Organizations and
choral leaders don’t know where to find this music. </span><span style="font-size: 10.0pt; mso-ansi-language: EN-CA;"></span></div>
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<span style="color: black; font-family: "arial"; font-size: 11.0pt;">The first area of
difficulty is addressed by using pinyin transliteration, which can be read
using the English alphabet. As long as the rules for consonant and vowel
pronunciation are outlined, it is no different than a choir singing a work in a
different language. Choi also notes that the tonal part of Mandarin is not a
distinguishing feature once the text is sung, often on neutral vowels and
different pitches. There is an increasing amount of Mandarin choral music
written in a western style, especially in Taiwan. There needs to be further
development in marketing these scores for North American choirs and making sure
there is standardized pinyin in North American music editions. A goal of Choi’s
would be to work with composers in Asia to publish accessible North American
editions to encourage non-native speakers to sing this music outside of the
country of origin. There is an authenticity that results from standardizing the
music from the source since there is a challenge when North American composers
are trying to write arrangements of Asian folk music. Mandarin music is more
than songs about jasmine flowers and Japan is more than Sakura. If the
arranging composers don’t use the standardized pinyin transliteration, it can
end up creating a lot of text confusion for non-native speakers since there may
be multiple transcriptions of the same noun.</span></div>
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<span style="color: black; font-family: "arial"; font-size: 11.0pt;">The passion in Choi’s
voice is evident when she verbalizes the goals of Babεl and the excitement of
beginning an important process to promote and share culture through music. Choi
grew up in a musical family with her Mom and two Aunts as accomplished music
educators and piano teachers back in Hong Kong. Piano lessons commenced for
Choi at 2.5 years of ago but her family knew that immigrating to Canada would
provide more options for Choi and her sister, Yvonne, to pursue musical
careers. Yvonne has a degree in collaborative piano and works with many Toronto
choruses. It is apparent that Choi is a music educator at heart. It doesn’t
matter </span><span style="color: black; font-family: "arial"; font-size: 11.0pt;"><span style="color: black; font-family: "arial"; font-size: 11.0pt;">if she is working with professional singers, a community adult chorus, or a
children’s choir</span> because Choi has the warmth and
inspiration to guide them all. </span></div>
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<a href="https://www.gofundme.com/babel-launch-tour?fbclid=IwAR3DGmGYOEjMnIn6bvn9cOjeMiWytALlY2RcitDwNYD1a_V6irqj9VUincE"><span lang="EN-US"><br /></span></a></div>
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<a href="https://www.gofundme.com/babel-launch-tour?fbclid=IwAR3DGmGYOEjMnIn6bvn9cOjeMiWytALlY2RcitDwNYD1a_V6irqj9VUincE"><span lang="EN-US">You can help support their first tour to Hong Kong and Taiwan</span><span style="color: black; font-family: "arial"; font-size: 11.0pt;"></span></a><span lang="EN-US"><span style="color: black; font-family: "arial"; font-size: 11.0pt;"></span></span></div>
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<a href="https://www.facebook.com/babel.chorus/videos/2194935697484812/">A video to learn more about the choir</a><br />
<br />
<span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Curious to hear more Mandarin choral music and groups? </span><br />
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<b><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Composers to watch:</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Jan Tien Hao (冉天豪) - Taiwan</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Ng Cheuk Yin (伍卓賢) - Hong Kong</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Xingzimin Pan (潘行紫旻)- China</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Jenny H. Chou (周鑫泉)- Taiwan</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Jin Chengzhi (Aaron King) (金承志)- China</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Choirs to listen for:</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Rainbow Chamber Singers (Shanghai)</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">National Taiwan University Choir</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Taipei Philharmonic Chorus</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Taipei Philharmonic Chamber Choir</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Music Example:</span></span></b><br />
<b><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> </span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Grandmother - by Rainbow Chamber Singers</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><a href="https://www.youtube.com/watch?v=2sr3QS_SJA4" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">https://www.youtube.com/watch?v=2sr3QS_SJA4</a><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Love tree - Taipei Philharmonic Chorus - Chamber Choir</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><a href="https://www.youtube.com/watch?v=QK2u4Ev9lwk" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">https://www.youtube.com/watch?v=QK2u4Ev9lwk</a><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">The Happiness of Snowflake - National Taiwan University Choir</span><br style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;" /><a href="https://www.youtube.com/watch?v=xEjPG9vme8A" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">https://www.youtube.com/watch?v=xEjPG9vme8A</a></span></b><br />
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<b><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Babεl Biography</span></b><br />
<span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-style: normal; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br /></span>
<i><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Babεl began as a dream to bridge choral music between Canada and China. The SATB ensemble is dedicated to supporting Canadian composers through national and international performances and recordings of their work.</span></i><br />
<i><br style="color: black; font-family: "helvetica"; font-size: 12px; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" /></i>
<i><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">We also hope to play a pivotal role in the Canadian choral world - bringing work from contemporary composers in China back to Canada.</span></i><br />
<i><br style="color: black; font-family: "helvetica"; font-size: 12px; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" /></i>
<i><span style="color: black; display: inline; float: none; font-family: "helvetica"; font-size: 12px; font-weight: normal; letter-spacing: normal; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">We are hitting the ground running, ending our first season with a tour to Hong Kong and Taiwan in July 2019. This tour will be an opportunity to collaborate with the CU Chorus, workshop with aspiring high-school musicians, and perform with the sacred music ensemble, Vox Antiqua.</span></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMGog5wwAiC-DukULENjzHCBTbOHEtlQOdjqjpZbD5c-T5kSAhsVIuTTy7IVCHzwcsaHPJ-b6YoGJrOE8W4hwQqlSArqTiBa9u82k9ZMs_pJXHyzIR3umjNZjvlcUbIq_XBDmync_pQnNZ/s1600/Elaine+Choi+headshot.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="800" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMGog5wwAiC-DukULENjzHCBTbOHEtlQOdjqjpZbD5c-T5kSAhsVIuTTy7IVCHzwcsaHPJ-b6YoGJrOE8W4hwQqlSArqTiBa9u82k9ZMs_pJXHyzIR3umjNZjvlcUbIq_XBDmync_pQnNZ/s640/Elaine+Choi+headshot.png" width="640" /></a></div>
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<i>DR. ELAINE CHOI (D.M.A) contributes to Toronto's vibrant choral community as a conductor, educator, adjudicator, and collaborative pianist. She is currently the Director of Music at Timothy Eaton Memorial Church, Past President of Choirs Ontario and conductor of the University of Toronto Women's Chorus. </i><br />
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<i>As a music educator, Elaine was a faculty member at the National Music Camp from 2010-2015 and currently serves as a guest coach at various schools throughout the city, including Rosedale Heights School of the Arts, North Toronto Collegiate Institute, and the York School. </i><br />
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<i>Elaine is active as an adjudicator and a clinician for various community events, such as the Toronto Kiwanis Music Festival and Singsation Saturdays. </i><br />
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<i>Elaine is an advocate for Chinese Music as she is also proficient on several traditional instruments such as the Erhu and Zhongruan. She was the conductor of Toronto Chinese Orchestra from 2010-2017. This fall, Elaine has founded a chamber choir Babel, an SATB ensemble founded to bridge choral music between Canada and China. The group supports Canadian composers through international performances and recordings of their work and brings work from contemporary composers in China back to Canada. </i><br />
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<i>Elaine began music studies on piano and violin. She earned her BMus in Music Education (2008) and a MMus in Music Performance specializing in Choral Conducting (2010) at the University of Toronto. She also holds an ATCL (1999), an AmusTCL Diploma (2001) in piano performance from the Trinity College of Music, London, and an Advanced Certificate (2000) from Associate Board of the Royal Schools of Music, England. </i><br />
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<i>Elaine is a four time recipient of the Elmer Iseler Fellowship in Choral Conducting (2008, 2009, 2014, 2015) and a finalist in the Sir Ernest MacMillan Foundation Fellowship Award in Choral Conducting (2012). She's the 2018 recipient of the prestigious William and Waters graduating award.
</i>misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com1tag:blogger.com,1999:blog-4754898720438821493.post-76574380970661911332019-01-19T08:00:00.000-07:002019-01-19T08:12:52.248-07:00Ten Years to this Day<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsNBS_Pc2kSAMre-RnFFeT9kTrHAe-01xCnEgT0oR14k_Gm3vHkh32wSV_fa9KjYAzOTvpSuJU5NnVid1uF4os5dKl5GxzN7e2IkbArbKdTZXAcYamf9_Dd16QFT1eNxCklA-JDbUK5_cO/s1600/IMG_5912.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsNBS_Pc2kSAMre-RnFFeT9kTrHAe-01xCnEgT0oR14k_Gm3vHkh32wSV_fa9KjYAzOTvpSuJU5NnVid1uF4os5dKl5GxzN7e2IkbArbKdTZXAcYamf9_Dd16QFT1eNxCklA-JDbUK5_cO/s640/IMG_5912.jpg" width="640" /></a></div>
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I am a singer.<br />
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There have been many moments in my life where I have wavered on accepting this title. But after 10 years of blogging, and over 20 years of choral singing, I know that who I am at my core is a singer. It is a huge component of my identity. Singing is an expressive means for me to communicate. While it is my pleasure to work with patients on discovering their communicative voice as a Speech-Language Pathologist, singing has always been and will continue to be my expressive mode of communication.<br />
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There is a overwhelming gratitude I feel towards the blog for holding me accountable to my passion: choral music. For the past 10 years, I have shared my thoughts while going through an artistic process and relayed these discoveries with my readers. In recent years, the blog has also developed into a platform where I am able to share the work of other singers, composers, conductors, organizations, and choirs as well. It is staggering to articulate the significance this blog has served for me, as well as others, over this past decade. I have enjoyed looking through my posts and photos to assemble some of my favorite moments. It's also exciting to look towards the future and contemplate what new projects, pieces of repertoire, singers, conductors, and composers I haven't yet had the pleasure of meeting.<br />
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Please enjoy this anniversary post and my apologies in advance since I'm certain people have been missed from this sampling of content. Regardless, thank-you, dear readers, for continuing to read my choral musings.<br />
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Listed below are 20 significant posts on The Choir Girl Blog over the past 10 year. Many of them signal a change in my role as an artist, thinking, or direction at each chronological time point in the blog. <br />
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1. <a href="http://www.thechoirgirl.ca/2009/01/camp-rite-of-passage.html">Camp: A Rite of Passage</a><br />
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2. <a href="http://www.thechoirgirl.ca/2009/03/well-sing-anywhere.html">We'll Sing Anywhere</a><br />
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3. <a href="http://www.thechoirgirl.ca/2009/02/choir-uniforms-good-bad-and-ugly.html">Choir Uniforms Do's and Don'ts</a><br />
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4. <a href="http://www.thechoirgirl.ca/2011/04/arrival-of-virtual-choir-20.html">Arrival of the Virtual Choir 2.0</a><br />
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5. <a href="http://www.thechoirgirl.ca/2010/09/john-william-eso-love.html">ESO Reviews</a><br />
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6. <a href="http://www.thechoirgirl.ca/2010/10/making-cut.html">Making the Cut</a><br />
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7.<a href="http://www.thechoirgirl.ca/2013/03/sht-choristers-say-interview-with.html"> Sh*t Choristers Say-An Interview with the Vancouver Cantata Singers </a><br />
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8. <a href="http://www.thechoirgirl.ca/2012/10/tweet-me-embracing-social-media-at.html">Tweet Me. Embracing Social Media at Podium 2012</a><br />
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9.<a href="http://www.thechoirgirl.ca/2012/05/opera-girl.html"> Opera Girl </a><br />
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10. <a href="http://www.thechoirgirl.ca/2012/09/painting-nightingale.html">Painting the Nightingale</a><br />
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11. <a href="http://www.thechoirgirl.ca/2012/10/the-culture-of-fear-in-rehearsal.html">The Culture of Fear in Rehearsals </a><br />
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12. <a href="http://www.thechoirgirl.ca/2013/02/epilogue-life-after-circus.html">Epilogue: Life after the Circus </a><br />
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13. <a href="http://www.thechoirgirl.ca/2013/04/dear-opera-chorus.html">Dear, Opera Chorus</a><br />
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14. <a href="http://www.thechoirgirl.ca/2014/04/backstage-at-madama-butterfly.html">Backstage at Madama Butterfly </a><br />
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15. <a href="http://www.thechoirgirl.ca/2014/05/im-bit-of-hippie-what-you-didnt-know.html">I'm a bit of a hippie: An Interview with Cy Giacomin </a><br />
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16. <a href="http://www.thechoirgirl.ca/2015/01/interview-with-queen-of-night-teiya.html">Interview with the Queen of the Night and Sarastro, Teiya Kasahara and Neil Craighead </a><br />
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17. <a href="http://www.thechoirgirl.ca/2016/02/welcome-to-podium-social-media-team.html">Podium 2016 Social Media Team </a><br />
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18. <a href="http://www.thechoirgirl.ca/2016/02/welcome-to-podium-social-media-team.html">National Youth Choir Class of 2016 </a><br />
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19. <a href="http://www.thechoirgirl.ca/2016/02/welcome-to-podium-social-media-team.html">An Interview with Jane Berry </a><br />
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20. <a href="http://www.thechoirgirl.ca/2018/09/the-formation-of-femme.html">The Formation of FEMME </a>misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-14860107280320490122018-12-29T08:00:00.000-07:002019-01-18T14:20:18.416-07:00Best of 2018Greetings readers and Happy Holidays!<br />
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While posting frequency has diminished, the Choir Girl blog is not forgotten. You probably have noticed that I only post when I have something significant to post. Entries on this blog begin back on <a href="http://www.thechoirgirl.ca/2009/01/beginning.html">January 19, 2009</a> so I am coming up on my 10th year anniversary on January 19, 2019. Is there anything you'd like to see me do for a commemorative 10 year post? Please let me know.<br />
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My blog has served as a platform to hold me accountable for the projects that I take on and challenges me to reflect and share a performance perspective some individuals may not see. It has also allowed me to document my process from moving from a community choral singer into professional chorister. The focus has evolved these past years but the heart of the blog serves as a platform to create discourse about music and performance.<br />
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I have a few round ups for the year of 2018 which was a year of performance passion as well as challenge. But as most of you know, I love a challenge, so here are some of my picks for projects that topped my list for the year.<br />
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1. H.M.S. Pinafore with Edmonton Opera<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHWzz8ZkOaCnaG-w_d1qLTtf9xMtCWG8KZi9DMXv8xbxSWtJVMa4ClsM0qp7j0lc4yW1O8Lp6N6ysnXUx-ddU-3fCeAWPKM_j7pBmn3gObvi7klI1bCuDIuLLFwdXkg9eQs5NRNGkC8xIh/s1600/27709442_1831228246921277_3824940874734127386_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHWzz8ZkOaCnaG-w_d1qLTtf9xMtCWG8KZi9DMXv8xbxSWtJVMa4ClsM0qp7j0lc4yW1O8Lp6N6ysnXUx-ddU-3fCeAWPKM_j7pBmn3gObvi7klI1bCuDIuLLFwdXkg9eQs5NRNGkC8xIh/s640/27709442_1831228246921277_3824940874734127386_o.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by <a href="https://www.nancpricephotography.com/">Nanc Price Photography </a>courtesy of <a href="http://www.edmontonopera.com/">Edmonton Opera</a></td></tr>
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This show was most physical one I have had to tackle as a member of the Edmonton Opera Chorus. Between the dance intensive staging rehearsals every other evening and taming my body to listen to choreographer instructor, my mind and body were physically and mentally maxed out. My upbringing didn't include any exposure to dance instruction but I took on a learning attitude and embraced my enjoyment of movement in general. I got to learn moves like a charleston, chaine, and sugar. While I was in a perpetual state of muscle soreness for many weeks from January to February, I was pleased with what I was able to pull off when I saw video clips and photos. I didn't want to bring the the show down so I kept up an intensive cardio and stretch routine outside of rehearsals. I would practice my dance steps, video myself, watch the video, and then keep running it to make sure it matched what the choreographer showed in rehearsal. But once the show was running, my body had loaded the movements in. Once the curtain went up, I could just set sail, enjoy the expanse of that beautiful ship set, and soak in the energy of the on stage band and my fellow performers.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihplloOmlBHZaF-maOqyZWSBQyjJmAZKTOhKmbMfUHYc5q1COZo9knrohhR_gjE54MvSwsrQ5jzdVsv6g446bxyYyhR08_d4Ve3McJ4pUXrvAwvgEGDsnrRhEB5jf04mh0LxMVyX_Vsjk_/s1600/IMG_6245.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihplloOmlBHZaF-maOqyZWSBQyjJmAZKTOhKmbMfUHYc5q1COZo9knrohhR_gjE54MvSwsrQ5jzdVsv6g446bxyYyhR08_d4Ve3McJ4pUXrvAwvgEGDsnrRhEB5jf04mh0LxMVyX_Vsjk_/s640/IMG_6245.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by <a href="https://www.nancpricephotography.com/">Nanc Price Photography </a>courtesy of <a href="http://www.edmontonopera.com/">Edmonton Opera</a></td></tr>
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2. <a href="http://www.thechoirgirl.ca/2018/03/banff-centre-choral-art-program-2018.html">Banff Centre Residency </a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_E92qGF4btvpHZY_u0gC_PQUwUy44AeiDc5SW8payM-Jk5UoGGEHxAFoLE0jthK17-uwcCpnTgnK8yup7_-0zYqH5WncJyoXwICbPcIpJx095ZT2auJYi7A7oHrD71qt99r5bpWVJ24pC/s1600/IMG_6312.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="838" data-original-width="1600" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_E92qGF4btvpHZY_u0gC_PQUwUy44AeiDc5SW8payM-Jk5UoGGEHxAFoLE0jthK17-uwcCpnTgnK8yup7_-0zYqH5WncJyoXwICbPcIpJx095ZT2auJYi7A7oHrD71qt99r5bpWVJ24pC/s640/IMG_6312.JPG" width="640" /></a></div>
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The Banff Centre residency was by far my most challenging music project that I took on this year. Learning five new compositions and getting them all performance ready in four days took all of my skills as a performer and created a pressure cooker situation to develop the skills I needed to meet the challenge. However, with naps, group sectionals, practice room time, perseverance, drink, I survived! It was not a relaxing residency but time is a luxury and we didn't have much of it. But the result of having a full schedule meant that we got to pack in more cool projects like completing some recordings for <a href="https://www.youtube.com/watch?v=jG2LScQUW40">Equus</a> with Darren Fung. <br />
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3. <a href="http://www.thechoirgirl.ca/2018/09/the-formation-of-femme.html">FEMME</a></div>
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One of my most powerful projects this year and one I am personally most proud of. I didn't expect to co-create my own singing sisterhood but somehow I managed it with Jane. I stayed true to my intuition and was gifted with finding artists who resonated with the project. It was also the first time I had text of my own adapted and set to music. All the thanks goes to the people who supported us by being in the audience, sending me texts and e-mails of support, artists sharing their skills to amplify our work, or listening to me rant about the under-representation of contemporary female perspective in choral music. I send all my unconditional love to the fellow FEMMEs, Jane Berry, Amy Voyer, and Dawn Bailey. Many thanks to New Music Edmonton to create a reason for us to form and a space to perform. It is amazing to be in a musical community that creates space for experimental works and I am beyond excited to see what projects we get up to in the future. I was also so excited to style and direct this photoshoot with Nanc Price as my photographer. </div>
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See you all in 2019! misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-74158118102003112652018-09-20T20:00:00.000-06:002018-09-24T21:38:31.613-06:00The Formation of FEMME<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTk3zX23QOBUt4rr7-wiUJpwRj_Uln24TFJNhI-JpxxIjTjPqx89yRJ451syAt_YRk3u29BcXjjQijf7u4IXfco9G7TPrI8FEVQSmfMgvyCUNMzhYiD8nJoSsuhU1VbTSsn2V5zPnIYCZ9/s1600/FEMME+banner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="1600" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTk3zX23QOBUt4rr7-wiUJpwRj_Uln24TFJNhI-JpxxIjTjPqx89yRJ451syAt_YRk3u29BcXjjQijf7u4IXfco9G7TPrI8FEVQSmfMgvyCUNMzhYiD8nJoSsuhU1VbTSsn2V5zPnIYCZ9/s640/FEMME+banner.jpg" width="640" /></a></div>
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This is FEMME. Works written by women, sung by women.<br />
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FEMME is a new project I am very honoured to be a part of. There are distinct moments in my mind that led to the formation of FEMME. The first was the <a href="http://www.thechoirgirl.ca/2016/04/love-fail-collaboration-with-good-women.html">Love Fail collaboration Pro Coro had with the Good Women Dance Collective</a> as a part of New Music Edmonton's season. It was the first time I was singing in a quartet at a professional level. That unification of treble voices and movement had a lasting impact on me as a performer. Another key moment was singing <a href="http://www.thechoirgirl.ca/2017/01/an-interview-with-jane-berry.html">Jane Berry's Mass for Recovery</a> with Pro Coro. Jane fulfills multiple roles in her daily life but she is also an Alto in Pro Coro and Composer. Many of us in the choir noted how well-written the parts were for the Sopranos and Altos in her Mass. It was an emotional sing for all involved since it documented her mother's struggle through surgery, rehabilitation, and her eventual passing.<br />
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When I saw New Music Edmonton was accepting proposals for their <a href="https://www.facebook.com/events/260498438136494/">See You in September event</a>, I immediately thought of Jane and wondered if she would be interesting in writing a work for it. I wanted to sing another work written by Jane. I was open to it being a work that could have included a variety of voice parts, visuals artists, and dancers but we were working within particular constraints to have our proposal accepted for the concert:<br />
<ul>
<li>6 performers max</li>
<li>works <span style="color: black;">≤</span> 15 minutes</li>
</ul>
In mid June, I sent a Facebook message Jane's way to assess her interest. She confirmed that she was definitely interested and that we should meet for coffee. We covered a lot in that coffee meeting and a cascade of decisions were made. I revealed that I would love to do something like Love Fail again. I was really interested in exploring the use of female voices in music
through time whether that included chant, lullabies, siren songs, or pop
singers. Many of the other decisions were based on logistics of creating a work and having it performance ready in under three months. She decided that she had more possibilities writing for four voice versus two or three so we invited two other singers, Dawn Bailey and Amy Voyer, whose voices complimented the piece that Jane wanted to write in her mind. We both felt it should be a pilot quartet project for now and see how the work comes across. If the musical core was strong, the work could then lend itself well to other elements like movement, visuals, we could invite more singers while maintaining our core, or Jane could develop a full choral arrangement in the future. <br />
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She did note at this meeting that she find it's easier to work from a place of text first. The next two evenings I began to re-read my favorite feminist texts and sketch out my thoughts on sisterhood, the segregation of women, how conditions are created for women to feel jealousy instead of support, exclusion breeding self-doubt, female roles and expectations, and female desire. I sent some examples of works I had been reading as well as my own text sketches to Jane and received a response from her wondering where I got the last text. I told her those words were mine and she could do with them as she wished.<br />
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I left on vacation to Berlin at the start of July and within a week she began sending me scores as she finished them. It was a very organic back and forth process. I loved the text fragments she took and what she added of her own. I felt it told a cohesive story overall. Of course, since we had the 15 minute time constraint, the topics are musically introduced but not fully discussed. However, an introduction is a start to further conversation. There was also an opportunity to raise the question if we had to use he/she or if we could use gender neutral pronouns like they/their. Rarely do I see inclusive language represented in a choral music score. The first time I began reading through the scores on my iPad in Berlin, I felt a strong emotional resonance. Music was amplifying my thoughts.<br />
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Over the next two months, we met to rehearse and memorize the work. We wish for this group to amplify the voices of female composers and musicians. They deserve more than exposure and should have appropriate compensation for their work.<br />
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All things have beginning. While we do not exist to represent all women, we are one set of voices beginning to create a dialogue using choral music as our medium. We hope to add voices to this discussion. Until then, we will unapologetically inhabit performance space for women singing at a professional level.<br />
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Hear us, September 22, 2018. We will be just one of many other amazing acts programmed by <a href="http://www.newmusicedmonton.ca/">New Music Edmonton</a>. <br />
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<span style="font-size: small;"><b>To be a Woman</b></span><br />
<span style="font-size: small;"><b>Written by Jane Berry</b></span><br />
<span style="font-size: small;"><b>Text by Sable Chan and Jane Berry</b></span><br />
<span style="font-size: small;"><b><br /></b></span>
<span style="font-size: small;"><b>1. Sister, my Sister</b></span><br />
<span style="font-size: small;"><b>2. Sequester me, away</b></span><br />
<span style="font-size: small;"><b>3. Must I be a Mother?</b></span><br />
<span style="font-size: small;"><b>4. I Desire</b></span><br />
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<span style="font-size: large;">Meet FEMME:</span><br />
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<span class=" UFICommentActorAndBody"> <span data-ft="{"tn":"K"}"><span class="UFICommentBody _1n4g"> </span></span></span><br />
<span class=" UFICommentActorAndBody"><span data-ft="{"tn":"K"}"><span class="UFICommentBody _1n4g">Dawn
Bailey grew up in Edmonton, where her passion for music was ignited at a
young age, singing in the Schola Cantorum and Cantilon choirs. She
completed her Bachelor of Music degree in Voice Performance at the
University of Toronto, and later moved to
Montreal to pursue a Master of Music degree, specializing in Early
Music. Dawn quickly became a fixture in the early music communities in
both Toronto and Montreal, performing and recording with some of
Canada's leading early music ensembles. After further studies in
Amsterdam, she returned to Edmonton with her young family, where she is excited to delve into as many early music, new music, and choral
ventures as she can.</span></span></span><br />
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<span class=" UFICommentActorAndBody"> <span data-ft="{"tn":"K"}"><span class="UFICommentBody _1n4g"> </span></span></span><br />
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<span class=" UFICommentActorAndBody"><span data-ft="{"tn":"K"}"><span class="UFICommentBody _1n4g">Jane
Berry moved to Edmonton to start her PhD of Philosophy in Music Theory
in the fall of 2011. Shortly after her arrival she began singing with
Pro Coro Canada and quickly became integrated within the local choral
community. She is the director of ETown
Minors (a choir developed for at risk youth), section lead for ETown
Augmented and in-house arranger for both groups. She also works for Sing
for Life Society of Alberta, has taught a number of courses at the
University of Alberta, sings with various new music ensembles,
volunteers with local youth and works as a composer and visual artist. <br />Jane
holds a Masters of Arts in Music Theory from the University of Ottawa
(2011), a Bachelors of Music in Composition from Acadia University
(2005), and is currently working on a degree in Education at the
University of Alberta.</span></span></span><br />
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<span class=" UFICommentActorAndBody"> <span data-ft="{"tn":"K"}"><span class="UFICommentBody _1n4g"> </span></span></span><br />
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<span class=" UFICommentActorAndBody"><span data-ft="{"tn":"K"}"><span class="UFICommentBody _1n4g">Amy
Voyer has been an enthusiastic part of the Edmonton choral community
since the age of 9, singing with the Edmonton Youth and Children’s
Choirs, Kokopelli Youth Choir, Concordia Concert Choir, and Chronos
Vocal Ensemble. She now sings professionally
with Pro Coro Canada and teaches K-6 Music full time at St. Kateri
Elementary School. She holds Bachelor of Music and Bachelor of Education
degrees from Concordia University. When you’re not being blown over by
the Richter-scale level of her laugh, you can find her writing essay
length captions on her Instagram posts, hosting solo dance parties in
her living room, and tearing up while thinking about how much she loves
people.</span></span></span><br />
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Sable Chan is an avid chorister who was raised within the local Edmonton choir community singing with Schola Cantorum, Cantilon Choirs, and The University of Alberta Madrigal Singers. She now sings professionally with Pro Coro Canada and the Edmonton Opera Chorus. She received a Masters in Speech Pathology and Audiology from the University of Alberta and a Certificate of Vocology from the University of Iowa. Sable demonstrates her passion for the art of choral music as the author of The Choir Girl blog where she publishes her choral musings.<br />
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All photos by <a href="https://www.nancpricephotography.com/">Nanc Price Photography </a><br />
<br />misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-72662937618045803552018-03-12T21:00:00.000-06:002018-04-09T22:54:02.755-06:00Banff Centre Choral Art Program 2018<div class="separator" style="clear: both; text-align: center;">
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It has been a week since the first<a href="https://www.banffcentre.ca/programs/choral-art-choirs/20180216"> Choral Art residency</a> at the Banff Centre has finished up. The entire residency ran just over
two weeks in length. There were five composers and five conductors
accepted into the program to work with the Choral Art Faculty composed
of Michael Zaugg, Lone Larsen, and Ugis Praulins. Each week hosted a different ensemble of eight singers. This was the lab choir for the conductors and composer. <br />
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I'm just starting to emerge from the haze of living on the <a href="https://en.wikipedia.org/wiki/Tunnel_Mountain">Sleeping Buffalo</a> (a.k.a Tunnel Mountain) for 10 days. It felt like a strange time warp where I was at adult music camp for an extended period of time. My heart was full but this was paired with significant exhaustion. I remember pondering how I was going to fit another note and direction in my brain as the hours passed by during my days there. I was aware the experience would be a challenge going in; however, I had no idea how intense it was going to be until I was immersed in it. Ensemble Two had the challenge of receiving new scores from the composers and getting them concert ready with the conducting participants in three days. Ensemble One had their own set of challenges to overcome. They had a set of scores which they had previously prepared and there a focus on the conductors to practice their gestural technique using these set of scores. The Ensemble One singers also sang through the composer's sketches, gave feedback, and read through some of the provided texts that would eventually form the works for Ensemble Two to perform. In between the residency for Ensemble One and Two all of Pro Coro singers for our Canadian Connections production headed out to Banff to rehearse and perform. The weekends also had opportunity for the participating choirs, Dnipro, Joyful Noise, and the Edmonton Youth Choir to work with the Choral Art Faculty and some Pro Coro singers.<br />
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Ensemble One was joined by the rest of Pro Coro on the weekend and the focus quickly shifted to rehearsing and presenting Ugis Praulins' Nightingale. Those first rehearsals in Banff rehearsing the Nightingale in front of Praulins himself was a bucket list moment for me. Six years ago, I remember being wide awake after rehearsals. I was buzzing from the energy of the piece. It led me to compose this <a href="http://www.thechoirgirl.ca/2012/09/painting-nightingale.html">Painting the Nightingale</a> blog entry, which connected me with Ugis. That first rehearsal at Banff Centre was a moment where I felt: "Life cannot get better than this," as I sang with Ugis and in my peripheral vision. He would give a few brief statements of his vision for a certain movement and then sit back and gently nod when we would try another run of the line again. Pro Coro performed the full Nightingale the next day in concert at Banff Centre before returning to Edmonton on Sunday afternoon to sing it again at All Saints Cathedral. There was something magical about that Banff Centre performance though. In addition to the Nightingale, Pro Coro also sang <i>The Way Children Sleep</i>, <a href="https://cygiacomin.com/">Cy Giacomin's</a> <i>Negen</i> and <a href="http://www.daviddesilets.com/">David Désilets</a>' <i>en vuelo.<a href="http://flutealors.com/en/"> </a></i><a href="http://flutealors.com/en/">Flûte Alors!</a> joined Pro Coro for these weekend concerts and demonstrated the wide sound palette produced by recorders in the different pieces.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje9nNsLmPU790KGUdU-Fde6bgIMWjRhPGrF7_hd2_nNgGyL6T6JQkfNtCahTFzolsAjtJ8qqTng_HCi6h5R_tSsoaXjILWOeAQtKcEVvfJHMv_UqxWE0tS3yNlFOyn_UiI7YFaatAwl2yT/s1600/IMG_6294.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="1316" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje9nNsLmPU790KGUdU-Fde6bgIMWjRhPGrF7_hd2_nNgGyL6T6JQkfNtCahTFzolsAjtJ8qqTng_HCi6h5R_tSsoaXjILWOeAQtKcEVvfJHMv_UqxWE0tS3yNlFOyn_UiI7YFaatAwl2yT/s640/IMG_6294.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dress Rehearsal for Pro Coro's concert in Rolston Hall at Banff Centre. Photo by Graeme Climie.</td></tr>
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After Ensemble Two's arrival out in Banff, we had a fantastic choral and body warm-up with Lone. We played games to explore concepts of trust, sending energy to our partners through our voices, making sure everybody had the opportunity to do their best, exploring some basics of choral improv and how to generate a song together based on a concept, setting, or few lines of provided text. The session was mindfulness at its best since I was present those around me. After this two hour session, my mind felt buoyant, devoid of the cycling of internal self-talk. However, this feeling of buoyancy was quickly replaced with stress for me at the Monday evening rehearsal. During our dinner break, we received scores from the composers who had been hard at work to meet their Monday afternoon deadline. That Monday evening rehearsal was the first opportunity for us to sight-read our way through the scores in front of the composers who wrote them and for the conductors who would conduct them. Michael sat down at the piano and gave a disclaimer to the conductors and composers in the room that all comments had to be reserved for later. He made it clear that this rehearsal was for him to work with the singers and read through the score. The studio practice room fell silent. I realized soon after that there were only three days to prepare these scores for their concert debut on Thursday night. <br />
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Sight-reading in public and feeling unprepared is my nightmare as a performer. The reason that I have been a successful choral singer to date is that I invest time in the preparation process. In this way, I can be receptive to the conductor's comments and be able to implement them without worrying if I am singing the right notes or not. Although the conductors and composers understood we were all reading the scores, I still felt terrible at having to demonstrate my struggle at sight-singing contemporary works. I was frantically hitting my tuning fork on my knee in order to locate my starting pitches and seeing if I was still in tune at certain checkpoints when there was only one singer on each line. My brain was so overwhelmed that I had trouble reading vertically to locate parts that paired with my own. I changed my quality of sound while holding notes as my brain processed the vocal descriptors above the written notes like "glottal fry," and I would be striving to create overtones through a series of outlined vowels a bar or two after the overtones should have already commenced. It was a test in staying objective and keeping a forward momentum. I kept a log of my errors to revisit later during my own practice sessions. There was no stopping once we started reading. I later realized that this was one of the only times we had the chance to sing through some of the pieces from start to finish until the concert run. Previously, one of my Med School friends gave me an expression that summates how I find it in intense scenarios like this: it's like drinking from a firehose. There is such a high quantity of information to absorb in such a short amount of time that one feels pummeled by this constant bombardment of information.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPHh8a9-v9l4zoVEj4yoBq6qa_d_Vn0Y4YxalX0mpndH7bApOguiBgkbXhC3xCqKKmQmumgrYz63xEq87H45DRcy7MddSEmBI_sbKE4IvQ24Bp0UhWfFRK7szNx0QsY6IN88QhrO3IXbFp/s1600/IMG_6308.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="746" data-original-width="1600" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPHh8a9-v9l4zoVEj4yoBq6qa_d_Vn0Y4YxalX0mpndH7bApOguiBgkbXhC3xCqKKmQmumgrYz63xEq87H45DRcy7MddSEmBI_sbKE4IvQ24Bp0UhWfFRK7szNx0QsY6IN88QhrO3IXbFp/s640/IMG_6308.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gorgeous Pro Coro practice room at Banff Centre</td></tr>
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Every rehearsal following this initial one would feel better in some ways and then worst in others. It's part of the frustrating process when multi-tasking to learn new skills. For every 5 hours I spent in rehearsal, I spent 3-4 hours of my own time working through the music by myself or in small groups with other singers. There was a point somewhere between Monday night and Thursday evening where the balance began to shift: I was working hard not just to redeem myself from a terrible sight-reading session but it was out of my respect for the composers in the program. I really wanted to sing my best for their pieces.<br />
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The rehearsals weren't stressful all the time though. There were light moments like when Michael commented on how "Pro Coro likes!" after singing the lush chords in Laura Hawley's, <i>Absence</i>. I accidentally recomposed my Alto solo line in Jonathan Russ's<i>, Motion and Use</i>, a work set to texts from Tao Te Ching. To be fair, Michael only deemed me to be the soloist a few seconds beforehand by making eye contact with me. The group chuckled when my fellow Alto and I mustered up a know-it-all, nasal tone for the delivery of the line, "The truth is relative." I was surprised at myself for how easy it was for me to channel this obnoxious persona. This previous text was from in Jason Noble's brilliant <i>Furiousier</i> <i>and</i> <i>Spuriousier. The Unforseen Consequences of the Democraticization of Knowledge</i>, a musical fairy tale of Lewis Carroll and René Decartes. Stuart Beatch presented a recent commission he had been working on, <i>I Am Like Many</i>, for the Senate House Library's exhibition of Queer Between the Covers. Netta Shaha's work<i>, It Is All a Chaos of Nothing</i>, was an evocative contrast to the other works on the program.<br />
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It has been a long time since I have felt this exhausted from a musical experience. I fit a month's work into three days. I survived living rehearsal to rehearsal, meal to meal, with some periods of sleep interspersed throughout those segments. Survival was possible due to the positive reinforcement from the conductors and composers, as we chatted in line at Vistas dining room buffet, locking myself away in a practice room to play through chords while learning my part in context, and sectionals with fellow choristers in the practice hut. These sectionals were equal parts wild and hilarious. </div>
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I had all these ambitious plans to write, conduct interviews, learn how to use the climbing wall at the Rec facility but my energy went into taking care of myself and learning music. My days were a general cycle of eating, drinking a hot beverage, singing practice on my own, singing in rehearsal with others, and then repeating that cycle about three times. </div>
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My take-aways from the experience:</div>
<ul>
<li>I need time in order to prepare</li>
<li>I will put the work in to meet a deadline</li>
<li>I do better with written feedback or specific comments that are made but left so I can process them later on my own time </li>
<li>I need time to quietly work on my own first or else I will reinforce incorrect motor patterns if I keep running things incorrectly in rehearsal</li>
<li>When it's time for a break, I need a break. My mind can't process any more after-the-fact comments. I need silence to reset</li>
<li>Pro Coro singers are the best. I'm grateful to sing alongside them </li>
<li>It is my privilege to be a part of somebody's creation and learning process</li>
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Do you think you're up to taking part next time? Conductors and Composers reading this post, keep your eyes open for applications to Choral Art 2019, when they come out later this year. </div>
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Here are some more photos from the residency:</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggynn0OHqfkMTlmcHykqcoIE6PsGrb2qw1jtk03NhsGLItZsGrCBYJhlyp1wCaYFk1Epykr_4br3MyDzdzuxLBii5jKSHSSWbYfQ2_uUEE3eQZ9bVoHR8D1XekE98LhSpwBdFozgq0AEgQ/s1600/28516729_595984590738028_8860671023799581182_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggynn0OHqfkMTlmcHykqcoIE6PsGrb2qw1jtk03NhsGLItZsGrCBYJhlyp1wCaYFk1Epykr_4br3MyDzdzuxLBii5jKSHSSWbYfQ2_uUEE3eQZ9bVoHR8D1XekE98LhSpwBdFozgq0AEgQ/s640/28516729_595984590738028_8860671023799581182_o.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Composers: Laura Hawley, Stuart Beatch, Jonathan Russ, Netta Shahar, Ugis, and Jason Noble (L-R). Photo courtesy of Michael Zaugg.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQwB-OCbK81o-y6B4XMtojWfan6WhmN2OcNr8CVmzPppDv0N3JPm8yJ-DozQtEOpCrxUe4qrbNJufFZYNfqjzd0SmLDFNx24pS0dl8_cHV1bfB6wiEh2f2XxO6l9MUh01x9EjGEGLWfjcI/s1600/IMG_6286.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="629" data-original-width="640" height="627" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQwB-OCbK81o-y6B4XMtojWfan6WhmN2OcNr8CVmzPppDv0N3JPm8yJ-DozQtEOpCrxUe4qrbNJufFZYNfqjzd0SmLDFNx24pS0dl8_cHV1bfB6wiEh2f2XxO6l9MUh01x9EjGEGLWfjcI/s640/IMG_6286.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ensemble One at Banff Centre. Photo courtesy of Michael Zaugg.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1wktSNMBkZX5KwSwDfk_rQbhyphenhyphentZQu9DPeuik6fpAoQ1SzfNgcIpxJSfx4ge1EYwdTk9_uL8ak4UWePJHScNvHvrmEFlGv3aMXfns7VyMJk8tFLlSf8_8RwGGwNSUJvZLcMvE9QDsBKk2Z/s1600/IMG_6332.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="642" data-original-width="882" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1wktSNMBkZX5KwSwDfk_rQbhyphenhyphentZQu9DPeuik6fpAoQ1SzfNgcIpxJSfx4ge1EYwdTk9_uL8ak4UWePJHScNvHvrmEFlGv3aMXfns7VyMJk8tFLlSf8_8RwGGwNSUJvZLcMvE9QDsBKk2Z/s640/IMG_6332.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ensemble Two at Banff Centre following a recording session with Darren Fung and the Edmonton Youth Choir.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyqg_y0wlqyMQ9B__RwbzzZeo5neN2fs31UV-3KIKbW94WrbfpWLWv0RRjWdEPAFis2y-oV8wkxiEn-MjI0gSIhd3PDKvObEXXPbFURGpld5aPi8kzFieGkl1bFW8R6ad0pIXjEI6ZCr7n/s1600/28577414_1983856161629233_8990493729175219997_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="960" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyqg_y0wlqyMQ9B__RwbzzZeo5neN2fs31UV-3KIKbW94WrbfpWLWv0RRjWdEPAFis2y-oV8wkxiEn-MjI0gSIhd3PDKvObEXXPbFURGpld5aPi8kzFieGkl1bFW8R6ad0pIXjEI6ZCr7n/s640/28577414_1983856161629233_8990493729175219997_n.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Conductors: Kathleen Allan, Geung Kroeker-Lee, Jack Bennet, Aya Ueda, Dierdre Kellerman, and Michael Zaugg (L-R)</td></tr>
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<tr><td style="text-align: center;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1QeJSSICar0XRsLhyphenhyphenn882J1PTbUuxLloNFxPZMbDvjbdwBBHV95slurBEIxpbDuNV83mv8XE26MeEP68836-lo9Rj4pUfe34pw04H2JfJ0RbfVoF6_bb7v8H4wNlLf2OzaRugbsXB7uls/s640/IMG_6327.JPG" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A view from the podium during the recording session. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTFlm8NdPQNP99QJEECLQ_xfDDgS9YCq9kyGumFugDocqzEDWjaPoxRyCBH4mv7k2sx4AdJaXwe-ZJtqohWnCw9JG6ETFsz0GEcg-wnibOtyWfNCExVGcTZuyZlan9kvcuq4iUTwAMmCfa/s1600/IMG_6309.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="639" height="411" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTFlm8NdPQNP99QJEECLQ_xfDDgS9YCq9kyGumFugDocqzEDWjaPoxRyCBH4mv7k2sx4AdJaXwe-ZJtqohWnCw9JG6ETFsz0GEcg-wnibOtyWfNCExVGcTZuyZlan9kvcuq4iUTwAMmCfa/s640/IMG_6309.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Working on some choral improv techniques with Lone Larsen</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqIg_Hc7Xy0GOJMgBZg8jGnbKDyhJef4GtZfUks6lUukmSdIp0-H4HSlCir1MOmnCTISCE0mahzZuoRtfzdSXf7-regpGe_MPuEzP6mxjGvH5coRsjjqo3nU4PRvzxk8kPwfmq3-gqaVWZ/s1600/IMG_6293.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqIg_Hc7Xy0GOJMgBZg8jGnbKDyhJef4GtZfUks6lUukmSdIp0-H4HSlCir1MOmnCTISCE0mahzZuoRtfzdSXf7-regpGe_MPuEzP6mxjGvH5coRsjjqo3nU4PRvzxk8kPwfmq3-gqaVWZ/s640/IMG_6293.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ugis Praulins Q&A with Dnipro and Joyful Noise at Banff Centre</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC2UltYq4QTUuod8QWxzknSbfc5D9pdliubwsmppz80ddTniaK_ibQxT9x_cVmgqaDdQcWqqC-Mdtw47Ey_Aeoz9iwl3ecqCn8zxsH6srkYW6lC5WBih9FLSAMkf1EtVWZQnBhhbXwABUf/s1600/IMG_6292.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC2UltYq4QTUuod8QWxzknSbfc5D9pdliubwsmppz80ddTniaK_ibQxT9x_cVmgqaDdQcWqqC-Mdtw47Ey_Aeoz9iwl3ecqCn8zxsH6srkYW6lC5WBih9FLSAMkf1EtVWZQnBhhbXwABUf/s640/IMG_6292.JPG" width="640" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC2UltYq4QTUuod8QWxzknSbfc5D9pdliubwsmppz80ddTniaK_ibQxT9x_cVmgqaDdQcWqqC-Mdtw47Ey_Aeoz9iwl3ecqCn8zxsH6srkYW6lC5WBih9FLSAMkf1EtVWZQnBhhbXwABUf/s1600/IMG_6292.JPG" style="margin-left: auto; margin-right: auto;"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Taking my caffeination game seriously during the residency<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi81sr3g0bTjIo_N3ED2iDmmBIVt4VT-T7tq5QMs4pOPD6PqIDjg_E_Q8CE-0U6lcWCxLB1Uu4OjOdFUU5ZPIQzXf97ydfBp6xQUSrxsGzF4iDDWy83K_Z8KuE7tAsbxDpkztgbI1cRouG8/s1600/IMG_6335.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="838" data-original-width="1600" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi81sr3g0bTjIo_N3ED2iDmmBIVt4VT-T7tq5QMs4pOPD6PqIDjg_E_Q8CE-0U6lcWCxLB1Uu4OjOdFUU5ZPIQzXf97ydfBp6xQUSrxsGzF4iDDWy83K_Z8KuE7tAsbxDpkztgbI1cRouG8/s640/IMG_6335.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A voice care education talk with the Edmonton Youth Choir. Photo courtesy of John Wiebe.</td></tr>
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misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-67049693238211974612017-11-23T16:00:00.000-07:002017-11-23T17:07:46.261-07:00Soft Red / Hard White<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDEu0GmYDa8Q7yh9rJT7opx4Fqayj84euCudXZgZ5hTB6o-XMUy4g_CmMtSPSKiHmy1Vb0iedjJDx0-jhzSCpgWY5DRK5DPVqbsSp2V73nQd2LSyr6xALE5k0KCEGRTXlxGSuJrDzcKO1E/s1600/IMG_5111.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDEu0GmYDa8Q7yh9rJT7opx4Fqayj84euCudXZgZ5hTB6o-XMUy4g_CmMtSPSKiHmy1Vb0iedjJDx0-jhzSCpgWY5DRK5DPVqbsSp2V73nQd2LSyr6xALE5k0KCEGRTXlxGSuJrDzcKO1E/s640/IMG_5111.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Ruta Nichols/Harcourt House</td></tr>
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I had the chance to be a part of: <a href="http://harcourthouse.ab.ca/soft-red-hard-white-by-jen-mesch/">Soft Red / Hard White by Jen Mesch</a>. Jen is an Artist in Residence at the Harcourt House and created an installation that also has a live performance component to it. Jen embroidered graphic scores which are interpreted by the musicians and dancers to create a live improvised performance that is different every time it appears in the space. <a href="http://harcourthouse.ab.ca/soft-red-hard-white-by-jen-mesch/">Explore this link to learn more about the different film, dancers, musicians, and scores</a>.<br />
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Soft Red / Hard White was thrilling to be a part of with its experimental and collaborative rehearsals. Jen described her creation process and allowed the dancers and musicians to look in the close detail at her embroidery and sketches. We mused over the soft reds and hard whites in hand-made paper books and embroidered fabric. I watched with interest as each dancer would give different versions of their solos. They each had a red paper cut with symbols and their initials to inform their movement. It was also the same template for an accompanying musician to work with as well as responding to the live movements. Each dancer was challenged to expand or condense their movements into different time spans during the rehearsal process. During the dress rehearsal, we had a 45 min period where we had the chance to have dancers and musicians continuously responding to different scores. These scores come from rooms in the abandoned pioneer house installation which are then hung outside the house for the musicians and dancers to interpret. Meanwhile, audience members are free to move through the live performance space and visit some rooms inside the installation.<br />
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As a musician, it has been an incredibly freeing process to not be constrained by prescriptive scores that dictate everything from tempo, text, and volume, to sung vowels. Although that is the training and format I grew up with, and I do seek a certain amount of comfort in being told what I need to do, I am always looking for a challenge to go outside of my comfort zone. Vocal improvisation is definitely in the realm of challenge. On opening night, I found I was singing a sweeping minor melody that clearly wanted to be sung even though I have never sung those particular notes in that succession before. It was a musical motif cycling in my mind that wished to be expressed at that point in time. In the following days while I was warming up, I used that same lingering vocalise from opening night. There was also the welcome challenge of experimenting with how many vocal and non-vocal sounds I could produce with my vocal tract as a singing musician. Glottal fry, subtle I.P.A. vowel transitions, and overtone singing were some techniques I was playing with during the performance. <br />
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I look forward to performing once again in the Gallery. If you are free tomorrow, the last live performance of this work will be on at Harcourt House from 7-9 PM. There is no admission fee and there will even be prosecco and cookies. If that is not the best drink and treat pairing I have heard of to date, I don't know what is.<br />
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<b>Jen Mesch: SOFT RED / HARD WHITE</b><br />
The Main Gallery . October 5 – November 25, 2017<br />
Harcourt House Artist Run Centre, 3rd floor, 10215 – 112 St, Edmonton<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisUe-33_pJc9qEyy9sWMlbgVdPbOQnq5iuoWl2G_QmMax42nA3fOXcz7LJqdM0EZrnbp1xZWWg7KCECkWcY-Qy9CFGO4BA4v474eNuSEVBEvJMY6-P0zfjfwn9q9Gd_eVpMacTp3KjRLE4/s1600/IMG_5468.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="987" data-original-width="1400" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisUe-33_pJc9qEyy9sWMlbgVdPbOQnq5iuoWl2G_QmMax42nA3fOXcz7LJqdM0EZrnbp1xZWWg7KCECkWcY-Qy9CFGO4BA4v474eNuSEVBEvJMY6-P0zfjfwn9q9Gd_eVpMacTp3KjRLE4/s640/IMG_5468.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Jack Bawden</td></tr>
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<br />misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-20730229507659658722017-10-18T17:00:00.000-06:002017-11-25T12:22:43.712-07:00Canadian Chamber Choir in Chicago<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">Photo by Andy Rice, courtesy of Canadian Chamber Choir</td></tr>
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There appears to be a raw void following a period of intense music making. During the past week on tour with the <a href="http://www.canadianchamberchoir.ca/">Canadian Chamber Choir,</a> I had the privilege to connect with other singers through song. As on any tour, energy levels peak and dip, rippling through proximal choristers. The majority of these emotions are one of elation, compassion, and warmth; however, there is a compounding fatigue which leaves one wondering if a nap, caffeine, or snack are adequate to give an energy boost to get through another 2.5 hours of rehearsal. <br />
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<tr><td class="tr-caption" style="text-align: center;">Having an afternoon to explore Navy Pier before the first rehearsal</td></tr>
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Travel always gives an opportunity to highlight what one needs in order to maintain self-care. I implemented small ways to maintain my stability: I brought my own coffee hand grinder and aeropress to ensure consistent caffeine delivery each morning. I tried to have some outdoor time everyday for a few minutes whether it was lying on the grass outside or venturing out for a walk in the pouring rain to get a coffee from a nearby cafe. When there is so much that is outside your zone of control, it is important to embrace small ways you need to regulate yourself. <br />
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There was a large focus on educational workshops with choral communities of sizes and age ranges. I remember looking out into the audience at Nicholas Senn Highschool and watching friends hold each others' hands as they watched us sing an arrangement of Gordon Lightfoot's <i>Song for a Winter's Night</i>. One of the members, who also happened to be Captain of the football team, chuckled with disbelief at the low range of the basses in our choir. Every time I see moments like this, it reminds me of the first time I saw the CCC performing in Edmonton. It couldn’t believe that singers could fly into one location from all across Canada and perform at such a professional level. I often have these moments reflected back at me when I watch the faces of students watching Canadian Chamber Choir perform.<br />
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Another moment that floored me was watching Sullivan Highschool Students learn musical skills in a collaborative manner. We worked on the school Fight Song, Fight on Sullivan, Fight On. Two students sharing the bench at an electronic keyboard and playing the chords announced by their teacher. The keyboard keys had stickers on each of the notes with the note names to help them landmark which chord they would need. I have since learned that Sullivan Highschool has a large <a href="http://www.chicagomag.com/Chicago-Magazine/June-2017/Welcome-to-Refugee-High/">immigrant and refugee student population</a>. It appeared as if the the social, economic, and racial labels for each of these students could be temporarily set aside during these musical moments of unification.<br />
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Who knew that in the basement of the Oakdale Covenant Church in south side Chicago was the <a href="http://covenantcompanion.com/2015/02/19/oakdale-christian-academy-choir-marks-five-years-of-ministry/">Oakdale Children’s Choir </a>under the direction of Terrance Smith? Hearing them learn without sheet music in a call and response structure with Terrance was some of the most electrifying, invigorating, and exciting feats of choral singing I have ever heard in my life. I had goosebumps during the entire performance. It’s like somebody turned up the dial on volume and searing resonance and my ear drums hummed in response to the electrifying sound they were creating. It was also a marvel to see them create something so amazing on the grit of their local community and charismatic musical leader.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1MKS5W4Adrd_mvHvVJyWljp2bUyYiBHFj0P1OUMBjQZPM4WVUwxYul6TYEBu8scAzsaTdB3S_UkeqbWqJ_NLa6nnpyZ-3s_O8s2BIGAOKEfyyajR4sJgZ7Q0elAi_zI0x4aTxEqn1ytjN/s1600/IMG_5909.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1575" data-original-width="1600" height="628" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1MKS5W4Adrd_mvHvVJyWljp2bUyYiBHFj0P1OUMBjQZPM4WVUwxYul6TYEBu8scAzsaTdB3S_UkeqbWqJ_NLa6nnpyZ-3s_O8s2BIGAOKEfyyajR4sJgZ7Q0elAi_zI0x4aTxEqn1ytjN/s640/IMG_5909.JPG" width="640" /></a><br />
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Another important component during this tour was working on the Where the Waters Meet project with Composer, <a href="http://blackicesound.com/">Carmen Braden</a>, and Indigenous Dancer, Activist, Actress, Model <a href="http://sarainfox.com/">Sarain Carson-Fox</a>. It will be a collaborative commission surrounding water: personal memories, safety, access, all articulated through sound and dance. Sarain opened the process with a smudge ceremony to unify the singers and acknowledge the water in all of us, further emphasizing the similarities in ourselves before we began to discuss the differences that still exist in the relationships between settlers and Indigenous people. As Carmen described it, the areas where two sources of water meet is often turbulent and muddy. However, navigating that process is still something she was committed to as a composer and one we collectively agreed, as Artists, was an important one to continue. Never before have I had the opportunity to sing sound sketches by a composer in formative compositional stages. A commissioned work is given to me by the conductor in its completed form. However, in this process, I get to see the thought process that goes into creating a new work. What is a privilege it is to have time allocated to this creative process.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl2tWCPJqwSMhwhV1HRGg-aG9C7M-WdoQ1XivJVm1U_2oe6MtoozAT2Kzo1-9ZOm_waWW3WFBg_qYX7gwVOc_IlF5r9_KrRiasdCGIVELQtkt9_f5sZLWbdy-qWD7wQPuAjeKBJWs75IQQ/s1600/IMG_5941.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl2tWCPJqwSMhwhV1HRGg-aG9C7M-WdoQ1XivJVm1U_2oe6MtoozAT2Kzo1-9ZOm_waWW3WFBg_qYX7gwVOc_IlF5r9_KrRiasdCGIVELQtkt9_f5sZLWbdy-qWD7wQPuAjeKBJWs75IQQ/s640/IMG_5941.JPG" width="640" /></a><br />
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The past week with Canadian Chamber Choir reinforced the importance of non-competitive spaces where you can create Art. For me, it was allowing myself to relinquish a sense of inner control and invite a connection with others through shared voices. Being grateful or privileged doesn’t begin to describe the lingering feelings following the tour. If I think about my own family, we didn’t have the opportunity to choose each other. We had to learn how to live with one another. Being chosen to join a choir, being adopted into a family, it feels entirely different. You trust in the vision of another and the members create an inclusive space. I can think of no higher compliment than to be adopted into a choir family. It renews a vigor in me to embrace challenges, continue learning, and to keep performing.<br />
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<b>More photos from the past week:</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7eBbXIDUSlnGcnqGL1unL_fjvCbO2-J__A1ObKLI7aiuFUAIrjbkcdUQlQ_yWmDi9wg2Xf3_Q7utu5RLq9d8TThJCJ9VfPsLij8ScBDO7BQ9wjUY5yEkTc4MrxJVyzTTS-smXKc2yUD5s/s1600/IMG_5938.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7eBbXIDUSlnGcnqGL1unL_fjvCbO2-J__A1ObKLI7aiuFUAIrjbkcdUQlQ_yWmDi9wg2Xf3_Q7utu5RLq9d8TThJCJ9VfPsLij8ScBDO7BQ9wjUY5yEkTc4MrxJVyzTTS-smXKc2yUD5s/s400/IMG_5938.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A lovely desert platter of USA and CA love hosted by the Canadian Women's Club of Chicago</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq5qwXWlZ3jPY7HvY0IY1u_I5I31MeGFVYTnZnrG2nT6r3lDxyEWnUcubE2okFlFdJ-ftj8Z1YU0sR7vHxvsPbW_wcxxM6esedkGz0p38lnXpoln6A6wm2Gh1XbGS8Us9YLM0s0emQ-1e0/s1600/IMG_5901.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1280" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq5qwXWlZ3jPY7HvY0IY1u_I5I31MeGFVYTnZnrG2nT6r3lDxyEWnUcubE2okFlFdJ-ftj8Z1YU0sR7vHxvsPbW_wcxxM6esedkGz0p38lnXpoln6A6wm2Gh1XbGS8Us9YLM0s0emQ-1e0/s640/IMG_5901.JPG" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Singing at the Bahá'í temple</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIRwDX2dz8tY5A1FuzJUaMUFgA3Ms2A1DyHI1FtH54cdW5Q8JqlMaCEweOTHo5zB9grnk6uelL2kRLuMw-_PwlK0fFOq1hCjBPYviOLQZC4G_YlyMgEuAuX90uBbQ4TJpthcXi-B82UDDv/s1600/IMG_5896.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1550" data-original-width="1600" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIRwDX2dz8tY5A1FuzJUaMUFgA3Ms2A1DyHI1FtH54cdW5Q8JqlMaCEweOTHo5zB9grnk6uelL2kRLuMw-_PwlK0fFOq1hCjBPYviOLQZC4G_YlyMgEuAuX90uBbQ4TJpthcXi-B82UDDv/s400/IMG_5896.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The idyllic pumpkin patch outside Trinity United Methodist Church</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The most beautiful display exhibit/coffee table at my billet's home in Skokie, IL. My homestay host, Joe, served in the US Military posted in North Korea and Japan, came back to teach history at a local highschool for 35+ years, and though retired, now gives school tours at the <a href="https://www.fieldmuseum.org/">Field Museum</a>. I miss our morning time of reading a paper copy of the Chicago Tribune and listening to a Lyric Opera Chicago broadcast on the radio.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN9tW7XjHEuS0uUqbXkua7fRWDSfSabcwlEoR00C04PtyOg77p2FJLIxKPCCgTG-Da2O_Xv1Z5FrKvTYdDAXdKGdlFlqYNUzNJATxdZakztd4IKQ-_FVPdwvbSOOz4QZZFQaLpeJxpwssV/s1600/IMG_5933.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN9tW7XjHEuS0uUqbXkua7fRWDSfSabcwlEoR00C04PtyOg77p2FJLIxKPCCgTG-Da2O_Xv1Z5FrKvTYdDAXdKGdlFlqYNUzNJATxdZakztd4IKQ-_FVPdwvbSOOz4QZZFQaLpeJxpwssV/s640/IMG_5933.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pre-concert rest before our performance at Anderson Chapel at North Park University</td></tr>
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<b>More social media gems over the past week:</b><br />
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The choir and advanced modern band had the pleasure of being joined by the <a href="https://twitter.com/canadian_choir?ref_src=twsrc%5Etfw">@canadian_choir</a> this afternoon! Here they are performing the fight song🎶 <a href="https://t.co/oFkdnaERv4">pic.twitter.com/oFkdnaERv4</a></div>
— Sullivan HS Music (@SHSTigerMusic) <a href="https://twitter.com/SHSTigerMusic/status/918201481379172358?ref_src=twsrc%5Etfw">October 11, 2017</a></blockquote>
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Enjoying a fantastic workshop with a group of students from the <a href="https://twitter.com/SennHS?ref_src=twsrc%5Etfw">@SennHS</a> choral program. Delving full-on into vocal technique with Julia and the artistic team. <a href="https://twitter.com/hashtag/CCCChicago?src=hash&ref_src=twsrc%5Etfw">#CCCChicago</a> <a href="https://t.co/XKOBU2xdWl">pic.twitter.com/XKOBU2xdWl</a></div>
— CanadianChamberChoir (@canadian_choir) <a href="https://twitter.com/canadian_choir/status/918540284329328640?ref_src=twsrc%5Etfw">October 12, 2017</a></blockquote>
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<a href="https://twitter.com/hashtag/OnAir?src=hash&ref_src=twsrc%5Etfw">#OnAir</a>: For this week's <a href="https://twitter.com/hashtag/GlobalNotes?src=hash&ref_src=twsrc%5Etfw">#GlobalNotes</a>, we have Canadian Chamber Choir in studio! Tune in <a href="https://twitter.com/WBEZ?ref_src=twsrc%5Etfw">@WBEZ</a>. Live on Facebook: <a href="https://t.co/3wgd6bHSXY">https://t.co/3wgd6bHSXY</a></div>
— WBEZ Worldview (@WBEZWorldview) <a href="https://twitter.com/WBEZWorldview/status/918169489556037632?ref_src=twsrc%5Etfw">October 11, 2017</a></blockquote>
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Head over to the CCC's Facebook page to check out some photo highlights from Day 1 and 2 of our first international excursion. <a href="https://twitter.com/hashtag/CCCChicago?src=hash&ref_src=twsrc%5Etfw">#CCCChicago</a> <a href="https://t.co/mggx62Tvps">https://t.co/mggx62Tvps</a> <a href="https://t.co/nyQd9kyRhV">pic.twitter.com/nyQd9kyRhV</a></div>
— CanadianChamberChoir (@canadian_choir) <a href="https://twitter.com/canadian_choir/status/917795625076477953?ref_src=twsrc%5Etfw">October 10, 2017</a></blockquote>
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Celebrating Allison's birthday at <a href="https://twitter.com/hashtag/NavyPier?src=hash&ref_src=twsrc%5Etfw">#NavyPier</a> today! <a href="https://twitter.com/hashtag/CCCChicago?src=hash&ref_src=twsrc%5Etfw">#CCCChicago</a> 🎂••• 📸<a href="https://twitter.com/sarainfox?ref_src=twsrc%5Etfw">@SarainFox</a> <a href="https://t.co/yecsED5WvX">pic.twitter.com/yecsED5WvX</a></div>
— CanadianChamberChoir (@canadian_choir) <a href="https://twitter.com/canadian_choir/status/918182743707668481?ref_src=twsrc%5Etfw">October 11, 2017</a></blockquote>
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Check out Canadian Chamber Choir's blog for more posts:</b><br />
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<a href="http://canadianchamberchoir.ca/welcome/cccchicago-tour-day-1/">Day 1</a><br />
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<a href="http://canadianchamberchoir.ca/welcome/cccchicago-tour-day-2-3/">Day 2 and 3 </a><br />
<script async="" charset="utf-8" src="//platform.twitter.com/widgets.js"></script>misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-60052277786135221222017-06-09T18:00:00.000-06:002017-06-17T12:21:22.011-06:00The First Edmonton International Choral Festival<div class="separator" style="clear: both; text-align: center;">
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This past weekend was the first edition of <a href="http://www.yegchoralfestival.com/">Edmonton's International Choral Festival</a>. <a href="https://www.vocesnordicae.se/">VoNo Vocal ensemble</a> from Stockholm, Sweden and the <a href="http://www.halifaxcamerata.org/">Halifax Camerata Singers</a> traveled to Edmonton to participate in the Festival. As I've been ruminating over the past week since the Festival has finished, the lingering feeling I have now is how well the past, present, and future were represented throughout the festival. <br />
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The Halifax Camerata Singers' <a href="https://www.localxpress.ca/local-arts-and-life/jeff-joudrey-has-the-best-job-in-the-world-452859"><i>Halifax 1917: From Dreams to Despair </i></a> was modern in its presentation while sharing a significant historical moment from Halifax's past. The format of the show was an interwoven musical and textual chronology of life in Halifax from January to December 1917. <a href="http://www.rhapsodyquintet.com/">The Rhapsody Quintet</a> provided an instrumental anchor at the core of the work with Actor, Jeremy Webb, voicing the part of a WWI solider who is reading out his letters to home. As each month passes, different musical themes would emerge to highlight a historical period, such as the welcoming of the New Year with <i>Auld Lang Syne</i> or Operetta tunes like <i>Vilja-Lied</i> from <i>The Merry Widow</i>. The use of projection and presentation of a Charlie Chaplin short with live instrumental accompaniment by the Rhapsody Quintet also created a moment where the audience could feel transported back in time. The work progressed towards the <a href="http://www.thecanadianencyclopedia.ca/en/article/halifax-explosion/">Halifax Explosion </a>on December 6, 1917. The entire show was the perfect balance between historical discourse with written letters, musical vignettes through solo and choral ensemble works, and instrumental works by Rhapsody Quintet. Brava, Halifax Camerata Singers and a special kudos to Peggy Walt for her months of archival research to write the letters and identify the historical themes in the show.<br />
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Pro Coro's repertoire was focused around themes of past childhood memories but re-imagined with a contemporary compositional voice. It began with the ethereal and playful bernat vivancos <i>bubbles</i>, which by the way, had the best comedic moment in our show. A percussion triangle was decimated by a chorister. She went to strike it on cue, it snapped into two pieces, then crashed to the floor during a quiet suspension in the piece. You're welcome, Kim :) There was the world premiere of Uģis Prauliņš' <i>The Way Children Sleep </i>that posed questions of how watching the innocence of sleeping children can make one reevaluate the role of war in our society. Cy Giacomin's, <i>the boy in outerspace</i>, that was recently premiered by <a href="http://dontbeafraidcampaign.org/music/">Vox Choir</a>, used <a href="http://www.goodnewsnetwork.org/odd-new-autistic-boy-writes-breathtaking-poem-differences/">poetic text written by a boy with Autism</a>. Pro Coro also tossed in a prairie welcome with Trent Worthington's <i>Alberta Homesteader</i> and <i>Flunky Jim</i> and Stuart Beatch's <i>Prairie Bound</i> on the program. Pro Coro also had the pleasure of being conducted by <a href="http://www.kathleenallan.com/">Kathleen Allen</a>, the Emerging Choral Conductor sponsored by <a href="http://www.choralcanada.org/">Choral Canada</a>. She conducted Tormis' <i>Helletused</i>, <i>Childhood Memory</i>.
While I consider her to be far from emerging, she humbly assured me that
everyday she is learning means that she is becoming a better conductor. I find her resistance to settling very inspirational.<br />
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VoNo Vocal Ensemble was the group I had the least familiarity with before going to their concert. I am so glad this was the case because their presentation of Earth Calls blew my mind. It gave me a glimpse of what the future of choral music could look like by adapting the present day tools we have to communicate with an audience. The use of choreography was sleek and created flow throughout the entire show. There was also a segment with choral improvisation where audience members would shout out a number from 1-17, and whichever number was heard, it was the basis for a short improvised work from the ensemble. Each number corresponded to one of the United Nation's Goals for sustainable development. They would take that goal concept and improvise text and music for it. I've watched a lot of improvised theatre and I've watched a lot of modern dance but I have never seen it done with professional choral singers before. Sometimes the best ideas are ones that take the things we know and merge them together to synthesize something new.<br />
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The Gala Choir was made up of singers representing 42 local Edmonton choral organizations. Each spotlight choir had a chance to sing 2 pieces and then the Gala Choir was conducted by Robert Sund. It was also a special treat to have Paul Mealor conduct <i>In the Bleak Midwinter</i> and Robert Sund conducting his arrangement of <i>Sukiyaki</i> with Pro Coro's youth choir, #CONNECT. Michael Zaugg noted that Robert Sund conducted his very first Festival choir experience in 1994. There was a sense of past meeting the present on a local and international level. I can't wait to see what the next Edmonton International Choral Festival brings to town on May 30-June 2, 2019. Mark it in your calendars.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxQ6x5ulIBZJ26TaUdrxPbA_ehG5eQvDuKzpxi7Il6P0KheXss3EBkiF_e5b97pjIZjVC1X1UAM_pQVKb4D-Z4PNZ_iJHLEorckoSYXXqOpiYpZEx0BlhIkltXb1A8KIz_n-sQgmIkYLHH/s1600/leading+note.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="79" data-original-width="300" height="105" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxQ6x5ulIBZJ26TaUdrxPbA_ehG5eQvDuKzpxi7Il6P0KheXss3EBkiF_e5b97pjIZjVC1X1UAM_pQVKb4D-Z4PNZ_iJHLEorckoSYXXqOpiYpZEx0BlhIkltXb1A8KIz_n-sQgmIkYLHH/s400/leading+note.png" width="400" /></a>As well, Pro Coro Canada just launched a collaboration with the <a href="http://www.leadingnote.com/blog/product-guides/pro-coro-canada-choral-series/">Leading Note in a new series of music</a> for advanced and professional choirs. Many contemporary Canadian works PCC has sung over the past few years, as well as at this YEG International Choral Festival, are now available for purchase. You'll see familiar names like: Cy Giacomin, Stuart Beatch, Kristopher Fulton, Jeff Smallman, Jason Noble, Robert Rival, and Cecilia Livingston. misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com2tag:blogger.com,1999:blog-4754898720438821493.post-26997863692290641642017-02-02T18:00:00.000-07:002017-02-05T16:37:03.830-07:00 The Sassy Sisters of Cinderella. An Interview with Caitlin Wood and Sylvia Szadovszki.<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">Photo by <a href="http://www.nancpricephotography.com/">Nanc Price Photography</a>, courtesy of <a href="http://www.edmontonopera.com/">Edmonton Opera</a></td></tr>
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<span lang="EN-US">The sisters of Cinderella sparkle with a
searing sassiness. Soprano, Caitlin Wood, and Mezzo-Soprano, Sylvia Szadovszki
play the sisters, Clorinda and Tisbe, in Edmonton Opera’s upcoming production
of Cinderella. There is an
instantaneous connection and infectious charm that is amplified when they are within
proximity of one another. They have a tendency to finish each other sentences,
release a unison giggle at comedic moments, and offer each other knowing looks
of support as they help each other formulate answers that reflect their
personal experience. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Caitlin Wood as Clorinda. Photo by <a href="http://www.nancpricephotography.com/">Nanc Price Photography</a>, courtesy of <a href="http://www.edmontonopera.com/">Edmonton Opera</a></td></tr>
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<span lang="EN-US">There is a sense of homecoming in many ways
since Caitlin grew up in St. Albert and Sylvia in </span><span lang="EN-US">Calgary. This is Caitlin’s
debut performance with Edmonton Opera and she shares, “it’s nice to be home and
to be able to perform at home. A lot of family, friends, and one of my mentors
who got me into music growing up will be coming. They haven’t seen me perform
since highschool.” In her last highschool production, she was playing Maria in
West Side Story. It will be definite treat for her supporters to hear her in this
professional role.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Sylvia Szadovszki as Tisbe. Photo by <a href="http://www.nancpricephotography.com/">Nanc Price Photography</a>, courtesy of <a href="http://www.edmontonopera.com/">Edmonton Opera</a></td></tr>
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<span lang="EN-US">Sylvia is ecstatic to be back at Edmonton Opera after
her previous work in the Barber of Seville. “When you first get hired, you
don’t know the people there, but everybody here is so nice, sweet, supportive,
and fun. It makes coming back to the company just really awesome,” she reveals.</span></div>
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<span lang="EN-US">Caitlin notes, “To
me, Clorinda and Tisbe, they’re are always together. Once I met Sylvia, I found
it so easy to see who these characters are going to be.” Even though they both
entered the rehearsal process with ideas of who their characters might be,
these traits were not fully formed until they met one another. “We come with
our own ideas of the character but we are flexible and amend things in
rehearsal. When you are in this rehearsal situation, it becomes so much easier
to see a character and play off of each other. When practicing recit alone,
it’s basically impossible,” says Sylvia. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Photo by <a href="http://www.nancpricephotography.com/">Nanc Price Photography</a>, courtesy of <a href="http://www.edmontonopera.com/">Edmonton Opera</a></td></tr>
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<span lang="EN-US">When asked about who they thought their
characters were before they entered the rehearsal process, both Sylvia and
Caitlin reveal they knew the sisters were mean but they didn’t realize how
Director, Rob Herriot, would play it up with comedic effect. “I probably
thought that the sisters were more under control, but I feel like now, they’re
absolute brats. I probably thought they’re late teenagers, early 20s, they’re
probably not going to throw an entire fit. But they do. I think they’re those
people never taught or corrected by their parents to be kind,” says Caitlin.
“We’re very uncivilized,” says Sylvia with a warm laugh. <br style="mso-special-character: line-break;" />
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<span lang="EN-US">In commenting on how they are finding the
quick-paced costume changes, the relentless Rossini bel canto runs, and the
cast of quirky characters, Sylvia reveals that “the whole cast has a really
good sense of humor. Everyone is quick-witted, one of the most fun processes
I’ve ever been a part of.” She cites Stephen Hegedus, playing Alidoro in the
production, as having some choice comedic moments in the rehearsal process. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Photo by <a href="http://www.nancpricephotography.com/">Nanc Price Photography</a>, courtesy of <a href="http://www.edmontonopera.com/">Edmonton Opera</a></td></tr>
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<span lang="EN-US">Fashion inspiration from the 1950s plays a huge role in
this performance. Edmonton Opera costume designer, Deanna Finnman, plays with a
wide palette of color, texture, and structure in the sisters’ dresses. Caitlin
recalls the first time she went in for a fitting: "I immediately thought “these
are what these girls are going to look like.” It helped me figure out who the
characters after seeing the costumes and going into the fitting. It takes a
really specific person to pull off these dresses. I think the sisters are
exactly that, very loud, garish, go big or go home." Sylvia further elaborates
in the fashions for each sister: "Caitlin’s costumes are more poofy, huge
dresses and mine are more angled. We have taken that information into how we
move and how our characters do certain gestures.<span style="mso-spacerun: yes;"> </span>There’s never been a time when I’ve gotten in
a costume and it hasn’t amplified the character. You get so many more ideas. I
could play with this bow, I could walk tighter way because I’m in a tighter
skirt.”</span></div>
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<span lang="EN-US">The constant contact over the past few
weeks has increased the sisterly bond between Caitlin and Sylvia. “People have
actually made observations that we answer questions the exact same way, we’ll
say the exact same thing on the exact same pitch. We have melded,” says Sylvia.
“We are now related,” states Caitlin with a laugh. Sylvia begins, “I felt like
we had this instant little…sisterly bond,” says Caitlin finishing the sentence.
</span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghVRHgKnUT7m0a90PmgHk1PauOe_9i3OkzwBHQy7NXbvxAGbndtU-ms9n6CEa3LPK4tjvVptiY3b6yfquRuxmnLMRPovL2peLz5C5yb7LGPkthGLJRqeh6XYV3bxIDeRG0J2G5G98fxHFD/s1600/EOCinderella-0598.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="411" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghVRHgKnUT7m0a90PmgHk1PauOe_9i3OkzwBHQy7NXbvxAGbndtU-ms9n6CEa3LPK4tjvVptiY3b6yfquRuxmnLMRPovL2peLz5C5yb7LGPkthGLJRqeh6XYV3bxIDeRG0J2G5G98fxHFD/s640/EOCinderella-0598.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by <a href="http://www.nancpricephotography.com/">Nanc Price Photography</a>, courtesy of <a href="http://www.edmontonopera.com/">Edmonton Opera</a></td></tr>
</tbody></table>
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<span lang="EN-US">As the Edmonton Opera cast of Cinderella is
working their way through tech week before opening night this Saturday. Both Sylvia and Caitlin muse about their favorite upcoming
moments. Caitlin is eager to start running through the eight costume quick
changes she does throughout the show. “It’s always exciting to have things come
together finally,” says Sylvia, “having all the pieces of the puzzle come
together.”</span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidw5IhPhWHg2lSF0jzOBj6ojeOsw5_lb-CJrt58EOvdg17x4e83uPm6CGbM6PGFR7PjM1x6MmHtZTg5Npt1jAcqGxsfBCm2H01KHKu7qZb_FMs4gX1xybgggTocHa2d5ELz62emm4OGM4W/s1600/EOCinderella-0296.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidw5IhPhWHg2lSF0jzOBj6ojeOsw5_lb-CJrt58EOvdg17x4e83uPm6CGbM6PGFR7PjM1x6MmHtZTg5Npt1jAcqGxsfBCm2H01KHKu7qZb_FMs4gX1xybgggTocHa2d5ELz62emm4OGM4W/s640/EOCinderella-0296.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by <a href="http://www.nancpricephotography.com/">Nanc Price Photography</a>, courtesy of <a href="http://www.edmontonopera.com/">Edmonton Opera</a></td></tr>
</tbody></table>
<span lang="EN-US"><span lang="EN-US"></span> </span></div>
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<br /></div>
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<span lang="EN-US">The sister duo of Caitlin and Sylvia
have the power to steal the show with killer comedic timing and how they embrace the ridiculousness
and excess at the core of the sisters. Both Caitlin and Sylvia overflow with gratitude towards Edmonton Opera, and I would not be surprised if their performances
leave the audience asking themselves: when can I see them again?</span></div>
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<span lang="EN-US">Cinderella performances:</span></div>
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<span lang="EN-US">February 4 at 8 PM</span></div>
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<span lang="EN-US">February 7 at 7:30 PM</span></div>
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<span lang="EN-US">February 9 at 7:30 PM</span><br />
<br />
<span lang="EN-US">Tickets are available online at <a href="http://www.edmontonopera.com/">Edmonton Opera</a>. </span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrnRD-XUvDfWgxUNl4okkgno44jkG42DhcKxDDwtax1z5PfdCD_r2K6y0UogGkprgMHEKZKKJsJpRDxukC1M6wM4IF-6a52U-HUmv_nxK9A8ejpiVvRCDKMAs5auj8OE7HhTxs3Un0IUda/s1600/EOCinderella-0241.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrnRD-XUvDfWgxUNl4okkgno44jkG42DhcKxDDwtax1z5PfdCD_r2K6y0UogGkprgMHEKZKKJsJpRDxukC1M6wM4IF-6a52U-HUmv_nxK9A8ejpiVvRCDKMAs5auj8OE7HhTxs3Un0IUda/s640/EOCinderella-0241.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by <a href="http://www.nancpricephotography.com/">Nanc Price Photography</a>, courtesy of <a href="http://www.edmontonopera.com/">Edmonton Opera</a></td></tr>
</tbody></table>
<span lang="EN-US"> </span></div>
misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com1tag:blogger.com,1999:blog-4754898720438821493.post-59212592572753555622017-01-27T12:00:00.000-07:002017-01-27T12:00:00.153-07:00An Interview with Jane Berry<div class="separator" style="clear: both; text-align: center;">
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<i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWZ6haL4XcFUvTOm3eALRUhejd2eQr6BetV2uj6ldxaM7XZuNWj6KBDXylTw8o8yC3WC0Jl9IhmedpDL97l0vt8Z4FI5SOLXximo876_5fh6NlhOnbUQFfanl84ir8zritI0HX5CvIdFIs/s1600/jane+berry.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWZ6haL4XcFUvTOm3eALRUhejd2eQr6BetV2uj6ldxaM7XZuNWj6KBDXylTw8o8yC3WC0Jl9IhmedpDL97l0vt8Z4FI5SOLXximo876_5fh6NlhOnbUQFfanl84ir8zritI0HX5CvIdFIs/s640/jane+berry.jpeg" width="640" /></a></i></div>
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To state that Jane Berry had a challenging year from October 6, 2015 to October 7, 2016 is an understatement. In addition to being a PhD student, professional chorister, running a beach volleyball club, and mother to 5 year-old Piper, she spent the majority of her time taking care of her mother, Marilyn Berry. Marilyn underwent surgery for brain tumour removal on October 6, 2015. Following that surgery, Jane witnessed her mom cycle through gains and losses while maintaining a connection to her mother through good humour and music.<br />
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Personally, as a fellow chorister witnessing Jane manage her multiple roles from the sidelines, it was staggering to see her navigate this complex process when reading her Facebook updates or chatting with her at choir break. I also remember catching glimpses of her composing her first major choral work, the <i>Mass for Recovery: Phoenix Rising</i> in dedication to Marilyn Berry, who passed away on October 7, 2016.<br />
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Initially, Jane’s <i>Mass for Recovery</i> began as a counterpoint exercise. She was a teaching assistant for a second year counterpoint class and found herself frequently sketching melodies in down time during lectures.<br />
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“I found myself writing the Kyrie, the section with the women's voices before the bass solo, the part that returns again at the end. Pro Coro was also starting to prepare for the Missae production last year. The year before we had done the Rheinberger, Praulins, and Frank Martin Mass. The opening Kyrie is basically adapted from Frank Martin’s mass; it had a huge impact on me. I recalled the line in my mind but not the true form of it, my mind had adapted that line. That is a strong musical quotation in my mind. I started writing just the Kyrie. I was working on it in Pro Coro rehearsal one day, and Michael [Zaugg] was looking over my shoulder, and said, “Oh, what’s that? a Kyrie? Send it to me.” I had very little done at the time; I had only that initial section completed. Six weeks later, I sent him the entire mass.“<br />
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She did not expect Michael to program the entire Mass. “In all honesty, Michael expressing interest in wanting to see it, and suggesting that we might perform it, was this really strange vote of confidence in me that I didn’t expect. I don’t know if I would have gone farther than the Kyrie,” she reveals.<br />
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“What happened when I started fleshing out the Kyrie, I started to incorporate my experience watching my mom. There is a voiceless motive in the Kyrie that was specifically related to my mom's recovery. Michael’s encouragement made me finish the Kyrie. That is when I had the motivation and inspiration to write the whole Mass and really link it to her recovery. Everything sprang from the motivation of wanting to finish the Kyrie. My mom was already in the hospital by the time I finished the Kyrie, and when she woke up from surgery, that was when I started being at the hospital every single day. Basically, six weeks after my mom finished having surgery, I was done the Mass. From there, I did the majority of edits after she died.” A warm tone of gratitude is evident when Jane speaks about Michael’s role. She lauds his patience and his collaborative input in the editorial process of the score.<br />
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Jane chose to use the Mass framework and Latin text in a modern way: “I think having a contemporary setting of that text was important. If I had been too traditional with it, it wouldn’t have felt like a representation of my mom. She was both religious and contemporary as well. I tried to reflect that balance she had in the setting of it.” Each of the Mass movements is also paired with a subtitle that documents a stage in her mother’s recovery: Kyrie - The Speechless Awakening, Gloria - Breakthroughs & Breakdowns, Credo - Turbulence, Memories & 1000 Needles, Sanctus - The Battle of Glenrose*, Benedictus - Angels & Prayers, Agnus Dei - Going Home. “The entire piece was based on her rediscovery of things that she lost during surgery: language, memory, lucidity to some extent. This battle of regaining and losing, having these amazing breakthroughs and ridiculous regressions where she would go from fluent speech one day to nothing the next,” Jane states.<br />
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“One of the things I have an incredible amount of respect for my mom was that she was so liberal and progressive. Working as a feminist, working for women’s rights, running a shelter for battered women and children, and being a social worker. It was really interesting to see her involvement with religion. It’s something that hugely influenced my life. I remember times when we went to this church that was huge, and borderline cultish,” she says with a laugh, “but they had a really good music program. She would lean forward during the sermon, loud enough so many around us could hear, “ok, and this is where the pastor interpreted things a little wrong, this historically happens very often, the wife doesn’t actually have to serve…” Whenever it came to issues of gender in the church she was very vocal about her rationale about how she compromised with this liberal side of her and how she consolidated with her interpretation of religion,” she says.<br />
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There is a meticulous musical design behind the entire work: “Basically, my theorist self made me write it chronologically. My idea behind the whole thing is the structure of two tonalities. If you look at any of the movements, there is a underlying structure of a ninth: first movement has C minor and G minor overlapping so the fifth becomes the root for the next chord etc. etc. It starts in C, with the ninth reaching up to D, and the D then cycles through acting as the root of the next movement. It worked out with the six movements I could end up back in C so it forms a full circle. That idea came really early to me. There was a duality in her recovery process, progression and regression, so having two kind of competing tonalities seemed appropriate. Somehow I also feel like this duality relates to her her decision to finally have surgery. Although she was diagnosed in 2003 she decided not to have surgery at that time. We were all supportive, especially in retrospect, knowing that she may not have lived to see my daughter if she had chosen to have surgery at an earlier stage. But she had such a good quality of life in the interim. There was this dichotomy in every aspect of her recovery. She was stuck between two worlds. She was aware of what she had lost. The more lucid she was the more painful it was for her. Near the end, she was almost calmer.”<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR-83v9BjhgKsZ2c2RjK9iJn40KEctVrQPKPDuWYDCQXTFB-oELfgjMYIF8_UIbxpIpqUKn761pAjGyDbhd8E8al0L528iaptXQFNXVilaV7uky_Ooj39v1u9qIp4QlzDPz4y3wqCuAMhL/s1600/IMG_4282.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR-83v9BjhgKsZ2c2RjK9iJn40KEctVrQPKPDuWYDCQXTFB-oELfgjMYIF8_UIbxpIpqUKn761pAjGyDbhd8E8al0L528iaptXQFNXVilaV7uky_Ooj39v1u9qIp4QlzDPz4y3wqCuAMhL/s400/IMG_4282.JPG" width="400" /></a></div>
Each of the movements documents its own story in the recovery process: “The Benedictus, Angels and prayers, was about a few specific nurses from the U of A Hospital. They would take her for extra bubble baths, shut the door, and sing to her. It was my mother’s favourite thing. The movement began as detailing these specific individuals and then changed to represent a sort of resignation. This movement was the most religious movement for my mom. She was struggling with faith and understanding why things were turning out the way they were. Now the Benedictus has evolved to be more about the period in time when she got to come home. Where my daughter, Piper, could come in and dance around her and give her hugs.” Jane wove the fragments of melodies she would sing at her mother’s bedside within the Credo: Bizet’s Habanera, Garth Brook’s The River, and the American folk tune, Cross the Wide Missouri. Her mother knew the Kyrie and Gloria the most. There is a Laudamus Te melody in the Gloria, which her mother knew as “her song.”<br />
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The subtitles of the movements became more prophetic than even Jane could have predicted. She titled the “Battle of Glenrose” before her mother was even admitted as an inpatient. Prior to that transfer, Marilyn spent just over three months at the University of Alberta Hospital recovering from her neurosurgery. It was her mother’s move into the Glenrose that signaled the start of many complications, especially her struggle with depression. The Agnus Dei “Going Home” relayed the feeling of the unknown, as it was originally written while Marilyn was still in the hospital Jane was unsure of what the end would really look like, whether going home would represent a return to their apartment or her mothers passing.<br />
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It is no surprise that Jane wrote the piece with Pro Coro’s sound in her mind. She is blunt in stating that the work wouldn’t be as good as it is if she had to limit herself in term of functional composition restraints such as range. She wrote parts with specific chorister voices in her mind. Her experience as a singer is also apparent in the score since soloistic lines weave throughout all voice parts. She wrote melodies she would want to sing.<br />
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Jane notes that Pro Coro’s upcoming concert with the premiere of <i>Mass for Recovery: Phoenix Rising </i>will feel like a memorial in some ways. Many of the individuals she would have wanted to be at her mother’s memorial in Edmonton will either be singing in the concert or are planning to attend. Her sister is flying in from Halifax the day before and her family here in Edmonton is waiting for the end of winter before travelling back to Halifax for a ceremony in their home province.<br />
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Speaking as a chorister and friend who has witnessed Jane’s life from the sidelines, it is a true pleasure to be able to premiere her work. I feel honoured to be part of the choral community that can help a fellow chorister remember her mother, channeling our collective voices through a musical medium. In April 2016, I was part of a quartet of singers that sang at her mother’s bedside. I still recall the look in her mother’s eyes. There was spark of excitement but tears pooling at the edges. I remember how lucid she looked, and how Jane laughed when she realized the strength of her mother’s grip on her arm as she was trying to pull away. The <i>Mass for Recovery</i> reminds me that when a loss for words renders us speechless, we will always have the role of music to communicate what cannot be spoken.<br />
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<a href="http://www.procoro.ca/missae-iv"><i>Pro Coro Canada will premiere Mass for Recovery: Phoenix Rising Sunday January 29, 2017 at their Missae IV Concert. All Saints Cathedral at 2:30 PM. </i></a><br />
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*The Glenrose Rehabilitation Hospital is a facility providing inpatient and outpatient services in Edmonton, AB.<br />
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<i><span lang="EN-US">Jane grew up singing and composing
from an early age before eventually going on to begin her music studies at
Acadia University where she completed a BMUS in Composition. She then continued
to complete a MA at the University of Ottawa and is now in the final year of
her PhD at the University of Alberta. </span></i><i><span lang="EN-US"><i><span lang="EN-US">Jane Berry is thrilled to be performing as
a member of Pro Coro Canada for her fifth season now and is also a member of several
of Pro Coro’s specialized smaller ensembles. </span></i>Jane enjoys working as a vocal coach for
the Etown Minors acapella group, teaching at the University, running a local
beach volleyball training facility, and most importantly, spending time with
her beautiful daughter, Piper. Her academic research interests include music
cognition, autism and sensory sensitivity issues, abstract and graphic score
analysis, and popular music studies. After a long hiatus from composition Jane
recently found herself compelled to pick up writing again following some
difficult life events and has since found a renewed joy in composition. </span></i></div>
misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-6619306066732130082016-12-30T23:00:00.000-07:002016-12-30T23:26:59.502-07:00Best of 2016Greetings readers,<br />
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I wish to reflect on the awesome happenings that occurred on The Choir Girl Blog as well as my own personal development as a singer. In no particular order, here are some of the highlights:<br />
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<b><a href="http://www.thechoirgirl.ca/search/label/Podium%202016">#ChoralAvengers</a></b><br />
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It's not everyday I get to have some of the most innovative social media choristers in my hometown. I was ecstatic when Missy Clarkson, Amy Desrosiers, and Jean-Pierre Dubois-Godin accepted my invite to join a social media team for Podium Conference and Festival. My local photog friends, Nanc Price and Twila Bakker were also equipped with their cameras throughout the Festival and Conference. We had the opportunity to create content prior to
the conference and festival and we could share multiple perspectives at once. These aforementioned individuals showcased how we can use these tools to highlight the work of our choral community. I was humbled to work in close conjunction with them leading up to Podium. Podium 2018 will be hosted in Newfoundland, perhaps you may see some familiar faces once again.<br />
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<b><a href="http://www.thechoirgirl.ca/search/label/Interview">The Interview Machine</a></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiEBHMTiujLSpId2Td4mleg-9E5V2w049NkEuCS20BKB0kIip4W7mapp2rrMvWhdbeWpGGlJlbZEdQ6nayowzBCXBjj9A-iooN5q941w2Ck5ST4y5lz6SM5zydo0Q0zjLEudB1uJ4w58al/s1600/Podium2016-5556.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiEBHMTiujLSpId2Td4mleg-9E5V2w049NkEuCS20BKB0kIip4W7mapp2rrMvWhdbeWpGGlJlbZEdQ6nayowzBCXBjj9A-iooN5q941w2Ck5ST4y5lz6SM5zydo0Q0zjLEudB1uJ4w58al/s640/Podium2016-5556.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">National Youth Choir 2016</td></tr>
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I managed to conduct 11 interviews in preparation for Podium. It was an ambitious feat to extend an invitation to interview all choirs coming to Edmonton for the Podium Choral Conference but I knew it would be an excellent opportunity to learn more about the choirs arriving. I also wanted to show how online tools could extend the educational reach of the conference and highlight the work of conductors and their ensembles. To hear from the leadership behind ensembles like The National Youth Choir, Pro Coro Canada, Grande Prairie Boys Choir, Shumayela, i Coristi Chamber Choir, Elektra, Opus 8, Chorale Saint-Jean, Coastal Sound Youth Choir, Calgary Girls Choir, and the Prairie Chamber Choir provides for an invaluable glimpse behind these ensembles. Some of my favorite quotes were hearing <a href="http://www.thechoirgirl.ca/2016/05/an-interview-with-elektra-artistic.html">Morna Edmundson</a> from Elektra and <a href="http://www.thechoirgirl.ca/2016/04/an-interview-with-calgary-girls-choir.html">Elaine Quilichini</a> speaking about the mentorship of female conductors and providing nurturing spaces for women to sing, how <a href="http://www.thechoirgirl.ca/2016/03/an-interview-with-jeannie-pernal.html">Jeannie Pernal</a> mentors a group 120 boys to sing within the Grande Prairie community, and <a href="http://www.thechoirgirl.ca/2016/03/an-interview-with-melissa-morgan.html">Melissa Morgan's</a> passion to create an accessible archive of Prairie choral music and an ensemble to share their works. <br />
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<b><a href="http://www.thechoirgirl.ca/2016/04/love-fail-collaboration-with-good-women.html">Love Fail</a></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixM5NT1CVnNLZJYj51AqAmqI6Ni0g1KwgZl1DI86wqPuwnO_CS7AgxIbeDrPAo3zpL0rzYt4VRiKHy0iM0jZ2LFNbKz-B4HyAUcycydcTAWrlXYNRX336VZx1GNBJDhvdjQkHQi8Hyp9mm/s1600/12321431_10153619834866483_2126469407108869919_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixM5NT1CVnNLZJYj51AqAmqI6Ni0g1KwgZl1DI86wqPuwnO_CS7AgxIbeDrPAo3zpL0rzYt4VRiKHy0iM0jZ2LFNbKz-B4HyAUcycydcTAWrlXYNRX336VZx1GNBJDhvdjQkHQi8Hyp9mm/s640/12321431_10153619834866483_2126469407108869919_n.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Love Fail Photos by Michael Zaugg, courtesy of Pro Coro Canada</td></tr>
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This was by far one of the most challenging choral projects I tackled this past year. I was in a solo quartet performing a work for a solid 50 minutes which was unconducted plus staging. However, as with most challenging projects, it proved to be the most satisfying because I had to stretch the skills I had a singer to meet the demands of the project. In the end, I had a positive result! I learned much about how I receive feedback, how I adapt that knowledge or how I require extra processing time to take notes into consideration. It was also a test in how I manage my nerves while getting through the performance when adrenaline causes my heart to race for the first 20 minutes in the piece. I also learned that my nerves decrease as I increase my preparedness level over time. It was also nurturing to be connected to a positive female creation process while working with the Good Women Dance Collective as well as with my fellow Pro Coro singers. Another fond memory was my fellow quartet of singers providing music at the bedside of a choral mother who was not able to make it to the performance. Since that time, her mother has passed away, and I will forever treasure the reminder that it is a true gift to share music with others, especially with the intent of healing and support.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCsrz8oKC2ePjEsWVLnHkyVn45x5iGi7oq0P8pcnuJdmP51l68ZtybgysnNSNcclJuwvU1svpV6j6Y9qTtuSLslLRQ668M2XKZYRQfTKRIJ9ge-fO03M286vYkeGktOZpwjaho-bKex5Vp/s1600/12919797_10153617529331483_3712424974584059608_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCsrz8oKC2ePjEsWVLnHkyVn45x5iGi7oq0P8pcnuJdmP51l68ZtybgysnNSNcclJuwvU1svpV6j6Y9qTtuSLslLRQ668M2XKZYRQfTKRIJ9ge-fO03M286vYkeGktOZpwjaho-bKex5Vp/s640/12919797_10153617529331483_3712424974584059608_n.jpg" width="640" /></a> <br />
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<b>Personal Voice Work</b><br />
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As any singer knows, we are in a process of training a biological instrument that is constantly changing throughout our entire lifetime. It is susceptible to changes in age, stress, hydration, hormones, general body fitness, and many more factors. I always like to switch up voice teachers and have occasional check-ins to to consider a variety of different perspectives. I find I gain the most from a intense period of voice lessons and then having time to decode and attempt to transfer those teachings into my functional voice practice.<br />
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In my training as a Speech-Language Pathologist, I received great advice from a Voice Therapy mentor. I sat in a group of eager voice trainers and clinicians appealing to her for the gold-standard approach to treat a voice disorder. Instead, she explained that the process is like tackling a knotted ball of yarn. There is no one right way or method to tackle a problem since everybody is different and all techniques must be adapted for a client. Instead, you go from different angles, you may work on one thread and then you may return to a previous thread; however, with enough persistence, it will eventually untangle.<br />
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At the end of this previous year, I had some excellent voice sessions. My voice coach showed me different techniques to access the upper and lower limits of my voice range. All of a sudden, I was able to attempt singing aria repertoire I deemed too challenging for myself five years ago. It blew my mind! There's something empowering about being able to sing works that you have previously shelved due to having an instrument that wasn't ready. <br />
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<b>Ship Shape for Opera</b><br />
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<a href="https://www.instagram.com/p/BL_4a9wjEc6/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" target="_blank">A photo posted by misssable (@misssable)</a> on <time datetime="2016-10-25T19:46:45+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Oct 25, 2016 at 12:46pm PDT</time></div>
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This last Edmonton Opera run of Turandot was the most physically and
musically challenging I have had to tackle in my time as a chorus
member. There was much text to memorize, quick tempos, and physical
staging to execute at the same time. Challenges included making sure I could see the
Maestro in the pit or projected in the video monitors in the wings while
lying crouched on my side and, if there were no sight lines available, I
had to memorize the preceding orchestral lines prior to my vocal entry
point and still come in with confidence. It was the first show I started doing cardio before the
performance so my muscles were warmed up from activity earlier in the
day. It felt helpful to have muscles that were stretched and warmed up for the hours of evening activity in order to minimize injury. I also incorporated full-body stretches during during vocal warm-ups in order to coordinate singing with movement.
It was a good reminder that voice work incorporates many body systems. Last time I was rehearsing for Merry Widow, we rehearsed a lot of curtsies and I did zero stretches. In the following weeks, I had to roll myself to the edge of my bed and use my arms to push my torso upright in order to wiggle out of bed because my legs and lower back were too sore to move. Never again!<br />
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<a href="https://www.instagram.com/p/BL3-q8KjCo_/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" target="_blank">A photo posted by misssable (@misssable)</a> on <time datetime="2016-10-22T18:07:26+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Oct 22, 2016 at 11:07am PDT</time></div>
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As 2017 unveils itself, keep me posted on your choral happenings readers, and I will promise to do the same. Until we meet again in the new year!misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0tag:blogger.com,1999:blog-4754898720438821493.post-33311513213285395002016-12-09T13:24:00.002-07:002016-12-09T15:22:02.068-07:00It's Messiah SeasonGreetings readers,<br />
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It's that wonderful time of year where there is a serious overload of holiday offerings and you're debating which are tempting enough to lure you from the warmth of your home. <br />
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There is no shortage of Messiah offerings in Canada this season so I am calling it #MessiahNightinCanada on social media. This is a spin-off from #HockeyNightinCanada and #OperaNightinCanada I have seen used by <a href="https://twitter.com/DougMacNaughton">Doug MacNaughton</a>.<br />
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Pro Coro finishes up a consecutive week of rehearsal with the Edmonton Symphony Orchestra and Da Camera singers under Maestro <a href="https://www.google.ca/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwiIuM3H8efQAhXCq1QKHQSoAwgQFggcMAA&url=http%3A%2F%2Fragnarbohlin.com%2F&usg=AFQjCNFw8VHOz_oMoUzhY2ghqnsetDnieA&sig2=REC-B7DKPJCKAwGtsK4uQQ">Ragnar Bohlin</a>. It is always fun and challenging to approach a familiar piece with Bohlin's perspective. I found myself grappling with bad motor learning patterns from the past when taking on the "weighty coloratura" during "Great was the Company" movement. However, some other lines felt so much easier to sing like adding a slight pause for an short "h" during the opening line "For unto (h)us a child is born." The acoustic effect is one that creates space to hear a crisp word onset but it doesn't stop the airflow so it's easier to continue singing afterward! Genius! I have also been enjoying the rehearsal warm-ups by Bohlin to see the exercises he has picked up in Sweden or a voice coach in Vienna.<br />
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Whatever you choose to partake in during this Christmas season, whether it is your local Messiah offering or it's the Winter Concert at the local Elementary School - stay warm and enjoy it with good company. Hallelujah!<br />
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Other Messiah News:<br />
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Pro Coro's friends, the<a href="http://www.ticketmaster.ca/vancouver-chamber-choir-handels-messiah-vancouver-british-columbia-12-09-2016/event/110050B48B087540?artistid=899635&majorc"> Vancouver Chamber Choir</a> are opening at the Orpheum Theatre with the Pacifica Singers and Vancouver Chamber Orchestra tonight as well. Toronto's offerings by the <a href="https://www.tso.ca/concert/messiah-0">Toronto Symphony Orchestra</a> and Toronto Mendelssohn Choir (Dec 18-23) and <a href="http://www.tafelmusik.org/">Tafelmusik</a> (Dec 14-17) as well as Victoria (Dec 16-18). I know I missed some so post the dates in the comments below or on social media with #MessiahNightinCanada <br />
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<br />misssablehttp://www.blogger.com/profile/15136629901525557699noreply@blogger.com0