Think about the choir directors you’ve had in the past. What were they like? Each one likely had a different approach to leading, conducting, and communicating. What makes a great leader? Which communication style is most effective? Let’s begin with leadership style.
April 30th this year marked the 40th anniversary of the massive Rock Against Racism rally and concert in London, at which some hundred thousand people marched into Victoria Park to the sound of punk and reggae bands, including X-Ray Spex, fronted by Afro-British Poly Styrene.
Best known as the composer of Candide and West Side Story, Leonard Bernstein had an immensely versatile career. Born on August 25, 1918, Bernstein’s career spanned decades, leaving a lasting impression through his work as a conductor, composer, and music educator.
I became a parent around the time I started working in childhood mental health, providing music therapy to children with complex trauma histories. Through these experiences, I became aware both personally and professionally of the profound impact a child’s early environment has on their social and emotional development outcomes and later behavioral and academic ones.
Since the emergence of autism as a diagnosed condition in the 1940s, the oft-noted musical proclivities of people on the autism spectrum have generated much interest. Reports of savant-like abilities, extraordinary feats of musical memory, and disproportionately high rates of perfect pitch abound, along with a high degree of emphasis on music’s importance in therapeutic interventions.
In England, we have the expression ‘Carrying coals to Newcastle’ – a pointless action, since the place in question already has a bountiful supply. In Spain, they take oranges to Valencia and in Portugal, honey to a bee-keeper. If not quite as plentiful as oranges or honey, publishers’ lists are filled with beginner violin repertoire – what possible motivation could there be to write and publish more?
“Music is my life. I will never stop playing cello,” says Vanessa Johnson, one of the young people whose early experiences with music are featured in the book The Music Parents’ Survival Guide (2014). Since more than four years have passed since it went to press, we are checking in with some youngsters to see how they are doing, focusing on those who participated in free after-school programs inspired by El Sistema, Venezuela’s music-education system which emphasizes ensemble playing right from the start.
A span of nearly 300 years separates Galileo Galilei from Lord Rayleigh—Galileo groping in the dark to perform the earliest quantitative explorations of motion, Lord Rayleigh identifying the key gaps of knowledge at the turn into the 20th century and using his home laboratory to fill them in. But the two scientists are connected by a continuous thread.
Entering into a darkened room crowded with people, there is a powerful smell of incense. A robed figure touches the forehead of each initiate, uttering an incantation. In the centre, a figure crouches, swaying slightly, engaged in some kind of mystical ritual.
British composer and pianist Will Todd has worked at the Royal Opera House, the Lincoln Center in New York, London’s Barbican, and with Welsh National Opera, award-winning choirs The Sixteen, the BBC Singers, and Tenebrae. His music is valued for its melodic intensity and harmonic skill, which often incorporates jazz colours. We caught up with Will to ask him a few questions about his inspiration and approach to composition.
At a speed few can fathom, nationalism has become the dirtiest word in all of European cultural politics. Embraced by the right and rising populism, nationalism seemingly poses a threat to the very being of Europe. Nationalists proudly proclaim a euroscepticism that places the sovereignty of self over community.
At the root of all Western literature is ancient Greek poetry—Homer’s great epics, the passionate love poems of Sappho, the masterpieces of Greek tragedy and of comic theatre. Almost all of this poetry was or originally involved sung music, often with instrumental accompaniment.
Time and again I’ve heard musicians express some variation of the following sentiment: “I guess entrepreneurship is fine for some folks, but that’s not me. I’m a musician, not an entrepreneur.”
During a ‘question and answer’ session at a recent music convention, four contemporary composers of choral music faced a plethora of musicians from all types of backgrounds and traditions. Amongst a selection of interesting and searching questions asked, one brought an eerie silence to the room. The question was: ‘Would you consider writing for a male choir?’
In 1977, Star Wars: Episode IV – A New Hope captivated audiences with stunning multisensory special effects and science-fiction storytelling. The original Star Wars trilogy sent shockwaves of excitement through popular culture that would resonate for years to come. Beyond the films themselves, the Star Wars universe extended into a wider sphere of cultural artefacts such as toys, books and comics, which allowed audiences to recreate and extend the stories.
The other day, I posted something on my professional Facebook page about entrepreneurship and my compositional activities, and someone who I don’t know commented: “Forget entrepreneurship. Just compose.” (Well, they actually put it in somewhat more graphic terms, but in the interests of decorum…) This sentiment is nothing new: resistance to “the e-word” continues; if anything it’s intensified in recent years as entrepreneurship has become an over-used buzzword.