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Written by Joshua S. Duchan
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Sunday, 25 September 2005 |
 University of Michigan's Amazin Blue As an ethnomusicologist, music historians are sometimes surprised that I study not some non-Western musical tradition, but one right here at home: collegiate a cappella. Sometimes we take for granted the music that surrounds us or that we practice every day. My job, then, is in part to find new or insightful ways to think about the music we already know and love. This article (in two parts) is one such attempt.
Heres the proposition: a pair of concepts, emulation and originality, organize the contemporary collegiate a cappella aesthetic. A cappella groups strive to capture the essence of a popular recording, yet at the same time infuse their music with something new, something original. In this first part, Ill mention a few of the techniques used to achieve these two stylistic goals. Then, next time, Ill ask what purposes those goals serve.
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Written by Amy E. Malkoff
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Sunday, 19 June 2005 |
BOSTON -- That headline is a direct quote from Keith Garde, Rockapella manager, Aerosmith consultant, and all-around Dynamic Person. "This is what I tell Rockapella all the time", says Garde. Its part of a discussion about presentation in performance. The idea is that if a band, like Rockapella, is charging $50 per ticket (as they do), then they should dress accordingly. But I would suggest that it doesn't really matter what one's cover charge actually is, one should always dress, on stage, like a $50 ticket.
Many musicians, and often a cappella singers who aren't used to thinking of themselves in "band" terms, tend to neglect what Garde believes is just as important as a band's sound: what a band looks like. Be first to comment this article | Add as favorites (38) | Quote this article on your site | Views: 1010 |
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