In 2008, it was the host choir for In Harmony, an annual international children's music festival.[23] One Voice has performed at Abravanel Hall during Bestor's annual show "A Kurt Bestor Christmas".[6] They have performed at the Salt Palace during RootsTech.[24] They have collaborated with Ben Rector,[25] David Archuleta,[6] Jenny Oaks Baker,[4] Sam Cardon,[7] Peter Breinholt,[6] Barry Manilow,[6] Janice Kapp Perry,[4] The Piano Guys,[6] Jon Schmidt,[26] Garth Smith,[27] Ryan Shupe,[6] Vocal Point,[28] and Mat & Savanna Shaw.[29] In February 2012, the first members of the choir who had participated in the Olympics performed at the 2002 Winter Games Tenth Anniversary Legacy Event.[30] The group performs at charitable events including those hosted by Operation Smile and the Ouelessebougou Alliance.[18]
Fukuda directs the choir and does all the musical arrangements, writing for every song roughly six to nine segments.[6] Fukuda told the Deseret News in 2015 that he was raised in Japan where choirs were primarily about "technique and preciseness".[6] Noting that although "those are really important things", he wants the children to find choir enjoyable.[6] They typically have three different parts. Once in a while, they have seven or eight, including four sopranos, two altos, a tenor, and less frequently a high soprano.[4]
An informational meeting for parents interested in enrolling their children in the revamped choir will take place at 7 p.m. Tuesday, May 4, in Room 105 of Building A in SIUC's Northwest Annex on Lincoln Drive.
Weiss also will talk about the upcoming summer choral camp. A week of half-day sessions set for the first week in August, it will offer training in music skills, voice and hand bells and will prepare children for the auditions they must pass in order to participate in the regular choirs this fall.
1. ON A SUNNY EVENING. The form here is the Passacaglia. The four-bar theme is first heard by the basses and celli. The theme itself is actually a twelve-tone theme. Now the full chorus enters to sing the first verse of the poem. The second verse is sung by female voices only. Then follows a short interlude, which features a flute solo in which the Passacaglia theme is transposed. This leads into the next section in which men only sing while the Passacaglia theme in its original key, but slightly varied, is now played by the high woodwinds. This is followed by another variation, which is, in the main, dominated by rapid passages in the violins. This section leads into the climax of the Passacaglia in which the entire chorus sings the final words of the poem against the theme, now harmonized and played by the brass section. The song finally comes to a soft ending.
2. FORGOTTEN. (for mezzo-soprano solo and orchestra). This song begins with the main theme of the orchestra, which at the entrance of the voice becomes the accompaniment in many variations throughout the rest of the song. In the middle of the song however, the orchestra has a short interlude in which the opening vocal theme is highly dramatized, returning to a Coda in which the very opening is again repeated to the end.
4. BIRD SONG. (for mixed chorus and orchestra) After a mysterious introduction in the strings, the piccolo is heard in a highly expressive solo, which leads into the Ostinato, which accompanies the entrance of the mixed choir. This Ostinato is superimposed by a twelve-tone row which, throughout the piece, continues in many variations. The song ends with the piccolo again intoning the theme of the opening measures.
Introduction: During the Covid-19 pandemic, choirs had to apply safety measures such as distances and wearing masks. For children's choirs, there is no knowledge of their reaction to these measures, regarding their age and experience. This study aimed to investigate boys choir singers' perceptions of the measures, regarding wellbeing and feasibility, as well as the quality of the performance outcomes.
Methods: Six groups were put together, assembling five singers of the same age (7-16 years, before voice change) and experience level. The boys sang one verse of the same song at inter-subject distances of 3, 1.5, 0.5, 0.5 m plus wearing a mask and again 3 m. Afterward they filled out questionnaires concerning difficulty, irritation, hearing themselves and their neighbors, and if they could imagine singing regularly in the respective setting. Fifteen parents were asked to fill out questionnaires about their opinions about choir safety measures during the pandemic. Six anonymous boys choir experts rated the randomized recordings of all tasks regarding homogenous sound quality, rhythmical precision, and uniform intonation.
Results: Even though most of the children preferred smaller distances, they were open to all kinds of settings. The answers given were very specific to the individuals. Masks were voted out by a majority of the subjects. Parents found choir singing very important for their children and did in majority neither fear infection of their children, nor mind precautions. The experts rated the performance outcomes of the largest distance (3 m) as best in most of the cases.
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