You didn't like the answers you got last week?

 Ethan,

 

I would go directly to YouTube and find the source, the Morehouse College Glee Club. They have  a scaled down segment of the group (they are much bigger than this) performing for what is likely a run-out performance (so says one of the comments from a former member):

 

 

There is also a performance of the full group

 

The Mormon Tabernacle has a very polished performance as well, and Mack Wilberg did this many years ago with his BYU Men's Choir. I think what we have going now is a "visual" tradition from something that begun with Morehouse. If you still feel the need for instructions beyond the score, you might want to write the conductor at Morehouse.

 

GD

The pronunciation guide in the music is inconsistent and leaves out some letters for which pronunciation guidance would be nice.  If you follow the pronunciation guide, you'd pronounce "Jesu" with the "J" of Jesus (as pronounced in English), and with the internal "S" as "SH."  As long as you're consistent, perhaps only a native Yoruba speaker would notice any flaws.

 

The conductor at Morehouse is David Morrow (dmorrow(a)morehouse.edu).  I don't know that he can answer all of your questions definitively, since some of the their performance traditions for this song have evolved over the years.

Ethan,

I don't blame you for posting your questions again, given that until tonight, only one out of your three questions had been addressed (although perhaps it would have been better for you to simply post a follow-up reply/request to the previous attempt that Allen cited). As for #1, I also found the sites demonstrating Yoruba, and they indeed include a "hard j" rather than a glide. The word "Jesu' is problematic for American conductors, because many seem to instantly assume that it's Latin and therefore revert to the way they've been taught to pronounce it in Latin. In some cases, that's incorrect such as "Jesu, Joy of Man's Desiring" and in "Jesu, Jesu" -- the folk song from Ghana. I'm thinking this is also the case here, and you should go ahead with a hard "j" unless an actual speaker of Yoruba shows up here and says otherwise. :-)

Ethan -

 

Hello.  I just joined ChoralNet and wanted to write a response to your blog dated 11/23/09.  My name is Yvonne Farrow, choralographer.  I created original choralography for Betelehemu on the Albert McNeil Jubilee Singers of Los Angleles many years ago.  I have been told over the years that some of my works have been adapted and/or used, without permission.  I was not contacted, credited or compensationed.  I would like to address some of the points raised in your original posting.

 

 

I have been requesting for years that random videotaping be banned from choral concerts and conventions, just like in the theater; and that choralographers be given credit on all written materials (programs, packaging) and on all media (DVD's, VHS, Internet, etc.).  This way, the choral directors may know who to contact if they would like to lease that choralography or have a new work put on their choir.  This is easily accomplished by adding a line to the form: Title/Composer/Choralographer (if applicable).  Choralography is an artform and credit should be included. 

 

Often times choral directors buy a video and sheet music and think that the movement just automatically comes along with it.  It was explained to me once that someone who moved well in the choir transposed/adapted my movement for their upcoming performance and wasn't this okay?  No, it is not okay.  My agreeement with choirs state that I must be credited, that choralography is non-transferable and may only be used for one year from the first date of performance by the contracting choir.  Contrary to what some believe, the choralography does not then become a free-for-all for anyone who wants to use it after that.  I am only paid once for the setting of a work and/or concert, but because I own the copyright, I am able to set that work on another choir which enables me to continue to support myself and my family. 

 

Regarding Betelehemu (and my other works), we can't go backwards.  We do better when we know better.  The opportunity has probably already passed, but if you have not yet done your concert, I would be happy to set my movement on your choir. 

 

Looking forward,

 

Yvonne Farrow

 

 

 

 

Hello friends.  This is my first post on ChoralNet.  I was inspired to share a thought on this "choralography" discussion.

 

Much like composing music, I'm wondering where the line can or should be drawn when it comes to copyright.  Yvonne, is your choreography printed on paper, or are you hired on a choir by choir basis to teach that choir the Betelehemu choreography?  I know there are some octavos out there (Come Sweet Death is one that springs to mind) that have choreography printed directly in the score.  The composer and choreographer are separate entities, and they both receive equal credit within the octavo. 

 

One could make the argument though, that anytime their choir adds movement/clapping etc... to a piece, the creator of that movement could copyright it.  If I had my choir sway and clap during an anthem, could I then copyright it so from then on, no other choir could sway or clap in a similar fashion without paying me royalties for it?

 

I'll admit that it is a fairly extreme example.  However, it begs the question as to where the line should be drawn.  If I go to a choir concert and see an idea that I might want to pilfer for myself (admit it, we all do that), but there is no mention in the program of its source, what am I to do?  

 

I am as large of an advocate as anyone when it comes to composers getting credit for their work.  But unless that composer actively makes efforts to "stake their claim" to their work, it's hard to hold anyone else responsible who imitates them.

Ethan,

While at ETSU in the chorale we performed this piece.  We rponounced Jesu with the hard j (as in jam).  I have also heard a high school group recently perform this in festival and using the same pronunciation.

 

It is my understanding that the j should be pronounced within the context of the language being sung.  In this case I am fairly sure the above is correct.

 

Good luck.  It is a great piece.

Hi Ethan,

I have just come across your posting. I wish to let you know that your colleague is wrong that there is no separate word for song - "orin" and dance - "ijo" in Yoruba language. You are absolutely right that the "J" in Jesu sounds like the "J" in ja because "e" without a dot undeneath in Yoruba language is pronounced like it sounds as the first letter of the English alphabet. You are also right that in baba odaju it sounds like "j" in jam because consonants and vowels in Yoruba language retain a single sound. The technicality here has to do with knowing how to say each alphabet because it is not a common occurrence for two consonants, except "gb", which is a consonant to follow each other in Youruba language.

Thanks,

Femi Akinwunmi

Ethan: I am happy you re-posted this question. I had lost the thread to the conversation somehow before and am just reading the responses above for the first time. I cannot stop to respond right now, but I will be in touch very soon. Blessings, Yvonne.