New Voices @ CUA is a phenomenal festival of new vocal music, music that was just written for the human voice. In January 2014, the fourth edition took place showcasing chamber music, art song, sacred music, and cabaret. The festival was a 2-day event at The Catholic University of America (CUA) in Washington, DC.
See also this New Voices @ CUA 2013 video (I Pray for Them):
On January 24 & 25, 2014, UCA’s Benjamin T. Rome School of Music (SCI Chapter) hosted the two-day festival of new vocal music in Washington, D.C. This fourth edition of the New Voices @ CUA Festival featured four concerts that were performed over the two-day period and included compositions by student composers of the school. New Voices @ CUA was proud of the new collaboration with Next Parallel, t eh famed DC Ensemble that served as the festival’s resident ensemble.
Beethoven’s Ninth Symphony featured at Washington Performing Arts Concert
CUA’s Benjamin T. Rome School of Music is actually the only university to participate in this concert which is presented by WPA (Washington Performing Arts) that will celebrate the organization’s 50th anniversary. The unique concert, which will also include new work from Esa-Pekka Salonen, the great Finnish composer and orchestral conductor, is actually the first collaboration ever of WPA and the Benjamin T. Rome School of Music, says the school’s dean of music, Grayson Wagstaff.
1. I’ll Fly Away – Jars of Clay with Sarah Kelly:When I was in preschool, my dad sang with the gospel group at church. This is one of the songs they sang. 2. Sweet Child o’ Mine – Sheryl Crow – I made a slideshow of family photos to tell Dad I was pregnant with Bob. This played in the background. The video ended with “I told you it was going to be a good year.” Yes, yes, I’d like to throw up at that irony too. 3. Mona Lisas and Mad Hatters – Indigo Girls (Link goes to a version by Heart): Back in the day, there was a weekend where I had 3 friends hit by a drunk driver, meanwhile, Dad landed in the hospital with a case of bacterial pneumonia. This song was on the new IG double cassette (yeh, you read that right – cassette – not CD) and played on most of my trips to the hospitals. Oh, and the hospital Dad was in then? Same one he died at. Fun times.)
Well, technically it is, so you’re right. However, what I want to focus on is not the notes on the page but the tunnel it creates. That seemingly infinite number of possibilities of what music can be. The reason I’d like to keep this open “definition” of music is the minute you define what music is – is exactly when you define also what it is not.
Since art is about expression, I firmly believe that art in all it’s forms should be inclusive. If you set limits, you may have the benefit of weeding out some weaker forms, but also you exclude what could evolve into the next great phenomenon.
In order to think about the progression of music, I thought about the oldest kind of music I could think of – Gregorian Chant.
What is the primary barrier to entry to alternate careers for musicians?
Usually used in business parlance, a barrier to entry is an obstacle in the path of a firm wanting to enter a given market. Actually, barriers to entry are all around us. They exist in music to ensure that only qualified individuals obtain licenses to practice, when they are obviously forces for good. You see them used in the dirty world of real politics, where they may be forces for nastiness; witness the barriers to entry to the U.S that the Mexicans are experiencing as an unfortunate current example. Once again, humankind seems to want to shoot itself in the foot as we witness one great opportunity to progressively blend cultures going up in smoke.
For musicians wanting to explore alternate nonclinical careers a barrier is the absence of obvious bridges. Music school transports us from idealistic young men and women to being young musicians. Residency and any post-residency training moves us from neophyte musicians to being groomed in a particular discipline. Our culture shapes us further in our early years in practice whether we be in private practice or at an cultural institution. We reach, say age 40, experienced and mature, having followed well delineated road maps with all signs to bridges clearly marked.