所有的孩子都应该有机会体验, 学习和伟大的作曲家进行合唱音乐. 旧金山Ĵ. 努涅斯, 艺术总监和创始人的纽约市青少年合唱, 相信这. He has partnered with the Carnegie Hall Choral Institute to present a three-day series (二月 16 以 18) 新作名为瞬态荣耀研讨会. Eight conducting fellows will lead music by eight contemporary composers in musical workshops culminating in evening concerts. The symposium is expected to bring national attention to these groundbreaking works and enable more choruses and conductors around the country to perform them. 我有机会聊了一些关于新作品和音乐教育方面的杰出北美音乐家. 首先起来, 格莱美获奖的美国作曲家, 音乐会钢琴家, 导体和教育家, 琼阁.
琼, 如何为您的新的组成, 降落, 从你的合唱组成不同, 我可以?
我可以 was my first choral composition. 降落 是一种解毒剂 我可以. It’s a very simple composition. It’s a one-minute, almost sight readable piece with descending chords. When I told Francisco it’s simple, 我觉得他如释重负，因为叹息 我可以 是非常困难的. 降落 是有点精神的方式，因此我希望孩子们将它连接.
什么是古典和现代音乐教育的基本要素，孩子应该有?
Howard Gardner’s theories on education are the best I know in the sense that he is inviting a lot of the intelligences into the curriculum. Our curriculum right now is verbal and quantitative. The emphasis is on those two things. Howard’s idea of 7 智能是最好的，因为它给所有的学生有机会到课程中把自己的才能向前. I know more about educating college kids than younger kids. 然而, the kids in Francisco’s chorus are incredible. They are so eager and so focused. They are energetic without being out of control. What Francisco does with his kids should be a part of every school curriculum, but first you have to find enough Franciscos to place in every single school across the country. 这不只是在世界上最好的音乐课程. The school system needs teachers like Francisco to make a curriculum work.
我们如何培养我们的孩子的教育更加对音乐的热爱?
我真的很推荐一本书叫 人才码. The author explains there has to be an environment to nurture a particular subject. There has to be an environment, but in most cases in this country there is not. What I am finding is that what some musicians think are the great classical music compositions, most kids don’t necessarily connect with at all. What the orchestras in America have finally woken up to is that they have to get into their communities and into the schools. They’re finally doing more outreach into schools because they are losing their audiences. Orchestras will have to get to the audiences coming up. 当然, that is sort of a band-aid approach because the orchestras cannot be in schools everyday. 加, 他们与足球和其他体育竞争, which are very popular. Why do they want to play sports? Why not play an exciting Beethoven symphony instead? 很好, because the Beethoven Symphony is not there. There is nobody firing kids up. Some schools manage to get a terrific orchestra with a terrific conductor, but very few. There are sporadic music programs as well around the country, 但音乐一定要建设成为课程和它有被内置到文化.
如果我们评估的基础上的学术批评还是怎么的观众的音乐 连接到它?
我是作曲家在住所三个乐团: 圣. 圣路易斯, 圣. 路加, and Pittsburgh. The marketing people struggled with this issue all of the time. Of course we got knocked out as living composers. We were a threat, 这是, 我们是一个风险! They saw my name and said, “那是谁?” Our culture is so based on how famous you are. There are very few people in the whole world today who are famous in a classical sense. Most people know who Yo Yo Ma is or Joshua Bell. 与死者作曲家, the compositions that have survived have filtered down because of the strength of their music. The music has survived. With my music, 基准为一块成功, 不一定，但大多, is about how often does it get played. I have pieces that get played all the time and people like them. They are quote “成功”. I have pieces that are never or hardly ever played and I think they are not that strong. I sort of believe in that as a way of measuring my particular success. With a new piece you can’t do that because it doesn’t have any history.
你怎么知道，当你完成一个组成? The point at which you are happy with it?
哦, I am never happy with a new piece of work. 平时, 很多年后，当它已经长大了，它已经经历了很多考验, 人们说他们爱片, 那个时候我可能会说是, “哦, 它不是一个坏块。” I need the world to confirm things. That’s part of my DNA.
其他的合唱作品是不容错过? I got additional sneak previews from some of the conducting fellows.
开展同伴 Dominick DiOrio (Composition Tembandumba by Paquito D’Riviera, which incorporates the poetry of a Puerto Rican poet, the rhythm and timbre of the Cuban claves from the perspective of a Cuban-American composer) tells me Tembandumba 是 “an infectiously rhythmic boisterous work that brims and bustles with the sounds of drums, claves, and the dance. Our bodies, 我们的头脑, and our thoughts are unique, special and worthy of celebration. Anyone that performs Tembandumba and internalizes its message will come across with this simple and profound idea. It teaches students to perform a number of advanced techniques such as complex rhythmic syncopations, extended vocal techniques like sprechstimme, and 8-note chord clusters. Any chorus wanting to tackle the music must master the techniques and deal with the quickly articulated Spanish text.”
开展同伴 Karen Cooksey (Composition Four Heartfelt Anthems by David Del Tredici) 解释说， Four Heartfelt Anthems offers its composer “the chance to speak to what he enjoyed about his own childhood and provide a bridge between him and the children performing. The work provides the chorus with a challenge beyond the learning of the basic “do re mi”, particularly as the first three anthems are unaccompanied and force the singers to rely on their inner sense of pitch. The third movement, subtitled Fuga, is an excellent early exploration of counterpoint in a more modern guise.” The work gives the performer a chance to “是一个表达音乐家以及一种先进的。”
开展同伴 田惠伍 (Composition 我可以 由琼阁) 解释说， 我可以 我们运送 “到孩子的内心独白, 它试图听到, 最后它的凄美消息: 花时间陪我! The singers move between percussive effects like whispering, 拍手跺脚, 和明确的间距从材料建造的五声音阶, whole-tone and octatonic scales. This means that singers often have to find their pitches after a long unpitched section. Exploring how to execute these unpitched gestures in a way that is comprehensible to the audience presents yet another unusual learning opportunity. I hope that the music resonates with the choir and offers them an insight into how music can give expression to that which is deep in their hearts.”
开展同伴 Stephanie Mowery (作品 Exalted by Michael Gordon) describes Exalted 如 “a unique combination of rhythmic intensity, power and emotion. The singers will become better musicians as they learn to create new vocal and choral colors and sounds, master new vocal techniques, develop new skills in reading non-traditional musical notation, and experience music making of the highest caliber. My hope is that young singers will experience enormous pride and self-confidence from mastering the complexities of this composition and will make a deeper connection to the message of hope in the face of pain and despair that is shared universally across cultures and faith traditions.”
开展同伴 何. Troy David Robertson (作品 One Sweet Morning by John Corigliano) 解释说， “children need to experience music that is challenging, and Corigliano, rather than dulling his compositional voice for the sake of young performers, offers challenges galore. Yet for all of its complexity, the music is still quite accessible. Harmonies that look so daunting on the page sound wonderfully and naturally surprising to the listener and the singer. Corigliano demands a good deal of the young singer’s ear: vocal lines move by big leaps, the key of the piece changes frequently, the rhythms are speech-like and irregular, and singers must be very careful in watching for change of the scale. He clearly has great respect for these young musicians, and knows they can accomplish much if much is asked of them.”
Are you ready for more music?
Photos courtesy of Young People’s Chorus of New York City.
ç. M. 鲁宾是两个广为传诵的在线系列，她接受了笔者 2011 厄普顿·辛克莱奖, “全球搜索教育” 和 “我们将如何阅读?” 她也是三本畅销书, 其中 真正的爱丽丝梦游仙境.
最新评论