First off: yes, I know, I have committed the ultimate musical sacrilege – the stones are being gathered, and the pitchforks are being sharpened. But I really and truly do not like Handel’s Messiah. (And I’m actually not alone)Continue Reading
…and some things to think about before starting!
So, you are going to record yourself. Excellent! The world is ready and waiting for your CD. But, before you do, here are some things to think about, just so that you are as prepared for the process as possible.
So, the other day I was recording a concert in the UBC recital hall. Nothing overly special about that—it is my part-time job after all. (nice way to earn a couple bucks while doing the whole student thing too, get paid to watch concerts!) However, this concert had me, my coworker, our boss, the stage managers, and several faculty members very frustrated by the end of it. I say “frustrated” because I’m pretty sure we should be keeping this rated G. Words were used to express this frustration that would make a sailor take pause. This frustration was all due to some extremely unprofessional behaviour on the part of pretty much every single performer.
Recently, there has been some excitement about these new apps for the iPad that may potentially replace sheet music on the stand, as the app “listens” to the performer and follows along in the score. This had me decide it was high time I talked to some of my profs and fellow students who are mired deep in the bowels of score following research at UBC, and share this information with my new friends; all you wonderful people who read Musetta Stone.
I had the distinct pleasure of being a part of the Vancouver International Song Institute’s Art Song Lab recently. VISI is an organization that has been around for several years now, and was formed by group of internationally renowned musicians, music scholars, poets, composers, and social scientists to support the perpetuation of Art Song as a vital human legacy. Last year, they started the Art Song Lab project, and it consisted mainly of an afternoon of discussions between composers, poets, and performers. Everybody was quite excited by the discussions about collaborations, and for this year it was expanded upon greatly.