Executive Summary of Barbershop, Part 2: the Overtone

In my last post, about my talk on barbershop for Scunthorpe Choral Society, we got to the point where someone asked a really good question, and then it all got too long to answer in one blog post. So we are resuming here, refreshed, and having had a bit more thinking time to consider the question: can you generate the characteristic audible overtones of barbershop expanded sound/lock and ring when making a multi-track recording with yourself?

I’m always a bit slow when thinking about the physics of sound, not least because when given the choice at university, I opted to study Italian for a year instead of acoustics, thinking it would be more useful for a singer. But I’ve learned some stuff since, and my understanding of timbre, vowel perception, and the harmonic series makes me think that in theory, yes, you should be able to do this. The overtones fall well within the range of audible sound picked up by microphones, so the frequencies to be reinforced are clearly present in the sound. Moreover, you’d think that one person singing all the parts has a head start on getting the sound well-matched.

Executive Summary of the World of Barbershop

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Last Thursday an invitation from Scunthorpe Choral Society had me giving a short presentation on barbershop choruses as part of their ongoing series of visiting speakers. I was given the remit of talking about what is different in barbershop from other choirs (there’s lots in common too of course), and with a time slot of 15 minutes, it made me think quite ruthlessly about what were the essentials to share.

So, I started off with a whistlestop account of the genre’s origins and history, which for these purposes could fit into 6 moments:

Human Beings of the Atlantic Coast

Last Thursday took me zooming over to Portugal to lead a seminar on ‘Working with Human Beings’ with the students of the Atlantic Coast International Conducting Academy. Every time I work with a group of conductors I remark on the dedication and insight they collectively bring to the discussion, and this time I was also struck by their sense of shared ethos and values.

This is clearly in part a function of the course itself: course leader Luis Clemente spoke to me before we started about the goal to produce ‘responsible’ conductors. The contributions the participants made to discussions bore this out, showing not only a high level of thoughtfulness and care in how they were articulated, but also a shared philosophy that saw the ensemble as active artistic participants in the production of music, not just the conductor’s ‘instrument’.

The PandeMusic app and How You Can Help Ongoing Research into Covid and Music-Making

PandeMusicOn Thursday I attended a session for Association of British Choral Directors members on a new app called PandeMusic. They’ve not done a major launch yet because it is taking a while to get it into the Apple Store, but it is already available for Android – indeed I downloaded and had it up and running during the session, submitting my first report in less time than it took the presenters to explain it. So I don’t think it’s premature to tell everyone else about it.

The app is a collaboration between abcd and Making Music. It is the brainchild of Martin Ashley, who gave a presentation on what it does, and why, and was developed by John Willetts, who gave a demo of how to use it.

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