[musictlk] Shenkerian

Wed May 7 16:47:17 UTC 2014

No, unfortunately, I have never studied this.  I do know of a couple
blind people who have.  I know what it is and sort of understand it,
but I have never actually had occasion to learn it.  Right now, I
think I would take Shankerian analysis over 16th century counterpoint
though.  :)  I wish I could be more helpful.

On 5/7/14, Brunhilde Merk-Adam <braillebeats at gmail.com> wrote:
> Hi Julie-
>
> Your experience and comments regarding your choir experiences are very
> valuable.  Thank you for sharing.
>
> Now, I have a question about a different topic.
> In your undergrad or graduate work, did you ever have a class that
> required you to do Shenkerian Analysis?  I have been contacting folks
> across the country to find out what accommodations/adaptations were used
> to address the coursework in this area.  Many have done theory work in
> Form and Analysis but few even know about Shenkerian   I have discussed
> this issue with music educators, blind musicians including PhDs,
> university disability offices etc. not many suggestions have been
> offered as yet.   Any thoughts you might have would be appreciated.
> Thanks.
> b
>
>
> On 5/7/14 11:12 AM, Julie McGinnity wrote:
>> Hi Kelsey and all,
>>
>> Interesting discussion.  I will try not to write a novel on this topic
>> as I have a lot of experience with various choir situations!  :)
>>
>> I am interested to hear how many of you use assistance from others for
>> tempo changes and other cues.  I have never done this.  I think once I
>> did, but it was a smaller ensemble situation.  I have found that if
>> you listen to the people behind and next to you, you can hear these
>> things.  Listen to their breathing, their anticipation, and use the
>> first rehearsals to get used to tempo changes.  Learn to feel them in
>> your bodies as you blend with others, and they will come naturally.
>> You may not be perfect at first, especially if you are working with a
>> particularly difficult piece or a new director, but if you get used to
>> how your director does things, then you'll begin to feel music the way
>> he does.  Random tempo changes may be difficult, but they're difficult
>> for everyone.  If there is something you have trouble with, the people
>> around you could help.
>>
>> It might be good to remind the director that if he puts a rehearsal
>> order up on the board to always speak it out loud.  That way you can
>> arrange your music accordingly or keep the order in mind as you
>> rehearse.  Do you keep your music in a binder?  I found that to be the
>> easiest for me to flip through it quickly.  The most I ever needed
>> assistance from others was with knowing where we were in a piece,
>> since I didn't have measure numbers in my Braille at the time.
>>
>> Please don't think I'm discouraging you from asking those around you
>> if you need it.  I think it's a great way to gain information, but
>> know that it's not the only way.  You can use your ears and your sense
>> of rhythm and intuition to sing successfully as well in a choir
>> situation.
>>
>> A note about risors and blind people: if you use a music stand, being
>> on the top row of the risors may not be ideal.  Also, if you use a
>> music stand, be sure to have a system in place so that getting it
>> before concerts isn't more difficult than it needs to be.  I struggled
>> with that a lot, since my director would forget, refused to let me
>> handle my own music stand, and then wanted me to rely on others to
>> find it for me.  Eventually, I came up with my own system.
>>
>> My choir director at my undergrad was a bit different.  Not only did
>> he make me go to the top of the risors, but he wouldn't let me when I
>> asked to go back to the front row.  I asked him because with the music
>> stand, it was difficult to easily use it without it getting in the
>> others' way.  When he said no, I accepted that but asked him that if
>> in class rehearsals I could remain in the front row because I had a
>> guide dog at the time, and I really didn't want to subject her to the
>> top row of the risors.  He said for some rehearsals this was fine,
>> which was unhelpful for planning purposes.  Let's just say I had a
>> really brave guide dog.  :)  She climbed up there and laid herself on
>> the top of the risors like a boss.  Oh, and I am barely over five feet
>> tall, so I have rarely sung at the top of the risors before.  I have
>> to say I am not a fan.  A lot of my listening intuition abilities were
>> gone up there, and I found myself coming in at wrong places and being
>> unable to blend well, which defeated the purpose of him putting me
>> there in the first place.
>>
>> Anyway, I wish you luck in your choirs everyone.
>>
>> On 5/6/14, Ixchel, Jackie <starsandhearts2 at gmail.com> wrote:
>>> Josh and Linda,
>>> Thank you for the help.
>>> Jackie
>>>
>>> On 5/6/14, Kelsey Nicolay <piano.girl0299 at gmail.com> wrote:
>>>> Hi Jackie,
>>>> Please write me offlist.  I think I can help you.  My email
>>>> address is piano.girl0299 at gmail.com
>>>> Thanks,
>>>>
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>>>
>>> --
>>> Currently Reading: The Lost Hero by Rick Riordan
>>>
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-- 
Julie McG
National Association of Guide dog Users board member,  National
Federation of the Blind performing arts division secretary,
Missouri Association of Guide dog Users President,
and Guiding Eyes for the Blind graduate 2008
"For God so loved the world that he gave his only Son, so that
everyone who believes in him may not perish but may have eternal
life."
John 3:16