Wednesday, August 31, 2005
I think we can help her with three things she wants to do before she dies:
1. sing at the met or on broadway
2. go to Europe and perform there
3. Get married and have a family
Who knows? With our current success at matchmaking and marraige forming within the choir we might take care of #3 within two years . . . . If we are lucky we'll take care of #2 next June or July and maybe we can get her an audition during our New York visit.
Oh . . . And here is the best version of the last page of the work.
Selecting a few soloists for the work will become a primary concern in the next couple of rehearsals. If you are interested, work on it. Now.
MLK Concert Details as I know them below. My source for info is the Alys Stephens Center website, but this is what I know right now.
Leslie B. Dunner, conductor
Sunday, January 15, 2005; 3 p.m.
Jemison Concert Hall
Tuesday, August 30, 2005
- Sean: Sister had baby--congrats, Sean.
- Sam: Hurricane problems
- Maggie: Hurricane problems
- Chris Reid: Hurricane problems
Great work so far . . .
Saturday, August 27, 2005
Schedules and priorities change, I know, but I still miss them.
Looks like we might get Katie back when she can find time in her schedule. I'm certainly hoping that is soon.
Wednesday, August 24, 2005
Of course, it draws from another article as the main source, one from this blog that I've never visited before. He found it from Slacker Manager, a blog I used to read alot.
All that aside, take a look at the "formula" required to make art:
It is interesting for me to contemplate how you and I fit into that equation to bring art into what we do as a choir. My first thought about how it effects us:
1. The choir is both a corporate and individual representation of creativity. Each singer brings their own creativity and musicality to the organization; the musical work is forged by the conductor into a unified, creative and personal interpretation of a piece of music. Hopefully, that interpretation builds upon dramatic elements found in the text and musical foundations provided by the composer.
2. I teach you the craft of singing in a great choir, the craft that my previous conductors have taught me. I transfer the principles that I have learned to you about how to effectively render a piece of choral music. Your responsibility is to observe what is being taught and master it. Learn from the conductor who is in front of you and the singers around you who are bringing energy, crispness, and dedication to the task at hand. We are all still mastering the craft--I'm still learning it myself, of course, and I always will be.
3. We are both responsible for the third element, emotion. It's the most elusive! Performance pressures often rob us of the joy of an emotional experience while we sing in a concert. It's why we must practice performance in the rehearsal. It's why we need to dwell on each piece of music and text and connect it to our previous and future life experiences.
The music we have in front of us this semester is of the highest quality. It represents many emotional and dramatic possibilities for us as creative artists that are masters of their craft. Don't miss the opportunity that you have in this choir to experience something few have experienced. Learn your notes now, in rehearsal and on your own. Get past that so that we can get on to producing emotional art to our listeners.
Monday, August 22, 2005
The question: My department chair has asked me to come up with reasons an instructor might benefit from wireless technology in the classroom. This is a precursor to paying for it out of departmental funds. It is a good question and one that I would like help in answering. Do you have ideas that could help me?
My current brainstorming:
Here are some of my thoughts and perspective on the wireless need:
1. Forward Thinking Institution. Today, wireless technology has become a part of American culture, and it has become expected among forward-thinking institutions of higher learning. It's clear that there are both immediate and long-term from wireless services.
2. Live demonstration of online material. Live demonstrations of online material—pointing our internet-savvy students to online resources is important.
3. Removes the barrier of the tethered connection. In my primary classroom, the “place the teacher stands” is quite far away from the place to hook up the internet via cable. To hook into the internet, I'd need an ethernet cord about 25 feet long. To move around, I'd need a 40 foot cord. Wireless access removes this hindrance.
4. Facilitates efficiency. I use internet resources in all my classes. My choir blog has been an incredible resource for some time now and I recently started a conducting blog for the purpose of facilitating assignments, messages, and other uses. One of the ways I can use the wireless connection is to post immediately during the class to the blog—it would be a facilitating tool for communication and accuracy. Anything I can do to increase my efficiency and decrease the number of things I have to do “when I get back to my office” makes me more effective.
5. On the spot assignments. For conducting in particular: assignments are sometimes created “on the spot” based on the way the daily class evolves. (choir too, for that matter) The ability to make an assignment and immediately post it is an incredible thing.
6. Prior attempts. I’ve been needing wireless for some time, just in my office, to maximize the use of technology that I bring to UAB with me. For a short time, I set up a wireless router in my office in order to have the benefit of access. However, the router isn’t designed to work on a system like UAB’s. Although I had it successfully installed once, I could not do it again, and it is something that UAB cannot help me with.
7. Productivity. It is difficult to use the notebook to it’s potential when I don’t have the internet access. The wireless feature helps me be more productive in the office and on the campus.
8. The no-brainer argument. If the internet has potential uses in the classroom, then the best way to get it to the computer—wireless-- is a no-brainer. The ability to use it, and be more mobile—not tethered to some wire, is the way that it should happen.
9. Online based scholarly activities. More and more of my scholarly activities are online based. The need for instant information, whether it be classes or meetings, is enhanced when I have the internet at my fingers.
10. Efficiency in meetings. Use of internet resources can benefit one in meetings: fact checking, email searching, etc.
11. Use in library. The ability to reference internet resources in the library on a wireless computer is attractive. Computers are often hard to access when deep in the stacks of books.
12. Potential to use Instant Messaging in Lectures. When the professors have access, students can IM questions or comments to professors that they might not want to raise in front of their classmates: “James is cheating.” “Can you explain that concept again?”
13. Mobility is Liberating. I’ve had wireless access in my home for sometime now. The mobility it gives is quite liberating. Once you have it, you can’t do without it!
14. Would pay for it myself. Of course, my conversation on this topic originally began with a statement that I would pay for the wireless access myself. I think it is valuable enough to personally fund my own access.
That's my brainstorming for now. Feel free to add your own suggestions in the comments.
Saturday, August 20, 2005
UPDATE: Martin speaking the text.
The poem and translation:
Frühling läßt sein blaues Band
Spring lets its blue ribbon
Wieder flattern durch die Lüfte;
flutter again in the breeze;
Süße, wohlbekannte Düfte
a sweet, familiar scent
Streifen ahnungsvoll das Land.
sweeps ominously through the land.
Veilchen träumen schon,
Violets are already dreaming,
Wollen balde kommen.
and will soon arrive.
Horch, von fern [ein]1 leiser Harfenton!
Hark! In the distance - a soft harp tone!
Frühling, ja du bist's!
Spring, yes it is you!
Dich hab ich vernommen!
I have heard you!
I have this advice: see how a line of the poetry makes you feel . . . what images do the words inspire? Write down the images; see if the composer has captured something similar when you think about the melody and the harmony. Begin to bring emotion to the words and how you say them . . . how you should look when you say those things and what exactly you are trying to communicate. Then . . . you are well on your way to becoming a great musician and effective interpreter of words and music.
Thursday, August 18, 2005
The new ones that I know about:
1. Marybeth Verchot. That's right, I've been reading her blog for months and she didn't know about it. Watch out, this choir director knows how to use the internet. Marybeth is finally in the EXACT right place at the EXACT right time. Great last sentence in that Aug. 18 blog, MBV. Welcome!
2. Chris Josof. Two blogs and a low D. Here is the first. Here is the second--with pictures. Welcome Chris!
3. Jacki Roche. Welcome, Jacki! . . . But don't mouth off to this lifeguard. In her words:
some people at the pool are really rude to the lifeguards. Which I don’t think is a very good idea because what if you drown? That lifeguard that you were just rude to and talked to with no respect may save you… but then again… may not.Choir notes:
Excellent beginning today. Big sounds. If I can help somebody is going to be quite thrilling. Read here about some background on my favorite pieces ever.
Wednesday, August 17, 2005
- Erin Pair
- Lindsey Tuller
- Sarah Green
- Samantha Pace
- Ashley Arrington
- Meredith Foster
- Maggie Hendricks
- Jennifer Scivley
- Kristina Banks
- Jackie Roche
- Marybeth Verchot
- Shelly Ann Edge
- Lauren Askew
- Rachel Hicks
- Katie Krauss
- Katie Movelle
- Holly Sawardecker
- Maggie Malone
- Jessica O’Leary
- Jessica Marshman
- Whitney Sims
- Lauren Davidson
- Diedra Brown
- Meghan Granlund
- Electa Taylor
- Lauren Stephens
- Patrick Williams
- Josh Noland
- Sean Fleishman
- Andy Smith
- James Desta
- David Berg
- Anthony Concepcion
- Wes Edgar
- Stephen Han
- Jon Hood
- Thomas Nelson
- Charles Henry
- Chris Reid
- Clay Rector
- Evan Long
- Luke Boone
- Martin Schultz
- Jason Leger
- Keith Kendrick
- Chris Carter
- Andrew Granlund
- John Howard
- Chris Josof
Blogger has a tool that allows bloggers to type posts in Microsoft Word and then post to their service. That will keep you from losing your posts . . . and ease your frustrations.
Here is a link to it.
I posted this post with it, as a matter of fact.
Monday, August 15, 2005
Saturday, August 27th
Saturday, September 10th
Saturday, September 17th
Tuesday, September 20 (posted 8/10/2005)
Alumni Awards Luncheon (@ THE CLUB)
Friday, October 7th
Smolian International House, 3pm
Saturday, October 8
ACDA Saturday Sing (Opportunity to makeup tardy)
Sunday, October 16th
Probable Church Service (UAB Choir Members will miss their Sunday morning commitments)
Thursday, October 20th
Fall Choir Concert
College Choral Festival 10:00 am. 3pm
UAB Final Exams Dec. 8th - Dec. 14th
Monday, Dec. 12
Tuesday, Dec. 13
Rehearsal w/ASO - Jemison Concert Hall
UAB Final exams end on Wednesday, December 14
Thursday, Dec. 15
Rehearsal w/ASO - Jemison Concert Hall
Friday, Dec. 16
Performance: 8:00 Jemison Concert Hall
Saturday, January 14
UAB Honor Choir Performance
UPDATED: 11/22 addition:
January 15, 2006; 3 p.m.
Reflect & Rejoice: A Community Tribute to Dr. Martin Luther King, Jr.
Alys Stephens Center
UAB at ACDA Convention (Charleston, WV) Exact dates will be provided later. I expect that we will leave on Saturday, February 18 and return to campus on Friday, February 24.
Friday, April 21
UAB Spring Concert
(Mozart Solemn Vespers) and other works
Sunday, April 30
UAB Choir at South Highland Presbyterian Church (Solemn Vespers)
RESIDENCY, NEW YORK
Tuesday, May 9
UAB @ Carnegie Hall (Performance 8:00 p.m.)
Thursday, August 11, 2005
Reason: All freshmen have to attend a session that day to discuss a book they were supposed to read over the summer.
We will have auditions at this schedule:
Tuesday, August 16th:
3:00 ALL MEN
4:00 ALL WOMEN
Wednesday, August 10, 2005
I received this email today, so ADD another date on your Calendar. I'll update the list of dates on the blog.
we would like to have the UAB Concert Choir sing for the annual Alumni Awards Luncheon again this year. The luncheon will be on Tuesday, September 20th at Noon at The Club. You all did a great job last year and we would like you to do the same thing this year. One selection of your own plus the UAB Alma Mater at the end. You will only have approximately 6-8 minutes of singing this year. Please let me know if you are able to participate in this again this year.
I look forward to hearing from you soon. If you have any questions please do not hesitate to call me.
University Events Specialist
The University of Alabama at Birmingham
Tuesday, August 09, 2005
The Trip of a Lifetime
In May, the UAB Concert Choir brought international acclaim to
The choir is directed by
Two other music faculty members accompanied the choir on the trip:
“from the moment we boarded the bus in
Choir competitions are rare in the
Fourteen musical works, with all but one unaccompanied, takes an enormous amount of preparation and dedication. UAB Concert Choir members devote six hours of rehearsal each week to be a part of the ensemble on top of all their other schoolwork. “The music we sing is quite advanced in difficulty,” said Copeland, “It has to be when you are in competition with other great choirs of the world.”
Being selected to compete in the
The competition’s generosity deferred a small portion of the trip cost and the students paid the rest. “It was difficult for most of our students to come up with the funds required for overseas travel,” Copeland said, “I think they will all agree that it was worth every penny.”
The choir and director felt they delivered their best performance on the evening of the first day. Delia Charest, a graduating senior at UAB, called the first evening’s performance the “concert of her life.”
“It was the best we had ever sung; we held the audience in complete awe and want for more—we could hear the audience breathe a sigh when our softest song was over. The uproar after we finished the spiritual was just amazing,” she said. “I’ll never forget what happened afterwards: people who could not speak any English came up to tell us how much we moved them. One precious little French man told us that the spirit was with us . . . all around us.”
Dr. Copeland recalls the same evening:
“Competition really heightens the natural joy of performing; it brings a new edge to the art. The choir experienced performances and audiences like they had never seen before. In the Saturday night performance, I could actually hear the audience holding their breath as we sang the most intimate moments of the work. As a conductor, I've been taught to stretch the audience and their emotions to the breaking point . . . . and I tried to do just that. There wasn't a sound in the entire auditorium as the sopranos held their note perfectly until the choir (finally) entered beautifully on the last cadence. It was a moment that I will never forget. And then—the spiritual. The audience went crazy following our performance of I Thank You Jesus—it was thunderous. Afterwards, the students were ecstatic about their singing and many wept as they hugged one another. It was very, very special.”
The choir competed in two categories and made it to the finals in both. “It’s clear from the judging sheets and comments that we were in a position to win the entire competition,” said Copeland. He continued, “I couldn’t be prouder of our students and I’m glad to have won this recognition for UAB.”
Many of the UAB students were surprised at how well they were received in
“The people in
One of the highlights of the trip was the opportunity to perform in the historic Cathedral of Notre Dame. To be considered for a performance, choirs must submit recordings and planned concert repertoire. “The performance in Notre Dame was very meaningful for our students,” said Dr. Copeland, “I was thoroughly impressed with their depth of understanding and spirituality regarding the concert.”
Performing in Notre Dame made a distinct impression on Erin Pair. She remembers that “her breath was taken away because of the vastness of the cathedral and the knowledge that millions of prayers are still lingering from all the people who were there before --- it was the most amazing feeling in the world.”
Charles Henry had a similar experience:
“It was difficult to fathom the beauty and majesty of Notre Dame. As we sang from the sanctuary steps, I kept thinking that we were singing the same language and scripture that had been echoed throughout those halls for centuries before us.”
Katie Movelle calls singing in Notre Dame the “singularly most incredible moment of my life.”
“The stained glass and stone angels behind Dr. Copeland’s head as we performed made God’s presence so much more real. When I returned to Notre Dame later in the week, I realized how privileged we were to have seen the back rooms and basements of the ancient cathedral.”
The concert following the Notre Dame experience was also noteworthy, but for a different reason. This concert, in the modern Chapelle Sainte Rita, was attended by about 250 music loving members of the community. The choir was well pleased with their performance and impressed with the spirit of the people who attended the concert.
Jonathan Hood, pre-nursing major, described the concert as “one of those experiences that will stick with me forever.“
“Our songs truly touched the people of this tiny French church. As we sang, it was apparent that God was working in that place. People were coming in off the streets in the middle of the concert. My entire trip was completely amazing but something happened in that church that I will never forget and I am truly thankful for the experience.”
It was what happened at the end of the concert, however, that everyone remembers. Holly Sawardecker relates the experience:
“At the end of the concert, the choir left the auditorium and headed downstairs into the holding area where we began congratulating each other on our performance. The girls took off their shoes and the guys removed their jackets. About 3 or 4 minutes had passed since our last note. Suddenly, Ms. Reynolds came in yelling “Get back out there NOW! They’re still clapping!”
“We couldn’t believe it. As we took the stage again, many of us looked out into the crowd. All eyes were on us and the clapping had become chanting. We were adored by complete strangers. They could see our surprise and smiled broadly as if to say ‘No, really, we want to hear more.’ Never before had we been received so enthusiastically!”
“Hurriedly, we got to the stage . . . those that were completely dressed took the stage first and the rest followed. It was an amazing experience.”
David Berg, freshman music major from
The trip to
Katie Movelle found that her French language skills sometimes failed her:
Charles Henry identified with some famous visitors to
“I love a quote I found from Ernest Hemingway, ‘If you are lucky enough to have lived in
“And what a feast it was. The sights, sounds, smells and the ambience of being in a different world was electric. I can remember every second of every day as if I am still there. I may have left
Any trip overseas is likely to change a person’s perception of the world, and this one certainly did for UAB students and faculty. However, this trip also succeeded in adding to the growing reputation of a music program making its mark on the international stage. “I’ve been astounded at the number of invitations from other international festivals and competitions since our participation in
Rebekah Smith summed up the trip this way:
“The best thing about the trip for me was being able to experience a once-in-a-lifetime opportunity with a group of people who share a passion for choral music. We came together to represent UAB and
There is another picture with the man cropped out of the photo on the Flickr site.
Monday, August 08, 2005
Sunday, August 07, 2005
Just so you know, the official name of the church was "Chapelle Sainte Rita" and it was in Fontenay Aux Roses.
Holly's description of what we remember:
At the end of the concert, the choir left the auditorium and headed downstairs into the holding area where we began congratulating each other on our performance. The girls took off their shoes and the guys removed their jackets. About 3 or 4 minutes had passed since our last note.
Suddenly, Ms. Dale Reynolds appeared at the door and said in a loud voice "GET BACK UP THERE, THEY HAVEN'T STOPPED CLAPPING YET----- SING SOMETHING ELSE!!!!"
We were stunned that they were still applauding--it just didn't seem like it could be true.
Especially St. Rita's . . .
UPDATE: Let me clarify. ANY PICTURES! Not just ones of us singing.
Thursday, August 04, 2005
* Eagerly start the day's main work.
* Do not murmur at your busyness or the shortness of time, but buy up all the time around.
* Never murmur when correspondence [or e-mail] is brought in
* Never exaggerate duties by seeming to suffer under the load, but treat all responsibilities as liberty and gladness.
* Never call attention to crowded work or trivial experiences.
* Before confrontation or censure, obtain from God, a real love for the one at fault. Know the facts; be generous in your judgement. Otherwise, how ineffective, how unintelligible, or perhaps provocative your well-intentioned censure may be.
* Do not believe everything you hear; do not spread gossip.
* Do not seek praise, gratitude, respect, or regard for past service.
* Avoid complaining when your advice or opinion is not consulted, or having been consulted, set aside.
* Never allow yourself to be placed in favorable contrast with anyone.
* Do not press conversation to your own needs and concerns.
* Seek no favors, nor sympathies; do not ask for tenderness, but receive what comes.
* Bear the blame, do not share or transfer it.
* Give thanks when credit for your own work or ideas is given to another.
Wednesday, August 03, 2005
Special Note: We will have a $100 deposit due on September 1. Start saving now! This trip isn't expensive if you break it down into days/weeks. Remember how much fun the Europe trip was? Worth every penny . . .
Update: This information available in a handout here.
Frequently Asked Questions handout here. (pdf file)
1. Music and Performance: We will perform Mozart's Vesperae solennes de confessore , K.339 on Tuesday, May 9 in New York's Carnegie Hall.
Conductor: Dr. Philip L. Copeland
2. All participants will have the opportunity to attend a post-concert celebration reception cruise in New York harbor featuring a spectacular view of the Statue of Liberty, the Manhattan skyline, with a buffet supper, music and dancing. The cost of cruise is included in package price. Other amenities in package listed below.
3. Itinerary: The itinerary below has been designed to allow for time for sightseeing, Broadway shows, shopping, etc. Feel free to schedule your trip as you wish. For information and to purchase tickets for Broadway shows available the days of the trip, go to www.playbill.com
Travel Day (It is advised that participants don't schedule anything for that evening until airline tickets are issued and arrival time set).
Rehearsal, 9 a.m. to noon (rehearsal place to be determined)
Rehearsal, 9 a.m. to noon (rehearsal place to be determined)
9 a.m. to noon, Dress Rehearsal with soloists and orchestra, Carnegie Hall
Concert time will be 2:00 p.m. '.. (It is advised that no sightseeing be planned until concert time is set). 5:30 p.m. Post Concert Dinner Cruise
Wednesday, 5/10: Travel Day
4. Trip Package includes: Four nights lodging at the four-star Grand Hyatt on 42nd Street in New York within walking distance of Times Square, the Theatre District, Macy's, Empire State Building and Rockefeller Center. Other amenities include: rehearsal and concert related bus transportation; a ticket to the observation deck of the Empire State Building; a 8 ~ x 17 replica of the Carnegie Hall poster which announces your concert; gift coupons for Macy's Department Store and Bloom's Deli, near the Grand Hyatt; and all tips, gratuities and baggage handling at the hotel.
5. Transportation: The current price (from Mid-America) is roundtrip flight to New York from Birmingham, (approximately $369) + $31 roundtrip airport-hotel transfer and $15 per ticket handling charge (This price may change).
6. Land Package Cost: Based on four people to a room, the cost is $969 per person. For three people to a room, the trip cost would be $1,080; for double occupancy, it is $1,239 per person. For single occupancy, the cost is $1,825 per person.
The costs for an extra night would be:
Quad occupancy: $89 per night Triple occupancy: $99 per night
Double occupancy: $143 per night Single occupancy: $280 per night
7. Complete Cost of Trip, per person, based on quadruple occupancy:
Total with All Transportation: $1384
Land Package: $ 9698. Package Payment Due Dates: $100 per person due 9/1/05 $200 per person due 10/15/05 $200 per person due 11/15/05 The balance of amount owed due 2/1/06***The first $500 in payments is non-refundable
Airline Ticket: $ 369 (round trip estimate)
Shuttle Bus to Grand Hyatt: $ 31 (per person, round trip) Ticket Handling Charge $ 15 (per ticket)