Editorial / Op-Ed
Collegiate A Cappella: The Singer, the Group, and Campus Musical Economics
Written by Joshua S. Duchan   
Wednesday, 19 October 2005
In my previous article I wrote about two stylistic goals of collegiate a cappella: emulation (the recreation of an instrumental-and-vocal recording in a vocal-only medium) and originality (the customization of songs in ways that depart in varying degrees from the original). In this second part, I’d like to consider some of the larger, non-musical purposes those goals serve.

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Collegiate A Cappella: Emulation and Originality
Written by Joshua S. Duchan   
Sunday, 25 September 2005
University of Michigan
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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Musicking and Meaning in A Cappella
Written by Joshua S. Duchan   
Monday, 11 July 2005
When we think of meaning, we typically think of a straightforward dictionary definition.  Many scholars, howeverincluding music scholarssee meaning as something broader.  While they might ask, what does [this piece of] music mean?, they do not expect the same piece, even the same snippet of melody or type of distortion, to mean the same thing to everybody.  Music is too often tied to individual memories, tastes, and other personal preferences to allow for singular or exact definitions.  But that doesnt make it meaningless.

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Singing A Cappella...Solo
Written by Camille Breeze   
Wednesday, 06 July 2005
I am one of those people who listens to live music with my mouth open and my head up. Im not singing precisely, but in my imagination I am making the sound that I hear. So when I finally broke out of my shell and started going to open mics a few years ago, all I wanted to do was get up on stage and sing. Until I got to know the hosts, they would ask me whether someone was joining me on stage, or if I would be plugging in (plugging what in I wondered?). Although I thought it was perfectly natural to get up in front of people and sing, I became aware that a double standard exists in the open mic community.

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Dress Like A $50 Ticket
Written by Amy E. Malkoff   
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.

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