Sammlung von Newsfeeds

Wenn Stimmen läuten - Badische Zeitung

Google a-cappella-News (dt.) - 11. Dezember 2017 - 22:13

Wenn Stimmen läuten
Badische Zeitung
Das A-cappella-Ensemble Illegato präsentierte im Bürgerhaus Grunern ein Programm mit Christmas Corals vom ausgehenden Mittelalter bis zur Moderne. Foto: Hans Jürgen Kugler. STAUFEN-GRUNERN (hjk). Zu einem Adventskonzert der besonderen Art hatte das A ...

Und als Sahnehäubchen zum Konzert fiel Schnee - Märkische Onlinezeitung

Google a-cappella-News (dt.) - 11. Dezember 2017 - 21:56

Und als Sahnehäubchen zum Konzert fiel Schnee
Märkische Onlinezeitung
Mitwirkende bei der Advent-Gala waren der Kammerchor der Evangelischen Schule Neuruppin unter Leitung von Annett Voge, der Möhringchor Alt Ruppin unter Leitung von Armin Jungbluth, der Märkische Jugendchor des Karl-Friedrich-Schinkel-Gymnasiums ...

A-cappella-Premiere im Blauen Gewölbe - Trierischer Volksfreund

Google a-cappella-News (dt.) - 10. Dezember 2017 - 16:39

Trierischer Volksfreund

A-cappella-Premiere im Blauen Gewölbe
Trierischer Volksfreund
A-cappella-Premiere im Blauen Gewölbe. Das Quartett Sine Nomine. Von links: Gerd und Bernhard Loch, Christian Hackethal und Marcus Heintel. FOTO: Ursula Schmieder / TV. Das Quartett Sine Nomine. Von links: Gerd und Bernhard Loch, Christian Hackethal ...

Das Orchester als Star - Süddeutsche.de

Google a-cappella-News (dt.) - 10. Dezember 2017 - 15:40

Das Orchester als Star
Süddeutsche.de
Dass solch ein Chor zu Beginn eines sinfonischen Konzerts einen Chorblock a cappella bestreitet, ist unüblich. So fügte sich der Auftritt des Philharmonischen Chors Isartal am Samstagabend im sechsten Abokonzert der Reihe "klassik pur!" in der gut ...

Stadeum: Von A-cappella-Musik bis zur Comedy - Kultur - Tageblatt.de - Tageblatt-online

Google a-cappella-News (dt.) - 10. Dezember 2017 - 11:00

Tageblatt-online

Stadeum: Von A-cappella-Musik bis zur Comedy - Kultur - Tageblatt.de
Tageblatt-online
Von weihnachtlicher A-cappella-Musik über eine Komödie mit bekannten Schauspielern bis hin zu einer Zwei-Mann-Song-Comedy hat das Publikum im Stadeum ...

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Wolpis singen mit SoulFood Delight - Mittelbayerische

Google a-cappella-News (dt.) - 10. Dezember 2017 - 10:13

Wolpis singen mit SoulFood Delight
Mittelbayerische
Abensberg.Allen Freunden der Vokalmusik bietet sich am Sonntag, 28. Januar 2018, ein Ohrenschmaus im Doppelpack: Die Wolperdinger Singers empfangen das neue Münchner a-capella Ensemble SoulFood Delight und laden zu einem abwechslungsreichen ...

A-cappella-Sextett „Viva Voce“: Sechs Stimmen in Harmonie - Tiroler Tageszeitung Online

Google a-cappella-News (dt.) - 9. Dezember 2017 - 7:01

Tiroler Tageszeitung Online

A-cappella-Sextett „Viva Voce“: Sechs Stimmen in Harmonie
Tiroler Tageszeitung Online
„Und wenn wir vom Gesang leben könnten, wäre das auch nicht schlecht“, meint Jana Stadlmayr mit einem Augenzwinkern. Zu den Vorbildern zählen The King's Singers aus Großbritannien, ebenfalls ein Sextett. „Weil die viel selbst schreiben“, erklärt Jana ...

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Freikarten gewinnen - Weihnachtsleuchten - A capella-Konzert in Hagen - Lokalkompass.de

Google a-cappella-News (dt.) - 8. Dezember 2017 - 12:26

Lokalkompass.de

Freikarten gewinnen - Weihnachtsleuchten - A capella-Konzert in Hagen
Lokalkompass.de
Mit ihrem neuen Programm „Weihnachtsleuchten“ will die A cappella Frauenband medlz aus Dresden einen besinnlichen Schneesturm im Herzen der Zuhörer verursachen. (Foto: privat). Zeit zusammen verbringen, dankbar sein und ein Leuchten in die Augen und ...

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Freikarten gewinnen - Weihnachtsleuchten - A capella-Konzert in Hagen - Lokalkompass.de

Google a-cappella-News (dt.) - 8. Dezember 2017 - 12:26

Lokalkompass.de

Freikarten gewinnen - Weihnachtsleuchten - A capella-Konzert in Hagen
Lokalkompass.de
Freikarten gewinnen - Weihnachtsleuchten - A capella-Konzert in Hagen. Anzeige. Mit ihrem neuen Programm „Weihnachtsleuchten“ will die A cappella Frauenband medlz aus Dresden einen besinnlichen Schneesturm im Herzen der Zuhörer verursachen. (Foto ...

Updating Your Chapter or District Leaders for 2018

Barbershop Harmony Society (engl.) - 7. Dezember 2017 - 23:02

This is a friendly reminder (if you haven’t already) that it is time to ensure that your chapter and/or district leader lists are up to date in the BHS Member Center. Your leaders are not only administrative leaders but also your music leaders. We send frequent communication and resources and the only way that we can continue to do so is if the information is reported in the Member Center.

Please read the below important information about updating your leaders. An in-depth tutorial can be found online by visiting here: http://help.barbershop.org/article/23-chapter-leaders.

Secretaries, please ensure this information is updated as soon as possible. As a reminder, reporting leaders is a matter of compliance and is required of all chapters and districts.

If you have questions or are in need of additional assistance, please contact us at [email protected] or call 1.800.876.7464.

 

Editing Term End Dates

If you have a leader that is continuing in the same role and is already reported in the Member Center, you do not need to add them again. Simply, “edit” their end date to either a future date (example 12/31/2018) OR delete the end date and save the leader. Please Note: Only change the end date and do not change the position or start date itself because you will remove that person from whatever position they were holding for the current year and we will lose that history.

Adding a New Leader Who Didn’t Serve in 2017

If you have a new leadership role or person serving for 2018, click the “Add a Leader” option in the top right-hand corner. Enter their Member ID# or Email Address, press “Search Members”. You will see a confirmation of which person you’re adding, and then press save. Please Note: You can add a new leader for any year; you do not need to be on the specific year’s screen in order to add.

Leaders to Report

The following roles are mandatory to report in the Member Center for each chapter:

  • Chapter President
  • Chapter Secretary
  • Chapter Treasurer
  • Chapter Immediate Past President
  • Chapter Delegate to District

Here are some examples of other optional roles that are important to update:

  • Chorus Director
  • Chapter Board Members at Large (if you’re utilizing the flexible board option, click here for more info)
  • Chapter Membership Development
  • Chapter Music & Performance
  • Chapter Music Committee/Team
  • Chapter Marketing & Public Relations
  • Custom Title Position (you can now add custom titled positions. These positions do not have any permissions, but are another way for your district and society leaders to communicate).
General Permissions for Chapter or District Leaders

For more information about the permissions associated with the various roles for chapter leaders, please click here. For more information about permissions associated with district leaders, please click here

Need Assistance?

If you need additional assistance, please contact the BHS Customer Service Team at [email protected] or 800.876.SING

 

Die A-cappella-Formation Das Herrengedeck konzertiert im Bürgersaal Horben - Badische Zeitung

Google a-cappella-News (dt.) - 7. Dezember 2017 - 22:06

Die A-cappella-Formation Das Herrengedeck konzertiert im Bürgersaal Horben
Badische Zeitung
Vier Studierende der Freiburger Musikhochschule gründeten 2014 das A-cappella-Quartett Das Herrengedeck. Seither setzen Adrian Goldner und Sebastian Lau (Tenor) sowie Uli Bützer und Johannes Maier (Bass) in ihrer Programmatik auf den stilistischen ...

Die A-cappella-Formation Das Herrengedeck konzertiert im Bürgersaal Horben - Badische Zeitung

Google a-cappella-News (dt.) - 7. Dezember 2017 - 22:06

Die A-cappella-Formation Das Herrengedeck konzertiert im Bürgersaal Horben
Badische Zeitung
Vier Studierende der Freiburger Musikhochschule gründeten 2014 das A-cappella-Quartett Das Herrengedeck. Seither setzen Adrian Goldner und Sebastian Lau (Tenor) sowie Uli Bützer und Johannes Maier (Bass) in ihrer Programmatik auf den stilistischen ...

Hal Leonard Unpublished-to-Published Project Update for BHS Arrangers

Barbershop Harmony Society (engl.) - 7. Dezember 2017 - 15:00

 
Greetings BHS Arrangers!

Because the world of print licensing can be both complicated and confusing, I wanted to stop, check in, make sure you are clear what is BHS policy and what is mandated by copyright law. As you all know, the publishing industry has changed significantly. In the past they were making so much money they didn’t care about smaller groups like BHS. Times have radically changed, and publishers are now aggressively protecting the catalog of songs they own. It has impacted us all. It’s not right or wrong…it’s simply real.

I am reaching out to you today to provide an update on our Hal Leonard Unpub-to-Pub transition project. My hope is you will familiarize yourself with the materials I will share below, understand that almost all of this is not BHS doing something to arrangers to make more money, but is instead about BHS being in compliance with contractual obligations and copyright law. Some of the law we don’t like, but we will follow the law to protect our BHS assets, future, and your arrangements.

We are to the point where we have a full listing of the first round of titles that we are publishing from the Hal Leonard “unpublished” catalog and subsequently, the HL titles that will be moved to “special order” status as of Jan. 1, 2018. (In fact, you may have already noticed that some arrangements have started to appear on the BHS website as “Published”. That will continue to happen from now through the end of the month and beyond.)

The most important thing to understand about this project is that this is a FIRST PASS at the transition of these legacy Hal Leonard titles. In the future, we will review and add more of these titles, but we have taken the last year to move over 400 titles over to published. (An enormous recognition to Wayne Grimmer, who joined my team specifically for this project. Wayne updated, reformatted, and edited these charts at a record pace and did so with excellence and the utmost professionalism!)

As the FAQ sheet for this project states, I acknowledge that we may have missed some charts that very likely deserve to be published. However, given the sheer volume of titles (approx. 1,700) which have taken over a year to review, edit, and prepare, we had to draw a cutoff line somewhere. The Special Order list will be a valuable resource to refer to as we move ahead and continue to make decisions about which Published titles we make available each quarter.

Please help me out by considering the following:

1) If your arrangement(s) appear on the Special Order sheet, please do not take it personally! If you feel strongly that an arrangement of yours (or someone else’s) deserves to be published, simply let me know. As long as the title isn’t already represented in some way in the Published catalog and is generally accessible to a broad range of singers, I promise we will review it for possible publication in the future.

2) You will see many popular song titles on the Special Order list that could potentially send off rockets of outrage in your brain. If this happens, please remain calm! In many cases, we already have at least one published arrangement of that particular song and the version being moved to Special Order is either too similar to the already-published version or too customized or difficult to make it compelling enough to publish. In other words, search shop.barbershop.org before you suggest that a Special Order title be published from the list…in many cases, it already is…it’s just the particular arrangement is moving to special order. You are still free to suggest it be considered for publication, I simply ask that you take the step of searching the marketplace website first.
(And remember, I’m not expecting to bat a thousand here, so I fully expect to continue to find great charts to add from the Special Order list and welcome your assistance with that!)

3) All the titles represented here were cleared under the OLD Hal Leonard contract (pre-July 2015) and are currently available to the public through December 31, 2017. Any HL-controlled arrangements cleared since then is outside the scope of this project, and are already classified as Special Order. Once the transition has been made (Jan. 2018), we will merge both lists so that the HL-controlled Special Order list is complete and current. That list will be added to as often as new arrangements come in and will be a valuable reference tool when considering arrangements for possible publication moving forward.

4) This project was initiated to comply with the contractual obligations we have with Hal Leonard. Beginning Jan. 1, 2018, we are no longer allowed to offer any HL-controlled copyrights under the “Unpublished” classification from our Marketplace website. In case you need a refresher on the project information shared previously, please CLICK HERE for more in-depth explanation. Also, CLICK HERE for the FAQ page created to answer any additional questions you might have.

The two links below are specifically sorted to be viewed by arrangers, so they are in alpha order by Arranger Name. (The Special Order list we share publicly will be exactly the same, only sorted alpha by Title). Here are the song lists for your review:

Hal Leonard titles (formerly Unpublished) selected for Publication
https://docs.google.com/spreadsheets/d/1kVXXCUyZuh-hwhMujsvK6IGwA3Xgw4qHrMsaIJdq4z0/edit?usp=sharing

Hal Leonard titles moving to Special Order status as of Jan. 1, 2018 (remember: these titles are still eligible to be published in the future!)
https://docs.google.com/spreadsheets/d/104nX7ssQkyYKD_0XPM9y5T2lCyiPR9_f1kFEpeBm_l0/edit?usp=sharing


I want to thank each of you for being so patient with this process that has taken over a year to get to this point. We want to ensure that we are making the very best arrangements available to anyone interested in this great art form and you all are an integral part of doing just that. I appreciate each one of you more than you know.

Most sincerely,

-Scott Harris
A&R Manager, Barbershop Harmony Society
[email protected]

 

Mit Mundart zum Erfolg - Wetterauer Zeitung

Google a-cappella-News (dt.) - 7. Dezember 2017 - 13:08

Wetterauer Zeitung

Mit Mundart zum Erfolg
Wetterauer Zeitung
Was stellt für Sie den besonderen Reiz am A-cappella-Gesang gegenüber der instrumental begleiteten Version dar ? Hofmann: Wir lieben beides. Als reine A-Cappella-Formation genießen wir die Vorzüge des reinen Stimmklangs: klare Akkorde, Reibungen ...

Wise Guys sind nun Alte Bekannte Kölner A-Capella-Band in neuer Formation - Kölner Stadt-Anzeiger

Google a-cappella-News (dt.) - 7. Dezember 2017 - 10:35

Kölner Stadt-Anzeiger

Wise Guys sind nun Alte Bekannte Kölner A-Capella-Band in neuer Formation
Kölner Stadt-Anzeiger
„Natürlich wären das aus wirtschaftlichen Gründen und wegen des Bekanntheitsgrades einfacher gewesen, aber das haben wir dann doch ganz bewusst nicht gemacht“, sagt Dickkopf. „Wir singen weiterhin A-Cappella und machen Musik ohne Instrumente. Aber ...

"Les Brünettes" kommen nach Emmendingen - Badische Zeitung

Google a-cappella-News (dt.) - 6. Dezember 2017 - 22:02

"Les Brünettes" kommen nach Emmendingen
Badische Zeitung
EMMENDINGEN (BZ). Der Schlosskeller-Verein veranstaltet am 7. April ein Konzert in der Steinhalle mit dem A cappella-Quartett "Les Brünettes". Les Brünettes sind vier Frauen, die sich bei ihrem Studium an der Musikhochschule Mannheim kennengelernt ...

Zwei Chöre und ein Beatboxer - Badische Zeitung

Google a-cappella-News (dt.) - 6. Dezember 2017 - 22:02

Zwei Chöre und ein Beatboxer
Badische Zeitung
Die angekündigte Überraschung stellte sich als eine aus vier Sängern und drei Sängerinnen bestehende, neu gegründete A-cappella-Formation heraus. Ihr gehören Annika Endres und Adrian Goldner, also die Dirigenten beider Chöre, an. Der erste offizielle ...

Vernissage an der Katholischen Universität Eichstätt zum Thema "Fremde ... - donaukurier.de

Google a-cappella-News (dt.) - 6. Dezember 2017 - 21:16

donaukurier.de

Vernissage an der Katholischen Universität Eichstätt zum Thema "Fremde ...
donaukurier.de
Unter Leitung des Musikpädagogen und -didaktikers Professor Dr. Daniel Mark Eberhard war in wenigen Monaten eine CD entstanden, auf der Universitätsorchester, Big Band, Kammer- und Uni-Chor und A-cappella-Gruppe mit verschiedensten Variationen zu hören ...

Chorus Voice Matching (not blend!)

Barbershop Harmony Society (engl.) - 6. Dezember 2017 - 18:45

This is the third article in a series for chorus directors and music teams. It is a companion to a video that HU produced in 2016 and a previous article on riser spacing.

Avoid the fight

A natural tendency in choral singing is to compete with the surrounding voices, a tendency called the Lombard Effect. This can be problematic if someone with a “smaller” singing voice stands next to someone with a “larger” voice. Two types of responses are common in this situation:

  1. The singer with a smaller voice will try to compete with the larger, usually resulting in pressed singing.
  2. Conversely, a singer with a larger voice may unconsciously pull their voice back.

Effortful singing like this can open a singer up to vocal fatigue and vocal trauma. Neither scenario are what a chorus director wants, which is the best vocal production from each singer.

Various research studies attempted to articulate the most acoustically efficient riser placement (mixed vs sectional, etc.); unfortunately, due to the complex nature of such studies, data from theses studies are tough to rely on.1 There are just too many variables to make these studies replicable. Book chapters with this topic seem to be anecdotal.

So how to place singers on the risers to get the best chorus sound? A safe bet it to use the principles of vocal health and vocal efficiency as a guide. This leads to the concept of voice-matching strategies.

Voice Matching

The first principle to understand behind voice matching is that everyone has a unique and valuable voice. Make sure all understand that no one voice is better than another and the best place to stand on the risers is on the risers.

The second principle is that chorus singers tend to make better vocal choices when surrounded by like-sized, like-timbred voices. There is less competition (Lombard Effect) this way . Many directors have strategies for voice matching, but generally consider:

  • vocal fold thickness (check out this video to hear the difference in speech)
  • natural larynx height (low laryngeal singing has a generally fuller sound)
  • vocal fold closure tendencies (breathy vs. not breathy)
  • tongue position tendencies (vowels sung with flatter tongues usually have a duller sound)
Active Listening

A suggestion is to match voices first by section. Line up singers and have them sing something simple enough that they don’t have to think about the notes or the words. For English speakers, the round “Row, Row, Row Your Boat” is easy to use, although really any simple song is fine. (In Sweden I used “Vem kan segla förutan vind” and in Germany I used “Alle meine Entchen.”)

Listen for the unique characteristics of each voice. Begin sorting, pairing, and grouping voices according to the criteria above. The goal is to have a spectrum of voices in the section ordered, generally, light and bright to big and dark. An easy way to do this is number from 1-XX. Then repeat this experience with the whole chorus.

To the risers!

Organizing singers on risers, again, is not an exact science. Generally, use the principles of vocal health and vocal efficiency as a guide. Follow the formula:

  • higher-numbered voices should stand behind lower-numbered voices, and
  • higher numbers should tend to stand toward the middle.

Listen to the ensemble and verify there are no “hot spots,” meaning a voice or a part that sticks out of the sound. This can be done by placing singers by someone of a different voice part as much as possible. 

Voice placement of a a 30-singer chorus on risers might look like this Blend

The word blend has been used for generations as a way to homogenize a chorus sound. The responsibility to blend fell upon the chorus singer. This is problematic because when singers are instructed to “blend,” most assimilate or compromise their voice and make it less efficient acoustically and less efficient in production (affecting the tissues, introducing fatigue).

Directors want their singers to sing with their most efficient, beautiful voice. But asking for blend sends a mixed signal to chorus singers that they can’t use their best vocal production or they will stick out. Therefore, the responsibility of chorus blend is the job of the director and the music team, not the individual singer. This is accomplished through voice matching and riser placement.

Employ voice matching strategies to allow them to sing with their fullest, easiest, and most resonant sound surrounded by voices of similar size to achieve balance in the ensemble sound. Increased inter-singer spacing can also reduce the likelihood of pressed singing or competition. It is my recommendation that principles of inter-spacing and voice matching should replace the word blend in our vocabularies.

Other Factors

This article does not suggest that acoustic or physiological factors are the only reasons for riser placement. Music and performance teams should consider how to balance the look of the chorus and performance demands with spacing and riser placement. Additionally, psychological or sociological considerations must be made. For example, some singers feel like they are more efficient when a more experienced voice is guiding them.

Another important factor to consider is the venue in which the chorus sings. For example, the degree to which singers can hear themselves in a given venue can affect their intonation.2 Further, singers have a tendency to raise their larynges (thinner sound) in more absorbent venues.3

Find What Works For Your Chorus

Experiment with your chorus to find the perfect balance of inter-singer spacing and riser placement in a given venue. Remember the goal is to encourage each singer to sing with their healthiest, most resonant singing. These principles reinforce the importance of the Lombard Effect and the Self-to-Other Ratio in choral acoustics.

Enjoy this video of 2017 5th place bronze medal chorus Parkside Harmony, who use a variation of voice matching and riser placement.

Happy, healthy singing, my friends!

1 To understand a scope of available research, see Aspaas, C., McCrea, C.R., Morris, R. J., & Fowler, L. (2004). Select acoustic and perceptual measures of choir formation. International Journal of Research in Choral Singing 2 (1), 11-26.; Daugherty, J.F. (1999). Spacing, formation, and choral sound: Preferences and perceptions of auditors and choristers. Journal of Research in Music Education, 47 (3), 224-238.; Lambson, A.R. (1961). An evaluation of various seating plans used in choral singing. Journal of Research in Music Education, 9 (1), 47-54.; also Tocheff, R.D. (1990). Acoustical placement of voices in choral formations. Ph.D. dissertation, Ohio State University. 2 Sundberg, J. (1987). The science of the singing voice. Dekalb, IL: Northern Illinois University Press. 3 See Ternström S (1989). Acoustical Aspects of Choir Singing. PhD thesis, Dept of Speech, Music & Hearing, Royal Institute of Technology, Stockholm, Sweden. The raising of the larynx has the perceptual effect of thinning out the sound or causing it to be more strident. Singers usually raise the larynx by engaging swallowing muscles. These muscles are not required for singing and their use in the same can introduce fatigue into the voice.

 

 

 

 

 

A-cappella-Ensemble Nobuntu bringt afrikanische Klänge nach Twist - NOZ - Neue Osnabrücker Zeitung

Google a-cappella-News (dt.) - 6. Dezember 2017 - 15:41

NOZ - Neue Osnabrücker Zeitung

A-cappella-Ensemble Nobuntu bringt afrikanische Klänge nach Twist
NOZ - Neue Osnabrücker Zeitung
Wie gut das klingt, hat man in Twist gehört. Stimmgewaltig, dann wieder zärtlich einschmeichelnd, und immer in wunderschöner mehrstimmiger Harmonie. Die Musik, die an diesem Abend im Heimathaus zu hören war – sprich: der reine A-cappella-Gesang, hin ...

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