Various kinds of knowledge and work co-operate with grace, and the liturgical experience embodies and transmits grace in other contexts, e.g. Theological and liturgical consciousness thus allows singers and listeners to make themselves into materials and tools for, and perceivers of, divine energies. concerts by non-Orthodox ensembles, notes, words, timbre, dynamics, and other musical details may be well-executed by singers, yet the efficacy of the result may be almost entirely up to the spiritual work and understanding of directing or listening worshipers. It may also inform aesthetic decisions and cause us to question, revise, and improve the same. Patristic texts and contemporary fieldwork show that, even if there are practical musical or linguistic deficiencies, the result from this approach is still useful, and more important, this approach in fact generally leads to well-retained, well-executed chant material in the first place. In any given context, educators and singers should be aware of the iconography, significance, and purpose-in patristic terms, the logoi of repertoire, its texts, and its sounds. While it is nevertheless useful to discuss practical matters of musical pedagogy – vocal technique, texts, language, and the like – a theological approach is essential and even encompasses the aforementioned aspects. The preferred techniques and practical aesthetics of good church singing differ among traditions, cultures, communities, and individuals. Several different techniques for using movement and kinesthetics in a rehearsal context will be explored and can be used with all choirs in the context of Orthodox liturgical practice.įriday 24 June 2016 / 2:45 pm Liturgically-informed Aesthetics in Chant Pedagogy and Performance It can improve their sound, and broaden a conductor’s gestural approach. A kinesthetic approach to sound and music learning can help any director be more successful in working with youth. The session will also explore the ways in which gesture impacts and enhances beautiful choral singing with any size and age ensemble. Additionally, we will discuss ways in which choral community changes sound and how to build a strong community of sound in young voices. We will explore ways to connect with them both in and outside of church. The importance of relationships cannot be understated in terms of youth and their willingness to sing. This session will feature strategies and tips for both choral directors and singers working with young voices - recruitment, retention, building relationships, and working specifically with young voices in liturgical services. Working With Youth: Relationships, Recruitment, and a Kinesthetic Approach to Sound Complete with its own traditional tuning, meter, and ornamentation, we will learn how the simultaneously simple and profound melodies of the received tradition can serve as the perfect musical language for corporate worship, encouraging, rather than discouraging congregational singing The result has been a set of melodies perhaps still distantly rooted in the Byzantine repertoire but that has diverged so far from the received tradition so as to be no longer recognizable as “the same thing.”Focusing on those elements of the Divine Liturgy that, in the Byzantine Tradition, are meant for congregational singing, this workshop will explore the received melodic repertoire in its original Greek and in adapted arrangements for English. How can a congregation sing all together if their traditional music is full of “non-standard” tuning, “irregular” meter and “virtuosic” ornamentation? In the New World, the solution to this perceived problem has largely been to “correct” Byzantine Music’s tuning to conform to equal temperment, to “simplify” its meter to fit into regular time signatures, and to “purify” its melodies to remove any trace of virtuosic ornamentation. To many, it would seem that the traditions of Byzantine Music and congregational singing are mutually exclusive. Thursday 23 June 2016 / 2:30 pm Byzantine Music for Congregational Singing Mary's Orthodox Cathedral, 16 NE 5th Street, Minneapolis, MN 55413 unless otherwise noted. Workshops and Practica sessions during the ISOCM's 2016 Pan-Orthodox Music Symposium will take place at St.
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