One of the most important but sometimes overlooked jobs of a choral director is to help their students take care of their voices. With the stress of repertoire preparation and the other time-consuming aspects of our job, it can be something that we cognitively recognize but don’t necessarily have the time or energy to pursue. Our students, no matter the age, are going through critical times in their vocal development. We ask a lot of them vocally – range, projection, volume, facial expression, blend, tone, and many other skills – and we need to help them protect their voices and learn to care for them in a healthy way.
It was at a television station in San Francisco, California, where Deke Sharon realized how far his work in a cappella music had reached. He went to the station to complete a satellite interview for an Australian morning show when he struck up a conversation with a gentleman who was there to talk with the national media about military drone strikes. Sharon said the man, who was dressed up in an “FBI suit” and looked very serious, had an outburst of joy when Sharon said he was there to promote the movie Pitch Perfect 2.
In an age where it seems easy to make an amateur recording with electronic devices, the process of collaborating on a professionally produced choral album may be foreign to many people. We were given access into this process through an invitation by the Philadelphia-based choral ensemble The Same Stream. The choir draws its unique name from a poem written by the Bengali poet Rabindranath Tagore entitled The Stream of Life.
It is hard to match the magic of musical theater, and when the show in question happens to be the smash hit Wicked, magic is just the start. For the past 14 years, Wicked has enchanted countless visitors with its charm, leading to both national and international tours.
Standing in the St. Matthew Lutheran Church in Hanover, Pennsylvania, it is not difficult to see how the beauty of religious devotion can inspire someone like Lloyd Larson to create such splendid choral pieces. Indeed, Larson considers himself a product of the church his family attended while growing up in Illinois.
Among the many great names in musical theater, English operetta masters William S. Gilbert and Arthur Sullivan were two of the earliest to gain global acclaim. Starting in 1871, the two collaborated on fourteen comedic operas, many of which are still widely performed around the world.
If you have not yet had the pleasure to hear Julia Kamanda speak about classroom music, composition, and education, you are missing out on hearing one of the most genuinely passionate voices in the industry. The songwriter, guitarist, and vocalist uses her experience in composition and education to create music activities for preschoolers that teach them how to make music all their own.
No discussion of sacred and church choral music is complete without including the works of composer Joel Raney. Raney’s contribution to sacred music is widely celebrated by choir members and directors. His career has ranged from national tours of Broadway productions, to sacred cantatas, to TV and radio commercial jingles.
Known to be one of the most versatile composers and arrangers of our time, Mark Hayes is popular with both worship and secular choirs. He bridges the gap between style and content, making his music accessible to anyone who loves to sing. No doubt, his ability to write songs that appeal to the identities of many different choirs is what has made him one of the most widely performed contemporary composers.
As part of our ongoing series of interviews, Pepper had the opportunity to sit down with arranger and composer Heather Sorenson. A church pianist since the age of 7, Heather has lived in the midst of sacred music for her entire life.