tag:blogger.com,1999:blog-7230492111764243437.post-36348374946458652852008-03-26T09:28:00.000-05:002008-03-26T09:28:00.000-05:00I am both a choral and an opera conductor, so perhaps I can speak on both sides of this subject. While I agree with Ed that too few choral conductors really understand vocal pedagogy, I also believe that too few singers/voice teachers truly understand correct performance practice, especially pertaining to choral music. They, of course, want to protect the singers' vocal health, but the key is to teach singers to sing CORRECTLY in differently styles so that their voices are protected. <BR/><BR/>Example: the a cappella music of Estonian composer Arvo Pärt is replete with major and minor second dissonances resulting from stepwise melodic voices set against voices which constantly outline a triad. These dissonances can never be completely tuned if sung with vibrato. It takes incredible control to sing his music well, but many singers/voice teachers would balk at the idea of singing so much straight tone. Artistic choral singing and artistic solo singing are two completely different animals; it is true that sometimes the two do not (and should not) mix. <BR/><BR/>For the record, I think it is very sad that Juilliard does not consider choral singing to be an art in and of itself. I hope the string players at Juilliard do not decide that they are destined to become Paganinis. They may have to eliminate the orchestra, too!RDCKhttp://www.blogger.com/profile/16861404743535544721noreply@blogger.com