[musictlk] Shenkerian

Wed May 7 16:52:13 UTC 2014

Julie -
If you remember who the blind people who studied it were and have their 
contact info, could you let me know offlist?  Thanks.
And I do know what you mean about the 16th century counterpoint....

On 5/7/14 12:47 PM, Julie McGinnity wrote:
> 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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>>
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