acolli17

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Everything posted by acolli17

  1. While I actually really like the new look, I can see the Troopers falling into the same scenario that Madison is in - they go for it really hard for a year or two, find mixed success but ultimately fall backwards, and then in a year or two, we'll see a "return to the tradition that made us who we are" or some slight variation on that.
  2. I'm leaving teaching at the end of this year, so no resume padding necessary.
  3. What ever happened to the disney award? I don't remember what it was other than I think it was fan favorite something, all I remember was Phantom winning it in 2008 and Will Pitts essentially being brought back to life to accept the award when they won it.
  4. As a follow up to my last comment, I understand putting together a band concert and programming a drum corps show are two magnificently different challenges. There are far more things to take into consideration for an elite corps. I will definitely still cheer for Phantom loud and hard this summer, and I'm sure their show will be great.
  5. I appreciate the response, for sure. And you're right about my "white guys" comment, it was meant in a sarcastic manner. I've worked really hard this year to first program music that was of high quality, but also to keep in mind the diversity of composers and compositions I've selected this year. This is the program that I had for the high school I teach at this past year (and of course we had to do a Bernstein theme for his 100th birthday as well): Indoor Marching Concert Concert Band English Folk Fantasy, by Anne McGinty Slavonic Dance No. 8, by Antonin Dvorak arr. Harnsberger Music for Happiness, by Gerald Oswald Marching Band “Season Highlights” Winter Concert Concert Band Chasing Sunlight, by Cait Nishimura A Celebration of Hannukah arr. Howard Rowe Somewhere - Bernstein arr. Brown Sleigh Ride, by Leroy Anderson (mass band) Wind Symphony Solace Dance, by Nicole Piunno A Simple Song, by Leonard Bernstein arr. Sweeney Sounds of the Season, arr. John Moss Sleigh Ride, by Leroy Anderson (mass band) Symphonic Band A Musical Toast, by Leonard Bernstein arr. Grundman Tight Squeeze, by Alex Shapiro The Nutcracker Suite, by Pyotr Ilytch Tchaikovsky arr. Johnson Sleigh Ride, by Leroy Anderson (mass band) District Band Festival Concert Band Land of Liberty, by James Swearingen Earth Song, by Frank Ticheli Sunchaser, by Carol Britton Chambers Wind Symphony Barnum and Bailey’s Favorite, by Karl L. King arr. Kerchner On A Hymnsong of Philip Bliss, by David Holsinger Blaze the Trail, by Lisa Galvin Symphonic Band The Belle of Chicago, by John Philip Sousa Elegy for a Young American, by Ronald Lo Presti Il Burlone, by Julie Giroux (State Band Festival Selection) O Magnum Mysterium, by Morten Lauridsen arr. Reynolds (State Band Festival Selection) Spring Concert Concert Band The Rainbow Bridge, by Anne McGinty The Hunger Games, by James Howard arr. Bocook Nemesis, by Gary Fagan Wind Symphony How to Train Your Dragon, by John Powell arr. O’Loughlin Second Prelude, by George Gershwin arr. Krance Spring Festival, by Chen Yi Symphonic Band Carnegie Anthem, by William Owens Lake Superior Suite, by Cait Nishimura John Williams in Concert, by John Williams arr. Lavender Pixar Movie Magic arr. Brown
  6. That's a good thing to keep in mind, I'll be sure to do that. Thanks
  7. I hope it's allowed to post links, but I wrote an article about this for the project I've been collaborating on with some colleagues: Inclusive Programming: My Wake-up Call
  8. I think it would be cool to get the perspective of a musical expert that's not necessarily fluent in the marching arts to voice their opinions on it. Whenever we talk about the really "band-o" shows, 2011 Crown is usually involved in the conversation, however they are also the show that I gravitate towards to introduce the concept of drum corps to a potential new fan for the activity. As much as I absolutely adore shows like Babylon, Tilt, and XtraordinarY, those are usually because I already have knowledge of what to look for in a show.
  9. I think it would be cool to see a section of true improv - let the musicians get creative so it's not the exact same every night. One of the big criticisms of drum corps that I've heard from my non-marching-oriented musician friends is that it's not true musicality because it's so planned and directed, down to the slightest detail. I know it'd be taking a risk, but if we truly want to show the musicianship of the marching members, maybe that's a way to do it?
  10. Me, not checking on the thread I started, and coming back to it a few days later -
  11. Let's just design a show called ascending the score, where the first movement has all 80 brass on contras, second on euph, third on mellos, and 4th on trumpets.
  12. That second one would definitely create a new dynamic for show design, and I think it's a good step without going all the way to "fan favorite." I absolutely agree, it'd be interesting having an assessment from an outside individual or group of individuals.
  13. I'm curious what changes people would like to see happen to the Drum Corps activity, however I have a caveat - only comment with things that you would like to see changed that's not going back to older traditions. We all know the ideas of going back to standard uniforms, no mics, G bugles, no voiceovers/electronics, etc. What would you like to see in the activity that's never been done before? And playing Abb or Fx bugles doesn't count.
  14. I wonder if they'll utilize the neon lights that several indoor groups have used over the years. Edit: Obviously not actual neon.
  15. Thanks for the discussion, everyone. I appreciate your input on all of this.
  16. And that’s what a lot of people are upset about, isn’t it?
  17. I hope that at no point my words have been misinterpreted to bash the MMs in any way. This is a critique of the design process, and nothing more.
  18. I get the feeling that last post will be misinterpreted, so allow me to clarify: if you were going to do a show about Hanukkah, you could include a Jewish composer. If you did a show about the history of slave music, you could use a slave song. If you did a show about pirates, you could include a sea shanty. If you do a show about a specific theme, it makes sense to use music created for and by that theme. If your theme is women, wouldn’t it make sense to use music written by women?
  19. That’s not the same logic though - if a group is going to do a show about women, the idea could be to disclude, at least for one selection, male composers. Because the point to drive home is that women can create music on par with men. The difference I think we’re expressing is your example says the concept drives the music. Why couldn’t, for at least one movement, the music drive the concept?
  20. I was saying that there’s never been issue with their programming before, despite the fact that it’s been 99% male composed. The issue that expel are having now is that they’re doing a show about women empowerment and not including women in the music selections.
  21. Your last statement is a great point to remember, for all people, in all aspects of life.
  22. I think we can all agree that the lack of foresight on the PR portion of Phantom was subpar. I went through the history of Phantom's repertoire, and the only time they played a piece by a female composer was in 1972, when they did Bates's America the Beautiful. It doesn't seem like this has ever been an issue with fans of the activity in the past, but only when Phantom made it a point of their show did the criticisms come to surface. There have undoubtedly been many aspects of criticism of Phantom's show designs over the years, does proper representation of gender inequality not warrant the same level of validity?
  23. There's a lot to unpack here, but I'll do my best to address your comments. I sincerely hope I've come across as respectful with every comment I've made, and my intention was to never belittle or offend. I think we have to be careful when we say we're browbeating, since points are simply trying to be made. Isn't that what we do with every discussion? Uniforms, drill, music, staff, tradition, all facets of drum corps are discussed with passion, and that's what makes this activity great. I don't hope that others will "see the light," but rather it's a topic for discussion where people present material to alter the opinion of others. That's not browbeating, in my opinion, that's simply having a conversation. I think the point about the female composers is that a lot of people feel that programming works by women would have been in the best interests of Phantom. In the classes that I teach, I spent a lot of extra time going out of my way to program music that was not only engaging and challenging to my students, but represented a wide spectrum of diversity in composers this year. If you listened to the music, you wouldn't get the feeling that pieces were picked with an agenda in mind, but rather that it was great music (in my opinion). I personally feel that Phantom could have done the same, again this is my opinion. And to answer your question, disregarding gender is real equality, yes. And were Phantom to have created a gender neutral show this year, I don't think there'd be any issue. But the show is in fact not disregarding gender - it is very strongly about female empowerment. So to then turn around and not do that in all of the different facets of the show feels disingenuous, almost as if they're jumping on the bandwagon because it's the hot topic of the times. I understand your point about equality, but the concept of this show is not gender equal, which then creates a lack of consistency in the design because of the decisions that were made.