Detroit is known as the birthplace of Motown Records, but there’s more to the musical history of the city than just that, due to the key role of the public schools in music training, the impact on music of the auto companies and the media, and the huge variety of ethnic music-making across Detroit’s 139 square miles.
There are few choreographers with more influence in the world of ballet than George Balanchine. Over three decades after his death, his ballets are performed somewhere on the planet virtually every day. Two prominent dance institutions continue his legacy—the School of American Ballet and the New York City Ballet—and dancers who worked alongside him lead important companies and schools across America from Miami to Seattle.
The violin holds special importance to me as part of my upbringing in Detroit, both as part of the musical world of my Jewish community and as an example of the citywide belief in music education. The Detroit that I grew up in had a pulsating inner musical life from the many populations that Detroit attracted to and housed in its vast industrial landscape. For the Jews, the violin literally had a special resonance.
Steve Goodman is best known for his work DJing as Kode9 and running the Hyperdub record label, one of the pioneering forces of UK bass culture and dubstep since 2004. Through releases by Kode9 & The Spaceape, and Burial, Hyperdub captured a sound that embodied the high-pressure claustrophobia and hyper-surveillance of urban environments in the 21st Century.
When students walk into a music room, there is an opportunity to inspire them with a visually stimulating learning environment. This doesn’t mean filling every wall and space with dozens of posters, papers, and colors. This means creating a visual environment which acknowledges your students’ participation and input into the class.
“It’s such a big deal for non-pros to come in and play with the orchestra, throwing themselves into the ‘deep end.’ Our orchestra musicians are respectful and supportive of them,” says Larissa Agosti, who coordinates the Edmonton Symphony Orchestra’s Rusty Musicians and B-Sides programs, which let avocational musicians perform side-by-side with this Canadian orchestra’s pros.
Choosing inspiring and appropriate choral repertoire for young people can be a challenge but with a huge amount of new music and arrangements being written for upper voice choirs, conductors have some fantastic options to choose from.
Popular singers have been covering Broadway for years, introducing show tunes into the mainstream of music. These covers have popularized iconic Broadway tunes and broadcasted show tunes to a larger audience beyond Broadway.
Broadway musicals have enchanted America for decades, so much so that show tunes have made their way into popular culture via recordings by famous artists. These Broadway covers have launched these show tunes into legendary pop culture fame.
What did early US radio sound like? During radio’s initial rise to prominence in the 1920s, before the “golden age” of network broadcasting in the 1930s and 1940s, what kinds of programming, production practices, and performance styles greeted audiences’ ears when they tuned into this new medium?
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?