Meet Jim Daus Hjernøe the second edition of the Online EVA Talk:

The Intelligent Choir and Vocal Painting

20 April 2021, 19:00 CET on ZOOM

The purpose of our EVA Talk in this new format is to provide vocal ensemble singers and choir leaders with concrete tips and inspiration, to maintain continuity for your group or choir during times of physical distancing.

This time we will welcome Professor Jim Daus Hjernøe, the director and leading head of the European Voices Award-winning RAMA Vocal Center (RVC). As an internationally sought-after lecturer, excellent musician and ensemble leader, he lives the pursuit of innovation. With the RVC, Jim has simultaneously created an international network that carries the ideas, the methods and the creative potential all over the world.

Jim has also developed the “The Intelligent Choir” methodology (TIC). The “Intelligent Choir” consists of singers who themselves take responsibility for the musical creative process.

With “Vocal Painting” (VOPA), Jim has further developed Walter Thompson’s “Sound Painting” for improvisation with the voice and created a powerful tool for musical work in an ensemble.

Jim will give you a first impression on TIC and VOPA and about the possibilities to learn more about it for around 60 minutes. Thereafter will be time for questions and answers.

Please write an email to info@europeanvoices.org and we will sent you the ZOOM link.

We would like to ask for a contribution. Donate as much as you feel (maybe 5 € or more) to

European Voices Association e. V.
DE78 8306 5408 0004 7258 40
GENODEF1SLR

You are also welcome to become a member of EVA.

Meet Merel Martens for the first edition of the Online EVA Talk:

Online Choir Rehearsals
Methods, Exercises and Games

1 March 2021, 19:00 CET on ZOOM

For some time now choirs are rehearsing online with tools like Zoom or Jamulus. Even if ma­ny singers and conductors have lots of experiences now they might be interested in learning some new things.

The purpose of our EVA Talk in this new format is to provide vocal ensemble singers and choir leaders with concrete tips and inspiration, to maintain continuity for your group or choir during times of physical distancing.

Merel will teach you for around 60 minutes. Thereafter will be time for questions and answers.

Merel Martens founded the Vocal Leadership educational programs at the Codarts conservatory in Rotterdam, Ne­therlands in 2015.

Merel’s work with award winning vocal groups such as Pitch Control, MAZE, The Junction, Dutch Organic Choir and VOÏSZ Vocal Projects breaks new ground in vocal mu­sic around the world as well as in her home country.

Please write an email to info@europeanvoices.org and we will sent you the ZOOM link.

We would like to ask for a contribution. Donate as much as you feel (maybe 5 € or more) to

European Voices Association e. V.
DE78 8306 5408 0004 7258 40
GENODEF1SLR

You are also welcome to become a member of EVA.

There are two kinds of choir singers. Some of us are the shy one. We love singing in a group, but we don’t want to be heard too much. We don’t consider ourselves musicians, and we don’t know how to prepare or learn music on our own. In every concert, there are those two measures in that one song that we just don’t sing because they’re too hard. We just move our mouths and hope that our neighbors will manage those notes without us.

And some of us are the musicians, the confident ones, the divas. We audition for solos. We wait for our moment to shine. We love it when the director says our section is too quiet. And we wonder why our fellow singers always suggest, carefully, that we’re too loud.

Jo Annemans is in his element working with both of them. In his workshops (for vocal groups, choirs, or just gatherings of singers) he combines his approximately 20 years of experience singing with Belgian vocal group Voice Male and his day job as a therapist to teach the psychology of group singing. Most of all, he wants to teach singers how to listen. How does my part fit into the overall arrangement? What do my notes mean for the song in this moment? How does my vocal line interact with the others? What’s happening behind the solo?

Jo teaches several kinds of workshops for singers. Some involve learning one of his arrangements just to practice listening skills. Another involves arranging on the spot through improvisation and listening. And for vocal groups and choirs, he also offers individual master classes and coachings.

So what can singers get out of a workshop with Jo? One thing he always tries to do is give singers personal attention without making them feel uncomfortable. A shy singer can become more confident about their voice and start to feel more comfortable with every note they sing. And confident singers can learn how to listen more and understand how they fit into the group’s overall sound. In the end, both types of singers walk away knowing that they all share equal responsibility and value in the choir, and they find joy in realizing: we did this together, and everybody was in it.

Get more info about Jo on his website: www.joannemans.be

The definitive book on beatboxing by the renowned beatbox performers and coaches Indra Tedjasukmana and Andreas Kuch.

Need a bite-size drum kit and percussion section? No instruments are required to achieve stylistic fluency with this book! It offers an easy and hands-on approach to the basics of beatboxing and is the ideal tool for classroom practice and self-study. All important beatbox sounds are explained with examples from various music styles, stretching from rock and ballads to hip-hop and Latin music.

Contents

  • Basic beatboxing techniques and sounds
  • Patterns and fills in four styles: rock, ballads, hip-hop, and Latin music
  • Tandem beatboxing: patterns for two or more beatboxers
  • Beatbox solo works: demanding solo pieces for impressive performances
  • A special chapter on microphones
  • A chapter devoted to optimizing your practicing routines and finding new sounds

The enclosed DVD contains 93 video clips, which explain the beatbox sounds and patterns. Demonstrations by the authors teach sounds, rhythms, and styles. Performances of the solo pieces offer authentic examples and creative impulses for your own interpretations.

The audio part of the DVD contains 32 audio loops and play-alongs in different styles, which act as groovy soundtracks to practice beatboxing and will help you develop a varied beatbox repertoire.

This book is ideal for

  • Teachers who want to inspire their students, and vice versa
  • Choir directors, choirs, and vocal ensembles who want to add a new dimension to their music
  • Drummers, singers, beatmakers, DJs, MCs, and all other fans of groove

The introduction video (in German) is here:

Example page can be downloaded here.

And you can buy it here.

Over the last six years, I have been working as a choir leader and arranger for contemporary a cappella choirs. I made the observation that most of the choirs in the scene sing cover music. My Master’s project at the Royal Academy of Music in Aarhus/Aalborg (DK), that was coached by Malene Rigtrup (Ørehænger), Jens Johansen (Vocal Line) and Jim Daus Hjernøe (choir professor at the Royal Academy of Music) is an attempt to contribute with new original music to the choir world.

In the last couple of months I composed the song cycle Reflections, a coherent composition of 8 different songs of about 24 minutes. This project offered me the possibility to experiment with different composing and arranging techniques, with the creation of own lyrics and with the planning of a large composition process. I have chosen the title Reflections, because I wanted to reflect my own musical roots in classical music, pop, jazz and choral improvisation. The combination of elements from these musical genres resulted in this crossover composition, the melting-together of classical and rhythmic music, uniting the two worlds that have been separated over so many years. The musical frame is composed, but some pieces also leave space for group improvisation. The singers get a chance to contribute with their own musicality and get involved in a unique interpretation of the music.

The individual songs of the cycle are thematically linked by the eight basic emotions (anger, fear, sadness, disgust, surprise, anticipation, trust, and joy) that the psychologist Robert Plutchik defined in his theory of emotion. I have chosen to write music to the eight basic emotions, because they include stories and feelings that every one at some point experienced. The listeners can relate to their own memories and reflect about the feelings they had. The two choir composers Roger Treece and Eric Whitacre inspired me the most to write original choir music. I studied especially Eric Whitacre’s Sleep and Roger Treece’s The Four Loves and tried to incorporate their composing and arranging techniques in my music. I also used different songwriting techniques. As an example, I wrote music to the famous painting The Scream by Edvard Munch. He described shortly in his diary, how he came up with the idea of painting The Scream. I translated his words into English, added my own descriptions of the painting and put them together in a lyric. The Song is called Silent Noise.

Last week my compositions were performed at my Master’s exam with 28 singers from a.o. Vocal Line, Postyr and naura. Truly an amazing feeling to finally hear and see your own creations being sung with great expression and musical dedication.

Feel free to contact me, when you are curious to see the sheet music or want to hear more about the project.

Email: christian.ronsfeld@gmail.com

The European Voices Association is happy to welcome a new member. Some of you may already have met her at the LEOsings sessions in Aalborg and Freiburg.

Catarina, tell us who you are!

I’m a Swedish vocal specialist living in Austria. I am a real „voice worker“ due to my longtime occupation as a vocal- and voice coach, speech trainer and singer. I came to Austria about 20 years ago to continue my classical studies as an opera singer at the University of Mozarteum and also sang (among many other things) as soloist for 7 years at the Salzburger Festspiele.

Music making, living and acting is like a golden thread through my life starting with growing up in a great Swedish choir tradition. I believe that the human being is a natural musical being and the outcome of my seminars and teaching confirm this. One of my special skills is making people sing although they believe they can’t. This is a wonderful experience.

Why and how did you join The European Voices Association?

It was actually a coincidence. I came to EVA via the European Union „LEOsings“ project. Got a really friendly welcome by the EVA members and experience them as very skilled and professional people. I also feel that the energy and spirit in EVA is fresh, positive and innovative.

I like the idea of an organization that supports a cappella and vocal music – this was new for me. The human voice is an unsurpassed instrument and I enjoy the beauty and the countless possibilities of  a cappella music. I myself sang in a renaissance a cappella group for one year and then led my own vocal group for about 6 years performing Swedish „avantgarde“. 

Is there anything particular that you want to contribute to EVA?

As I am a founding member of stimme.at – the European Network of Voice Experts and also member of AVI (Austrian Voice Institute) and EVTA I know how important and helpful networking is. For example, to spread information and knowledge.

I have been training people using their voice for about 18 years now across borders. I also have a deep and long-lasting experience in singing.  From being a lyric-dramatic coloratura soprano to perform „Kulning“(Swedish screamjodel) and deep breasted Joik (Samitradition of the North) over pop and jazz, I’ve went to all kind of borders and crossed them.

I think I know exactly what the voice needs to work in the best and most flexible way. So I developed my own method where the inner and outer movement support the voice in a very effective way. This of course includes a physiologically healthy setup. I observe that many singers never learn to use the full capacity of their voice.

Some singers have unnecessary tensions and pain connected with their voice production. Stage fright is another issue. And so on. Here I would like to contribute with ideas, practices and solutions. With different angles how you as a singer can get the most out of your own voice. Because, it’s much more fun singing in the right way! 

1 day – 4 songs – 6 locations throughout the whole country – 2500 young singers. Sounds like a dream scenario, right? It actually happens every second year in Denmark. The event is called “Operation Syng” and is organized by the Danish youth choir organization Syng, which I am working for. Last month the event took place at 6 different high schools all over Denmark. In combination to the project, Syng publishes every second year a songbook with 4 pop choir arrangements that are rehearsed on the “Operation Syng” day with a choir of 300-500 singers at each location. This year I had the honour to be one of the choir leaders for this event. It was an amazing experience to see the joy and passion for pop music in the singers’ faces. The fact that all choirs were singing the same songs on the same day created the spirit of unity and being special. In the years in between there is a similar event called “Operation SyngEfter” for even younger singers.

Another event for young singers is Syng’s elite youth choir. Over 60 singers from all parts of Denmark were applying with a video audition to become a member of this national selection choir. In October we met for the first weekend with all the singers, one beatboxer and their choir leader and Syng consultant, Thue Thesbjerg. The first rehearsals already showed the high quality of this new youth choir. We succeeded in gathering an a cappella pop choir with 24 singers and a beatboxer that manages 7-part-arrangements. I am sure that we will hear fantastic choir music from them in the near future. So watch out, Aca-people! The singers are between 18 and 30 years old and have different backgrounds in music. Some of the singers are well-known faces in the Syng family, because they have been singing at other events of Syng before.

The goal of the organization Syng is to support young singers with many different choir events, publishing songbooks with youth choir arrangements and arranging workshops for choir leaders. Every year we arrange together with Kor72 a summer camp that I mentioned in my first blog. Furthermore, we support our assigned choirs with founding for travelling, concerts, workshops and recordings. One of our next projects is to connect with youth choir organizations from other countries and exchange ideas for supporting young singers. We are also interested in finding an international partner youth choir for an exchange with our new elite choir. At the Aarhus Vocal Festival (AAVF) on May 22nd-25th 2015 there will be an open discussion about the work of youth choir organizations in different countries. The goal is to get inspired by each other and to build an international network. Syng and AAVF are looking forward to hear your ideas in Aarhus!

To get more information about Syng and AAVF, check out the following links:

Syng.dk (only in Danish) and aavf.dk

A choir full of academic super brains and future winners of „Who wants to be a millionaire“? What makes a choir intelligent? The title „The Intelligent Choir“ was invented by the Danish choir professor Jim Daus Hjernøe and refers to his pedagogical philosophy: to educate your choir singers in taking more responsibility for the musical process. Jim Daus is one of my teachers in pop/jazz choir leading at the Royal Academy of Music in Aarhus/Aalborg (Denmark), who is specialized in choral improvisation (a. o.  Circle Song), Soundpainting and ear training for choirs. Over the past 10 years, he created a methodology that is inspired by Bobby McFerrin, The Real Group, Walter Thompson and the Berklee College of Music. The basic principle of his ideology is to prepare the choir singers to shape the intended music in the most efficient way. ”The Intelligent Choir” is the opposite of a choir that receives all information about the music from the choir leader. The goal is to create a group of singers that are also able to guide the musical process as leaders. A raw model of this philosophy is the Danish pop choir Vocal Line that consists of many singers that are choir leaders themselves and who are often allowed to make musical decisions on their own. However, it is no coincidence that Jim Daus and Jens Johansen, the leader of Vocal Line, are following the same philosophy in educating choirs. We have to go back to the early 90s.

It was the time when Jens started Vocal Line and Jim studied at the Royal Academy of Music. A time, when the city of Aarhus was open for pop choirs. In his last year of studies, Jim was taught in pop/jazz choir leading by Jens. In the following years both were teaching choir leading at the conservatory. In 1999 Jim started to teach at the conservatory in Aalborg and was supported by the former leader of the Royal Academy to start in 2004 the first Bachelor programme for pop/choir leading in Denmark. Info for all the ACA geeks: The first student that took the education was Morten Vinther, who is nowadays a member of The Real Group. In 2010 the two conservatories in Aarhus and Aalborg merged and made development in the programmes of pop/jazz choir leading as a main subject possible.

As a student of the Royal Academy of Music I have to emphasize the great flexibility that the conservatory offers with all their study programmes, though it is sometimes hard to keep the overview. The Royal Academy is – as far as I know – the only conservatory in the world, where you can study pop/jazz choir leading as a main subject. This is of course attracting students from all over Europe and even one student from Uruguay!! At the moment there are 24 students in the different programmes. For all of you who might think: „Wow! That sounds all really interesting! How can I study there without having to move to Denmark and without learning the difficult Danish language?” Well, I can tell you, there is hope! The conservatory does not only offer Bachelor and Master programmes on a full time basis, it is also possible to study long-distance classes, where you only have to travel 6 weekends a year to Aalborg. Geeky info number 2: An international airport is located right next door. In long-distance learning you can choose between 4 options, depending on the qualifications you already have. You could follow an inspiration class without any qualifications. If you have already studied music and want to improve your choir leading skills, you could audition for an international professional Master course or a Diploma course (EVU) based on half-time studies. For those of you, who have already studied a Bachelor in choir leading and write vocal break warm-up exercises for breakfast, you could audition for a talent line (KA-RK) in pop/jazz choir leading.

Besides the long-distance programmes the Royal Academy offers regular Bachelor and Master programmes in Aarhus and Aalborg, depending on how much you want to focus on pop/jazz choir leading with your ECTS points. You think that this sounds like a huge buffet of possibilities? Just to wait for the dessert. There is even a 2-year post-doc programme (soloist) for those who cannot get enough of being a student. The list of well-known names that studied or is studying one of those educations is rather long. So in order not to forget anyone, I will instead keep on writing about the content of studies.

As mentioned above professor Jim Daus Hjernøe, leader of VoxNorth, is the innovative pillar of the pop/jazz choir leading department. His teaching focuses on choral improvisation, Soundpainting and ear training. Jesper Holm, leader of the jazz vocal group Touché, focuses on vocal jazz in choirs, conducting technique and rehearsal methods. Malene Rigtrup, 10 years singer, arranger and assistant leader of Vocal Line, teaches arrangement and rehearsal methods for pop choirs. They are supported by guest teachers like Kristian Skårhøj (original Circle Song), Roxorloops (Beatbox), Walter Thompson (Soundpainting) and Peder Karlsson (The Organic Choir). In order to get a deeper understanding of pulse-based ”rhythmic music” – as the Danes call it – most of the choir leading students have supplementary classes like ”Singing, Dancing and Playing”, ear training, piano and singing. In addition to this, there are already plans about connecting a semi-professional vocal group to the education, to give the students a rehearsal group that suits their skills. The great idea of gathering all choir leading classes in Aalborg already creates the vibe of a “Nordic Vocal Centre”. The collaboration with the Norwegian conservatory in Levanger and the French organisation Cepravoi shows that there is a need for international exchange of pop/jazz choir music. In some years there might be an international exchange programme for students and teachers to spread the knowledge about this fantastic music we are working with. I can highly recommend studying at the Royal Academy of Music, because of the creative, personal and flexible structure. For more information, please check out the conservatory website: https://www.musikkons.dk  (you can find the English version as well) and spend 4 more minutes to watch this presentation video:

by Florian StädtlerVocal Blog editor-in-chief

Those who have watched the first part are anxiously waiting for part 2 of the interview I was able to do with Danish vocal music education specialist Jim Daus Hjernoe in Barcelona. In this part of the interview we are talking about the Aarhus Vocal Music Festival, Associate Professor Bobby Mc FerrinVocal Line, choir sound, the „Intelligent Vocal Ensemble“ and the new possibilities for professional singers to study at the Royal Conservatory in Aalborg and Aarhus. Let us know about your Aarhus experiences or send questions via the comment section. Before you watch the video, I’ll let you know about the end of the clip: It’s a reminder to become an EVA member, as this opens up the opportunity to apply for travel and accommodation funding for the next LEOsings session in – guess where? – Aalborg, hosted by Jim and his students in May 2014. So hurry up, we still have some spots to fill. And with the brandnew EVA memberships, it is even more fun to be part of the European a cappella movement.

Second part of the Interview