Multisensory Choral Music – Past, Present, and Future Trends

Authors

  • Mark Doerries Indiana University

Abstract

American community choirs and audiences show signs of maturation. Recent studies reveal high participation in community-based choral ensembles, yet these papers fail to capture the health and long-range sustainability of these organizations. A report published in the International Journal for Research in Choral Singing indicates singers 40 years or older encompass 80% of American choirs (Bell, 2000). A separate 2003 Chorus America investigation confirmed these statistics adding that women comprise 62% of participants. With the problem exposed several questions emerge: why are young singers no longer drawn to traditional choral music, and how can choirs be relevant to traditional and non-traditional singers and audiences? Creating concerts and choirs for a modern culture is part of the solution. In a culture where emails prevail over letters, iPpods outpace compact discs, and TeVo eliminates the VCR, it is only consistent that young potential singers seek multisensory musical experiences. A new holistic performance movement has gained strength fusing traditional and new choral music with extra musical stimuli: lighting, visual art, video, and theatre. Plagued by stigmas and fear of the unknown, these endeavours meet with great resistance. By reviewing recent successes and failures, this examination hopes to demystify the use of extramusical elements in choral concerts. Three contemporary performances will be explored: Jonathan Miller’s staged production of J.S. Bach’s St. Matthew Passion, Alan Harler and Leah Stein’s improvisational dance collaboration of Orff’s Carmina Burana, and Mark Doerries’ fusion of choral music with dramatic lighting in Luminescence: Experiments in Visual Acoustics.

Author Biography

Mark Doerries, Indiana University

MARK DOERRIES, a strong advocate for new music, founded and directs the Sound Vocal Ensemble, a Philadelphia based chamber choir dedicated to the exploration of interdisciplinary choral performances. During the 2006 Philadelphia Fringe Festival, the consort presented Luminescence: Experiments in Visual Acoustics, a fusion of unaccompanied choral music and synesthetic visual effects via abstract colored theatrical lighting and interactive video. Mark is the Conducting Apprentice of the Mendelssohn Club Chorus of Philadelphia under Alan Harler and sits on the New Ventures committee for the development and commissioning of new compositions for chorus, dance, lighting and video. Mark serves as the Director of Music at St. Luke’s Lutheran Church in New Rochelle, New York conducting the Oratorio and Sanctuary Choirs. Currently completing a master’s degree in choral conducting from Temple University in Philadelphia, Pennsylvania, Mark will begin his doctoral studies at Indiana University, Bloomington, this autumn. Mark holds an MA in music theory from the City University of New York, Queen’s College and a BS in deep-sea biology from the College of William and Mary, Virginia.

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Published

2013-10-29