【流行聲樂的留學指南】國慶前最后一篇純干貨,強烈建議看完再去耍!

愛特藝術留學2019-10-18 11:59:24
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ARTZOO
音樂人做音樂留學
愛特
流行聲樂留學指南

國慶前夕,小伙伴們是不是像小編一樣無心學習只想給祖國慶生呢?

小編在這里弱弱提個醒,申報截止時間也臨近了喲!

(小編錯了別打臉!)

所以趕快來看看考試要求和教授簡介吧!

心里踏實了才能愉快玩耍不是?

伯克利音樂學院
Berklee College of Music?
Linda Balliro

Title: Associate Professor, Voice
Career Highlights
Instruments include, voice, and piano
Over ten years performing as a classical singer in Europe, including church, concert, and opera in Central Europe
Tour with the Hungarian Symphony Orchestra and chamber music ensemble featuring organ and two harps
Appearances in the Wiener Festwochen
Previously engaged by the Vienna Conservatory as voice faculty in the musical theater department
Successful private teaching/consulting studio, working with local rock band singers, singer-songwriters, and vocalists involved in world music, musical theater, and opera
In their own words
"The ?rst a foremost thing is that (my students) get a balanced voice so that they can move easily throughout their range and they don’t have to manipulate sound or manipulate their body to get out a particular note. Once they have (their range) accessible, we can go in any direction they want, so I work with them on the repertoire accordingly."
"My lessons are extremely structured. What I do that’s different from other (vocal instructors) is that I respond in the moment to what’s happening with the voice. I don’t have a preordained (problem) to deal with, but I do respond to whatever the issue is in the moment. When you work with a voice that way, you can ?x problems very quickly."?
"My lessons begin with training of the muscles. It’s not a warm-up, because the vocal muscles actually need very little time to warm up (they warm up in about a minute or two), but the exercises are designed to train the coordination between the muscles. There are a set of muscles that dominate the chest register (the lower notes) and a set that dominate the head voice (the higher notes). The trick of singing is to balance the coordination between these two sets of muscles. Once you have that balance you can do anything. When you don’t have that balance you have to compensate and use other extrinsic muscles to help you get the pitches that you want."
"I’d hope that students would come away with the ability to sing the full range of their voice without manipulating or cultivating a tone, so that they sound authentic and they have a wide range of choices for what to do when they sing a song."
美國流行音樂學院
Musicians Institute
Anika Peress

Biography
Singer/Songwriter Anika Peress (AKA “Anika Paris”) received ASCAP’s Abe Oleman Scholarship (at the Songwriters Hall of Fame and Nashville’s City Song Festival) and ASCAP’s Pop Plus Award. A published songwriter with Universal, Polygram and Warner Bros., Anika’s songs are featured in major motion pictures with such stars as Gwyneth Paltrow, Ben Affleck and Mira Sorvino, and on soundtracks alongside Carly Simon, Dido and Six Pence None the Richer. Anika has released three solo recordings with industry giants, such as Sony and Warner Bros. Anika is the only female composer for WB Telepictures, with songs featured on Lifetime, MTV, HBO’s “Sex in the City” and more. In television, Anika has been a musical guest on “The Late, Late Show with Craig Kilborn,” “Latin Explosion” (featuring Christina Aguilera and Ricky Martin) and hit show “Celebrity Justice.” On the road, she has toured the U.S. and Canada, performed for the Royal Princess of Thailand, and shared the stage with such household names as Stevie Wonder, John Legend and John Mayer. In the realm of the musical, Anika has composed for the off-Broadway shows The Judas Tree and Temple of the Souls. At MI, Anika teaches Songwriting, Image Development and Artist Development.

康納爾現代音樂學院
Cornel School of Contemporary Music
Dawn Bishop

Department: Vocals; Choir Ensemble
B.M. Berklee College of Music
Biography
Dawn Bishop is one of Los Angeles’ most prominent vocalists. She has worked alongside the music industry’s most well-known musicians, artists, actors, choreographers, and record producers.
Ms. Bishop has toured with Brian McKnight, Walter Beasley, Fabiana Possini, Englebert Humperdinck, and Sergio Mendes.
Her solo performances include the National Arts Center (Ottawa, Canada), Playboy jazz Festival, and CBC radio.
Dawn Bishop has performed live with Foreigner (at age 14), Sergio Mendes (2002- 2009), Ledisi, the Black Eyed Peas, Patti Austin, the Bill Cunliffe Big Band, Freda Payne, Dale Bozzio (Missing Persons), Paula Cole, Walter Beasley, Brian McKnight(1992-1993), The Solsonics, Raymond jones (School Daze & Mo’ Better Blues Composer), Harvey Mason, Russell Ferrante, Jimmy Haslip, Phil Upchurch, Carl Anderson, Don Grusin, Abe Laboriel, Alex Acuna, Gerald Albright, Justo Almario, Patrice Rushen, Kevyn Lettau, Deniece Williams, Howard Hewett, Michael Paulo, Robert Kyle, John Legend, India Arie, the Eventide Carolers (Universal Studios- Hollywood),the Hollywood Film Chorale, and Engelbert Humperdinck.
Dawn Bishop Radio/TV/Film appearances include Jay Leno/ Tonight Show (aired july 2008, Sergio Mendes featuring Ledisi), NBA Playoffs Commercial (2007, FX Choir/ Hollywood Film Chorale;), Conversations with Ralph Walker (Dawn Bishop Band), BBC TV and Radio (UK – Sergio Mendes), Mais Que Nada Music Video (Sergio Mendes and the Black- Eyed Peas), Jay Leno/ Tonight Show (aired May 2006, Sergio Mendes and the Black-Eyed Peas), 2007 Academy Awards/ Oscars (Hollywood Film Chorale, Dream Girls’ Choir), General Hospital Night Shift Soundtrack, Latin American Music Awards (Will I. Am and Taboo).

麥克納利史密斯音樂學院
McNally Smith College of Music
Charlie Christenson

Title: Department Head, Voice
Biography
Charlie Christenson has been interested in teaching and learning since, as an eight-year-old, he regularly created his own worksheets for his two younger sisters. He holds a Bachelor’s of Music in Choral and General Music Education from Lawrence University in Wisconsin, and a Master’s of Music in Jazz Performance from the Manhattan School of Music in New York City. During his time on the East Coast, Charlie had the honor of performing in many of New York’s finest jazz clubs, including Jazz at Lincoln Center and Birdland, and studied with some of the greatest musicians in the world, including Peter Eldridge (New York Voices), Theo Bleckmann (Meredith Monk Ensemble) and Kate McGarry (Maria Schneider Orchestra). Before moving back to the Midwest in the Summer of 2011, he spent two years teaching and developing training strategies for Apple Inc. in Southern California.
Charlie is an active educator, clinician and performer—as a soloist, where he regularly releases original, indie rock recordings, and with his Standards Trio, which is set to release two volumes of jazz standard recordings later this year.


流行音樂考試要求
Part One: Prepared Pieces
Your prepared piece should demonstrate significant understanding of musicality, expression, phrasing, appropriate articulation; excellent intonation and tonal quality; and clarity of articulation or enunciation of notes (and lyrics for vocalists). Your audition performance should be delivered in a manner that is appropriate for the style of the piece.
Berklee embraces and values all styles of music, so you should prepare Three pieces that you are comfortable with and that displays your strengths as a musician. It should be should be in any style that demonstrates your instrumental proficiency and your overall musicianship. Here are some guidelines that may help when selecting your prepared piece:

?You might choose a tune from a well-known artist or band (in any style).
?You might choose a jazz or blues standard tune (which may include rhythm changes) to which you have the option of adding your own improvisation.
?You might choose a composition from the instrumental/voice repertoire or a movement, sonata, concerto, or etude.
?You might choose a transcription of a well-known artist’s solo.


Part Two: Sight Reading

While sight-reading, you should display strong accuracy of rhythm, pitch, and tone in order to achieve an interpretation that conveys musical substance with phrasing and expression appropriate to the style of the example provided.

Part Three: Improvisation

We would like to hear you improvise over a short progression to gauge where you are in your development. Your prepared piece may also include improvisation, but it is not required.




Part Four: Melodic and Rhythmic Playback
We recognize it is common for applicants to have imbalances in their playing abilities, and we realize that applicants may not have advanced skills in improvisation, reading, or ear training. We take a holistic approach in our evaluation process; each component of the audition helps the audition team assess your overall abilities as a musician and your potential for success at the master’s program level.


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