Wednesday, February 18, 2009
Music Workshop Course Outline
Course Description:
This is a crash course designed to familiarize the students with the basic fundamentals of sight singing.
Course Objective:
1. Students will learn how to sight sing
2. Students will also learn how to count the beats and observe them
3. Even if the above two objectives are not achieved during the workshop, we hope to create enough excitement that would make them want to learn by themselves after the workshop.
Methodology:
1. There will be melodic drills and exercises using whole notes, half notes, quarter notes
2. There will be rhythmic clapping
3. Sight sing a hymn
Materials:
1. Dannhauser, A. (1986). Solfege des Solfeges, Book 1. New York: G. Schirmer, Inc.
2. Baptist Hymnal, (1991), Convention Press, Nashville, Tennessee
Topics
I. Preparatory Exercises for the intonation
a) Using whole notes, half notes, quarter notes
b) Melodic exercises
c) Exercises for intoning the intervals
II. A songs from Hymn
a) Threefold “Amen” in “C”key. (Baptist Hymn # 653)
b) Threefold “Amen” Hymn # 654
c) Doxology, # 253
Instructed by Sein Thein and Maker Kashung
This is a crash course designed to familiarize the students with the basic fundamentals of sight singing.
Course Objective:
1. Students will learn how to sight sing
2. Students will also learn how to count the beats and observe them
3. Even if the above two objectives are not achieved during the workshop, we hope to create enough excitement that would make them want to learn by themselves after the workshop.
Methodology:
1. There will be melodic drills and exercises using whole notes, half notes, quarter notes
2. There will be rhythmic clapping
3. Sight sing a hymn
Materials:
1. Dannhauser, A. (1986). Solfege des Solfeges, Book 1. New York: G. Schirmer, Inc.
2. Baptist Hymnal, (1991), Convention Press, Nashville, Tennessee
Topics
I. Preparatory Exercises for the intonation
a) Using whole notes, half notes, quarter notes
b) Melodic exercises
c) Exercises for intoning the intervals
II. A songs from Hymn
a) Threefold “Amen” in “C”key. (Baptist Hymn # 653)
b) Threefold “Amen” Hymn # 654
c) Doxology, # 253
Instructed by Sein Thein and Maker Kashung
Lumlaa loehlang vaengkah a hmak paek dan (Judges' Guidelines)
Lumlaa Loehlang vaengkah a Hmak paek Dan
(Judges' Guidelines)
(Judges' Guidelines)
Olrhoekna
High school saengim ah mai aa, Church ah mai aa, Music saengah mai aa, lumlaa loehlangna a om vaengah tahae kah a hmak paek dan he diklai pung ah a hno na uh (guidelines) la om. Loehlangna cing vaengah hnona pawt tih, a ko ngai tah Music saengim kah (performance laboratory) a om vaengah Judges loh hmak a paek koi te a sai hamla. (a yet ngai ming hamla na ngai atah personal la ca nan pat uh thai)
Listening Activity
PHILIPPINE BAPTIST THEOLOGICAL SEMINARY
MV 361 – VOICE PRINCIPLES
“Listening Activity”
MV 361 – VOICE PRINCIPLES
“Listening Activity”
Name: Sein Thein Date: July 1st, 2008
Title of CD: Two Old Friend
Artist(s) Name(s): Merle Haggard and Albert E. Brumley, Jr.
Number of hours spent listening: Four Hours (approximately)
__________________________________________________________________
Comments/Recommendations:
1. Using Instruments
According to the CD cover using the instruments are Acoustic Guitar, Steel Guitar, Bass, Fiddle, Trumpet, Accordion, Keyboard, Piano, and Drums. The instrumentalists are also different and they are so good in playing. But when I listen to the CD some songs are not using all of those instruments. Most of the songs are using Guitar, Bass, and Drums.
It’s pleasant to listen. The Guitar part and solo is very beautiful playing harmonization with the rhythm. The music is more emphasis on the country styles otherwise the style of noise music as Heavy Rock. And the instruments are also unplugged. They do not use the electronic effect. It’s like the natural sound.
2. The Song
When I listen to the CD most of the songs are very joyfully, jubilantly and happily. Parts of song were purely by happenstance. The songs were a joy to listen. The songs were like old song but it’s attractive to those who were listening to the song. It’s like a new song when I was listening.
3. Words
Some songs are not emphasis on words. The words mention the sadness but it’s still enjoyable. The intonation and the words are clear, easy to understand. One or two songs cannot understand because the rhythm is quite fast.
4. Voice
Occasionally the two singers sang together partly as tenor and soprano. Their voice is powerful. It’s like a very low tone but it’s still high and far above the ground. They produce without stinting their voice. The voice is strong and influential. It is enough to be heard. The singing parts are efficiently and consistently produce. The voice is vibrant, dynamic and alive. They have a good inhalation.
PHILIPPINE BAPTIST THEOLOGICAL SEMINARY
MV 361 – VOICE PRINCIPLES
“Listening Activity”
MV 361 – VOICE PRINCIPLES
“Listening Activity”
Name: Sein Thein Date: July 1st, 2008
Title of CD: The Irish Tenor
Artist(s) Name(s): John McDermott, Finbar Wright and Anthony Kearns
Number of hours spent listening: Three Hours (approximately)
___________________________________________________________________
Comments/Recommendations:
1. Using Instruments
In this CD the instruments are using orchestra including the other bands. Most of the songs were used the orchestra.
2. The song
Nearly all the songs are English. The songs are sacred along with consecrated song as well. It’s more prominence on spiritual life. When I listen to some songs I feel like grieving and heart-rending sorrow. I mean not on the words but those were on in the music, the tune, the melody and the styles.
3. Words
When I listen to CD a few words can be easily to hear clearly singing. The one thing is the instruments give noise and loud too much and cannot hear the pronunciation clearly. Particularly percussions are too loud then manipulate another part when they were in the ending part.
4. Voice
Three vocalists are so powerful projecting the voice additionally rich, ringing and resonant projecting consistently produce. Their voice is too loud but it’s good to listen.
- Relax when they were singing
- Sometime the voice is a little bit dark and bright not really obvious
- Tone color or tone quality is easy to be heard
- Very harmonized, synchronized, and matched
- The volume and dynamic adjust
- Sometimes their voice is discordant, strident, raucous
-
I recommended these three singers’ voice is very gorgeous and pleasant to listen.
Tuesday, February 17, 2009
Thursday, February 12, 2009
Music Ministry
Philippine Baptist Theological Seminary
Subject: MM 361 Church Music Ministry (Education and Administration)
Professor: Miss Julie Sibucao
Student: Sein Thein
Assignments: Research Journal on Church Music Ministry (Mid Term)
Date: February 13, 2009
______________________________________________________________
Music Ministy
1. The seventh in the Lent-Easter series `Good Liturgy'
According to their music ministry is very broad and exiting for me. How God is working on the music ministry to this organization. God gave a very talented for His glorification. All Members always seem to pay attention to some elements of the liturgical celebration than to others. The writer mentions the importance of music for parish liturgical celebrations points to the pastoral role of liturgical musicians. This pastoral aspect of music ministry is so significant that the word is included in the name of the largest organization of Catholic Church musicians in the United States (9,000 strong): the National Association of Pastoral Musicians. Music directors occasionally receive letters from parishioners describing how the music of a particular celebration changed their lives.
One of the interesting celebrations is Sunday morning Mass, at which the music ministers consisted of a 40-voice choir and a cantor, accompanied by organ and brass. Most of the music, including familiar Easter hymns, was sung robustly by the whole assembly. The choir also sang alone, including a choral setting of the Easter Sequence and the "Hallelujah Chorus" from Handel's Messiah. After weeks of intense rehearsals and three days of singing for the major liturgies of the triduum, the choir was tired but exhilarated. The congregation sang the liturgy vigorously, and the choir led them with a joy that transcended physical weariness.
One of the women had come to Mass on that Easter Sunday morning after a long absence from the church and was expecting very little. But she found herself enveloped in an assembly that participated energetically in singing the Mass and was inspired by the choir, organ and brass, which communicated a profound sense of faith in the power of Christ's new life. Not only did this woman return to the practice of the faith, but she also soon found her way into music ministry as a member of the parish choir.
I understood that pastoral musicians can cite many such examples of the ways music helps people connect the celebration of the liturgy with their own life of faith. These connections are most obvious on occasions like baptisms or funerals or at particular seasons and feasts, like Christmas or Lent. Sometimes music speaks to people most clearly at times of personal crisis. Musicians are perhaps less accustomed to receiving letters, calls and comments of affirmation than of complaint. Why, people often ask, don't we sing hymns to the Blessed Virgin Mary during Sunday Masses in May? Why can't the music be more traditional or more contemporary, more upbeat, more familiar, more varied? Why don't we have less (or more) music from other cultures, less (or more) Gregorian chant, less (or more) youth-oriented music, less (or more) music by the choir alone, less (or more) music with organ or contemporary ensemble or rock band? Sometimes musicians hear these questions not only from parishioners, but even from their bishops and pastors.
2. Participation and Performance
The activity of Catholic, most choirs and organists thought of their role as "providing music" for the liturgy. Even though official church documents since the publication in 1903 of Inter Sollicitudines, issued by Pope St. Pius X motu proprio had encouraged active singing of various Latin chants and responses of the liturgy by the whole congregation, before Vatican II most Catholics experienced a liturgy in which all the singing was performed by a choir or one singer (who was often also the organist).
The liturgical reforms of Vatican II represented both continuity and change in the way that music would be used. As in all official church documents since 1903, the "Constitution on the Sacred Liturgy" (1963) emphasized the singing of the liturgical texts--acclamations, responses, antiphons, psalms and songs. The C.S.L. includes an entire chapter on sacred music, declaring its value to be "greater even than that of any other art. The main reason for this pre-eminence is that, as sacred song closely bound to the text, it forms a necessary or integral part of the solemn liturgy" (No. 112). The constitution also reiterated the dual purpose of music in the liturgy: the glorification of God and the sanctification of the faithful.
Vatican II set out a new agenda for liturgical musicians in its insistence on the active participation of the entire assembly in the singing of the liturgy. The C.S.L. charged those responsible for the revision of the liturgical books to consider this active participation before any other element. The role of choirs and other musicians was reaffirmed, but they were now to carry out their ministry with due regard for the active role of the assembly.
3. The Challenge of Diversity
How do music ministers plan for music that will allow all to sing with one voice, while respecting and affirming the variety of cultural voices within the church? Should we all sing some parts of the liturgy in Latin to draw us together? Should we all sing in Spanish, Viemamese, Creole and English at the same celebration? Should different languages be used for different parts? How and to what extent should the musical styles of various cultural groups be incorporated into large-scale liturgical celebrations? Who decides what constitutes a "genuine" Hispanic or African-American style?
Parish musicians often deal not only with a variety of cultural backgrounds, but also with various age groups and musical tastes. Many parishes provide a smorgasbord of liturgical musical choices, using different styles of music at different Sunday Masses. It is not uncommon for parishes to celebrate a youth Mass each Sunday, incorporating musical styles like "praise music" or "Christian rock."
Some communities have rejected this approach, finding that while it addresses the variety of musical tastes, it does little to foster the unity of the parish and the ability of the whole community to sing and pray the liturgy together. In these situations, musicians are challenged to incorporate various styles into all parish celebrations and to develop music ministers capable of singing and playing in those styles.
4. Developing Music Ministries
Every community needs ministers of music, but different communities require varying types of leadership, depending on their makeup and size. An urban cathedral or a sizeable parish community may require a full-time professional music director, while a smaller urban or rural parish may have to make do with a part-time or volunteer director.
Since the Second Vatican Council, the number of fulltime music directors in U.S. parishes has risen dramatically, especially in larger and more urban dioceses. One challenge for N.A.P.M. and other national organizations, academic institutions and diocesan offices is to provide the programs needed for music leaders in all 19,000 Catholic parishes in the United States. Of these, at least 1,000 Latin-rite parishes in the United States currently have full-time directors, although in many cases the music director is also responsible for some other aspect of parish life--usually liturgy for the parish or music for the school.
The need for leadership is just as crucial for good liturgical celebration in parishes that are smaller or that have fewer financial resources. Many such communities are served by a part-time or volunteer music director or coordinator. With nearly 3,000 rural parishes and at least that many small communities in cities, suburbs and towns, there is a pressing need to find ways to help these directors and coordinators to receive ongoing formation in liturgical studies, musical skills and pastoral ministry.
Directors and coordinators of music, of course, comprise only a small percentage of the people who serve in music ministry. Many parishes also rely on paid and volunteer musicians who serve as cantors, psalm singers, choir directors, choir singers, organists, guitarists, pianists and instrumentalists of various kinds. These ministers--hundreds of thousands of them--also require continuing formation not only in their musical roles, but also as liturgical ministers.
A surprisingly large number of parishes do not have a single person who is responsible for overall leadership in music ministry, but have separate directors in charge of each Sunday Mass and no general coordination. Bishops and pastors as well therefore need formation in musical matters, so they can recruit competent music ministers to coordinate this critically important aspect of pastoral ministry.
5. Music and Mission
Continuing formation is clearly crucial for music ministers of all kinds, because the church's music is linked so strongly to the life of the community as it forms its members to carry on the mission of Christ. To join in the song of the liturgy is to make a commitment to the mystery of Christ that we celebrate. Participation in the liturgy of word and sacrament is intimately linked to participation in what Karl Rahner, S.J., called the "liturgy of the world." Even as music evokes the presence and power of God through its beauty, the active singing of God's people makes them sharers in the mission of Christ to serve and to witness.
Subject: MM 361 Church Music Ministry (Education and Administration)
Professor: Miss Julie Sibucao
Student: Sein Thein
Assignments: Research Journal on Church Music Ministry (Mid Term)
Date: February 13, 2009
______________________________________________________________
Music Ministy
1. The seventh in the Lent-Easter series `Good Liturgy'
According to their music ministry is very broad and exiting for me. How God is working on the music ministry to this organization. God gave a very talented for His glorification. All Members always seem to pay attention to some elements of the liturgical celebration than to others. The writer mentions the importance of music for parish liturgical celebrations points to the pastoral role of liturgical musicians. This pastoral aspect of music ministry is so significant that the word is included in the name of the largest organization of Catholic Church musicians in the United States (9,000 strong): the National Association of Pastoral Musicians. Music directors occasionally receive letters from parishioners describing how the music of a particular celebration changed their lives.
One of the interesting celebrations is Sunday morning Mass, at which the music ministers consisted of a 40-voice choir and a cantor, accompanied by organ and brass. Most of the music, including familiar Easter hymns, was sung robustly by the whole assembly. The choir also sang alone, including a choral setting of the Easter Sequence and the "Hallelujah Chorus" from Handel's Messiah. After weeks of intense rehearsals and three days of singing for the major liturgies of the triduum, the choir was tired but exhilarated. The congregation sang the liturgy vigorously, and the choir led them with a joy that transcended physical weariness.
One of the women had come to Mass on that Easter Sunday morning after a long absence from the church and was expecting very little. But she found herself enveloped in an assembly that participated energetically in singing the Mass and was inspired by the choir, organ and brass, which communicated a profound sense of faith in the power of Christ's new life. Not only did this woman return to the practice of the faith, but she also soon found her way into music ministry as a member of the parish choir.
I understood that pastoral musicians can cite many such examples of the ways music helps people connect the celebration of the liturgy with their own life of faith. These connections are most obvious on occasions like baptisms or funerals or at particular seasons and feasts, like Christmas or Lent. Sometimes music speaks to people most clearly at times of personal crisis. Musicians are perhaps less accustomed to receiving letters, calls and comments of affirmation than of complaint. Why, people often ask, don't we sing hymns to the Blessed Virgin Mary during Sunday Masses in May? Why can't the music be more traditional or more contemporary, more upbeat, more familiar, more varied? Why don't we have less (or more) music from other cultures, less (or more) Gregorian chant, less (or more) youth-oriented music, less (or more) music by the choir alone, less (or more) music with organ or contemporary ensemble or rock band? Sometimes musicians hear these questions not only from parishioners, but even from their bishops and pastors.
2. Participation and Performance
The activity of Catholic, most choirs and organists thought of their role as "providing music" for the liturgy. Even though official church documents since the publication in 1903 of Inter Sollicitudines, issued by Pope St. Pius X motu proprio had encouraged active singing of various Latin chants and responses of the liturgy by the whole congregation, before Vatican II most Catholics experienced a liturgy in which all the singing was performed by a choir or one singer (who was often also the organist).
The liturgical reforms of Vatican II represented both continuity and change in the way that music would be used. As in all official church documents since 1903, the "Constitution on the Sacred Liturgy" (1963) emphasized the singing of the liturgical texts--acclamations, responses, antiphons, psalms and songs. The C.S.L. includes an entire chapter on sacred music, declaring its value to be "greater even than that of any other art. The main reason for this pre-eminence is that, as sacred song closely bound to the text, it forms a necessary or integral part of the solemn liturgy" (No. 112). The constitution also reiterated the dual purpose of music in the liturgy: the glorification of God and the sanctification of the faithful.
Vatican II set out a new agenda for liturgical musicians in its insistence on the active participation of the entire assembly in the singing of the liturgy. The C.S.L. charged those responsible for the revision of the liturgical books to consider this active participation before any other element. The role of choirs and other musicians was reaffirmed, but they were now to carry out their ministry with due regard for the active role of the assembly.
3. The Challenge of Diversity
How do music ministers plan for music that will allow all to sing with one voice, while respecting and affirming the variety of cultural voices within the church? Should we all sing some parts of the liturgy in Latin to draw us together? Should we all sing in Spanish, Viemamese, Creole and English at the same celebration? Should different languages be used for different parts? How and to what extent should the musical styles of various cultural groups be incorporated into large-scale liturgical celebrations? Who decides what constitutes a "genuine" Hispanic or African-American style?
Parish musicians often deal not only with a variety of cultural backgrounds, but also with various age groups and musical tastes. Many parishes provide a smorgasbord of liturgical musical choices, using different styles of music at different Sunday Masses. It is not uncommon for parishes to celebrate a youth Mass each Sunday, incorporating musical styles like "praise music" or "Christian rock."
Some communities have rejected this approach, finding that while it addresses the variety of musical tastes, it does little to foster the unity of the parish and the ability of the whole community to sing and pray the liturgy together. In these situations, musicians are challenged to incorporate various styles into all parish celebrations and to develop music ministers capable of singing and playing in those styles.
4. Developing Music Ministries
Every community needs ministers of music, but different communities require varying types of leadership, depending on their makeup and size. An urban cathedral or a sizeable parish community may require a full-time professional music director, while a smaller urban or rural parish may have to make do with a part-time or volunteer director.
Since the Second Vatican Council, the number of fulltime music directors in U.S. parishes has risen dramatically, especially in larger and more urban dioceses. One challenge for N.A.P.M. and other national organizations, academic institutions and diocesan offices is to provide the programs needed for music leaders in all 19,000 Catholic parishes in the United States. Of these, at least 1,000 Latin-rite parishes in the United States currently have full-time directors, although in many cases the music director is also responsible for some other aspect of parish life--usually liturgy for the parish or music for the school.
The need for leadership is just as crucial for good liturgical celebration in parishes that are smaller or that have fewer financial resources. Many such communities are served by a part-time or volunteer music director or coordinator. With nearly 3,000 rural parishes and at least that many small communities in cities, suburbs and towns, there is a pressing need to find ways to help these directors and coordinators to receive ongoing formation in liturgical studies, musical skills and pastoral ministry.
Directors and coordinators of music, of course, comprise only a small percentage of the people who serve in music ministry. Many parishes also rely on paid and volunteer musicians who serve as cantors, psalm singers, choir directors, choir singers, organists, guitarists, pianists and instrumentalists of various kinds. These ministers--hundreds of thousands of them--also require continuing formation not only in their musical roles, but also as liturgical ministers.
A surprisingly large number of parishes do not have a single person who is responsible for overall leadership in music ministry, but have separate directors in charge of each Sunday Mass and no general coordination. Bishops and pastors as well therefore need formation in musical matters, so they can recruit competent music ministers to coordinate this critically important aspect of pastoral ministry.
5. Music and Mission
Continuing formation is clearly crucial for music ministers of all kinds, because the church's music is linked so strongly to the life of the community as it forms its members to carry on the mission of Christ. To join in the song of the liturgy is to make a commitment to the mystery of Christ that we celebrate. Participation in the liturgy of word and sacrament is intimately linked to participation in what Karl Rahner, S.J., called the "liturgy of the world." Even as music evokes the presence and power of God through its beauty, the active singing of God's people makes them sharers in the mission of Christ to serve and to witness.
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