Archive for Music

Completed Questions: Experimental Group Voice class

Experimental Group Voice, Keith Rowley

  1. 1.How will this activity attract University of Washington students? This activity will attract UW students by being experientially effective. That is, participants will not only know they have been through an exciting event, they will feel it. This course will expand their range of expression, emotion, feeling, and interrelationships, and in so doing, students will be so excited at their growth they will feel compelled to tell others about it.
  2. Why do you want to teach this class? Because I am excited by the expressive and connecting potential of the human voice. And I want to empower people to explore their humanity, their compassion, and their ability to connect the deepest parts of themselves with the deepest parts of others.
  3. What skills and/or knowledge do you hope the students will gain from the activity? Primarily, I hope students will gain trust in themselves and their classmates. I hope they will learn to trust their own ability to express themselves more fully, trust in their power to overcome any fear of expressing themselves, trust in their ability to share themselves fully with others, and trust in the effectiveness of both opening themselves to others, and being open with others. I hope they learn that by being open to others, by listening to others, and by being committed to the process, they will create something larger than they can alone.
  4. What exercizes will the students participate in? Exercises will include visualization (controlling their emotions), meditation (getting in touch with their emotions), breathing (controlling their voices), calisthenics (enabling a wider range of expression), communication and listening (opening themselves to others), and vocalizing, employing various musical elements such as rhythm, melody, harmony, dissonance, tone/timbre, volume/amplitude, texture (monophonic, polyphonic), etc.
  5. What supplies and/or equipment will the student need to provide? Just their self, their voice, and an open mind, heart, and ears.
  6. What supplies will the student receive? Perhaps some printed inspirational resources, and/or audio CDs.
  7. Please describe your background in this area and your teaching/training background. I have been singing since before I can remember. My family of seven sang rounds together in the car all the time. I have sung in choirs starting in seventh grade, and made the Texas All-State Choir in 1981. I have 20 years experience singing semi-professionally. I have also been teaching at the college level since 2000, and am currently teaching at Bellevue Community College.

Transcription of the first line of “The Story,” by Brandi Carlisle, for Erin’s birthday tatoo

Erin wants me to transcribe “all of these lines across my face”– the first line from Brandi Carlisle’s “The Story.” Here’s the video.
Alloftheselines-up8va.lhXN3OibMJMp.jpg

Course Outline for Experimental College Voice Class

  1. General course description
    1. Subject matter covered in this course
    2. This class will cover various experiential approaches to vocalization, including texture and harmony, as a group. We will concentrate on eliciting a variety of emotions, as a group, using only our voices and bodies.
    3. My approach to teaching this content will be both very experiential and experimental. I will use various means to engage and prepare students for our attempts to work together to elicit specific emotions.
    4. The only prerequisites for this course are the willingness to vocalize with other people, and a willingness to be open to all sorts of possible experiences.
    5. This class will draw on various elements of choral composition, such as rhythm, melody, harmony, dissonance, tone/timbre, volume/amplitude, texture, etc. It will also draw upon visualization, meditation, calisthenics, and breathing techniques.
    6. Students might find it helpful to draw upon their experiences working in groups (not necessarily singing in groups!), and in meditative environments.
  1. Method of course delivery
    • The course will mainly entail learning together, as a group.
    • In fact, the main point of this class is to create what we cannot create alone.
    • Students will be sticking to the pace of the group’s growth. I will encourage students to engage in active listening throughout their lives, by listening to various artists, as well as the world around them, in an effort to broaden their “palette” of sounds with which to elicit emotion. But the point of the class is, again, to create together what we cannot create alone.
    • Inspirational resources may be provided via audio CDs and/or printed material.
  1. General course goals/objectives
    • Students will directly experience working in a group.
    • Students will directly experience creating something as a group that they cannot create on their own.
    • Students will broaden:
      • 1) their relationships with others
      • 2) their ideas of what music is
      • 3) the limitations of their feelings
      • 4) the limitations of their expression
  1. Outline of overall course structure (i.e., lessons/topics)
    • The course is broken down into combinations of “preparation-to-create” and “approach-to-creation.”
      • “Preparation-to-create” is: calisthenics, meditation, breathing, and visualization.
      • “Approach-to-creation” is: visualization, and the various choral-composition techniques, such as texture, harmony, melody, unity, dissonance, rhythm, amplitude/volume, and tone/timbre.
    • The course will last an hour and a half, once a week, for six weeks.
    • Each week I will present a new combination of “preparation” and “approach.”

Experimental Voice Class: Summary/Description

In this class, people will use their voices to elicit emotion. The class is inherently experiential and experimental, with the participants exploring their voices, their emotions, and their interrelationships, all within a safe, fun, and enticing environment. Exercises will include visualization, meditation, breathing, calisthenics, rhythm, melody, harmony, dissonance, tone/timbre, volume/amplitude, texture (monophonic, polyphonic), etc. In such an experimental and interactive creative environment, we will foster community via people sharing in the creation and experience of a wide array of emotions, including love, sadness, joy, power, anger, grooviness, happiness, play, confusion, and peace.

Last.fm: A Case of Identity Theft in My Social-Music Space

I am a *huge* fan of Last.fm. But there is one *glaring* problem with their site: it does not distinguish between two artists of the same name.

Here is a letter I just wrote them, in response to their response to my first complaint about this issue:

I understand that Last.fm has no provision for distinguishing two artists of the same name…

However, I’m sure this problem is driving artists to avoid using Last.fm to promote themselves. I know I *love* everything about Last.fm *except* for this issue. Why can’t you make some provision for identically-named artists to move their sites to a new artist name? I am currently doing this exact thing, except by manually downloading all my music to my local machine, changing all my “artist name” tags in the mp3s to a new artist name, and re-upping them.

It looks like the core problem here is that Last.fm is taking the artist name from the mp3 tag. If you were to have an artist manually type in their name *before* uploading any music, like in a form on their Music Upload page, then you could check that artist name against your listing of already-existing artist names, and ensure that a *unique* artist name is entered. Otherwise, you get “Identity Theft”– you mash all this different music together.

I mean, that’s what happened to me: I was super-thrilled with Last.fm for a couple years, until one day I hit my page to find that an Italian heavy-metal band had “stolen my identity!” Now, I have nothing against Italian heavy metal or ANY music, but I AM rather upset about this seemingly-easily-avoided problem.

What would ANY OTHER online space do to ensure that two people of the same name were kept separate and unique?

Thank you,
K—- R—–

Yugenro“: the artist formerly known as “Yugen

Earth My Body

My old friend Dell is helping me with “Earth My Body,” which is a song taught to me by this great guy Kaj (pron: “kai”) at the Kerrville Folk Festival back in, say, 1991. Simple words:

Earth my body,

water my blood,

wind my breath,

and fire my spirit.

For my first two years at Kerrville, drum circles were just kick-ass: very often, very nice, very humbling, spiritual, powerful, communal. Exactly what my soul desired at the time (and has been craving ever since). (Since the KFF is a "songwriter’s" festival, KFF, Inc. officially banned drums after my second year– quite probably as a direct result of our drumming– which was, to me, at least, and i know to most anyone who was present at this particular circle– among the most divine experiences in my life.)

One evening, on the back of Chapel Hill, the darkest, quietest, most sacred spot on the ranch…

…nice fire,

a dozen or more beautiful hippies,

clear sky, no moon.

lots of stars.

smallish fire.

 

Kaj starts this beat.

He’d taught me this song earlier,

so i knew it. Dropped right in with my talking drum,

got it going.

Organically, grows.

People join in as their spirit gets it–

“gets” it.

Groks it.

All of it going on: super-natural.

Kaj starts singing.

I join.

We sing in unison for quite some time,

and one by one,

people start joining in,

start singing in this unison, this one song…

Once this feeling, this communal bond, is established,

i add a harmony,

the 5th,

very quietly at first,

blending it in as just an overtone.

And it grows.

Soon others join in the harmony as well.

i add the 3rd,

quietly at first,

and soon all three parts are going,

and everyone is feeling it,

knowing,

that–

this is something special!

Everybody knows it, is singing,

playing, harmonizing,

the spirit of the song so growing organically,

moving us all

from the inside

to play as IT

–the SONG–

wants to be played, to be manifested in this plane of reality…

for she is the message,

and we, the messengers…

And i’m on fucking autopilot–

dun-dun talking away–

talking with–

–holding conversations with–

every individual musician/instrument-combination in the circle–

taking turns, listening, responding–

listen/reply–

hear/say–

joke/laugh–

cry/weep–

bless/thanks–

spit/spat–

The spirit rises–

we are all orbiting Pluto–

the stars spinning round our heads–

the gods whirling ‘twixt our souls–

hearts beat in time–

the earth throbs with us–

fire-sparks join our spirits rising–

the wind sings harmonies in the trees octaves higher–

energies race to the farthest oceans of space–

brightening the darkness

all around us,

within us

eventually we drop;

we feel the spirit quiet.

As one, we fade,

leaving only the crackling of the fire,

the chirping of the crickets,

the wind, still calling our universal names…

In silence, we all exhale,

for the first time in 20 minutes

(though it seems lifetimes).

i look up at the stars and think,

“wow! look at the stars!”

i hear a voice across the circle whisper:

“wow! look at the stars!”

i think to myself, “this must be God,”

another voice across the way:

“this must be God.”

i think to myself: “I am THIRSTY!!!”

someone hands me a bottle of water.

Like that.

Anyway, it’s such a wonderful, meditative chant on our inner connection with our world. It’s always stayed with me, and I always wanted to lay down some kind of version of it. So, finally, in the summer of ‘05, i did. But I’m not perfectly happy with it, so just a few nights ago, I was iChatting with Dell, and he brought up again how he’d like to do some collaboration over the internet, like I’m doing with Jon. So, right there I tell him about “Earth My Body,” and he says, “send send.”

So, I’m excited about music again. Lots of it going on in my life right now… just need some money to be able to keep it coming. Oh, Brotherhood of God, help me open the God-Mind connection, to manifest greatness and goodness, joy and health, for the greater good of the Universe and Everyone Concerned…

Working with Jon Anderson

OK, I have to admit that, while I’m loving living in Seattle, it has not been as financially abundant as I could wish. However, I am working with Jon Anderson now! Yes, that Jon Anderson, the singer for Yes! Check out his Myspace page, listen to the track “Horizon” (which is the 6th and final track from his and Vangelis’ 1980 album Private Collection. I am also working with Jon on a large-scale choral piece… but it’s a bit early to get into more details. Stay tuned.  

Straight: Top Artists & Tracks, No Chaser

Top Artists, Overall:

Top Tracks This Week:

Kirtan: the Yoga of Singing. Of Course.

Just heard Jai Uttal and his group (Jai Uttal and the pagan love orchestra) singing “Om Nemah Shivaya”, a gorgeous Hare Krishna-esque chant from their “Nectar” album. Upon visiting his website, I’ve discovered that there is– suprise!– a “yoga of singing,” called “kirtan.” And here is some information about a workshop Uttal will be holding around the turn of the new year.

What a wonderful thing! As I heard the song, a call-and-response singalong, I just couldn’t help but sing along. And soon, I was picturing in my head “my people.” My future. The dream of my future, in a beautiful, natural setting, with my friends and family surrounding me, all of us singing together in this beautiful sound, feeling and sharing love and smiles.

Kirtan. The Yoga of Singing. Of course.

The Music I’m Listening To…

I joined Last.fm last month, and it’s pretty cool seeing my listening habits all collated on the web. Of course, iTunes does it all itself, but i can only see its stats from my own computer. Last.fm lets anybody see it, and lets me see it from anywhere on the internet. Plus, it lets me post my top ten list in other places, like here:

If you don’t get the table of my recently played tracks, you can just visit my Last.fm page…

« Previous entries