This paper notes that accurate tuning in a cappella (unaccompanied) choral music is a two-step process requiring (1) making pitch shifts on individual notes to sing intervals in just intonation ...thereby providing beat-free tuning for the consonant musical intervals that underpin the underlying harmony and (2) tuning different vowels to account for any additional pitch changes that are made in the context of the intrinsic pitch relating to the specific vowel being produced. This paper explores the second of these in the context of a part-by-part vowel variation during a sustained chord sung by the other three parts by a quartet of professional singers.OBJECTIVEThis study aimed to investigate the relationship between the fundamental frequencies employed when singing different vowels on the same pitch for each member in turn of a professional soprano, alto, tenor, bass (SATB) a cappella vocal quartet in terms of the measured fundamental frequency during the production of a set of individual vowels within a four-part carrier phrase.STUDY DESIGNThis is an experimental singing production study on the tuning of vowels in the context of a cappella quartet singing. To facilitate this, one singer at a time in a professional a cappella vocal quartet changed the vowel they are singing on a single note concurrent with a consonant a cappella triad being sustained by the other three singers singing a fixed vowel.METHODS/DESIGNThe first few bars of the a cappella anthem "If ye love me" by Thomas Tallis provided a carrier phrase that ended with a held chord on the chord on the word "me" by three singers against which the remaining singer produced a set of different vowels on their note of the chord. This is carried out for each of the four singers. The hypothesis being investigated is to remain accurately in-tune; fundamental frequency should be varied depending on the vowel being sung. Fundamental frequencies were measured using electrolaryngographs to ensure that there was no acoustic interference that could affect the accuracy of the fundamental frequency measurements if they were obtained from the audio output.RESULTSThe results provide clear evidence of changes being made to the fundamental frequencies of different vowels in an a cappella quartet context, and these changes confirm variations found elsewhere relating to the perceived pitches of different vowels.CONCLUSIONSMeasurable and consistent fundamental frequency variations occur when one part tunes different vowels against a reference chord sung by the other three singers in a choral quartet context on a fixed vowel. This has a direct consequence for tuning in a cappella choral music. The importance of carefully tuning individual notes for different vowels in a cappella choral singing requires focused listening to the pitches of the sounds being produced by the other singers in the choir. Usually, all parts are singing common vowels where it is important that the vowels are matched by being carefully blended together and tuning is aimed at being beat-free in just intonation. When compositions require parts to sing different vowels, both intrinsic (production related) and auditory (hearing related) pitch variations become relevant and challenge beat-free tuning.
Student Activities, Co-National Chair (Chapter Development) During the 2023 ACDA National Conference in Cincinnati, Ohio, the Crane School of Music at the State University of New York at Potsdam was ...presented with the Outstanding Student ACDA Chapter Award. Someone even created a music theory board game based on Candy Land! Lab choir provides an outlet where Crane students can explore different lesson plans before they student teach, practice before a classroom piano exam, or just hone their conducting skills.
Contemporary Commercial Dietz, Rob
The Choral journal,
05/2024, Letnik:
64, Številka:
8
Journal Article
Recenzirano
Rob Dietz Co-Chair, Contemporary A Cappella Choirs rdietz5 5 @gmail. cora Tips for Teaching Vocal Percussion Whenever I talk to directors who are interested in starting a contemporary a cappella ...group, there is al-most always one concern that jumps out above all oth-ers: Tech-niques such as pitched lip buzzing, subharmonic throat singing, and vocal siren effects stand in for a variety of synth instruments and work alongside electronic drum imitations to create an impressive solo routine. ...vocal percussion usually refers to the vocal re-creation of an acoustic drum set, with the vocal percussionist's role being more analogous to the drummer in a band.
The Grand Finale Edwin, Robert
Journal of singing,
05/2023, Letnik:
79, Številka:
5
Journal Article
Recenzirano
“The Grand Finale” marks Robert Edwin’s last entry as an Associate Editor of the NATS Journal of Singing shepherding the “Singing A Cappella to Zydeco” column. The piece is a short summary of his ...performing, writing, and teaching career, one that covers almost sixty decades, as well as reflections on and thanks to those who helped him on his professional journey.
Tenor-BassChoirs Cates, Dustin S
The Choral journal,
05/2024, Letnik:
64, Številka:
8
Journal Article
Recenzirano
The piece features teaching opportunities in-cluding counting and performing music in uncommon time signatures (10/8), exploration of phrasing and text stress through the repeated "alleluia," and ...building the ear and independent musicianship through a cappella singing The TBB voicing may be performed TTB. ...the Jonathan Palant Choral Series (formerly Brothers Sing On!) is a collection fo-cused almost exclusively on choral repertoire that builds the emerging tenor-bass voice. Virtual reading sessions and other content curated by the National Repertoire and Resources team is accessible on the ACDA website; and the 'ACDA Tenor-Bass Choirs Repertoire and Resources" Face-book group allows members to share ideas and engage in discussions about teaching and leading tenor-bass choral ensembles.
...the choral pianist is reliable with responsibilities at the piano, which vary according to the conductor's preferences. The pianist detects errors right along with the conductor and, therefore, ...can predict and anticipate the next rehearsal spot. ...they are ready to give starting pitches before being told a page and measure number. Several people impact young pianists on their journey to co-leadership, from family members who help to instill leadership and positive socialization qualities, to theory and ear training instructors who teach them to detect errors and read open-score harmony, to studio teachers who ensure they have the necessary technical and musical skill set. ...conductors may communicate to young pianists the importance of being engaged 100% of rehearsal and performance time.
...the pandemic has been hard for careers, but, I think, for my mental health it was a reprieve from a very busy time. ...both my kids are doing a production of Pirates of Penzance. Because I really ...have to stop and stumble, and figure everything out, I go much more slowly and, somehow, this lodges it into my brain. Mary Ann lived in New York and she would just come up, spend the night and teach, and then go home.
George Walker Brown, Vinroy D.
The Choral journal,
10/2022, Letnik:
63, Številka:
3
Journal Article
Recenzirano
A studious learner, he graduated high school at age fourteen and was admitted to Oberlin Conservatory a year later, where he studied piano and organ, earning a Bachelor of Music degree (with honors) ...in 1941. Subsequent study included obtaining Artist Diplomas in Composition and Piano from the Curtis Institute-where he was the first African American graduate-and a Doctor of Musical Arts Degree from the Eastman School of Music.1 Some of his first publications are the result of a relationship Walker cultivated with Paul Kapp at General Music Publishing Company. "Stars is the only choral work of Walker's that maintains a consistent time signature of 3/4 throughout the entire piece and does not incorporate metrical shifts.
Recent increases in the popularity of contemporary a cappella ensembles, especially at the collegiate level, may provide new opportunities to explore the informal and nonformal musical learning ...experiences available to 21st-century students. The purpose of this research was to investigate music learning in four student-run collegiate a cappella ensembles through a collective case study. Results indicated that these ensembles exhibited characteristics of nonformal learning, in which the learning environment is highly structured and intentional but institutional influence is reduced The ensembles functioned in a highly democratic manner, and students felt that they had more input and control over their musical experiences than in parallel institution-sponsored ensembles. Members were also able to take on a diverse array of musical roles and to develop musical competencies beyond those used for performance. In contrast, however, members indicated that these ensembles may not provide strong opportunities to develop fundamental vocal skills or musical knowledge. Implications for formal music education programs are discussed.
