Modern Collegiate A Cappella
Introduction
A cappella is a relatively young art form that is catching the interest of many people across the nation. The popular movement is believed to have been started in 1909, when part of the Yale Glee Club broke off and formed the Yale Whiffenpoofs, the first collegiate a cappella group; the Whiffenpoofs exist to this day, and the a cappella movement has only grown in popularity.
Throughout the middle decades of the 20th century, professional a cappella groups attracted a lot of attention for their renditions of popular songs. As this new progressive style caught on, the a cappella art form evolved from its roots in harmonically complex barbershop quartets into a more modem and freely structured type of music. The trend-setting groups remained attentive to musicality, but left behind the rigidity commonly associated with barbershop performance. Songs like "Mr. Sandman," by the Chordettes, and "It Won't Be Very Long," by the Soul Stirrers, showed people that a cappella could be exciting and also that it could tackle a multitude of musical genres.
The next big developments in a cappella came on the collegiate front. While professional groups retained their popularity, their numbers did not increase much toward the end of the 20th century. On the other hand, the number of college groups skyrocketed during this same time period. According to the Mainely A Cappella website's history of a cappella, since 1989, there have been about 20 new groups formed at schools across the nation every year. 1 This paper suggests that the reason for the drastic spike in collegiate interest in a cappella is because students began to realize the wide range of creative expression that can be achieve...
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...ed methods of making music.
3 Quotation from Michael Kendall's "Philosophy of Music Education." See reference list.
Works Cited:
1.Bethel College Website. Michael Kendall, "Philosophy of Music Education."
http://www.bethelcollege.edu/acadb/und s/finearts/music/phil.htm.
2. Hemsley, Thomas. Singing and Imagination. Oxford University Press. 1998.
3. Mainely A Cappella website. "A Century of A Cappella." http://www.a-cappella.corn/misc/history.php.
4. Sawyer, Keith. Group Creativity – Music, Theater, Collaboration. Lawrence Erlbaum Associates, Publishers. 2003.
5. Singer, Irving. Feeling and Imagination – The Vibrant Flux of Our Existence. Rowman & Littlefield Publishers, Inc. 2001.
6. Schoenherr, Steve. "Recording Technology History." http://history.acusd.edu/ mml#di ital.
7. Ward, Finke, Smith. Creativity and the Mind. Plenum Press. 1995.
On November 16th, 2013, I attended a concert choir, fall choral concert. This event took place on the Wheaton College Campus, in the Edman Chapel at 7:30 pm. The chapel was well-lit, with long pews for the audience to be seated. The concert began with the audience looking up into a balcony, where the ensemble stood in neat rows. They watched the conductor, who stood on a stage in front of the audience, waiting for their cue.
Cofer, Judith Ortiz. "The Other." Dreams and Inward Journeys. 3rd Ed. Eds. Marjorie Ford & John Ford. New York: Longman, 1988. 363-364.
From the mid-1800s, most black institutions of higher education fielded a group of jubilee singers and/or a vocal quartet to sing spirituals. These groups toured the nation and "represented" the institution outside the local community. One of the earliest and most famous of these groups were the Jubilee Singers from Fisk University. According to Ray Funk, in his essay accompanying the Document compilation EARLY NEGRO VOCAL QUARTETS, there is only one recording from the 1890s extant of an African-American vocal group, the Standard Quartette.
On March 13th the Rochester Oratorio Society and Houghton College Choir performed at the Hochstein Performance Hall in the city of Rochester. It was a predominately vocal concert with an accompanying pianist. The main performance of the evening was the Rochester Oratorio Society’s rendition of Johannes Brahms’ “Ein deutsches Requiem,” in which vocal soloists Elena O’Connor and Benjamin Bloomfield took the front stage, and Linda Boianova joined Kevin Nitsch as a second pair of hands behind the piano.
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At the onset of the twentieth century singing was still the fundamental activity in schools, and sc...
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Anthropology is the study of the development of humankind within their different cultures. When one looks inside a culture, they can see the true aspects and meanings behind a societies behavior and traits. By following the principle that is cultural relativism, one can also determine that no culture truly surpasses another culture, and that each society has key differences that are important to its culture and location. This is a method that can also be seen in many intriguing films from this semester, one in particular being The Emerald Forest. Throughout this essay, this film will be analyzed around one character who greatly represents what it means to truly immerse oneself into a different culture to gain a new perspective, and many key terms in anthropology will be explored through 4 different films from the semester.
This book is about the human mind and the abstractness of our visions and memories. Everything affects us physically and mentally. We all share a common feature; we are all simply human with simple human minds.
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Sporre, Dennis J. The Creative Impulse: An Introduction to the Arts. 4th ed. Upper Saddle River, NJ: Prentice Hall, 1996. 310-378.
Singer, Irving. The Creation of Value: Volume I of Meaning In Life. Baltimore: The Johns Hopkins University Press, 1996.
The Harlem Renaissance was a period of flowering throughout literature and culture for African Americans in America. These growths can be traced back to the musical traditions, black folklore, and folk cultural ways of the African Americans prior to the Harlem Renaissance. Each of these aspects empowered the African Americans to reach the freedom that they deserved. It was a continuous fight but their cohesiveness strengthened their fight.
The 18th century can be considered the beginning of centered music education. The reason for this is because of the great decline of the singing conditions of singing in the churches. This led to the foundations of singing schools. The rationale behind the creation of these schools was to improve the singing quality of students for church purposes. In this time the church was held in very high regard. This is because the people in some places of the, who were not Native Americans, came from Europe for religious freedoms. For some of these people the church was the main concern of their lives. So improve their quality of life they made these schools. People wanted to make things better in church, and this help those beginning schools flourish. Coincidently, it was inevitable that people would use this, not only for church, to improve or enrich their daily lives.