Imagine if Charles Dickens had left a record of some of his technical decisions—why, for example, he so often used a verbless sentence; or if Joseph Mallord William Turner had explained to his contemporaries why he chose a certain vivid pigment which he knew would fade over time.
In October 1944, the African American choreographer Katherine Dunham (1909-2006) stood in front of an audience in Louisville, Kentucky and announced that she and her dance company would not return to Louisville until the city desegregated its theaters. Word of her brave stance ricocheted across the country, finding its way into a newspaper in Indiana, where a fifteen-year-old boy wrote her an admiring letter saying that she was an inspiration in the fight for racial equality.
Joel Rinsema joined OUP in March 2017. We caught up with him to find out what exactly being a ‘Choral Promotion Manager’ involves, how much coffee he drinks, and what his life was like before he joined the Press.
This summer there are so many choral festivals, competitions, and conferences taking place, that there’s no chance of having a quiet summer off. Pack your bags, your scores and your pencils, and get ready for a summer of singing!
To many musicians, the word “ornament” brings a sense of foreboding dread. The mere thought of deciphering and interpreting the funny little signs and symbols into a line becomes paralyzing. But step back and look at the word: ornament.
In Hollywood Aesthetic: Pleasure in American Cinema, film studies professor Todd Berliner explains how Hollywood delivers aesthetic pleasure to mass audiences. The following quiz is based on information found in chapter 11, “Bursting into Song in the Hollywood Musical.”
The summer of 1967 was a turbulent time. In the middle of the hippie-filled “Summer of Love,” war broke out in the Middle East and the US escalated its bombing of Vietnam. That June also saw the most famous rock band in the world release their magnum opus and change music history and American pop culture forever.
Conjecture and supposition tend to dog public figures who avoid the press. But the attention paid to Trump’s embattled Chief Strategist Steve Bannon is uncanny. Bannon’s reluctance to speak with the media—combined with a steady stream of commentary on him from anonymous associates and friends—is fueling speculation about his agenda and ideology.
It’s that time of year again for the unique, bizarre, extravagant and often politically charged spectacle that is the Eurovision Song Contest. The contest which began in 1956 is popular worldwide, with viewer ratings increasing each year (reaching over 200 million in 2016).
On Friday, 19 May 1967, British newspapers carried the announcement that the British Broadcasting Corporation had chosen the Beatles to represent the UK in the first global television broadcast.
One day we stumbled upon something that would end up helping Johnny on this twice daily haul. Given our shared history as musicians, it’ll come as no surprise that Johnny and I often talked about music. As Johnny was prepping to take the first step, we joked about singing a march so he could march his way down the hall. It was Johnny’s idea to use Sousa’s Stars and Stripes, a march he liked.
Recent research on African-American jazz icon Duke Ellington (1899-1974) has increasingly focused on the composer-pianist-bandleader’s post-World War II achievements: a torrent of creativity across film, theater, and dance perhaps unrivaled in American music. But the unleashing of Ellington’s “late career” genius was not a foregone conclusion. It would take an ambitious — if not a […]
Many small choral groups struggle with a range of problems such as ageing choruses, dwindling membership and audience, unsuitable repertoire, a recently retired musical director, poor finances, weak administrative infrastructure, and inadequate publicity. Simon Ible reflects on how to revitalize your choir.
Students on the autism spectrum have a natural ability to perceive pitch and to reproduce melodic patterns. These natural inclinations become building blocks to learning in music.
Louder isn’t better, it’s just louder: what eighteenth-century performance practice teaches about dynamics
To the modern player, when dynamic indications are found in the score, the typical reaction is to think in terms of changes in volume. Not entirely true for the eighteenth-century musician – dynamic indications mean much more than loud or soft. Volume shift was only part of the story and was a rather new and […]
This is the time of year at which you are most likely to hear J. S. Bach’s St. John Passion, which tends to be performed in accordance with the Christian liturgical calendar even when it is programmed in a secular concert.