#vocal ensemble

[burlveneer-music]

Tiptons Sax Quartet & Correo Aereo - Mujer o Bruja

During the worldwide COVID-19 Pandemic, two powerful ensembles joined forces in Seattle Washington in late 2020 to research and create the history of the role of women in culture. Written and directed by Madeleine Sosin, MUJER O BRUJA? takes us on a journey inspired by partnership societies of the Paleolithic Era, revealing the advent of the Dominator Systems and organized religion, and looking towards a balanced future. The musicians in Correo Aereo duo and the all-women Tiptons Sax Quartet developed ideas and compositions with digital technologist Jing ‘Jude’ Dai for a full year during the pandemic. The group developed the piece in 2021 by video conference and met in Seattle In October 2021 for a 2-week creative residency. where they honed, rehearsed and premiered. MUJER O BRUJA’s world premiere was a co-production of Wayward Music and the Earshot Jazz Festival in Seattle on October 22/23, 2021 at the Chapel Performance Space in the Good Shepherd Center. The ensemble went on to record and mix the audio at Stone Gossard’s Studio LITHO in Seattle. Inspired by The Chalice & The Blade by Riane Eisler Conception & Direction: Madeleine Sosin Creative Technologist, Visual Concept & Curation, Digital Artist, Video Production: Jude Dai Visual Curation & Concept: Madeleine Sosin Produced by Amy Denio Co-Producers: Madeleine Sosin and Jessica Lurie MUSICIANS/COMPOSERS: Correo Aereo Duo: Abel Rocha: harp, guitar, percussion, voice / Madeleine Sosin: violin, percussion, voice + Tiptons Sax Quartet Amy Denio: alto sax, clarinet, accordion, guitar, voice / Jessica Lurie: soprano & alto sax, flute, auxiliary percussion, kazoo, voice / Sue Orfield: tenor sax, piano, percussion, voice / Tina Richerson: baritone & alto sax, percussion, voice / Elizabeth Pupo Walker: percussionist in absentia

[austinis2random]

May 10, 2023.

I love teaching kids — they are part of the reason why I’m still doing music. I’m able to bring them the joy of what it really is to have music in their lives.

At the same time today, I’ve been struggling internally because I conflict with myself with this concept of love… I want to love myself, but I find that other’s influence on me is rather more strong and so I tend to gravitate towards that. I want that particular person to recognize me for my achievements and everything.

However, I realize only so much can be done within a 24-hour period…. And I am slowly beginning to understand that concept of what it’s like to be in other people’s shoes. This also happened to be the same time I was teaching Golden Slumbers, hence… a treat of what I wanted to share today.

[demigods-posts]

heartbreaking realization that in the musical. each main character has their individual song that explains their motivation for joining the quest. and each song has some sort of ensemble to support the lead singer. except for annabeth's. because annabeth is her own support system.

[thelostgirl21]

Me (based on having heard Hugh sing "Waterloo"):

"Well, yeah! Hugh seems to have a very good singing voice! But I don't understand why Joey would be intimidated by - "

"Oh. Nevermind!"

[eurovision-revisited]

Eurovision 2007: The Interval Act and Other Performances

YLE went for a mix of ice and fire for this year's extra performances. The semi-final was given over to dance troupe Tsuumi together with the Finnish Vocal Ensemble and operatic soloist Johanna Rusanen.

The opening played into this year's slogan with a mix of fantastical characters entertaining a little girl. This included a variety of circus tricks, stunts and accordions plus a lot of tango - Finland is very big on tango.

The dancers and musicians came back for the interval act, this time for a longer piece portraying the courtship and marriage of a dancer and a guitarist accompanied by opera and a choir.

To break-up the running order and to give some space for ads where relevant, there were some, now traditional, Eurovision short pieces showing the arrival of the performers and delegations at the airport, as well as several backstage shots from rehearsals. It gave time for the hosts to engage in a little bit of flirty back and forth including introducing our backstage host, Krisse Salminen who was initially credited as Eurovision fan who happened to have front-row seats.

For the final only Lordi would do - and they opened the show with more pyro than could ever comfortably fit in the arena. It was an explosive rendition of Hard Rock Hallelujah north of the Arctic Circle, pursued by demons over glaciers and through frozen woods in the depths of a Finnish winter.

Cut to the area, and there they are on stage performing the last chorus to the audience again with as much pyro as they could get past the health & safety teams. Lordi's reception by the crowd demonstrated not only how popular they had become in Finland, but also how popular their win had been among the wider Eurovision community. There was a palpable sense of excitement and enthusiasm as the final chords played.

For the interval, YLE continued with the big names. They had Apocalyptica (great name), a cello quartet who got their start with neo-classical cover versions of Metallica hits. They'd been touring Europe since the start of the decade only becoming more popular with their huge shows filled with drama to big audiences.

They were also popular in Germany as evidenced by them taking part in the 2005 Bundesvision Song Contest representing Baden-Württemberg and finishing fifth.

Among them were a number of circus artists including trapeze artists, acro-balance, tumblers, bike stunts and a man in a big rubber ball. Apocalyptica played a medley of three of their own hits albeit without singing.

During the main-show there were the usual cuts away, with more green room chats plus roving reporter Krisse went outdoors to see the crowds absolutely filling Helsinki's Senate Square in front of the Cathedral - it was rammed full, with tens of thousands of Finns having the nights of their lives.

Finland were truly loving hosting Eurovision and their moment in the spotlight. Scenes like this would only help the EBU smile and build Eurovision's size and importance in year's to come. 2007 is the year the growth of the good vibes and scale of Eurovision took on entirely new proportions. It felt good.

[zindoesart]

RIME and SEKAI at the beach for @red-dyed-sarumane 's birthday!

[srasdoesthings]

The Dream the Doll Girl Dreamed

In the closed garden, I am the only one who is willing true love. That's the answer: You made me this way

Clinging to the name of God, my brain has corrupted. Running in circles. They thin out the seedlings of love. Holding you in my hands, I make flowers bloom filled with sorrow.

The girl (doll) made by that miserable girl (dollmaker) smiles gently, as if she were alive

[djkerr]

Charles Dickens' "A Christmas Carol" brought to life with vocal performances by the Skylark Vocal Ensemble and narrated by Christine Baranski.

The Morgan Library & Museum, NYC | December 18, 2024

📷 @skylarkensemble via IG

[bluesicle]

ᴵ ˢʰᵒᵘˡᵈ ʰᵃᵛᵉ ᵖᵒˢᵗᵉᵈ ᵗʰᴵˢ ᵃ ʷʰᴵˡᵉ ᵃᵍᵒ ᵇᵘᵗ ᵘʰᵐ??

Hello, my name is Blue, and welcome to my Tumblr!

•I am a young artist that mainly draws fanart & oc content! 🎨

•I don't care how old you are- All ages can interact!

•I'm a fan of vocaloid , enstars , persona5 , & more.

If you wanna be moots, DON'T BE AFRAID TO ASK! 💕

Do NOT interact with me if you:

•Sexualize underage characters (Ew!)

•Talk about your gross fetishes a bunch

•Dislike oc x canon/selfshippers (You're no fun)

•Endorse use of AI FOR FUCKS SAKE 😞

•Uhmm...and basic DNI criteria!!

EXTRA INFO!!

•I either post a lot, or don't post for a while

•Other than vocaloid & enstars music, I enjoy bands like London After Midnight & Sisters of Mercy

•If you like my work PLSPLSPLS follow me on other social media!↓↓↓

Bsky: @/bluesicle

Insta: @/bluesicle_

Twitter: @/blueluvsmtt (can't change it ???)

LIKE I SAID, DON'T BE AFRAID TO INTERACT &

HAVE AN AWESOME DAY MY LOVELIES!! 🫶

[mitta-likes-moths]

I have never drawn an Enstars character before but it’s 22:25 rn and I felt an urge to draw the birthday boy

[meangirlsbway]

eatacrackerandstop found dead in a ditch after hearing world burn (2024)

[burlveneer-music]

Nightingale Vocal Ensemble - Composition Sped Up - improvised music highlighting the range and fluidity of the human voice

“Improvisation is just composition sped up." —Wayne Shorter

Full liner notes with photos: www.nightingalevocalensemble.com/composition-sped-up.html

Since its formation in 2019, Nightingale Vocal Ensemble has comprised singers who are also composers. Those singer-composers have written dozens of original works for the ensemble, and those works have received première performances in live concert events and sophisticated video productions. Composition is an essential facet of Nightingale’s identity, and it felt natural to attempt it—in Shorter’s words—Sped Up. Given the novelty of a cappella​ free improvisation, this project needed special musicians comfortable with total liberty and capable of making audacious musical choices. Fortunately, a group of my favorite virtuoso singers were eager to dive into this new world with me. While laying the groundwork for this album, the idea arose to improvise based on existing prompt material. I reached out to a variety of artists (painters, illustrators, poets, rock balancers, and more) about the possibility of us drawing musical inspiration from their work. I felt slightly apprehensive about making this inquiry, but I'm very glad I did it, because the response was profusely positive. Beautiful pieces were shared with us, and new friends are now a part of our Nightingale artistic community. On November 4th, 2022—following a series of rehearsals in which we established a rapport among our ensemble—we traveled to Big Nice Studio in Rhode Island, nestled among resplendent foliage beside the Blackstone River. We arranged ourselves in a semicircle under the studio’s 32-foot ceiling, and followed the same procedure for every recorded take. ​First, we collectively negotiated which of the prompts we were in the mood to interpret. After agreeing on one, each singer summoned the appropriate image or poem on a personal device. We briefly discussed whether to impose a musical rule or restriction for the impending improvisation. Finally we stood in silence, absorbing the prompt and awaiting inspiration. Each time, music soon materialized.... In most vocal ensembles, singers are typically assigned a particular part (e.g. soprano, alto, tenor, bass, etc.). We made no such attempt to classify ourselves. On this album, every person performs every possible musical role. Due to the flexibility of role and range that every singer embraced, I find it difficult to tell who is singing what at any given moment. This is truly equal music-making. The human voice—devoid of keys, frets, strings, or any discrete component—produces a pitch continuum, and it is unmoored to any tuning system. In the a cappella domain that we chose to inhabit, pitch is a liquid thing, and can itself be an expressive device. On this album, we flow freely throughout the tonal landscape, and juxtapose musical ideas in conventionally impossible ways. We didn’t set out to create microtonal music, but the fluidity of pitch uniquely enabled our musical and emotional expression. This album represents the best of our work that day. Every track was performed live, in a single take, with no overdubbing. Some of the takes have been trimmed down, but nothing has been rearranged or transformed. This is not musique concrète. This is live, acoustic performance. Every singer in the ensemble was utterly essential to the creation of this album, contributing an abundance of both musical expertise and—maybe more importantly—individual personality. Emma Newton's thoughtful and incredibly detailed mix brought out the best of each voice's contribution. Big Nice Studio was an inspring place to create. ​This album is just the first step into a musical frontier, and it represents one possible path ahead for new vocal ensemble music. We hope to share further exploration soon. —Nathan Halbur credits Vocals: Nicholas Ford, Nathan Halbur, Rose Hegele, Barbara Allen Hill, Lysander Jaffe, Benjamin Perry, Juan Suarez, Angela Yam

[kamitsubaki-city-ensemble]

hi, I'm zin (it/they), and this is my vocal synth sideblog! everything will be tagged appropriately, but be warned that this blog may contain horror. my main is @zinziinziiin , and my horror blog is @mannequinwrist .

my favourite vocal synths are yuzuki yukari, SEKAI, gumi, and MAYU! I plan on getting at least SEKAI soon, and making covers with her. I'm also a pixel artist and writer!

the blog is themed after Kamitsubaki City Ensemble, an offline rhythm game which features the musical isotope vocal synths KAFU, RIME, HARU, SEKAI, and COKO. the story made me cry several times. I adore it!

I leave you with my favourite album, warufuzake by utsu-P

[akkivee]

i’m not entirely sure if it counts, but the closest thing hypmic i think has gotten to this as a concept is the base line melody that loops throughout ore ga ichiro (underneath all the keyboard noises and synth) is the main melody in faces, except in faces it’s in reverse. ichiro may not have entirely been calling out rei but rei sure answered lol

[zinziinziiin]

top 10 kafu homophobic dog moments (she was oblivious but let me pretend)

[brynn-lear]

I never got too deep into enstars but there are days where I miss Mama 😔