Through demonstrations by the Mansfield University Concert Choir and with audience participation, Peggy Dettwiler will show how to teach and expand the vocal techniques of choirs so that they can produce different choral colors and sing repertoire in a wide variety of styles and from contrasting world cultures.
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See How Opposites Attract When Music is in the Middle
Pianist Rachel Kramer and conductor Catherine Roma will discuss the importance of building a strong conductor/pianist relationship and share tips about performance and rehearsal techniques they don’t teach in school. Effective verbal and non-verbal communication, proper preparation, joint musical research, and plenty of practice are among the topics discussed.
Resonance in the Choral Voice: All Things are Possible
Singing in the resonance of the voice makes possible all things choral: intonation, blend, dynamic capability. Two vital components produce resonant singing reliably: the appoggio breath posture and acoustical vowels. Underlying principles and specific examples are examined interactively to augment directors’ options for eliciting expressive singing.
Recovery, Healing, and Wholeness: How Music Can Feed the Homeless
Explore music as a means of social justice through the story of Bethany’s Women of Praise, a choir of homeless women in Washington, DC. This interactive workshop will inspire and prepare others to consider the potential power of music in communities dealing with addiction and recovery, mental illness, and unemployment.
Oneness of Thought neness of Thought and Gesture: nd Gesture: Tai Chi for Conductors
Tai Chi gives us practice opening the pathways between mind and body, intention and movement, to guide us towards conducting from our deepest intuition. When the distraction of your conscious self is lifted like a veil between thought and gesture, conducting becomes an act of artistic truth. In this session, participants will follow a Tai […]
The New Gregorian Chant Performance Practice: Word, Melody, Neume
This session will be an introduction to developments that have resulted in a “New (Old) Gregorian Chant Performance Practice.” Through the singing of a selection of simpler syllabic chants, the participants will experience how today’s performance practice combines three parameters of interpretation: Word, Mode and Neum. That is, beginning with the innate musicality of the […]
