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2019 Phantom Regiment


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9 minutes ago, Lance said:

Seems kind of impossible for me that they couldn't find a way to include any piece by Joan Tower.

She's amazing and prolific. 

 

or #3!! A brass fanfare.........hmmmmmm, maybe would have worked..............yeah.......

 

 

 

Edited by JAZZER
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The haterade about "old white men" writing the music makes no sense.  How DARE you assume someone's sexual identity. :)

 

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12 hours ago, PhantomPhan91 said:

Looked into the other PR show/rep announcement threads here, and didn't see any mention of the heat (no pun intended) that PR has been receiving lately on social media for their programming and design choices this year- i.e., not selecting or incorporating any musical pieces composed by women.

Journey over to their FB/Twitter pages if you're curious...and here is a response by conductor Claire Wilcox regarding this, to provide a little bit of context.

 

Not just gender, but race being injected as well.  Disturbing.

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Virtue signaling. Yummy. Not. 

I wouldn’t even dignify such drivel by responding to it. Let the identity politics grievance merchants blow their dog whistles in their own echo chambers. Thinking people shouldn’t even respond to them. 

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Pretty soon Phantom will be an all-female corp with an all-male color guard...JK

 

I could care less about any of the political bs, all I care about is creating beautiful and powerful music...being competitive is high up there as well.

Edited by Phantombari1
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12 hours ago, JAZZER said:

 

 

 

 

 

This second piece you posted would seem to these ears of long drum corps experience to be more suitable for a field translation with the right arranger and a competent horn line. Imagining the addition of battery elements and front ensemble presence underscored by the visual component generates a candidate which could be quite effective for a finalist show. Admittedly some of the four and a half minutes would be clipped and rid of some of the glossing and busy-ness (notes for notes sake) which DCIers and DCPers especially have grown bored but technicians still love; the soloists would have to be super strong (even with miking) if the scattered field positioning would match the music, but it has a strong possibility for good GE dynamics across the sheets while remaining accessible and energetic to wake up an audience yearning to be engaged by the performance; the dissonance at times is quite inviting. 

Whether present PR personnel (on the field as well as at the designing table) would be the most fruitful in blossoming this piece is a most debatable opinion. At least one other corps this season is focusing on the feminine credentials, but the worth of this piece should not be limited only to that agenda.  I anticipate some wonderful creativity based on this composers' talents in both pieces. Bring it on.

 

Edited by xandandl
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3 hours ago, HockeyDad said:

Virtue signaling. Yummy. Not. 

I wouldn’t even dignify such drivel by responding to it. Let the identity politics grievance merchants blow their dog whistles in their own echo chambers. Thinking people shouldn’t even respond to them. 

But this one was channeling George Hopkins, and his 2010 blog comment about music written by "dead white people".  (Maybe that is what made it so disturbing.)

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