Irish composer Michael McGlynn once again joins Eric on the podcast, this time to wander deep into all things composing. Having an extensive international career as a celebrated choral composer, Michael shares stories and thoughts on the composer's voice, distillation, the current landscape of composition, and the rich wide ocean of song we all swim in.
Richard and Eric take a look at a 2017 Australian research paper that correlates openness to experience and binocular rivalry. The researchers found some very interesting perceptual outcomes, including a connection to inattentional blindness (made famous by the 'Invisible Gorilla' experiment), but does anything found have anything to do with our musical practice (especially for conductors)? It is seen to be true that openness to experience, wonder, and awe are linked to perceptual awareness — how does this play out in teaching and the ensemble experience? Will we miss the guy in the gorilla suit?
Richard and Eric venture out to tip over a most beautiful sacred cow: choral blend. What are people actually talking about when they ask for "blend?" Though being slightly more ambiguous than conductors would like to admit, it remains a top priority for many. We all want the choirs we hear to sound good, but what could we all be missing if we focus on "blend" too much, or put it above other aspects of the music-making experience. Are there potential alternatives or perhaps different ways of getting at what "blend" is, perhaps even creating a more vibrant, unified musical experience?
Eric sits down to chat with one of Ireland's preeminent composers and musicians: Michael McGlynn. They speak about the early days of Anúna, what the group has grown into, and its global influence over the course of its illustrious 33 year history. They also spend some time speaking about how "Sean-nós" singing has directly, and indirectly, effected the model Anuna and Michael's own choral philosophy. What exactly is "Sean-nós"? Does integrating this concept into a choral paradigm challenge certain established norms believed by a good many choral conductors? Is there something beautiful and powerful that Anúna is tapping into that would be worth to dwell on and pursue?
Richard and Eric dig into listener emails to answer some questions and comments.
The short-form topics and questions covered are 1) CPDL (Choral Public Domain Library) and attribution, 2) publishing houses and their domination of reading sessions, 3) DMA (Doctor of Musical Arts) recipients and their perceived preparedness in certain choral styles/eras, and 4) the choral world's general relationship with composers who are considered luminary or celebrity.
Richard and Eric discuss the moment and some psychological ramifications that have developed over the recent months, both individually and collectively within the choral arena. They land on a word not often used, but perhaps necessary for the times: "trudge."
Do you constantly feel like an imposter, just waiting to be found out to be the fraud that you think you are? For their first episode of Season 3, Richard and Eric take a peek at the real-life phenomenon known as "imposter syndrome," as well as the five types of ways this is seen to manifest in individuals.