The “Shared Role” Model of Music Education

by Gary Powell

The role of the music educator is being transformed. Music education has always offered a rich environment for listening, analyzing and experiencing the most masterful compositions in history while students study under expert tutelage. Transitioning a student from academia to a global market economy, however, presents new and specific challenges for us as educators which we are seldom able to wholly grasp. Why not? Higher education emphasizes and demands compliance, not just for the student, but for any person working within the institution. The successful student, in order to prosper within this educational, system, is unconsciously creating a thought process that will most certainly work against success in the less compliant world – a world where your ever maturing and less compliant self actually lives. ListenYou will probably, like me, find yourself needing to turn the page quickly, without even knowing you are being taught from the wrong book. In this societal time of personal imprudence, systemic corruption and waste, and the uncertainly of leadership, the teacher and the student now find themselves as unlikely roommates in their freshman year at WTF University!

Listen inwardly, then express outwardly by nurturing relationships with individuals who are fair-minded and also your equals in intellect, passion, and talent.

Compliance by definition requires action, not of your own choice, in applying learned quantities to known stimuli. Formal education is built on the wealth of accumulated human knowledge. Educators teach what is known. Obviously, they can’t teach what is not known, so who or what, exactly, is going to teach you the future? Sorry, but this next college degree is going to be up to you. Hopefully, educators will at least have the capacity to forecast and teach technological and market trends. If you are studying the arts, then the news for you is even worse. However, experiencing the historical perspective which education offers the music student is where you as the student have the most to gain. Conversely, most professors will not have experienced any of these paradoxical paradigm shifts in the market or emerging production technologies first-hand. Most are either not aware that changes or shifts have occurred or they abhor these career threatening inevitabilities altogether.

I suggest bringing your teachers into your world of experience. Your experience will not be their experience and vice-versa. Because of these rapid technological and societal changes, you, the student, now share nearly equal responsibility with your teachers in your music education. You will now need to take on the responsibility of relating to your teachers and music professors in an inclusive, yet respectful way. Invite them into your world, and if they find it wholly irrelevant to their curriculum, then look outside the hallowed halls for what you know you need. This is your responsibility to yourself. They in turn, as your professors, have the responsibility of keeping their perspectives current and relevant. There is no subject that has not been touched by technological and sociological change. Taking on the personal responsibility for your education through awakening your insight, beyond the ivory towers, will build relationships facilitating knowledge and a cogent path for you to follow during times when we all experience murky indecisiveness; a time when absolutely no one has the answers you need. Listen inwardly, then express outwardly by nurturing relationships with individuals who are fair-minded and also your equals in intellect, passion, and talent.

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.

by Gary Powell

The role of the music educator is being transformed. Music education has always offered a rich environment for listening, analyzing and experiencing the most masterful compositions in history while students study under expert tutelage. Transitioning a student from academia to a global market economy, however, presents new and specific challenges for us as educators which we are seldom able to wholly grasp. Why not? Higher education emphasizes and demands compliance, not just for the student, but for any person working within the institution. The successful student, in order to prosper within this educational, system, is unconsciously creating a thought process that will most certainly work against success in the less compliant world – a world where your ever maturing and less compliant self actually lives. ListenYou will probably, like me, find yourself needing to turn the page quickly, without even knowing you are being taught from the wrong book. In this societal time of personal imprudence, systemic corruption and waste, and the uncertainly of leadership, the teacher and the student now find themselves as unlikely roommates in their freshman year at WTF University!

Listen inwardly, then express outwardly by nurturing relationships with individuals who are fair-minded and also your equals in intellect, passion, and talent.

Compliance by definition requires action, not of your own choice, in applying learned quantities to known stimuli. Formal education is built on the wealth of accumulated human knowledge. Educators teach what is known. Obviously, they can’t teach what is not known, so who or what, exactly, is going to teach you the future? Sorry, but this next college degree is going to be up to you. Hopefully, educators will at least have the capacity to forecast and teach technological and market trends. If you are studying the arts, then the news for you is even worse. However, experiencing the historical perspective which education offers the music student is where you as the student have the most to gain. Conversely, most professors will not have experienced any of these paradoxical paradigm shifts in the market or emerging production technologies first-hand. Most are either not aware that changes or shifts have occurred or they abhor these career threatening inevitabilities altogether.

I suggest bringing your teachers into your world of experience. Your experience will not be their experience and vice-versa. Because of these rapid technological and societal changes, you, the student, now share nearly equal responsibility with your teachers in your music education. You will now need to take on the responsibility of relating to your teachers and music professors in an inclusive, yet respectful way. Invite them into your world, and if they find it wholly irrelevant to their curriculum, then look outside the hallowed halls for what you know you need. This is your responsibility to yourself. They in turn, as your professors, have the responsibility of keeping their perspectives current and relevant. There is no subject that has not been touched by technological and sociological change. Taking on the personal responsibility for your education through awakening your insight, beyond the ivory towers, will build relationships facilitating knowledge and a cogent path for you to follow during times when we all experience murky indecisiveness; a time when absolutely no one has the answers you need. Listen inwardly, then express outwardly by nurturing relationships with individuals who are fair-minded and also your equals in intellect, passion, and talent.

Helpful? Then Copy, Paste and Tweet It:
The “Shared Role” Model of Music Education. http://tinyurl.com/8j79mf

All Content of Gary Powell’s Site is Licensed Under a
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.

Social-Media is Your Convention Floor

by Gary Powell

Austin psychotherapist, Amy Person, gave me the perfect metaphor for explaining how we might maintain a professional presence within our social networks, whether it is Facebook, Plaxo, LinkedIn, Twitter, or some other social site. She contends that your social networks are an ongoing 24-hour a day convention for your business. To make the point, I’ll write only about Facebook. Please apply this idea to all your social networks which you intend to use professionally.

Your ConventionYes, your Facebook Wall is an ongoing 24-hour a day convention for your business. In that, the content you post on Facebook, or any other social networking site, should be tightly controlled and consistent with your goals and then purposefully managed for the benefit of your convention-goers. We all want to attract people who will derive some benefit from our services and therefore visit often, and possibly even hire us or buy our products. We want them to see us as a valuable resource, right? Think of your future business leads and then consider how you would like them to see you. Are they interested in ground-breaking facts about your new hair color? How about that fascinating esophageal laparoscopic surgery I had this year? Wait, surely your future client, and the one client you have always waited for, will want to be notified when you walk your dog, are warming a can of Campbell’s soup or when you are waiting for your hair to dry.

Worse than just not caring, if they are indeed looking to you as a serious business partner, they will be judging you through what they experience on your site. Therefore, I suggest keeping your Wall as clean as possible and sweep the convention floor as many times a day as needed to control the endless drivel and to keep your content relevant to your goals.

Gary Powell's Facebook profile

Some personal content at your convention can give visitors insight into who you are and even humanize you, but Facebook is notoriously permissive and indulgent of a ridiculous level of triviality. Maybe you don’t have a problem with that, but you probably don’t want it on your convention floor either. Scrub the floors with great purpose. Deliver positive, helpful information through all the media you have at hand. Post it on your Wall, Tweet it, Blog it, Flickr it, but don’t trivialize your life, dump your garbage, or air your laundry there. Once you run a well-organized convention, your Facebook audience will grow in a healthy way and keep coming back. And maybe, most importantly, Google will love you for your efforts.

Helpful? Then Copy, Paste and Tweet It:
How Social Media is Your Convention Floor. http://tinyurl.com/6re9g5

All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.

by Gary Powell

Austin psychotherapist, Amy Person, gave me the perfect metaphor for explaining how we might maintain a professional presence within our social networks, whether it is Facebook, Plaxo, LinkedIn, Twitter, or some other social site. She contends that your social networks are an ongoing 24-hour a day convention for your business. To make the point, I’ll write only about Facebook. Please apply this idea to all your social networks which you intend to use professionally.

Your ConventionYes, your Facebook Wall is an ongoing 24-hour a day convention for your business. In that, the content you post on Facebook, or any other social networking site, should be tightly controlled and consistent with your goals and then purposefully managed for the benefit of your convention-goers. We all want to attract people who will derive some benefit from our services and therefore visit often, and possibly even hire us or buy our products. We want them to see us as a valuable resource, right? Think of your future business leads and then consider how you would like them to see you. Are they interested in ground-breaking facts about your new hair color? How about that fascinating esophageal laparoscopic surgery I had this year? Wait, surely your future client, and the one client you have always waited for, will want to be notified when you walk your dog, are warming a can of Campbell’s soup or when you are waiting for your hair to dry.

Worse than just not caring, if they are indeed looking to you as a serious business partner, they will be judging you through what they experience on your site. Therefore, I suggest keeping your Wall as clean as possible and sweep the convention floor as many times a day as needed to control the endless drivel and to keep your content relevant to your goals.

Gary Powell's Facebook profile

Some personal content at your convention can give visitors insight into who you are and even humanize you, but Facebook is notoriously permissive and indulgent of a ridiculous level of triviality. Maybe you don’t have a problem with that, but you probably don’t want it on your convention floor either. Scrub the floors with great purpose. Deliver positive, helpful information through all the media you have at hand. Post it on your Wall, Tweet it, Blog it, Flickr it, but don’t trivialize your life, dump your garbage, or air your laundry there. Once you run a well-organized convention, your Facebook audience will grow in a healthy way and keep coming back. And maybe, most importantly, Google will love you for your efforts.

Helpful? Then Copy, Paste and Tweet It:
How Social Media is Your Convention Floor. http://tinyurl.com/6re9g5

All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.

Big Sails – No Wind

Big Sails No Windby Gary Powell

At full sail, we can realize and create our purest artistic vision at our highest performance level and understanding. We can then come to enjoy the benefits from the realization of working at that highest and best use. I’m suggesting that in between fate, hard work, discipline, luck, favoritism, and talent, we can occasionally find our wind and be at full sail. In these snippets of time when chance collaborates with our fullest and best expressions – we forget time, place and even the context of our artistic origins. Life floats on the gentle and effortless waves of creativity and success, and we have indeed found our wind.

This is a time when our individual character either out-smarts or out-works the stillness of misfortune.

Conversely, we more frequently find ourselves in a dead calm. While we own the best vessel with all our gear at the ready, we simply have no wind. These are the periods of Big Sails – No Wind, which can be most disheartening, or something worse altogether. Within this metaphor, rations become scarce, resources diminish, and emotions turn to despair. The solution is to absolutely know that this will happen and to provision for it. Before World War II, the precept of economic prudence was a core value of most Americans. Few of our grandparents ever bought anything on credit. Having a good credit rating is not a bad thing, but it is not provisioning for the dead calm.

The dead calm may also require the use of a paddle. This is a time when our individual character either out-smarts or out-works the stillness of misfortune. Regardless of whether the dead calm seems engineered through circumstance, is self-inflicted, or is being masterminded by people who would shield the wind from your sails, the antidote is to provision, provision, provision, and don’t forget to buy a paddle.

Helpful? Then Copy, Paste and Tweet It:
Big Sails, No Wind-How to Survive the Arts in a Dead Calm. http://tinyurl.com/45mr4j


All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.

Big Sails No Windby Gary Powell

At full sail, we can realize and create our purest artistic vision at our highest performance level and understanding. We can then come to enjoy the benefits from the realization of working at that highest and best use. I’m suggesting that in between fate, hard work, discipline, luck, favoritism, and talent, we can occasionally find our wind and be at full sail. In these snippets of time when chance collaborates with our fullest and best expressions – we forget time, place and even the context of our artistic origins. Life floats on the gentle and effortless waves of creativity and success, and we have indeed found our wind.

This is a time when our individual character either out-smarts or out-works the stillness of misfortune.

Conversely, we more frequently find ourselves in a dead calm. While we own the best vessel with all our gear at the ready, we simply have no wind. These are the periods of Big Sails – No Wind, which can be most disheartening, or something worse altogether. Within this metaphor, rations become scarce, resources diminish, and emotions turn to despair. The solution is to absolutely know that this will happen and to provision for it. Before World War II, the precept of economic prudence was a core value of most Americans. Few of our grandparents ever bought anything on credit. Having a good credit rating is not a bad thing, but it is not provisioning for the dead calm.

The dead calm may also require the use of a paddle. This is a time when our individual character either out-smarts or out-works the stillness of misfortune. Regardless of whether the dead calm seems engineered through circumstance, is self-inflicted, or is being masterminded by people who would shield the wind from your sails, the antidote is to provision, provision, provision, and don’t forget to buy a paddle.

Helpful? Then Copy, Paste and Tweet It:
Big Sails, No Wind-How to Survive the Arts in a Dead Calm. http://tinyurl.com/45mr4j


All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.

Your Outlook on Life is a Direct Reflection

of How Much You Like Yourself

Your outlook on life is a direct reflection on how much you like yourself.I photographed this little shop window in September, 2007, while visiting Victoria, British Columbia on Vancouver Island. I’m not sure if this statement on their storefront window is true, but I found it appealing nonetheless. I walked in with cheery confidence and bought a groovin’ t-shirt which has indeed made me like myself more. Fortunately, there were no guitar stores on this street or I might have fallen into a narcissistic coma.

DISCLAIMER

In creating your lesson plan for life, remember that Retail Therapy is not for everyone. It should only be administered when in the company of someone who knows your credit limit and is bigger than you are. Under certain circumstances, Retail Therapy might actually be more detrimental to your self-worth than supportive of it. Use great discretion when undergoing Retail Therapy and remember to never shop alone especially when audio gear or musical instruments are involved.

Photograph by Gary Powell

All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.

Your outlook on life is a direct reflection on how much you like yourself.I photographed this little shop window in September, 2007, while visiting Victoria, British Columbia on Vancouver Island. I’m not sure if this statement on their storefront window is true, but I found it appealing nonetheless. I walked in with cheery confidence and bought a groovin’ t-shirt which has indeed made me like myself more. Fortunately, there were no guitar stores on this street or I might have fallen into a narcissistic coma.

DISCLAIMER

In creating your lesson plan for life, remember that Retail Therapy is not for everyone. It should only be administered when in the company of someone who knows your credit limit and is bigger than you are. Under certain circumstances, Retail Therapy might actually be more detrimental to your self-worth than supportive of it. Use great discretion when undergoing Retail Therapy and remember to never shop alone especially when audio gear or musical instruments are involved.

Photograph by Gary Powell

All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.

Rhapsody of The Soul

Released on Miramuse

Austin Contemporary Ballet

 

by Gary Powell

In 1995, I gave an interview on Austin’s NPR radio station, KLRU. During the interview, the moderator, John Rogers, played a recording of a composition I had written for the vocal group I had directed ten years earlier at the University of Texas, Ensemble 109. I recorded “Kryie Eleison, Christe Eleison” in 1986 with five studio singers, two of whom had been former students of mine at UT.

When I came home from the live interview, I had received messages on my home phone from two of Austin’s artistic directors, Lambros Lambrou of Ballet Austin and Greg Easley of Austin Contemporary Ballet, who were both listening to the interview and both heard “Kyrie Eleison” at the same time. Both, also, made calls to me within minutes of each other without each other’s knowledge.

Although I would have welcomed the chance to have worked with Lambros Lambrou, Greg Easley had a more immediate need in mind. He explained how AIDS had taken it’s toll on the dance community at large and how he felt that my “Kyrie” had spoken to his own sense of loss. Then Greg asked, “Would you be interested in expanding your “Kryrie” to look more deeply into loss itself, not directly as an AIDS piece, but because all of us live with loss everyday?” Thus, the bigger idea for the ballet was born, entitled “Rhapsody of the Soul,” and performed at Austin’s Paramount Theatre on February 9th, 1996.


rhapsody of the soul gary powell composer

“Rhapsody of the Soul” – Now Available Online for Worldwide Download from These Stores

iTunes Worldwide button
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Rhapsody of the Soul

(Separation, Loss and the Hope for Healing and Resolution)

An original work for the Austin Contemporary Ballet
Choreographed by Greg Easley, Artistic Director
Composed and Produced by Gary Powell
Latin Translations by Barry Brandenburg

1. Suavis Unitas Ne Discedas (Sweet oneness depart Not.)
2. Veniri Necesse Mihi Pati (It must come. I must suffer.)
3. Prudens Viae Nihil Moveor (I know my path. I do not move.)
4. In Umbris Progreditur Et Novit Amicos (It moves in shadows and knows my friends.)
5. Timens Decedende. Timens Manendi (Scared to leave. Scared to stay.)
6. In Morte Perditus (Lost in death.)
7. Kyrie Eleison, Christe Eleison (Lord have mercy. Christ have mercy.)


BLOGGING TIP: TO SHARE THIS WITH YOUR FRIENDS: Click the title of this post to display its permalink URL in your browser’s address bar. A permalink is nothing but a permanent URL address for any post. Every post (or blog) has its own permalink. You can now copy and paste this URL address from your browser’s address bar into an email to share with others.

Use this Bookmark Button to Share “Rhapsody of the Soul” with Your Social Networks!

Austin Contemporary Ballet

 

by Gary Powell

In 1995, I gave an interview on Austin’s NPR radio station, KLRU. During the interview, the moderator, John Rogers, played a recording of a composition I had written for the vocal group I had directed ten years earlier at the University of Texas, Ensemble 109. I recorded “Kryie Eleison, Christe Eleison” in 1986 with five studio singers, two of whom had been former students of mine at UT.

When I came home from the live interview, I had received messages on my home phone from two of Austin’s artistic directors, Lambros Lambrou of Ballet Austin and Greg Easley of Austin Contemporary Ballet, who were both listening to the interview and both heard “Kyrie Eleison” at the same time. Both, also, made calls to me within minutes of each other without each other’s knowledge.

Although I would have welcomed the chance to have worked with Lambros Lambrou, Greg Easley had a more immediate need in mind. He explained how AIDS had taken it’s toll on the dance community at large and how he felt that my “Kyrie” had spoken to his own sense of loss. Then Greg asked, “Would you be interested in expanding your “Kryrie” to look more deeply into loss itself, not directly as an AIDS piece, but because all of us live with loss everyday?” Thus, the bigger idea for the ballet was born, entitled “Rhapsody of the Soul,” and performed at Austin’s Paramount Theatre on February 9th, 1996.


rhapsody of the soul gary powell composer

“Rhapsody of the Soul” – Now Available Online for Worldwide Download from These Stores

iTunes Worldwide button
amazon mp3 button\

Rhapsody of the Soul

(Separation, Loss and the Hope for Healing and Resolution)

An original work for the Austin Contemporary Ballet
Choreographed by Greg Easley, Artistic Director
Composed and Produced by Gary Powell
Latin Translations by Barry Brandenburg

1. Suavis Unitas Ne Discedas (Sweet oneness depart Not.)
2. Veniri Necesse Mihi Pati (It must come. I must suffer.)
3. Prudens Viae Nihil Moveor (I know my path. I do not move.)
4. In Umbris Progreditur Et Novit Amicos (It moves in shadows and knows my friends.)
5. Timens Decedende. Timens Manendi (Scared to leave. Scared to stay.)
6. In Morte Perditus (Lost in death.)
7. Kyrie Eleison, Christe Eleison (Lord have mercy. Christ have mercy.)


BLOGGING TIP: TO SHARE THIS WITH YOUR FRIENDS: Click the title of this post to display its permalink URL in your browser’s address bar. A permalink is nothing but a permanent URL address for any post. Every post (or blog) has its own permalink. You can now copy and paste this URL address from your browser’s address bar into an email to share with others.

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Suavis Unitas Ne Discedas

(Sweet Oneness, Depart Not)

from Rhapsody of the Soul

by Gary Powell

Rhapsody of the SoulThe lyric “Suavis Unitas Ne Discedas” translates from Latin to English as “Sweet oneness, depart not.” This lyric sets the tone for the ballet, “Rhapsody of the Soul.” The stage is set. This opening scene is bathed in the fog of serenity, sweetness and peacefulness. The music begins by supporting this place of idyllic contentment and then slowly invites soul to become substance. Voices from the other side are wrapped within a distant web of wonderment. Although beginning as an invitation, the distant voices become more present – more populated, moving quickly past seduction toward the adjuratory commitment to life for our first gasp for air.
Though the rupture of primary unity is a necessary loss, it remains “an incurable wound which afflicts the destiny of the whole human race.” – Judith Viorst, “Necessary Losses”

The journey of “Rhapsody of the Soul” is musically punctuated by what was and what will be – our birth, our lives, and our death. These life parts, from our glorious oneness to our eventual separation, are each represented as musical themes throughout the ballet and are all first quoted in this opening piece, “Suavis Unitas Ne Discedas.”

Life is not static. We are all under constant change. Sometimes change is incipiently slow and dangerous in that we don’t feel it happening. Sometimes change is like stepping off a cliff. Birth is the latter. Moving from the womb, where safety, contentment, nourishment and peace transition to the shockingly violent birth canal must rank highly as one of the most ungracious transitions a human will ever experience. This is the moment when the vase of everlasting unity is broken and the individual is slapped into human experience. This is a grand, a traumatizing, and an unsettling entrance to the life that we all share!


rhapsody of the soul gary powell composer

Now Available Online for Worldwide Download from These Stores

iTunes Worlwide button
amazon mp3 button

 

Rhapsody of the Soul

(Separation, Loss and the Hope for Healing and Resolution)

An original work for the Austin Contemporary Ballet
Choreographed by Greg Easley, Artistic Director
Composed and Produced by Gary Powell
Latin Translations by Barry Brandenburg

1. Suavis Unitas Ne Discedas (Sweet oneness depart Not.)
2. Veniri Necesse Mihi Pati (It must come. I must suffer.)
3. Prudens Viae Nihil Moveor (I know my path. I do not move.)
4. In Umbris Progreditur Et Novit Amicos (It moves in shadows and knows my friends.)
5. Timens Decedende. Timens Manendi (Scared to leave. Scared to stay.)
6. In Morte Perditus (Lost in death.)
7. Kyrie Eleison, Christe Eleison (Lord have mercy. Christ have mercy.)

Chris Martin – Alto
Amy Atchley – Soprano
Gary Powell – Tenor
Billy Henry, Joe York, Scotty Roberts, Gary Powell, Male Chorus
Will Weaver, Katie Pyle, Devin MacDonald – Children’s Chorus
Katy Pyle – Newborn Child
Illustrations: Antonio Muñoz

BLOGGING TIP: TO SHARE THIS WITH YOUR FRIENDS: Click the title of this post to display its permalink URL in your browser’s address bar. A permalink is nothing but a permanent URL address for any post. Every post (or blog) has its own permalink. You can now copy and paste this URL address from your browser’s address bar into an email to share with others.

by Gary Powell

Rhapsody of the SoulThe lyric “Suavis Unitas Ne Discedas” translates from Latin to English as “Sweet oneness, depart not.” This lyric sets the tone for the ballet, “Rhapsody of the Soul.” The stage is set. This opening scene is bathed in the fog of serenity, sweetness and peacefulness. The music begins by supporting this place of idyllic contentment and then slowly invites soul to become substance. Voices from the other side are wrapped within a distant web of wonderment. Although beginning as an invitation, the distant voices become more present – more populated, moving quickly past seduction toward the adjuratory commitment to life for our first gasp for air.
Though the rupture of primary unity is a necessary loss, it remains “an incurable wound which afflicts the destiny of the whole human race.” – Judith Viorst, “Necessary Losses”

The journey of “Rhapsody of the Soul” is musically punctuated by what was and what will be – our birth, our lives, and our death. These life parts, from our glorious oneness to our eventual separation, are each represented as musical themes throughout the ballet and are all first quoted in this opening piece, “Suavis Unitas Ne Discedas.”

Life is not static. We are all under constant change. Sometimes change is incipiently slow and dangerous in that we don’t feel it happening. Sometimes change is like stepping off a cliff. Birth is the latter. Moving from the womb, where safety, contentment, nourishment and peace transition to the shockingly violent birth canal must rank highly as one of the most ungracious transitions a human will ever experience. This is the moment when the vase of everlasting unity is broken and the individual is slapped into human experience. This is a grand, a traumatizing, and an unsettling entrance to the life that we all share!


rhapsody of the soul gary powell composer

Now Available Online for Worldwide Download from These Stores

iTunes Worlwide button
amazon mp3 button

 

Rhapsody of the Soul

(Separation, Loss and the Hope for Healing and Resolution)

An original work for the Austin Contemporary Ballet
Choreographed by Greg Easley, Artistic Director
Composed and Produced by Gary Powell
Latin Translations by Barry Brandenburg

1. Suavis Unitas Ne Discedas (Sweet oneness depart Not.)
2. Veniri Necesse Mihi Pati (It must come. I must suffer.)
3. Prudens Viae Nihil Moveor (I know my path. I do not move.)
4. In Umbris Progreditur Et Novit Amicos (It moves in shadows and knows my friends.)
5. Timens Decedende. Timens Manendi (Scared to leave. Scared to stay.)
6. In Morte Perditus (Lost in death.)
7. Kyrie Eleison, Christe Eleison (Lord have mercy. Christ have mercy.)

Chris Martin – Alto
Amy Atchley – Soprano
Gary Powell – Tenor
Billy Henry, Joe York, Scotty Roberts, Gary Powell, Male Chorus
Will Weaver, Katie Pyle, Devin MacDonald – Children’s Chorus
Katy Pyle – Newborn Child
Illustrations: Antonio Muñoz

BLOGGING TIP: TO SHARE THIS WITH YOUR FRIENDS: Click the title of this post to display its permalink URL in your browser’s address bar. A permalink is nothing but a permanent URL address for any post. Every post (or blog) has its own permalink. You can now copy and paste this URL address from your browser’s address bar into an email to share with others.