Evolution of a cappella pop – Tracing the roots of modern vocal music. Vocal and a cappella music in a non-classical setting have been known through jazz groups since 1920´s until today. However, in addition to jazz there has been a recent development featuring a new generation of vocal pop music which resulted in an international movement. Today groups like Pentatonix, Home Free, Voice Play find themselves topping the Billboard charts, gaining worldwide fame and recognition in todays´ pop culture.
But when did this movement start and how has it changed what „a cappella“ means to different generations? What were the milestones and who were the pioneering artists? Award winning beatboxer, arranger and a cappella expert Indra Tedjasukmana takes the audience on a sonic voyage through the last three decades of a cappella music. Together we will be re-discovering famous groups as well as “hidden gems” from the late 1980´s until most recently. After this lecture participants will have a basic understanding and knowledge of the sounds and styles of the different decades of a cappella pop. More on Indra Tedjasukmana
The Future of A Cappella
What are the biggest trends? Where are the biggest
growth markets? In which fields can young professional members of the community find
job opportunities? This discussion of the 30,000 foot view of the domestic and global vocal music scene, from prehistoric times beyond the present, is intended both for well-informed insiders and casual fans. More on Deke Sharon
We will take a look at our own stage frights and perspectives on how to overcome our fears and let the music be our guide to success and comfort. Activities will entail conversation, personal revelation, and actual demonstration. We will engage in breathing exercises, a meditation, and a group singing that creates a sense of security. You will physicalize the bonds that connect us and enjoy the freedom of movement. There will be a list of Creative Vitamins to build together. This workshop was quite successful in its last incarnation. It truly tailors itself to the people who partake – an emotional experience as we release tensions and discover our own “vulnerable strength”. What a relief to finally be back on the stage while we navigate this pandemic. If we can manage to overcome Corona, we can take on that which scares us in the performance arena. We will work in a safe environment, and inspire a supportive and positive, artistic community. More on Kim Nazarian
This workshop is about learning basic rhythm and breathing techniques that allow for a seamless transition into vocal percussion. Participants will be taught fundamental vocal percussion sounds such as the kick drum, hi hat, rim shot, snare drum and crash cymbals. You will leave with practice patterns to take home and the necessary tools to perform live. Beatbox Beginners is for everybody fascinated by the art of vocal percussion. This is your chance to get started! More on Roxorloops
The Vocal Painting (VOPA) system offers an advanced set of tools to lend shape and structure to “music of the moment” in any choir. Both conductors and singers are able to implement live arranging, live composing, re-arranging, re-composing, use of contrasting elements such as shifting keys, modules and time signature etc. during a performance. It can also be used within traditional repertoire to convey details during rehearsals and live in concert.
VOPA has its roots in Soundpainting, which is the universal multidisciplinary live composing sign language for musicians, actors, dancers, and visual artists. Presently the language comprises more than 1500 gestures. The Soundpainting language was created by Walter Thompson in Woodstock, New York in 1974.
VOPA is a vocal evolution of his original music sign language, developed by professor Jim Daus Hjernøe from The Royal Academy of Music, RAMA Vocal Center, Denmark. In VOPA it has become a new language for vocal art, used to complement conventional conducting techniques of choir music. VOPA is currently consisting of 75 signals and more are in the making. The signals are easy to understand and the conductor can use them to adjust the musical expression within every desired musical parameter. Through the development of VOPA, as a pedagogical tool and an artistic methodology, the signals have shown to be surprisingly effective as an easy and fast way to create music with singers of all levels, from audience participation to the highest professional level of vocal arts.
This workshop is presented in collaboration with RAMA Vocal Center. More on Jim Daus Hjernøe
We will go through the basic conducting technics focusing on the tools needed when working with rhythmical choir.
Other than that Tine will demonstrate some of the best and most efficient methods of rehearsal technics when we sing parts of some arrangements which we will then conduct together.
Mainly in smaller groups, but you will also be given the chance to stand in front of the whole choir as a conductor and have feed-back on you conducting technics. More on Tine Ohrt Højgaard
To sing is a full-body experience. This part of the workshop consists of a physical warm-up that will be tied to the teaching of our version of the tribal song ‘Trilon’; a very powerful and unifying musical experience for all participants as well as teachers. The song is about a ship that is being called to the shore by its tribe. It is originally from the stoney coast of Västra Götaland, where it is easy to imagine women communicating with each other along the coast – ‘Trilon, Trilon – there he is, there he is – close to shore’. More on Åkervinda
Expand your musical toolbox through this exciting lecture on arranging and reharmonisation techniques. James Rose will be revealing how he arranges for prominent vocal groups such as
Voces8, The Real Group, Naturally 7 and his own vocal group, Accent, drawing upon old and new inspirations. This workshop will include: a guided study of harmony theory, a curious venture into the world of chord voicings, and an expansive exploration into the various, evolving vocal group
styles & genres spanning the last century. There will be an optional opportunity to participate in an
arranging design challenge at the end. Whether you are a vocal hobbyist or a seasoned harmoniser, there’s something here to inspire everyone. More on James Rose
Developing solutions for the “in between”
– How do you elegantly get from finishing one song in your set-list to beginning the next? And how do you avoid losing the connection with the audience in this transition also known as the “in between”?
We are used to practicalities being part of the overall experience in choral performances. When a piece ends, the transition into the next musical moment may include a variety of elements such as singers moving into different positions, someone giving an introduction to the next piece, potential technical issues being dealt with (cables, microphones, stands, sheet music) and new pitches to the singers. We often neglect the fact that these actions matter in the overall experience, just like we pretend that clothing, how singers enter the stage, how the space is lit, decorated or arranged are ultimately neutral factors in regards to the musical experience. Well – they are not! In this workshop we will practically try out tools from the Concert Design Concept, by Astrid Vang-Pedersen, and solutions showing how to musically, aesthetically and dramaturgically move from piece to piece in a concert rundown. Participants will sing, move, speak and improvise, creating different versions of transitions that potentially transform our experiences as singers, performers and audiences. More on Astrid Vang-Pedersen
Barbershop is a primarily American tradition but in later years it has really blossomed in Denmark with the creation of several new barbershop choruses around the country. An important pillar of barbershop culture is tag singing; standing in a circle and singing the last few bars of a song detached from the song itself. The interesting thing about tags is that most of the time, tags are taught by rote which makes it an excellent ear training activity as well as something you can do anytime, anywhere – no sheet music necessary. There are loud tags and soft tags and we will sing them all at this workshop. All genders and voice types are welcome – as long as you are willing to ring some good ol’ barbershop chords with your fellow AAVF attendees. This workshop is presented in collaboration with Kor72. More on Jonas Rasmussen
We will dig into some fun arrangements of groovy, sensual, and powerful hit songs from the past couple of decades.
Let’s get into the emotion, styling, and dynamics of the music and use a variety of facets within our voices.
This workshop is presented in collaboration with Kor72.
More on Morten Kjær
This method/ philosophy developped by Panda van Proosdij is about supporting the voice by creating a good physical awareness, a healthy posture and finding the right balance between tension and relaxation in the body. Next to these elements this method also explores three important interrelated components: energy, concentration and focus. Working on these components can increase the level of musicality and dynamics which can result in a higher level of performing.
I believe that every body can move and if that is the case it will bring a vocal group to a flowing whole in which no one will be left out. A strong collective with authentic individuals. More on Panda van Proosdij