Stephen Paulus on Composing for ChorusReview by: Scott TuckerNotes, Second Series, Vol. 54, No. 4 (Jun., 1998), p. 973Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/900091 .

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VIDEO REVIEWS EDITED BY JAMES P. CASSARO

VIDEO REVIEWS EDITED BY JAMES P. CASSARO

Stephen Paulus on Composing for Chorus. Northfield, Minn.: Amer- ican Choral Catalog, Ltd., 1996. EDUC 111 (VHS; 50 minutes); ISBN 0-9640344-1-7.

Stephen Paulus on Composing for Chorus. Northfield, Minn.: Amer- ican Choral Catalog, Ltd., 1996. EDUC 111 (VHS; 50 minutes); ISBN 0-9640344-1-7.

For centuries, choral music has fasci- nated professional and amateur musician alike. Those who perform this music find the experience rich and rewarding. The composer's experience in creating choral works is altogether different, but no less rewarding. In the video Stephen Paulus on Composing for Chorus, the American com- poser addresses such fundamental ques- tions as "What is it like to be a composer?" and "Which comes first, the words or the music?" The main focus of the video, how- ever, is Paulus's exploration of the musical choices a composer faces in the process of creating choral works. These choices, which some may view as simplistic, are valu- able to ponder, especially for younger stu- dents.

Paulus explains that when he writes cho- ral music he begins with a careful consid- eration of the text. The mood or emotion of the text dictates his musical decisions. In the course of the video, he introduces his audience to such musical elements as mixed meter, instrumentation of accompa- niment, disjunct and conjunct melodies, vo- cal range, choral speaking, and the use of expressive markings such as dynamics and accents. Every point he makes is generously reinforced with music examples.

The complexity of the music examples in this video varies greatly, as does the quality of the music. One wishes for a little more time spent on Paulus's beautiful and haunt-

For centuries, choral music has fasci- nated professional and amateur musician alike. Those who perform this music find the experience rich and rewarding. The composer's experience in creating choral works is altogether different, but no less rewarding. In the video Stephen Paulus on Composing for Chorus, the American com- poser addresses such fundamental ques- tions as "What is it like to be a composer?" and "Which comes first, the words or the music?" The main focus of the video, how- ever, is Paulus's exploration of the musical choices a composer faces in the process of creating choral works. These choices, which some may view as simplistic, are valu- able to ponder, especially for younger stu- dents.

Paulus explains that when he writes cho- ral music he begins with a careful consid- eration of the text. The mood or emotion of the text dictates his musical decisions. In the course of the video, he introduces his audience to such musical elements as mixed meter, instrumentation of accompa- niment, disjunct and conjunct melodies, vo- cal range, choral speaking, and the use of expressive markings such as dynamics and accents. Every point he makes is generously reinforced with music examples.

The complexity of the music examples in this video varies greatly, as does the quality of the music. One wishes for a little more time spent on Paulus's beautiful and haunt-

ing settings of poetry by the Chinese poet Li Po (Meditations of Li Po [Valley Forge, Penn.: European American, 1994]), per- formed impeccably by the Dale Warland Singers, and a little less on the trite and saccharine Daybreak. Unfortunately, we hear only a portion of the Meditations of Li Po while we are subjected to two full hear- ings of Daybreak.

Admirers of Paulus's music will certainly enjoy the insight this video provides into his compositional process. Very young composers or young musicians contemplat- ing a career as a composer will find it en- couraging and helpful. Many of the mu- sical concepts serve as good discussion topics for general music students grades 5 through 7. Even experienced composers could benefit from listening critically to Paulus's examples and drawing their own conclusions about his success in achieving his stated goals.

Paulus is a good teacher. His points are clear and simple, made without technical jargon. He is pleasant and down to earth and comes across very well on screen. The real value of this video is the chance to see and hear the exceptional Dale Warland Singers, who are featured along with the Northfield Youth Choir and various instru- mentalists.

SCOTT TUCKER Cornell University

ing settings of poetry by the Chinese poet Li Po (Meditations of Li Po [Valley Forge, Penn.: European American, 1994]), per- formed impeccably by the Dale Warland Singers, and a little less on the trite and saccharine Daybreak. Unfortunately, we hear only a portion of the Meditations of Li Po while we are subjected to two full hear- ings of Daybreak.

Admirers of Paulus's music will certainly enjoy the insight this video provides into his compositional process. Very young composers or young musicians contemplat- ing a career as a composer will find it en- couraging and helpful. Many of the mu- sical concepts serve as good discussion topics for general music students grades 5 through 7. Even experienced composers could benefit from listening critically to Paulus's examples and drawing their own conclusions about his success in achieving his stated goals.

Paulus is a good teacher. His points are clear and simple, made without technical jargon. He is pleasant and down to earth and comes across very well on screen. The real value of this video is the chance to see and hear the exceptional Dale Warland Singers, who are featured along with the Northfield Youth Choir and various instru- mentalists.

SCOTT TUCKER Cornell University

Antony Tudor. A Dance Horizons Video. Pennington, N.J.: Princeton Book Company, 1992. (VHS; 60 min.); ISBN 0-87127-184-2. Antony Tudor. A Dance Horizons Video. Pennington, N.J.: Princeton Book Company, 1992. (VHS; 60 min.); ISBN 0-87127-184-2.

After viewing this documentary, I dis- covered in the liner notes that the pro- duction was made possible by a scholarship from the Swedish Dancemuseum as well as

After viewing this documentary, I dis- covered in the liner notes that the pro- duction was made possible by a scholarship from the Swedish Dancemuseum as well as

additional funding from Swedish Televi- sion. This partially explains the inclusion of contemporary Swedish dancers perform- ing Antony Tudor's work. Also, Tudor was

additional funding from Swedish Televi- sion. This partially explains the inclusion of contemporary Swedish dancers perform- ing Antony Tudor's work. Also, Tudor was

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