Some will be done quickly, as “sketches,” others more fully developed. It’s a great diverse group, and there’s still room for a few more.Įach week, I propose to undertake a collaborative studio project with these students, introducing a concept, discussing it briefly (with examples), then proposing an activity or process based on that concept. The enrollment in the class reflects a variety of disciplines: a voice major, but only one a handful of animators a couple film makers a graphic designer a music business student and a theater-maker. That’s why, this fall, I am preparing to teach a new course called “Enchantment Studio.” This is a multi-disciplinary studio experience designed to explore the expressive nature of song.
In stores, restaurants, cars: there’s no escaping them.Īs someone who writes songs and teaches others to perform them, I am fascinated by their power and influence, and constantly curious about what makes them tick. But songs are public, too, and public songs permeate our culture: they’re playing when we wake up, worship, make love, get married, put our children to sleep, bury our dead. Everywhere you look, people are plugged into their headsets, going about their daily business with a secret soundtrack.
What is it about songs? If you’re a singing actor, you’ll spend your lifetime performing them, interpreting them, living inside them, so surely you must be curious: just what, exactly, is the deal? Reflections on the power and pervasiveness of song, on the occasion of a new class
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