#acapella — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #acapella, aggregated by home.social.
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Landless
The Sugar Club, Friday, November 6 at 08:00 PM GMT
“Long-term Celtic music fans should flock to them – they’re a deliciously doomier Clannad – while devotees of Ireland’s current, brilliant scene should also respond to their stunning intensity.” – The Guardian Folk Album Of The Year
“While their albums are wonderful, seeing Landless live took my love of them to an entirely new level...They give me goosebumps from the very first note, every time." – Songlines
Enthusiastic Eunuch Presents
Landless (Glittebeat)
with special guest
Seamus Hyland
The Sugar Club
Friday 6th November 2026
Tickets €24 via https://billetto.ie/e/landless-glitterbeat-records-tickets-1922733
Landless are: Lily Power, Méabh Meir, Ruth Clinton and Sinéad Lynch. The Irish quartet sings centuries old ballads as well as more recently penned folk songs. Sometimes unaccompanied and at times with subtle instrumentation, their vocally rich music is dark and patient; spellbinding and gorgeous.
https://www.youtube.com/watch?v=Cu3HZEr_NAE
Lúireach, their second album, was named Folk Album of the Year 2024 by The Guardian. Lúireach is an album of quiet power, soaked in tradition but finding new and exciting ways to present these remarkable songs, songs that are full of melancholy, love, death and mystery.
https://www.youtube.com/watch?v=6cbbq1GZ_gA
Working once again with John ‘Spud’ Murphy (the Lankum producer and ØXN member), Lúireach
sees the quartet adding sparingly-used instrumentation – Ruth’s aching pump organ on Death & The
Lady, Méabh’s shruti box on Ej Husari, Lankum’s Cormac MacDiarmada on fiddle, viola and banjo
throughout, even some mournful trombone from Alex Borwick on The Newry Highwayman. As Lily explains, “A lot of the instrumentation happened organically as we were recording, while some
elements we have used live for years, like the organ. We tend not to make these kinds of decisions in
advance, but make suggestions as we go and see how everyone feels about it. Hopefully the album still has the impact of the unaccompanied singing, with a bit of variation this time around.”
The songs on Lúireach are from remarkably diverse sources and eras: the likes of Blackwaterside, Death & The Lady and My Lagan Love (learned from Traveller Paddy Doran, Norma Waterson and Méabh’s late father respectively) are probably known to even the casual fan of traditional music, while Lúireach Bhríde was commissioned for the RTÉ Folk Awards in 2018 and the closing song Ej Husari was learned from teacher and singer Eva Brunovská at the annual Rozhybkosti festival in Slovakia. Some of these songs are centuries old, some remarkably recent, yet when sung by Landless, they all sound timeless and eternal.
Seamas Hyland
Seamas Hyland is a multi-instrumentalist and composer who focuses on both traditional and experimental music. He enjoys exploring the varied sonic capabilities of the button accordion and creating tonal landscapes using field recordings he collects.Seamas recently released his debut solo album ‘Maidin Domhnaigh’ and was nominated for an RTÉ Folk award for best emerging artist in 2025. He has also collaborated with artists like John Francis Flynn, Jennie Moran and Eimear Walshe, and is particularly intrigued by the contrasting nature of traditional and contemporary music and how/if these can be presented together.
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Landless
The Sugar Club, Friday, November 6 at 08:00 PM GMT
“Long-term Celtic music fans should flock to them – they’re a deliciously doomier Clannad – while devotees of Ireland’s current, brilliant scene should also respond to their stunning intensity.” – The Guardian Folk Album Of The Year
“While their albums are wonderful, seeing Landless live took my love of them to an entirely new level...They give me goosebumps from the very first note, every time." – Songlines
Enthusiastic Eunuch Presents
Landless (Glittebeat)
with special guest
Seamus Hyland
The Sugar Club
Friday 6th November 2026
Tickets €24 via https://billetto.ie/e/landless-glitterbeat-records-tickets-1922733
Landless are: Lily Power, Méabh Meir, Ruth Clinton and Sinéad Lynch. The Irish quartet sings centuries old ballads as well as more recently penned folk songs. Sometimes unaccompanied and at times with subtle instrumentation, their vocally rich music is dark and patient; spellbinding and gorgeous.
https://www.youtube.com/watch?v=Cu3HZEr_NAE
Lúireach, their second album, was named Folk Album of the Year 2024 by The Guardian. Lúireach is an album of quiet power, soaked in tradition but finding new and exciting ways to present these remarkable songs, songs that are full of melancholy, love, death and mystery.
https://www.youtube.com/watch?v=6cbbq1GZ_gA
Working once again with John ‘Spud’ Murphy (the Lankum producer and ØXN member), Lúireach
sees the quartet adding sparingly-used instrumentation – Ruth’s aching pump organ on Death & The
Lady, Méabh’s shruti box on Ej Husari, Lankum’s Cormac MacDiarmada on fiddle, viola and banjo
throughout, even some mournful trombone from Alex Borwick on The Newry Highwayman. As Lily explains, “A lot of the instrumentation happened organically as we were recording, while some
elements we have used live for years, like the organ. We tend not to make these kinds of decisions in
advance, but make suggestions as we go and see how everyone feels about it. Hopefully the album still has the impact of the unaccompanied singing, with a bit of variation this time around.”
The songs on Lúireach are from remarkably diverse sources and eras: the likes of Blackwaterside, Death & The Lady and My Lagan Love (learned from Traveller Paddy Doran, Norma Waterson and Méabh’s late father respectively) are probably known to even the casual fan of traditional music, while Lúireach Bhríde was commissioned for the RTÉ Folk Awards in 2018 and the closing song Ej Husari was learned from teacher and singer Eva Brunovská at the annual Rozhybkosti festival in Slovakia. Some of these songs are centuries old, some remarkably recent, yet when sung by Landless, they all sound timeless and eternal.
Seamas Hyland
Seamas Hyland is a multi-instrumentalist and composer who focuses on both traditional and experimental music. He enjoys exploring the varied sonic capabilities of the button accordion and creating tonal landscapes using field recordings he collects.Seamas recently released his debut solo album ‘Maidin Domhnaigh’ and was nominated for an RTÉ Folk award for best emerging artist in 2025. He has also collaborated with artists like John Francis Flynn, Jennie Moran and Eimear Walshe, and is particularly intrigued by the contrasting nature of traditional and contemporary music and how/if these can be presented together.
-
Landless
The Sugar Club, Friday, November 6 at 08:00 PM GMT
“Long-term Celtic music fans should flock to them – they’re a deliciously doomier Clannad – while devotees of Ireland’s current, brilliant scene should also respond to their stunning intensity.” – The Guardian Folk Album Of The Year
“While their albums are wonderful, seeing Landless live took my love of them to an entirely new level...They give me goosebumps from the very first note, every time." – Songlines
Enthusiastic Eunuch Presents
Landless (Glittebeat)
with special guest
Seamus Hyland
The Sugar Club
Friday 6th November 2026
Tickets €24 via https://billetto.ie/e/landless-glitterbeat-records-tickets-1922733
Landless are: Lily Power, Méabh Meir, Ruth Clinton and Sinéad Lynch. The Irish quartet sings centuries old ballads as well as more recently penned folk songs. Sometimes unaccompanied and at times with subtle instrumentation, their vocally rich music is dark and patient; spellbinding and gorgeous.
https://www.youtube.com/watch?v=Cu3HZEr_NAE
Lúireach, their second album, was named Folk Album of the Year 2024 by The Guardian. Lúireach is an album of quiet power, soaked in tradition but finding new and exciting ways to present these remarkable songs, songs that are full of melancholy, love, death and mystery.
https://www.youtube.com/watch?v=6cbbq1GZ_gA
Working once again with John ‘Spud’ Murphy (the Lankum producer and ØXN member), Lúireach
sees the quartet adding sparingly-used instrumentation – Ruth’s aching pump organ on Death & The
Lady, Méabh’s shruti box on Ej Husari, Lankum’s Cormac MacDiarmada on fiddle, viola and banjo
throughout, even some mournful trombone from Alex Borwick on The Newry Highwayman. As Lily explains, “A lot of the instrumentation happened organically as we were recording, while some
elements we have used live for years, like the organ. We tend not to make these kinds of decisions in
advance, but make suggestions as we go and see how everyone feels about it. Hopefully the album still has the impact of the unaccompanied singing, with a bit of variation this time around.”
The songs on Lúireach are from remarkably diverse sources and eras: the likes of Blackwaterside, Death & The Lady and My Lagan Love (learned from Traveller Paddy Doran, Norma Waterson and Méabh’s late father respectively) are probably known to even the casual fan of traditional music, while Lúireach Bhríde was commissioned for the RTÉ Folk Awards in 2018 and the closing song Ej Husari was learned from teacher and singer Eva Brunovská at the annual Rozhybkosti festival in Slovakia. Some of these songs are centuries old, some remarkably recent, yet when sung by Landless, they all sound timeless and eternal.
Seamas Hyland
Seamas Hyland is a multi-instrumentalist and composer who focuses on both traditional and experimental music. He enjoys exploring the varied sonic capabilities of the button accordion and creating tonal landscapes using field recordings he collects.Seamas recently released his debut solo album ‘Maidin Domhnaigh’ and was nominated for an RTÉ Folk award for best emerging artist in 2025. He has also collaborated with artists like John Francis Flynn, Jennie Moran and Eimear Walshe, and is particularly intrigued by the contrasting nature of traditional and contemporary music and how/if these can be presented together.
-
Landless
The Sugar Club, Friday, November 6 at 08:00 PM GMT
“Long-term Celtic music fans should flock to them – they’re a deliciously doomier Clannad – while devotees of Ireland’s current, brilliant scene should also respond to their stunning intensity.” – The Guardian Folk Album Of The Year
“While their albums are wonderful, seeing Landless live took my love of them to an entirely new level...They give me goosebumps from the very first note, every time." – Songlines
Enthusiastic Eunuch Presents
Landless (Glittebeat)
with special guest
Seamus Hyland
The Sugar Club
Friday 6th November 2026
Tickets €24 via https://billetto.ie/e/landless-glitterbeat-records-tickets-1922733
Landless are: Lily Power, Méabh Meir, Ruth Clinton and Sinéad Lynch. The Irish quartet sings centuries old ballads as well as more recently penned folk songs. Sometimes unaccompanied and at times with subtle instrumentation, their vocally rich music is dark and patient; spellbinding and gorgeous.
https://www.youtube.com/watch?v=Cu3HZEr_NAE
Lúireach, their second album, was named Folk Album of the Year 2024 by The Guardian. Lúireach is an album of quiet power, soaked in tradition but finding new and exciting ways to present these remarkable songs, songs that are full of melancholy, love, death and mystery.
https://www.youtube.com/watch?v=6cbbq1GZ_gA
Working once again with John ‘Spud’ Murphy (the Lankum producer and ØXN member), Lúireach
sees the quartet adding sparingly-used instrumentation – Ruth’s aching pump organ on Death & The
Lady, Méabh’s shruti box on Ej Husari, Lankum’s Cormac MacDiarmada on fiddle, viola and banjo
throughout, even some mournful trombone from Alex Borwick on The Newry Highwayman. As Lily explains, “A lot of the instrumentation happened organically as we were recording, while some
elements we have used live for years, like the organ. We tend not to make these kinds of decisions in
advance, but make suggestions as we go and see how everyone feels about it. Hopefully the album still has the impact of the unaccompanied singing, with a bit of variation this time around.”
The songs on Lúireach are from remarkably diverse sources and eras: the likes of Blackwaterside, Death & The Lady and My Lagan Love (learned from Traveller Paddy Doran, Norma Waterson and Méabh’s late father respectively) are probably known to even the casual fan of traditional music, while Lúireach Bhríde was commissioned for the RTÉ Folk Awards in 2018 and the closing song Ej Husari was learned from teacher and singer Eva Brunovská at the annual Rozhybkosti festival in Slovakia. Some of these songs are centuries old, some remarkably recent, yet when sung by Landless, they all sound timeless and eternal.
Seamas Hyland
Seamas Hyland is a multi-instrumentalist and composer who focuses on both traditional and experimental music. He enjoys exploring the varied sonic capabilities of the button accordion and creating tonal landscapes using field recordings he collects.Seamas recently released his debut solo album ‘Maidin Domhnaigh’ and was nominated for an RTÉ Folk award for best emerging artist in 2025. He has also collaborated with artists like John Francis Flynn, Jennie Moran and Eimear Walshe, and is particularly intrigued by the contrasting nature of traditional and contemporary music and how/if these can be presented together.
-
Landless
The Sugar Club, Friday, November 6 at 08:00 PM GMT
“Long-term Celtic music fans should flock to them – they’re a deliciously doomier Clannad – while devotees of Ireland’s current, brilliant scene should also respond to their stunning intensity.” – The Guardian Folk Album Of The Year
“While their albums are wonderful, seeing Landless live took my love of them to an entirely new level...They give me goosebumps from the very first note, every time." – Songlines
Enthusiastic Eunuch Presents
Landless (Glittebeat)
with special guest
Seamus Hyland
The Sugar Club
Friday 6th November 2026
Tickets €24 via https://billetto.ie/e/landless-glitterbeat-records-tickets-1922733
Landless are: Lily Power, Méabh Meir, Ruth Clinton and Sinéad Lynch. The Irish quartet sings centuries old ballads as well as more recently penned folk songs. Sometimes unaccompanied and at times with subtle instrumentation, their vocally rich music is dark and patient; spellbinding and gorgeous.
https://www.youtube.com/watch?v=Cu3HZEr_NAE
Lúireach, their second album, was named Folk Album of the Year 2024 by The Guardian. Lúireach is an album of quiet power, soaked in tradition but finding new and exciting ways to present these remarkable songs, songs that are full of melancholy, love, death and mystery.
https://www.youtube.com/watch?v=6cbbq1GZ_gA
Working once again with John ‘Spud’ Murphy (the Lankum producer and ØXN member), Lúireach
sees the quartet adding sparingly-used instrumentation – Ruth’s aching pump organ on Death & The
Lady, Méabh’s shruti box on Ej Husari, Lankum’s Cormac MacDiarmada on fiddle, viola and banjo
throughout, even some mournful trombone from Alex Borwick on The Newry Highwayman. As Lily explains, “A lot of the instrumentation happened organically as we were recording, while some
elements we have used live for years, like the organ. We tend not to make these kinds of decisions in
advance, but make suggestions as we go and see how everyone feels about it. Hopefully the album still has the impact of the unaccompanied singing, with a bit of variation this time around.”
The songs on Lúireach are from remarkably diverse sources and eras: the likes of Blackwaterside, Death & The Lady and My Lagan Love (learned from Traveller Paddy Doran, Norma Waterson and Méabh’s late father respectively) are probably known to even the casual fan of traditional music, while Lúireach Bhríde was commissioned for the RTÉ Folk Awards in 2018 and the closing song Ej Husari was learned from teacher and singer Eva Brunovská at the annual Rozhybkosti festival in Slovakia. Some of these songs are centuries old, some remarkably recent, yet when sung by Landless, they all sound timeless and eternal.
Seamas Hyland
Seamas Hyland is a multi-instrumentalist and composer who focuses on both traditional and experimental music. He enjoys exploring the varied sonic capabilities of the button accordion and creating tonal landscapes using field recordings he collects.Seamas recently released his debut solo album ‘Maidin Domhnaigh’ and was nominated for an RTÉ Folk award for best emerging artist in 2025. He has also collaborated with artists like John Francis Flynn, Jennie Moran and Eimear Walshe, and is particularly intrigued by the contrasting nature of traditional and contemporary music and how/if these can be presented together.
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Already a month went by since my album release show! 💿 Loved singing "Fairytale" with Athena and Lana and Welmoed 😍
Listen to the full song here: https://kayleighbeard.bandcamp.com/track/fairytale
#albumrelease #newalbum #releaseparty #releaseshow #artpop #indiemusic #altpop #artist #liveshow #livemusic #mutations #vinyl #record #buyvinyls #records #nowplaying #music #release #bandcamp #musician #celtic #celticmusic #choir #female #singer #feminism #fairytale #folk #folkmusic #acapella
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Already a month went by since my album release show! 💿 Loved singing "Fairytale" with Athena and Lana and Welmoed 😍
Listen to the full song here: https://kayleighbeard.bandcamp.com/track/fairytale
#albumrelease #newalbum #releaseparty #releaseshow #artpop #indiemusic #altpop #artist #liveshow #livemusic #mutations #vinyl #record #buyvinyls #records #nowplaying #music #release #bandcamp #musician #celtic #celticmusic #choir #female #singer #feminism #fairytale #folk #folkmusic #acapella
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Already a month went by since my album release show! 💿 Loved singing "Fairytale" with Athena and Lana and Welmoed 😍
Listen to the full song here: https://kayleighbeard.bandcamp.com/track/fairytale
#albumrelease #newalbum #releaseparty #releaseshow #artpop #indiemusic #altpop #artist #liveshow #livemusic #mutations #vinyl #record #buyvinyls #records #nowplaying #music #release #bandcamp #musician #celtic #celticmusic #choir #female #singer #feminism #fairytale #folk #folkmusic #acapella
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Already a month went by since my album release show! 💿 Loved singing "Fairytale" with Athena and Lana and Welmoed 😍
Listen to the full song here: https://kayleighbeard.bandcamp.com/track/fairytale
#albumrelease #newalbum #releaseparty #releaseshow #artpop #indiemusic #altpop #artist #liveshow #livemusic #mutations #vinyl #record #buyvinyls #records #nowplaying #music #release #bandcamp #musician #celtic #celticmusic #choir #female #singer #feminism #fairytale #folk #folkmusic #acapella
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Already a month went by since my album release show! 💿 Loved singing "Fairytale" with Athena and Lana and Welmoed 😍
Listen to the full song here: https://kayleighbeard.bandcamp.com/track/fairytale
#albumrelease #newalbum #releaseparty #releaseshow #artpop #indiemusic #altpop #artist #liveshow #livemusic #mutations #vinyl #record #buyvinyls #records #nowplaying #music #release #bandcamp #musician #celtic #celticmusic #choir #female #singer #feminism #fairytale #folk #folkmusic #acapella
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these might be the hardest sweatpants I dropped…
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Mario – Chick With The Braids (First Part Cover w/ Background Vocals)
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Mario – Chick With The Braids (First Part Cover w/ Background Vocals)
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Mario – Chick With The Braids (First Part Cover w/ Background Vocals)
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Mario – Chick With The Braids (First Part Cover w/ Background Vocals)
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Mario – Chick With The Braids (First Part Cover w/ Background Vocals)
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#JoyScrolling: Peter Hoolens and Tim Foust sing "The Sounds of Silence"
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Mario – Chick With The Braids (Cover w/ Background Vocals)
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das_synthikat – punk is dead
#DIY #Punk #acapella #cyberpunk #industrial #nonbinary #queer #synthpunk #Nuremberg
CC BY (#CreativeCommons Attribution) #ccmusic
https://das-synthikat.bandcamp.com/album/punk-is-dead -
VoicePlay A Capella ORIGINAL SONG Premiere: Into the Deep ft. J.None & Lauren Paley
https://www.youtube.com/watch?v=jGMTLERemWE
#Music #Pirates #ACapella #VoicePlay #GeoffCastellucci #LayneStein #EliJacobson #CesarDeLaRosa #JNone #LaurenPaley
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⭐Escuchar Thriller a capella, te hace entender lo impresionante que era Michael Jackson como cantante.
Su “autotune" era su talento.:neondance: :neondance: :neondance:
#michaeljackson #thriller #acapella #talento #voz #musica #leyenda #sinautotune #perfeccion #vidareal
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⭐Escuchar Thriller a capella, te hace entender lo impresionante que era Michael Jackson como cantante.
Su “autotune" era su talento.:neondance: :neondance: :neondance:
#michaeljackson #thriller #acapella #talento #voz #musica #leyenda #sinautotune #perfeccion #vidareal
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⭐Escuchar Thriller a capella, te hace entender lo impresionante que era Michael Jackson como cantante.
Su “autotune" era su talento.:neondance: :neondance: :neondance:
#michaeljackson #thriller #acapella #talento #voz #musica #leyenda #sinautotune #perfeccion #vidareal
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⭐Escuchar Thriller a capella, te hace entender lo impresionante que era Michael Jackson como cantante.
Su “autotune" era su talento.:neondance: :neondance: :neondance:
#michaeljackson #thriller #acapella #talento #voz #musica #leyenda #sinautotune #perfeccion #vidareal
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VoicePlay A Capella Cover Premiere: Wanted Dead or Alive ft. Omar Cardona
https://www.youtube.com/watch?v=CWkAAhoIWN4
#VoicePlay #Music #ACapella #GeoffCastellucci #LayneStein #EliJacobson #CesarDeLaRosa #OmarCardona #BonJovi
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Wir bleiben persönlich und führen unser Programm vom Ende letzten Jahres ein letztes Mal auf!
Am 16.4. treten wir um 18:30 Uhr mit unserem Konzertprogramm im St. Spiritus auf.
Hierzu seid ihr herzlich eingeladen 🦗
Es wird ein bunter Abend mit vielstimmiger A-Capella-Musik und netten Menschen. Der Eintritt ist wie immer kostenfrei, Details gibt es auf unserer Homepage.
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The Bee Gees perform ‘How Deep Is Your Love’ live and a capella in resurfaced 1998 clip
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The Bee Gees perform ‘How Deep Is Your Love’ live and a capella in resurfaced 1998 clip
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The Bee Gees perform ‘How Deep Is Your Love’ live and a capella in resurfaced 1998 clip
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The Bee Gees perform ‘How Deep Is Your Love’ live and a capella in resurfaced 1998 clip
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Vielleicht ist genau jetzt der richtige Moment für einen kleinen Tausch – ein Lächeln, ein paar liebe Worte oder einfach ein bisschen Zeit füreinander. #EinKleinerTausch #Freundschaft #Alltagsmomente #FeelGood #Acapella #PianoVibes #EmotionaleMusik #KleineDinge #MinimalMusic #PlatonischerRebell
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"After the Gold Rush" is a song written and performed by #NeilYoung and is the title song from his 1970 album of the same name. In addition to After the #GoldRush, it also appears on the compilation albums #Decade, #GreatestHits and on #LiveRust. An #aCapella version of the song was a hit in many countries in 1974 for the #English vocal group #Prelude. It's ranked number 323 on Rolling Stone's list of #The500GreatestSongsOfAllTime.
https://www.youtube.com/watch?v=gGEhbRvfNS4 -
Das nächste Mal sind wir am 18.04.2026 in #Langen und am 20.04.2026 in #Mainz in der St. Antonius Kapelle (#InstitutfürKirchenmusikMainz) zu hören.
Es wird ein buntes Programm von #Mendelssohn, #Elgar, #Reger, #Bach, #Sting u.v.a. erklingen.
Da wir allen Menschen den Besuch unserer Konzerte ermöglichen möchten, ist der #Eintrittfrei.
Wir freuen uns über viele alt bekannte und neue ZuhörerInnen!
#enona #acapella #vokalensble #frühlingskonzert #frühlingsahnung #neuhier -
Das nächste Mal sind wir am 18.04.2026 in #Langen und am 20.04.2026 in #Mainz in der St. Antonius Kapelle (#InstitutfürKirchenmusikMainz) zu hören.
Es wird ein buntes Programm von #Mendelssohn, #Elgar, #Reger, #Bach, #Sting u.v.a. erklingen.
Da wir allen Menschen den Besuch unserer Konzerte ermöglichen möchten, ist der #Eintrittfrei.
Wir freuen uns über viele alt bekannte und neue ZuhörerInnen!
#enona #acapella #vokalensble #frühlingskonzert #frühlingsahnung #neuhier -
Das nächste Mal sind wir am 18.04.2026 in #Langen und am 20.04.2026 in #Mainz in der St. Antonius Kapelle (#InstitutfürKirchenmusikMainz) zu hören.
Es wird ein buntes Programm von #Mendelssohn, #Elgar, #Reger, #Bach, #Sting u.v.a. erklingen.
Da wir allen Menschen den Besuch unserer Konzerte ermöglichen möchten, ist der #Eintrittfrei.
Wir freuen uns über viele alt bekannte und neue ZuhörerInnen!
#enona #acapella #vokalensble #frühlingskonzert #frühlingsahnung #neuhier -
With so many companies and government entities spying on everyone, I feel that we need a new national anthem.
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For the first time, I served as cantor at our church, and I am still processing it.
We are currently between music directors. Our new director does not arrive until 15 March, which means there was no one to lead the music this morning. We, as a choir, have just been rehearsing with a 90-year-old fill-in organist
pzroviding the accompaniment. I prepared the mass setting and the Litany of Lent, rehearsed as thoroughly as I could, and showed up—nerves and all.I will be honest. Standing at the beginning of the service, leading the music for the whole congregation, was quite frightening. There was one small moment after the Gospel Acclamation where I was supposed to chant a sentence and did not know the chant. I had not been given it. So I made the decision, left that moment out, and kept moving. In performance, the ability to recover and keep going without drawing attention is its own skill, and I think I managed it.
What I did not expect was the response afterwards. Several people approached me to say how much they had enjoyed the liturgy and how easy it had been to follow. More than one person commented that my voice was powerful and filled the space well for someone who has spent years training her voice as a choral scholar and alto, and that hearing the sound carry, that it does what it is supposed to do in a large acoustic, matters. Next week, the soprano scholar will take the cantor role, which gives me a week to breathe.
The other thing sitting heavily on me this week is the ongoing decision about where to complete my Master of Counselling.
The University of New England has an intensive course. The content is well-structured, and the units interest me. However, there are four invigilated exams throughout the degree. Invigilation in this context means someone monitors your physical space via camera, checking that you have no unauthorised materials open nearby. I understand the reasoning behind it. Artificial intelligence has changed the integrity landscape for universities, and they are responding to real pressures.
My concern is with my own history. I have a background of being closely observed and harshly criticised for small mistakes, and that pattern has left its mark. It has taken me months of slow, patient work to reach the point where I can sit an online quiz without freezing. Watched assessment in an invigilated format is a different level of pressure, and I do not yet know whether I can manage it. I have been negotiating accommodations. I offered alternatives, including an online quiz or a Zoom-based oral examination with the unit coordinator. I have been told, gently but clearly, that they are unlikely to be able to accommodate me given the AI integrity requirements. I am still waiting to see how far those conversations can go.
There is also the matter of workload. The course lead suggested I enrol in one unit at a time. I respect that this is standard advice for managing stress. However, I have an AuDHD brain, and one unit is not enough stimulation to function well. Sensory and cognitive understimulation is a real phenomenon for neurodivergent people, and it affects concentration, motivation, and mental health. I also have a clear goal. I want to finish this degree within two years so I can be working in the field within three. One unit per semester does not get me there.
My alternative is Edith Cowan University, where I have already completed two units. The next unit I need is scheduled to run in May. I have applied for a waiver so I can take the digital counselling unit out of sequence. ECU runs units in six-week intensive blocks, which suits the way my brain works. There are no invigilated exams. The pace is faster, but the structure is more manageable for me.
Whether I stay at UNE or return to ECU depends on what the ECU waiver decision looks like and how the accommodations conversation at UNE resolves. I want my degree. That has not changed. What I am still working out is which path actually works for me as I am, not as a hypothetical neurotypical student.
On Wednesday evening, I will be at St Paul's Cathedral in Melbourne to hear the King's Singers, and I cannot quite believe it.[1]
The King's Singers have been setting the standard for a cappella vocal ensemble performance for more than fifty years. They are a six-voice group performing entirely without accompaniment, and their blend, intonation, and dynamic range are considered among the finest in the world. This Melbourne appearance is one night only, on 4 March at 7pm, and it is the only Melbourne date on their current tour.[2][1]
The programme for this tour, called Close Harmony, spans an enormous stylistic range. Beginning with music from their earliest repertoire in the late 1960s, the evening moves through Renaissance sacred music, English folksong, jazz standards, pop classics, and contemporary works. You might hear William Byrd alongside Billy Joel, or a madrigal sit next to a Beach Boys arrangement. The programme also includes a segment called Something Borrowed, where the ensemble selects songs with local resonance and performs them in their signature style as a personal gift to the audience.[3]
One detail about this concert worth mentioning is the ticketing model. Tickets are available on a pay-what-you-can basis, starting at $20 for supported tickets. The organisers have been explicit that everyone is welcome, regardless of budget, and you can select the amount you can afford when booking. That approach, taken with world-class musicians performing in a cathedral, feels genuinely significant. Live classical music at this level is not always accessible to people on student incomes or fixed budgets, and the decision to remove that barrier matters.[1][2]
The venue itself, St Paul's Cathedral, was chosen specifically for its acoustics. For someone who sings in a liturgical choral context, hearing six of the world's finest singers in a cathedral acoustic is going to be something else entirely.[4]
Later in the week, I also have a mentoring session for my volunteer work, as well as for my regular lectures and tutorials. But Wednesday evening is the thing I am quietly anticipating most.
***
#CantorLife #ChurchMusic #LiturgicalMusic #LentSeason #KingsSingers #ClassicalMusic #ACapella #MelbourneConcerts #StPaulsCathedral #MasterOfCounselling #AuDHD #NeurodivergentStudent #PostgraduateLife #OnlineLearning #CounsellingStudent #ECU #UNE #ChristianLiving #ChoralScholar #MusicAndFaith
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For the first time, I served as cantor at our church, and I am still processing it.
We are currently between music directors. Our new director does not arrive until 15 March, which means there was no one to lead the music this morning. We, as a choir, have just been rehearsing with a 90-year-old fill-in organist
pzroviding the accompaniment. I prepared the mass setting and the Litany of Lent, rehearsed as thoroughly as I could, and showed up—nerves and all.I will be honest. Standing at the beginning of the service, leading the music for the whole congregation, was quite frightening. There was one small moment after the Gospel Acclamation where I was supposed to chant a sentence and did not know the chant. I had not been given it. So I made the decision, left that moment out, and kept moving. In performance, the ability to recover and keep going without drawing attention is its own skill, and I think I managed it.
What I did not expect was the response afterwards. Several people approached me to say how much they had enjoyed the liturgy and how easy it had been to follow. More than one person commented that my voice was powerful and filled the space well for someone who has spent years training her voice as a choral scholar and alto, and that hearing the sound carry, that it does what it is supposed to do in a large acoustic, matters. Next week, the soprano scholar will take the cantor role, which gives me a week to breathe.
The other thing sitting heavily on me this week is the ongoing decision about where to complete my Master of Counselling.
The University of New England has an intensive course. The content is well-structured, and the units interest me. However, there are four invigilated exams throughout the degree. Invigilation in this context means someone monitors your physical space via camera, checking that you have no unauthorised materials open nearby. I understand the reasoning behind it. Artificial intelligence has changed the integrity landscape for universities, and they are responding to real pressures.
My concern is with my own history. I have a background of being closely observed and harshly criticised for small mistakes, and that pattern has left its mark. It has taken me months of slow, patient work to reach the point where I can sit an online quiz without freezing. Watched assessment in an invigilated format is a different level of pressure, and I do not yet know whether I can manage it. I have been negotiating accommodations. I offered alternatives, including an online quiz or a Zoom-based oral examination with the unit coordinator. I have been told, gently but clearly, that they are unlikely to be able to accommodate me given the AI integrity requirements. I am still waiting to see how far those conversations can go.
There is also the matter of workload. The course lead suggested I enrol in one unit at a time. I respect that this is standard advice for managing stress. However, I have an AuDHD brain, and one unit is not enough stimulation to function well. Sensory and cognitive understimulation is a real phenomenon for neurodivergent people, and it affects concentration, motivation, and mental health. I also have a clear goal. I want to finish this degree within two years so I can be working in the field within three. One unit per semester does not get me there.
My alternative is Edith Cowan University, where I have already completed two units. The next unit I need is scheduled to run in May. I have applied for a waiver so I can take the digital counselling unit out of sequence. ECU runs units in six-week intensive blocks, which suits the way my brain works. There are no invigilated exams. The pace is faster, but the structure is more manageable for me.
Whether I stay at UNE or return to ECU depends on what the ECU waiver decision looks like and how the accommodations conversation at UNE resolves. I want my degree. That has not changed. What I am still working out is which path actually works for me as I am, not as a hypothetical neurotypical student.
On Wednesday evening, I will be at St Paul's Cathedral in Melbourne to hear the King's Singers, and I cannot quite believe it.[1]
The King's Singers have been setting the standard for a cappella vocal ensemble performance for more than fifty years. They are a six-voice group performing entirely without accompaniment, and their blend, intonation, and dynamic range are considered among the finest in the world. This Melbourne appearance is one night only, on 4 March at 7pm, and it is the only Melbourne date on their current tour.[2][1]
The programme for this tour, called Close Harmony, spans an enormous stylistic range. Beginning with music from their earliest repertoire in the late 1960s, the evening moves through Renaissance sacred music, English folksong, jazz standards, pop classics, and contemporary works. You might hear William Byrd alongside Billy Joel, or a madrigal sit next to a Beach Boys arrangement. The programme also includes a segment called Something Borrowed, where the ensemble selects songs with local resonance and performs them in their signature style as a personal gift to the audience.[3]
One detail about this concert worth mentioning is the ticketing model. Tickets are available on a pay-what-you-can basis, starting at $20 for supported tickets. The organisers have been explicit that everyone is welcome, regardless of budget, and you can select the amount you can afford when booking. That approach, taken with world-class musicians performing in a cathedral, feels genuinely significant. Live classical music at this level is not always accessible to people on student incomes or fixed budgets, and the decision to remove that barrier matters.[1][2]
The venue itself, St Paul's Cathedral, was chosen specifically for its acoustics. For someone who sings in a liturgical choral context, hearing six of the world's finest singers in a cathedral acoustic is going to be something else entirely.[4]
Later in the week, I also have a mentoring session for my volunteer work, as well as for my regular lectures and tutorials. But Wednesday evening is the thing I am quietly anticipating most.
***
#CantorLife #ChurchMusic #LiturgicalMusic #LentSeason #KingsSingers #ClassicalMusic #ACapella #MelbourneConcerts #StPaulsCathedral #MasterOfCounselling #AuDHD #NeurodivergentStudent #PostgraduateLife #OnlineLearning #CounsellingStudent #ECU #UNE #ChristianLiving #ChoralScholar #MusicAndFaith
-
For the first time, I served as cantor at our church, and I am still processing it.
We are currently between music directors. Our new director does not arrive until 15 March, which means there was no one to lead the music this morning. We, as a choir, have just been rehearsing with a 90-year-old fill-in organist
pzroviding the accompaniment. I prepared the mass setting and the Litany of Lent, rehearsed as thoroughly as I could, and showed up—nerves and all.I will be honest. Standing at the beginning of the service, leading the music for the whole congregation, was quite frightening. There was one small moment after the Gospel Acclamation where I was supposed to chant a sentence and did not know the chant. I had not been given it. So I made the decision, left that moment out, and kept moving. In performance, the ability to recover and keep going without drawing attention is its own skill, and I think I managed it.
What I did not expect was the response afterwards. Several people approached me to say how much they had enjoyed the liturgy and how easy it had been to follow. More than one person commented that my voice was powerful and filled the space well for someone who has spent years training her voice as a choral scholar and alto, and that hearing the sound carry, that it does what it is supposed to do in a large acoustic, matters. Next week, the soprano scholar will take the cantor role, which gives me a week to breathe.
The other thing sitting heavily on me this week is the ongoing decision about where to complete my Master of Counselling.
The University of New England has an intensive course. The content is well-structured, and the units interest me. However, there are four invigilated exams throughout the degree. Invigilation in this context means someone monitors your physical space via camera, checking that you have no unauthorised materials open nearby. I understand the reasoning behind it. Artificial intelligence has changed the integrity landscape for universities, and they are responding to real pressures.
My concern is with my own history. I have a background of being closely observed and harshly criticised for small mistakes, and that pattern has left its mark. It has taken me months of slow, patient work to reach the point where I can sit an online quiz without freezing. Watched assessment in an invigilated format is a different level of pressure, and I do not yet know whether I can manage it. I have been negotiating accommodations. I offered alternatives, including an online quiz or a Zoom-based oral examination with the unit coordinator. I have been told, gently but clearly, that they are unlikely to be able to accommodate me given the AI integrity requirements. I am still waiting to see how far those conversations can go.
There is also the matter of workload. The course lead suggested I enrol in one unit at a time. I respect that this is standard advice for managing stress. However, I have an AuDHD brain, and one unit is not enough stimulation to function well. Sensory and cognitive understimulation is a real phenomenon for neurodivergent people, and it affects concentration, motivation, and mental health. I also have a clear goal. I want to finish this degree within two years so I can be working in the field within three. One unit per semester does not get me there.
My alternative is Edith Cowan University, where I have already completed two units. The next unit I need is scheduled to run in May. I have applied for a waiver so I can take the digital counselling unit out of sequence. ECU runs units in six-week intensive blocks, which suits the way my brain works. There are no invigilated exams. The pace is faster, but the structure is more manageable for me.
Whether I stay at UNE or return to ECU depends on what the ECU waiver decision looks like and how the accommodations conversation at UNE resolves. I want my degree. That has not changed. What I am still working out is which path actually works for me as I am, not as a hypothetical neurotypical student.
On Wednesday evening, I will be at St Paul's Cathedral in Melbourne to hear the King's Singers, and I cannot quite believe it.[1]
The King's Singers have been setting the standard for a cappella vocal ensemble performance for more than fifty years. They are a six-voice group performing entirely without accompaniment, and their blend, intonation, and dynamic range are considered among the finest in the world. This Melbourne appearance is one night only, on 4 March at 7pm, and it is the only Melbourne date on their current tour.[2][1]
The programme for this tour, called Close Harmony, spans an enormous stylistic range. Beginning with music from their earliest repertoire in the late 1960s, the evening moves through Renaissance sacred music, English folksong, jazz standards, pop classics, and contemporary works. You might hear William Byrd alongside Billy Joel, or a madrigal sit next to a Beach Boys arrangement. The programme also includes a segment called Something Borrowed, where the ensemble selects songs with local resonance and performs them in their signature style as a personal gift to the audience.[3]
One detail about this concert worth mentioning is the ticketing model. Tickets are available on a pay-what-you-can basis, starting at $20 for supported tickets. The organisers have been explicit that everyone is welcome, regardless of budget, and you can select the amount you can afford when booking. That approach, taken with world-class musicians performing in a cathedral, feels genuinely significant. Live classical music at this level is not always accessible to people on student incomes or fixed budgets, and the decision to remove that barrier matters.[1][2]
The venue itself, St Paul's Cathedral, was chosen specifically for its acoustics. For someone who sings in a liturgical choral context, hearing six of the world's finest singers in a cathedral acoustic is going to be something else entirely.[4]
Later in the week, I also have a mentoring session for my volunteer work, as well as for my regular lectures and tutorials. But Wednesday evening is the thing I am quietly anticipating most.
***
#CantorLife #ChurchMusic #LiturgicalMusic #LentSeason #KingsSingers #ClassicalMusic #ACapella #MelbourneConcerts #StPaulsCathedral #MasterOfCounselling #AuDHD #NeurodivergentStudent #PostgraduateLife #OnlineLearning #CounsellingStudent #ECU #UNE #ChristianLiving #ChoralScholar #MusicAndFaith
-
For the first time, I served as cantor at our church, and I am still processing it.
We are currently between music directors. Our new director does not arrive until 15 March, which means there was no one to lead the music this morning. We, as a choir, have just been rehearsing with a 90-year-old fill-in organist
pzroviding the accompaniment. I prepared the mass setting and the Litany of Lent, rehearsed as thoroughly as I could, and showed up—nerves and all.I will be honest. Standing at the beginning of the service, leading the music for the whole congregation, was quite frightening. There was one small moment after the Gospel Acclamation where I was supposed to chant a sentence and did not know the chant. I had not been given it. So I made the decision, left that moment out, and kept moving. In performance, the ability to recover and keep going without drawing attention is its own skill, and I think I managed it.
What I did not expect was the response afterwards. Several people approached me to say how much they had enjoyed the liturgy and how easy it had been to follow. More than one person commented that my voice was powerful and filled the space well for someone who has spent years training her voice as a choral scholar and alto, and that hearing the sound carry, that it does what it is supposed to do in a large acoustic, matters. Next week, the soprano scholar will take the cantor role, which gives me a week to breathe.
The other thing sitting heavily on me this week is the ongoing decision about where to complete my Master of Counselling.
The University of New England has an intensive course. The content is well-structured, and the units interest me. However, there are four invigilated exams throughout the degree. Invigilation in this context means someone monitors your physical space via camera, checking that you have no unauthorised materials open nearby. I understand the reasoning behind it. Artificial intelligence has changed the integrity landscape for universities, and they are responding to real pressures.
My concern is with my own history. I have a background of being closely observed and harshly criticised for small mistakes, and that pattern has left its mark. It has taken me months of slow, patient work to reach the point where I can sit an online quiz without freezing. Watched assessment in an invigilated format is a different level of pressure, and I do not yet know whether I can manage it. I have been negotiating accommodations. I offered alternatives, including an online quiz or a Zoom-based oral examination with the unit coordinator. I have been told, gently but clearly, that they are unlikely to be able to accommodate me given the AI integrity requirements. I am still waiting to see how far those conversations can go.
There is also the matter of workload. The course lead suggested I enrol in one unit at a time. I respect that this is standard advice for managing stress. However, I have an AuDHD brain, and one unit is not enough stimulation to function well. Sensory and cognitive understimulation is a real phenomenon for neurodivergent people, and it affects concentration, motivation, and mental health. I also have a clear goal. I want to finish this degree within two years so I can be working in the field within three. One unit per semester does not get me there.
My alternative is Edith Cowan University, where I have already completed two units. The next unit I need is scheduled to run in May. I have applied for a waiver so I can take the digital counselling unit out of sequence. ECU runs units in six-week intensive blocks, which suits the way my brain works. There are no invigilated exams. The pace is faster, but the structure is more manageable for me.
Whether I stay at UNE or return to ECU depends on what the ECU waiver decision looks like and how the accommodations conversation at UNE resolves. I want my degree. That has not changed. What I am still working out is which path actually works for me as I am, not as a hypothetical neurotypical student.
On Wednesday evening, I will be at St Paul's Cathedral in Melbourne to hear the King's Singers, and I cannot quite believe it.[1]
The King's Singers have been setting the standard for a cappella vocal ensemble performance for more than fifty years. They are a six-voice group performing entirely without accompaniment, and their blend, intonation, and dynamic range are considered among the finest in the world. This Melbourne appearance is one night only, on 4 March at 7pm, and it is the only Melbourne date on their current tour.[2][1]
The programme for this tour, called Close Harmony, spans an enormous stylistic range. Beginning with music from their earliest repertoire in the late 1960s, the evening moves through Renaissance sacred music, English folksong, jazz standards, pop classics, and contemporary works. You might hear William Byrd alongside Billy Joel, or a madrigal sit next to a Beach Boys arrangement. The programme also includes a segment called Something Borrowed, where the ensemble selects songs with local resonance and performs them in their signature style as a personal gift to the audience.[3]
One detail about this concert worth mentioning is the ticketing model. Tickets are available on a pay-what-you-can basis, starting at $20 for supported tickets. The organisers have been explicit that everyone is welcome, regardless of budget, and you can select the amount you can afford when booking. That approach, taken with world-class musicians performing in a cathedral, feels genuinely significant. Live classical music at this level is not always accessible to people on student incomes or fixed budgets, and the decision to remove that barrier matters.[1][2]
The venue itself, St Paul's Cathedral, was chosen specifically for its acoustics. For someone who sings in a liturgical choral context, hearing six of the world's finest singers in a cathedral acoustic is going to be something else entirely.[4]
Later in the week, I also have a mentoring session for my volunteer work, as well as for my regular lectures and tutorials. But Wednesday evening is the thing I am quietly anticipating most.
***
#CantorLife #ChurchMusic #LiturgicalMusic #LentSeason #KingsSingers #ClassicalMusic #ACapella #MelbourneConcerts #StPaulsCathedral #MasterOfCounselling #AuDHD #NeurodivergentStudent #PostgraduateLife #OnlineLearning #CounsellingStudent #ECU #UNE #ChristianLiving #ChoralScholar #MusicAndFaith
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2/ Next a charming version of Blackbird by the very talented Acapella Academy. #Music #vocal #VocalGroup #jazz #acapella
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"Mbube" is a #popularSong originally written and composed by the #SouthAfricanMusician #SolomonLinda in 1939. It was first published in South Africa and made its way to the United States a decade later. In 1961, #theTokens adapted the melody and added English lyrics to produce "The Lion Sleeps Tonight", lending the song the name by which it is best known today. A #Zulu migrant worker, Linda led the #aCapella group the Evening Birds. In 1939, without rehearsal.
https://www.youtube.com/watch?v=LVjPTOmOmq4 -
So. Statt dem #39c3 nachzutrauern, arrangiere ich lieber an emotionaler Musik weiter. Hab hier sogar eine Art Instrument gefunden und mir ein Studio eingerichtet :thisisfine: :fairydust:
Now I am less then what I was, whatever's left is yours now. 🎶
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#TV . . .
There were several very interesting (to me) segments on #CBS's #SundayMorning program a couple of days ago.
First, there was an excellent tribute to #RobReiner hosted by Ben Mankiewicz which you can see here:
https://www.youtube.com/watch?v=I6XOvyYrnrE
Next, there was an interview with Sean Lennon & how he's trying to preserve & protect his parents' legacy, musical & otherwise, which you can see here:
https://www.youtube.com/watch?v=R9GGLx3Yom4
Also of interest is the animated short that Sean co-produced for which he won an Oscar which was inspired by John & Yoko's song #WarIsOver! which you can see here:
https://www.youtube.com/watch?v=W68-XaFepOg
And lastly, was the interview with the #Acapella group, #Pentatonix(#PTX).
Frankly, I didn't know anything about the group before I saw this interview but recognized #ScottHoying as a member of the group from his recent stint on #DWTS on #ABC.
1/2 Continued below . . .
-
#TV . . .
There were several very interesting (to me) segments on #CBS's #SundayMorning program a couple of days ago.
First, there was an excellent tribute to #RobReiner hosted by Ben Mankiewicz which you can see here:
https://www.youtube.com/watch?v=I6XOvyYrnrE
Next, there was an interview with Sean Lennon & how he's trying to preserve & protect his parents' legacy, musical & otherwise, which you can see here:
https://www.youtube.com/watch?v=R9GGLx3Yom4
Also of interest is the animated short that Sean co-produced for which he won an Oscar which was inspired by John & Yoko's song #WarIsOver! which you can see here:
https://www.youtube.com/watch?v=W68-XaFepOg
Next was an interview with the #Acapella group, #Pentatonix(#PTX).
Frankly, I didn't know anything about the group before I saw this interview but recognized #ScottHoying as a member of the group from his recent stint on #DWTS on #ABC.
1/2 Continued below . . .
-
#TV . . .
There were several very interesting (to me) segments on #CBS's #SundayMorning program a couple of days ago.
First, there was an excellent tribute to #RobReiner hosted by Ben Mankiewicz which you can see here:
https://www.youtube.com/watch?v=I6XOvyYrnrE
Next, there was an interview with Sean Lennon & how he's trying to preserve & protect his parents' legacy, musical & otherwise, which you can see here:
https://www.youtube.com/watch?v=R9GGLx3Yom4
Also of interest is the animated short that Sean co-produced for which he won an Oscar which was inspired by John & Yoko's song #WarIsOver! which you can see here:
https://www.youtube.com/watch?v=W68-XaFepOg
Next was an interview with the #Acapella group, #Pentatonix(#PTX).
Frankly, I didn't know anything about the group before I saw this interview but recognized #ScottHoying as a member of the group from his recent stint on #DWTS on #ABC.
1/2 Continued below . . .
-
#TV . . .
There were several very interesting (to me) segments on #CBS's #SundayMorning program a couple of days ago.
First, there was an excellent tribute to #RobReiner hosted by Ben Mankiewicz which you can see here:
https://www.youtube.com/watch?v=I6XOvyYrnrE
Next, there was an interview with Sean Lennon & how he's trying to preserve & protect his parents' legacy, musical & otherwise, which you can see here:
https://www.youtube.com/watch?v=R9GGLx3Yom4
Also of interest is the animated short that Sean co-produced for which he won an Oscar which was inspired by John & Yoko's song #WarIsOver! which you can see here:
https://www.youtube.com/watch?v=W68-XaFepOg
Next was an interview with the #Acapella group, #Pentatonix(#PTX).
Frankly, I didn't know anything about the group before I saw this interview but recognized #ScottHoying as a member of the group from his recent stint on #DWTS on #ABC.
1/2 Continued below . . .
-
#TV . . .
There were several very interesting (to me) segments on #CBS's #SundayMorning program a couple of days ago.
First, there was an excellent tribute to #RobReiner hosted by Ben Mankiewicz which you can see here:
https://www.youtube.com/watch?v=I6XOvyYrnrE
Next, there was an interview with Sean Lennon & how he's trying to preserve & protect his parents' legacy, musical & otherwise, which you can see here:
https://www.youtube.com/watch?v=R9GGLx3Yom4
Also of interest is the animated short that Sean co-produced for which he won an Oscar which was inspired by John & Yoko's song #WarIsOver! which you can see here:
https://www.youtube.com/watch?v=W68-XaFepOg
And lastly, was the interview with the #Acapella group, #Pentatonix(#PTX).
Frankly, I didn't know anything about the group before I saw this interview but recognized #ScottHoying as a member of the group from his recent stint on #DWTS on #ABC.
1/2 Continued below . . .
