Music Monday - Welcome back to another year of music making.

Here in Western Australia the music teaching community, refreshed after the 6-week hot summer break, turns its attention to the arrival of the omicron variant of Covid19. 

For those of you reading from afar, WA has maintained until now a firmly closed border (a matter of vigorous political debate) and so we are only now experiencing the start of our own omicron wave. 

After a relatively normal 2021 teaching year, teachers here are now joining the ongoing international and interstate discussions about the most suitable masks to wear while singing. Or whether performing groups in schools should be limited to single year cohorts to minimise potential viral spread within a school. Or whether choreography for the school musical can include body contact with another performer. 

One of my singing students happily picked up a gig in a Perth Fringe Festival show this week after the original singer was sadly deemed a close contact of a positive case and forced into isolation. There are winners and losers at this time.

There is much uncertainty about how this semester will proceed in schools. Some disruption seems inevitable. I found yesterday’s all-day teaching in a mask very tiring. So did my students and teaching colleagues. 

Our daughter in the USA has been doing this for two years. It feels odd to her to be not wearing a mask now. 

News from interstate suggests that omicron might be receding. That is good news. But will another wave follow? 

Right now, the questions outnumber the answers. 

To end on a completely different note, so many of us were saddened to learn of American actress  Betty White’s passing on 31st December 2021. Did you know that in her early career she also sang? Take a listen to this:

Enjoy your day!

Music Monday - Musings on a choral festival

I volunteered at a choral festival yesterday. The festival is an annual event for government schools here in Western Australia and yesterday took place on a beautiful cold, sunny Sunday after weeks of rain.

Over the course of the day, we heard 20+ choirs, all a high standard, and several which were memorable for the best of reasons. Stylistically, the repertoire ranged from Gregorian Chant through to beat-boxing, with lots between.

 How wonderful for students to hear excellence in performance from a choir in quite another style to their own! 

There was a real sense of ‘family’ and inclusivity within each choir.

The day was not without its challenges though. As always, choir directors received last minute emails and text messages from parents who decided spontaneously to do something else on that sunny Sunday. (Would they tell the sporting team coach that their kid was not going to play that day, I wondered?) And of course, sickness precluded some students from attending – and presented stress for the directors when those students were on key parts in the ensemble. One of my colleagues and friends had to stand in for 2 missing parts in a beautiful 11 part unaccompanied ‘Magnificat’.

The festival is non-competitive. Choirs receive comments from an adjudicator and receive a ‘grading’ – good, excellent, outstanding. But there are no winners – a healthy thing, since the point of the festival is the opportunity to perform and hear choral singing in many genres. 

However, the grading system creates an unofficial sense of competitiveness which is not always in the spirit of the festival. A grading of ‘excellent’ is interpreted as ‘average’ (since it is the middle grade in a scale of good, excellent, outstanding). If an adjudicator’s comments included something like “this was excellent singing” there would be a sense of achievement – but as a grade it can bring disappointment. 

Are we so geared to grading in arts education that we can’t accept just a critique from an adjudicator?

In conclusion, another colleague remarked that the football derby playing that day (a game between the two state teams) had attracted much news coverage and thousands in attendance at the stadium. But here we were running a government run music festival with zero news cover. Yet another indication of arts v sports in Australia? Wouldn’t it be fantastic to have arts + sports!

Schmigadoon!

I discovered this last night, after urgings from son Ben (not a particular music theatre fan) and conversations with several music theatre students in recent weeks.

It is an American musical comedy TV series of 6 episodes created by Cinco Paul and Ken Daurio. It premiered on Apple TV+ on 16th July this year.

Broadly, it is a parody of the Golden Age musical, Brigadoon, but it goes much further in also parodying famous musicals of the 1940s and 1950s – Oklahoma, The Sound of Music, The Music Man, Finian’s Rainbow, Carousel, and many more. (You can play the game ‘spot the reference’).

The cast line-up is stellar- Kristin Chenoweth, Alan Cumming, Martin Short, Aaron Tveit, Ariana DeBose – to name only a few. It’s as if all these stars wanted to fill their downtime during Covid – if so, lucky us!

At all levels it tries to parody the Technicolor palette from the golden years of Hollywood, while using a contemporary sensibility. It is firmly tongue in cheek.

It would be an interesting classroom challenge for music theatre students to identify, not just the sources, but also the cliches and habits of music theatre writers. 

Sidenote – will they ever parody Sondheim?

Music Monday - Broadway Junior Musicals

I have just had my first experience with a Broadway Junior musical, in this case, “Matilda”. Everything is provided – scripts, piano / vocal score, backing tracks with and without the vocal lines – and even instructions for bringing it all together. The cynical side of me approached the start of the rehearsal process thinking that it was a ‘paint by numbers’ approach to putting on a show. But I must admit that by the end of the process, I could see benefits, particularly for younger high school students doing their first show.

For starters, as inexperienced performers, there is so much to learn about standard theatre practice, eg signing in backstage, stage directions, the role of the stage manager, sound checks, tech rehearsals, etc. (Things which we take for granted but which 13 year olds take some time to remember!) Taking away the additional layer of the Sitzprobe and a live band / orchestra can be helpful.

In early rehearsals I encouraged the kids to sing along with the voices on the track, mainly to build confidence. Then I worked on the songs from the piano, with the students (who are all music theatre students) looking at the notation on their page. Once we returned to the track – now minus the voices – the songs were musically secure and ready for the next stage of thought changes, choices and so on – all the interpretive textual stuff.

I certainly would not want to see this format replace the more traditional approach we use for the senior school musicals at this school. But I have learned that there is a valuable place for them.

As a footnote, I recall my excitement many years ago, to receive an LP record “Music Minus One Piano” on loan from my piano teacher, Stephen Dornan, to practise Mozart’s C minor concerto K491. The excitement of having an orchestra in the room with me as I played was indescribable. These days, of course, we can all have backings of every shape and size from our phones.

Music Monday - International Women's Day

On this International Women’s Day, I have been reflecting on gender differences in the various aspects of music and teaching activity I am involved in.

As a registered teacher, I am firmly part of a majority. In 2017-18 the ratio of female to male teachers in Australian government schools was 76% to 24%. ( www.abs.gov.au)

As a registered music teacher, the ratio of females increases further to around 82% female to 18% male. 

And in the world of singing teaching and our professional association in Australia, ANATS, the female members significantly outnumber the males. (www.anats.org.au)

Yet when we look at the statistics on singing performance in Australia, males dominate the scene. In radio, for example, solo female artists tend to make up about 28% of the top 100 most-played songs. This kind of statistic is reflected across all aspects of the industry – festival line-ups, board representation, awards, grants. 

How do we redress this imbalance? Certainly, there is much being achieved by passionate young musicians of all genders, but there is still a very long road ahead.

Finally, in a post that offers no solutions, I would like to commemorate the composer generally acknowledged to be one of the first female composers – Hildegard of Bingen (12th century).

Check out her biography on www.classicfm.com

Happy International Women’s Day!

Music Monday - Masked Music Teaching

In Western Australia, teachers and students returned to school today after a snap lockdown of the Perth and South-West for the week before – the week which should have been the first week of term. 

For this past week, Western Australians have been very diligent about mask wearing. After 10 months of not needing to wear masks, it was almost as if we as a community thought, “Right, let’s put these masks on and make sure we don’t have further community spread”. And this was based on one case of Covid-19. 

The strategy warranted an article in the New York Times last week.

At the end of the week, after no further cases emerging, the South-West region had all restrictions lifted and the Perth region had lockdown lifted, but with some restrictions – masks to be worn in all public places, 4 square metres distancing between people in any venue and the maintenance of 1.5 metres between people elsewhere.

And so, I returned to my secondary school singing teacher position today.

Music teachers of wind and voice had been given permission to have their students out of masks during lessons. I found that a challenge, given the ongoing research into the aerosol transmission of Covid-19 and the heightened level of aerosol involved in singing. I elected for my students to remain masked.

Each lesson started with an acknowledgement that our masked situation was a good reminder of what life has been like for most of the rest of the world for nearly a year. The students got it. I got it. Masks are incredibly annoying.

Because it was week one, I was able to avoid a certain amount of singing by talking through the course outlines and assessment procedures. I recorded backing tracks on piano for those students who needed it. We sang some muffled scales through our masks. One group tackled their first set song. The lessons were not significantly different from what I would usually do in week one.

One aspect of mask wearing that I hadn’t thought of is how little you see of a person’s features in a mask. I met a new class of year 8 students and really would not recognise them again next week – masked or unmasked.

It is highly likely that we will all remove our masks in WA at 12.01am on Sunday the 14th February. If so we remain incredibly fortunate and should not forget it.

But what if we had to do many weeks of music teaching in masks? Class music is fine. Many instruments are fine. I guess I’m asking my voice and wind instrument colleagues from elsewhere about strategies they are using. What do you do?

Music Monday - The 25th Annual Putnam County Spelling Bee on zoom.

On Saturday evening I drove into WAAPA at Edith Cowan University to see a production on zoom of the musical Spelling Bee, performed by Diploma of Music Theatre students under the direction of creatives Nicole Stinton (director and co-ordinator of the Diploma course), Tim How (musical director) and Jayne Smeulders (choreography). 

 I was curious to see this production. Very unusually, the audience were to gather in a lecture theatre on campus while the performers remained at home, ready to perform live over zoom. Across Perth, cast members farewelled their parents and families as the latter prepared to drive to WAAPA, and then the performers themselves settled in front of their laptops at home, ready to perform. Strange times indeed.

I confess that I was hoping that this might be the last zoom performance I would watch for the foreseeable future. Over the past few weeks I have seen several plays on this platform and although each had its merits, it was always hard to ignore the unfavourable comparison with a live performance. Spelling Bee would certainly be different in the sense that the performance was to be largely live – with some pre-recorded backup vocals and a couple of film sequences.

In the lecture theatre the atmosphere was that of excited curiosity – how was this going to work?

We were instructed to feel comfortable applauding after songs -although the performers at home wouldn’t hear us, the creative team had allowed for applause breaks.

And so the show started. 

It was certainly more comfortable to watch on a large screen rather than home laptop. That was my first observation.

The premise for this production was ‘that due to Covid 19, the annual spelling bee had been forced online. The rules would be the same as usual, with one additional rule being that spellers must have both hands visible on screen as they spelled.’

In this production the four audience members in the original script became additional characters – the exchange student from Australia who had become stranded in the USA due to the pandemic, one of the speller’s Dads, and so on.

Solo songs were performed to backing tracks played in the singer’s own space. Back-up vocals had been pre-recorded. 

The rehearsal process had clearly taken care and time with playing to the camera and to finding visual and aural clarity in dialogue between characters. There was a strong and vibrant energy in this performance -and a clear sense of ownership of and commitment to the production. There was some vocal pushing (perhaps because it was the final show) but there were also many memorable moments – one was the Dan Schwartz character who spent the performance cooking in his own kitchen, while manning the bell in the spelling bee.  A convincing variation on how it is usually played. An unscripted (I think) but hilarious moment was when the family pet dog started barking. Even on the zoom platform, live performance throws up the unexpected!

At the end of the show the audience were clearly delighted with what they had experienced.  I enjoyed every moment.

I spoke with Nicole Stinton afterwards and confirmed that she had chosen the musical before Covid 19 struck. It is hard to imagine a musical better suited to an online production.

I imagine that there will be many post-grad dissertations in the coming years about performing online during a pandemic. This production and its creatives would certainly have much of value to lend to the conversation.

Bravo to all.

Music Monday - Embodied Singing

This is the final week of what has been a long and challenging semester in high schools across Australia and the whole world. In my own little world of a performing arts high school in Perth, I have a tradition in the final week of allowing the younger music theatre specialist students to sing an ‘own choice song’ of any genre, purely for the fun of singing -  the only provision being that the text is suitable for a school environment. I work at the school on Mondays and Fridays so today was the first of these ‘own choice song’ days for this year.

Predictably, today the year 10 girls chose music theatre songs from current favourite shows – think Wicked, Frozen, Beetle Juice, Bring It On.  And the year 8 boys, after asking, “Miss, is it okay to do a rap song if we don’t sing the rude words?”, sang lustily, with a nudge and wink at each other at all the (silent) offensive moments. 

What was clear in all the fun song performances today was that every student was relaxed. There was no sense of assessment or preparing a song that would at some point become an assessment task. Their bodies were relaxed and when they inhaled it was with relaxed abdominal muscles. There was a bit of bopping around to the backing tracks and a much greater unconscious grounding of their lower bodies. These are all qualities that as a singing teacher, I strive for every day. All the singing today was embodied.

Greater embodiment is something we often observe in a masterclass when a singer, after instruction from the master teacher, sings very much better on the second attempt. This can be due to valuable help from the master teacher -  but can also be in part, a more relaxed performance after settling into a performance situation.

At my other workplace – a music theatre department at tertiary level – we have a series of ‘audition performance practices’. Lately these have of course been online, but when we are all in the space together, students so often fare much better in the singing task set at the ‘call back’ than in their actual performance. It seems that getting an endorsement of their initial performance in the form of a call-back allows them to relax into their bodies for the ‘call back’.

What does this all mean for us as teachers of singing? 

I think we need to take every opportunity to learn from the expertise of psychologists working in the field of performance. And we need to constantly search for the warm-up strategies which help students unlock their own bodies. In performance, we need to encourage students to embrace the character and story and lose themselves and their complete focus on technique.

As always, I invite and thank you for your comments.

Music Monday

Across Australia some schools have finished for the year and for the others this is the final week before the long summer holiday starts.

With Christmas carols everywhere at present, I noticed a recent facebook post which drew attention to the carol, “Joy To The World”. This carol begins with a descending major scale. The post read something like, “Joy to the world is a major scale” (which also referenced that the carol is often sung in the key of A major).

This got me thinking about other songs which contain whole scales – in other words all the notes of the scale, rather than little sections interspersed with intervals. I cannot think of many; in fact so far I have been able to think of only 3:

1. The afore-mentioned “Joy To The World” (descending major scale)

2. The opening of the canon known as “The Wordless Canon” or sometimes simply “lah ti doh re” (ascending Aeolian Mode / natural minor scale)

3. Bars 3 and 4 of the introduction to Stevie Wonder’s “You Are The Sunshine Of My Life” (ascending whole tone scale)

When I asked my year 9 students whether they could think of any, an interesting and lively discussion began. Many students were able to identify fragments of scales in songs that they know – and there was occasional confusion between the various forms of the minor scale. Students offered suggestions and were shouted down by others because their song contained intervals – not pure scales. And so on. It was interesting to see the students engaging with scales in an animated way – such a contrast to the look of benign resignation when we practise singing the set scales for their technical work assessments.

So facebook friends – can you add to my list of songs?

Continue the conversation on facebook and twitter.

Music Musing Monday - Sound or Sense?

In the past week or so I have been pondering the curious phenomenon of student singers to ask after a performance, “How did it sound?” or “Was my voice okay?”

 Not “Was my interpretation clear?” or “Was I singing correct pitches and rhythms?” or “Could you understand the text?” or “Did you believe me?”

 The acting students I work with rarely ask, after performing a monologue or role, “How did it sound?” or “Was my voice okay?” But - the moment we work on songs, those same questions arise. 

When I draw the comparison with the speaking voice, the student actors are usually amused. Sure, they will ask whether they were successful in maintaining accent and dialect in a speech or role, or whether they could be heard clearly. But the sound of their spoken voice rarely concerns them. 

Successful singing and acting both rely on a secure vocal technique. And, of course, singing and speaking voices vary enormously in their inherent timbre and beauty. But where most of us will look forward to seeing a particular actor, more because of his / her ability to tell a story and transform into character than the essential sound of his / her voice; many more of us will go to hear a singer because of the voice itself.

I have always ranked the story-telling above the sound of the voice but over the years have come to realise that people are pretty evenly split on this.

Where do you fit? Is it the essential sound or the sense of what is being sung or spoken which hooks you?