Do I Have to Use Beat Patterns?


One of the areas of choral directing in which there is the greatest disparity between text-book ideas of good practice and what happens in real life is in the use of beat patterns. The orthodoxy is that they provide the correct method for conducting a choir, and they provide the foundation of most approaches to teaching the craft, yet the literature remains full of rude comments about the technique of choir leaders who depart from them – real conductors, it seems, are quite happy to ignore the othodoxy.

As in most well-entrenched debates, each position has its virtues, and real life tends to involve finding a way to sail a coherent course between the polarised points.

Radio Moment

I just found out that I was on the radio this afternoon! It was a repeat of the programme I did a couple of years back on key characteristics and synaesthesia, and it is available on Listen Again for the time being (I would guess for a week, as that seems standard).

On Musical Comprehension

When I first started singing lessons at age 14, I was introduced to those standards of voice training, Vaccai’s exercises and Schirmer’s collection of 24 Italian songs and arias. At this stage, I was singing Italian phonetically – I knew the general gist of the words from the translations, but in expressive terms it was much like playing Mozart arias on the clarinet (which I also did around that age). Then at university I took Italian classes for 3 hours a week for a year, thinking it would be useful for someone taking voice lessons (and actually, interesting for someone who liked studying languages).

It was some years later again when I returned to the old Schirmer volume to revisit songs I had learned in my teens and had the bizarre experience of going through the motor actions I had learned to create the sounds, but now understanding the words I was singing. Bizarre and rather fun, I should add – I always enjoy the sensation when bits of my brain that hadn’t really connected before discover they have something in common.

The Cultural Politics of the Concertina

Over on This Blog Will Change the World, there is a quite wonderful post from last November laying out the aesthetic manifesto of the 'concertina-brow'. To give you a flavour of it:

The Concertina Brow reserves the right to enjoy any artistic product, activity, food, beverage, or cultural artefact of any kind, with no regard for the degree to which his tastes may or may not align with highbrows, middlebrows, lowbrows, or any other brow style of which we may not be aware. The fact that a cultural artefact was favoured by Dead, White, European Males is of no significance, either positive or negative. The opinion of his contemporaries is likewise completely irrelevant to the Concertina Brow, with the exception of individuals whose critical acumen he respects. "Popular" and "unpopular" are terms neither of approbation nor contempt.

But do go and read the whole thing – it’s worth the visit over there.

Now what the concertina brow does very well here is to navigate a coherent course between the oft-conflicting discourses of taste and quality.

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