Creating a Storyboard with StoryboardThat.com app

First you must write a story or composition.  Then you can illustrate your story by creating a storyboard by using StoryboardThat.com app.  It will resemble a comic strip.

This tool is used to breakdown a script or story in order properly communicate and visualize what a student is learning. I have used it in this course to illustrate the story of my personal musical journey during my childhood. Once it was recommended to me and I looked into it, I couldn’t stop using it.

Some of its available features and options are as follows:

  1. Background scenes can be selected to fill the entire cell, i.e. indoor, outdoor, historical scenes.
  2. Layout including the number of cells can be chosen
  3. Characters can be added and edited to change facial expressions and poses
  4. Props can be added that the characters can interact with
  5. Searches can be conducted to find additional props not provided in this app
  6. Drawings and photos can be uploaded
  7. Text boxes in various shapes and sizes can be added to indicate talking
  8. Fonts can be customized
  9. Captions can be added beneath each cell

I worked out thumbnails on paper in accordance with my story and for each new idea I created a new frame. I then created these frames on this app using the above features.

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My First Experience in Determining My Own Aesthetic in Music

I began studying piano at age seven in Staten Island, New York in 1970. I am an only child and the youngest female cousin of a large family who all lived on the same street. Every family household on Beekman Street had an acoustic piano. As a little girl, I witnessed my older cousins share many happy occasions playing and singing around the piano.

As I grew, I wanted to emulate them and I, too, began studying privately with Ann H. Leeseberg. I was classically trained for ten years in pieces that she selected and presented to me.  At age 16, I was proficient enough and she began referring students to me as my talent exceeded that of my family members.

My mother exposed me to the early rock and roll sounds of the 1950’s at home.  I even had access to her old 45 record case and could play Elvis Presley, Bill Haley, and Buddy Holly records on my own. We would also dance together in the living room to the sound track of “American Graffiti” as she introduced me to the Lindy, The Stroll, and The Cha cha. (1,2,3 together…cha, cha, cha).  I delighted in her genre, but the joy and intimacy of the togetherness preceded.

My affinity for tradition church music began when I was exposed to religious hymns through worship at Mass and in music classes. As a Catholic School student, at age 11, my talent was prolific enough and I was asked to play the organ by one of the sisters for the first time at a school Mass. It was at that moment that I realized I had the ability to reach others emotionally as a music minister.

It was not until age 14 as a freshman in high school that I heard the sounds of the rock band Queen in the form of “Bohemian Rhapsody” played on my new stereo in my bedroom.   This afflatus kept me instantly captivated by this six-minute suite composed by lead singer, Freddie Mercury, and his four-octave vocal range. In 1975, record executives said it was too long and would never be successful as it was unorthodox to not have a chorus and a love theme. Instead it had an intro, ballad, operatic passage, a hard rock section and a reflective coda. Its vast shift in style and dynamics kept me enraptured as the tension built, and so my interest intensified. It was at this moment that I found my own style and love for this new sound of rock.

Fourteen is the age that one develops their own aesthetic.  When will your moment be?  What music will you call your own?

https://www.storyboardthat.com/classroom-publicboards/reginainnocente/my-first-experience-in-determining-my-own-aesthetic-in-music/copy

 

 

 

Bates Performance Theory Module 5 – Emotion in Acting and Singing Final Project

Lee Strasberg’s (1901-1982) theory of method acting using the senses with the actor correlating emotional experiences from their personal lives directly into the character being portrayed sparked my fascination.   To enable me to use his ideas in my work, I would like to connect his theory to emotion in singing.

Lee_Strasberg-1976

Lee Strasberg perhaps most famously known as Hyman Roth in the 1972 drama, “The Godfather”

Strasberg was influenced by Konstantin Stanislavsky after attending a performance in New York City of Moscow Art Theatre directed by him in 1923. Strasberg later became famous for his acting approach called “The Method” drawing and expanding from Stanislavsky’s method called “The System”. Stanislavsky was the first to devise and disseminate broadly a systematic approach that connected the actor’s behavior, body, emotion, and intelligence. (Bial, 252).  Strasberg, a Polish-born American, began his career in New York City as a stage manager, then actor, and then director, where he created his own theatre organization.

“The real secret to method acting—which is as old as the theater itself—is creating reality,” Strasberg once said, according to the Boston Globe. (Lee Strasberg Biography.com, 2014)

Strasberg co-founded the Group Theatre, directed experimental plays, worked in Hollywood, and returned to New York to be artistic director of the Actors Studio.

Emotional recall was the basis for Strasberg, i.e. recalling physical sensations surrounding emotional events and incorporating them into the character. His organic process of creativity trained actors to use their imagination, senses and emotions in creating intense and realistic performances.

He said, “Method acting is what all actors have always done whenever they acted well.” (Lee Strasberg Biography.com, 2014)

Some successful 20th century actors trained by Strasberg were Al Pacino, Marlon Brando, Marilyn Monroe, Paul Newman, Alec Baldwin and Ellen Burstyn. His techniques also inspired Angelina Jolie, Scarlett Johansson and Steve Buscemi.  Strasberg, himself perhaps is most famous for his role as Hyman Roth in 1972 drama “The Godfather” where he plays opposite his students, Pacino and Brando.

Three-time Oscar winner, Daniel Day-Lewis, is notorious for his method acting, extreme preparation, and even commits to living in the skin of each character. He felt that voice is a deep personal reflection of character of who we are, a fingerprint of the soul. He is a master of many accents and this is evident in this example below as Abraham Lincoln in Steven Spielberg’s, “Lincoln”, where he not only mastered an Illinois/Kentucky accent, but also possessed the long, lanky physicality of the president himself.

https://www.youtube.com/watch?v=1qjtugr2618

In singing with emotion one must understand that it is in vulnerability that the singer can communicate the lyrics to move listeners. By wearing your heart on your sleeve, the performance will sound authentic with the ability to link the emotion with the vocal sound. The singer must first listen to a song to feel and determine the main emotion,   sing from the heart, feel the mood, and like Strasberg’s method, add one’s own natural emotion from one’s own experience in the performance. (Danz, 2010).

As the singer or actor matures, life experiences can make this attainable. In my experience, it is often difficult to teach younger students who have not yet experienced real-life situations and felt these emotions first hand to do this while feeling it in their bodies, showing it in their facial expressions and hearing it in their voices. A naive singer might have the most beautiful sounding voice, but in an audition, it is the young performer with the highest level of maturity that can combine the facial expression and emotion with the vocal tone that will be distinctive and get the part.  This ability at a young age never ceases to amaze me.

https://www.youtube.com/watch?v=hCQnRG0blOk

Skilled vocalists express their emotion through technique. Some techniques are working with a vocal coach to train the voice, adding clarity by breaking down words into phonetics. Singers must learn how to control breath and clearly control vowels to impact emotional content. Finding the right sound, producing it, and creating mouth sounds to create different feels benefits the performer. Manipulating the voice by cracking, growling, and breathiness, for example, are additional ways in which to make a connection with the listener. Another technique is to practice building emotion by singing one word over and over in different ways. The end of Jared Leto’s Modern Myth video exemplifies this with the singing of the word “goodbye.” (Taylor, 2011).

https://www.youtube.com/watch?v=evZKQKhxWlw

Audiences respond to emoting, often thought of as the most significant part of singing, whereby the singer can relate the intensity of the music through facial expressions, body movement, and be seen as believable and authentic.

These three factors will enable the artist to connect with the listeners:

  • The sound
  • The song hook (the catchy bit, often the chorus)
  • The emotional level of the performance (Fisher, 2014)

Here is a performance by method actor, Joaquin Phoenix in the movie “Walk the Line”, a biography of singer/songwriter Johnny Cash, directed and co-written by James Mangold, where Phoenix not only acts, but also sings in this video. His first attempt in performing for a record producer in a recording studio is lackluster and he is instructed by the producer to stop and sing with emotion and feeling so to be appealing to listeners for the purpose of selling records, similar to Strasberg’s emotional-memory exercise where Strasberg states, “in being able to recreate it, an actor can control the expression of emotions on stage”. The development of this skill will enable flexibility on stage.  (Bial, 229).  In relation to the video, the agent gives Phoenix’ character, Johnny Cash, an exemplar of a real-life situation to contemplate and asks him to try again.

https://www.youtube.com/watch?v=dYP2EJb1nTQ

Here is an iMovie experiment of a performer singing the old sea shanty, “Drunken Sailor”, using different emotions.  Can you pinpoint each emotion that the singer is exemplifying?

 

 

What other emotions can you think of to change the affect of “Drunken Sailor”?

 

Bial, H. (2007). The Performance Study Reader (Second ed.). New York, NY: Routledge. pp. 229, 252.

Clarity. (2017). Successful Singing – Singing With Emotion. Retrieved April 19, 2017, from https://www.successfulsinging.com/learn-to-sing/singing-with-emotion/

Danz, T. (2010, September 1). 10 Ways to Sing it With Emotion. Retrieved April 19, 2017, from http://www.emusician.com/how-to/1334/10-ways-to-sing-it-with-emotion/43402

Fisher, J. (2014). Once More With Feeling – Singing and Emotion. Retrieved April 19, 2017, from http://vocalprocess.co.uk/singing-and-emotion/

Lee Strasberg Biography.com. (2014, July 8). Retrieved April 19, 2017, from http://www.biography.compeople/lee-strasberg-9496658 

Leto, J. (Writer). (2006, June 29). 30 Seconds to Mars – A Modern Myth [Video file]. Retrieved April 19, 2017, from https://www.youtube.com/watch?v=evZKQKhxWlw

Mangold, J. (Director). (2005). Walk the Line [Video file]. Retrieved April 19, 2017, from https://www.youtube.com/watch?v=dYP2EJb1nTQ

Shear, S. (Writer). (2014, April 25). Free Singing Lesson – Performing with Emotion [Video file]. Retrieved April 19, 2017, from https://www.youtube.com/watch?v=hCQnRG0blOk

Speilberg, S. (Director). (2012). Lincoln [Video file]. Retrieved April 19, 2017, from https://www.youtube.com/watch?v=1qjtugr2618

Taylor, K. (2011). Singing With Emotion. Retrieved April 19, 2017, from http://www.askavocalcoach.com/articles/singing-with-emotion/

Wright, K. (2014, August 26 ). 8 Acting Techniques (and the Stars Who Swear by Them). Retrieved April 19, 2017, from https://www.backstage.com/advice-for-actors/resources/8-acting-techniques-and-stars-who-swear-them/

 

 

 

 

Lesson 5. Note Values, Time Signatures, Measures

Here is a chart of notes, beats, and rests.

Here is a printable sheet in which to write complete measures in 2/4, 3/4, and 4/4 time signatures.  Each line indicated has three sections or “measures”.

2/4 time signature means there is two beats per measure

3/4 time signature means there are three beats per measure

4/4 time signature means there are four beats per measure

Any combination from the above chart is acceptable, providing they add to the correct number of beats indicated by each time signature.

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Blocking for Nativity Scene

Class 8-2:  Please click the link below for your positions on and off stage in the Nativity Scene.  Each character was made to your likeness.  We will only have access to the stage one time and this will make our rehearsal go more smoothly.  Good luck!

Lesson 4. iLovePiano App

 

 

Before you continue with the app, you will need to rub Einstein’s nose above for good luck in navigating through these lessons.  It is said that rubbing his nose on this statue in Washington, D.C. will bring good luck to you in anything STEM related.  Go for it!

Now you are ready to view the video below.  It will give you a relatively solid foundation in the theory of music.