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Brianism
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At http://nyiop.com/nyiop-payments/ I see that you pay $160 for a five minute slot to be heard in the preliminary round. If I'm reading that page correctly, if you make it to the round to sing for casting people, you must pay an additional $470. $630 to be heard by casting people. I know that one can say "You would spend more than that on a RT ticket to Germany", but there must be a better way to build a career! That's an extremely high price to pay for one audition (I know there are two rounds, but only one of them has any potential for "winning"). I keep thinking about the process in musical theatre (never a fee to audition) and shake my head.
This is a great essay, Cindy! We need to stand up for what is right and best about our collective selves. - Brian
Toggle Commented Nov 14, 2013 on The worship of mediocrity at Mezzo with Character
Hello Claudia, Great post as usual! I agree with the lotta vocale and teach it, but I don't understand how you have "compression" without larynx involvement. You can't compress a gas if there is a hole in the container. It seems to me in my singing that engaging inspiratory action of the ribs keeps me from EXCESSIVELY pressurizing the air when I do phonate, but until I phonate, there cannot be any compression at all. Would it be possible to elaborate on "compression"? Thanks, Brian
Great post Claudia! It's very important for students to take responsibility for their own learning, but how to inform them of what they need so that they can go out and get it? Posts like this are a good start. For objective technical benchmarks, there are certainly some vocal functions that can be tracked. For artistic evaluations, I think much more could be done with the weekly seminar/masterclass that most schools have, including getting the students involved with helping each other in matters of evaluating effective performances. Also, the way "juries" are run needs an overhaul. And of course there are legions of ineffective teachers. I don't like the current system in the NASM accredited schools of music much either.
Hi Claudia, Wonderful! Concise, easy to follow, logical overview of the major tongue issues. Such a clear explanation helps me to explain it to people. cheers, Brian
Lovely post, Claudia. I move between genres and between singing and flute, and it is in the community music scene that I feel most happy, so I go back to it frequently between forays into the "pro" scene, whatever that is. It is delightful to find a place or organization where the community and professional aspects are in a happy alliance. Brattleboro sounds like a very special place.
Toggle Commented Aug 28, 2010 on On Being a Community Musician at The Liberated Voice
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Aug 28, 2010