Posted on January 15th, 2015 in Experiences
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We believe in the power of performance, but not just three or four high-stakes concerts—hundreds of performances.
Our belief in the power of performance is what sets us apart from other music schools. In a traditional conservatory setting, students typically rehearse a small repertoire over and over again, with the intention of delivering two or three flawless recitals at the end of the semester.
At CBU, we turn the conventional conservatory model on its head by helping you master your repertoire quickly and testing it with numerous performances in a wide range of venues. You might play with a large ensemble in a local church or with a small group at a school in Montana. You might find yourself soloing in a celebrated concert hall in Spain.
If you want to be a professional musician, you’ll need to know what it takes mentally, physically and emotionally to perform multiple times a week. You’ll need to know how to adapt to different venues, how the size of the stage limits or enhances different aspects of your performance, how the sound system or the acoustics of the room affect how the audience will receive your performance.
The bottom line is that we want you to be prepared to convey meaning and emotion to the people who have come to see you perform, regardless of the venue, your state of mind or the demands of your schedule. We want you to connect with audiences, and that is a skill that must be developed over time. The only way to hone that skill is to perform, reflect on your performance, and perform again. And again. And again.
When you graduate from CBU, you’ll not only be equipped to deliver memorable performances, you’ll also be prepared to communicate in and adapt to a wide variety of professional settings. Regardless of what profession you pursue, the ability to perform confidently in the face of adversity will serve you well.
Posted on January 7th, 2015 in Experiences
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Think back to the last time you really connected with a performer at a concert. What about his performance inspired you? Was it the lyrics of the song? The power of her voice? The emotion of the music? Was it the way the performer moved on stage? Was it the way he made eye contact and held it?
Chances are it was a combination of all of those things. And although it probably felt like a beautiful, mysterious, maybe even religious experience, it wasn’t an accident. That performer had honed his or her craft—trained his voice, perfected her onstage presence, did the hard work of mining his emotions in order to connect with as many people as possible and create a memorable performance.
Those are the moments we strive for in the Collinsworth School of Music. Plenty of musicians can become technically proficient with their instrument of choice. They will perform and audiences will recognize their proficiency. And that’s where the memory of the performance ends for audience members encountering that kind of skill.
When you can connect with an audience member, when you can make them feel deeply or change the way they think about themselves or the world—even for a second—you are fully realizing the beautiful gift that God has given you. Best of all, you’ve given the audience member a gift that they will never forget.
The ability to make meaningful connections will not only give you a deep sense of satisfaction as a musician, it’s also a skill that will enhance your personal, professional and spiritual life. Because what else are we really trying to do as human beings other than connect to one another in ways that are meaningful and present and authentic?
You have a voice—a distinctive voice that sounds like no one else. This distinctive voice is your greatest strength. It is the tool that will cut your path as a professional musician; it is the conduit for communicating real emotion in your performance; it is the thing that will enable you to connect deeply with members of the audience.
Chances are, you haven’t yet found your distinctive voice, and that’s OK. Finding your sound takes time, effort, repetition, and above all else, personal maturation. Finding your voice is a process that involves not only identifying your talent, but also learning to bring that talent under control—understanding its scope, where it is best applied, where your sweet spot lies.
At the Collinsworth School of Music, we are dedicated to helping you find your self. Through a rigorous performance schedule, participation in a wide range of ensembles and intense study with talented professors, you will find your voice, understand its effect on diverse audiences, how it can contribute to an ensemble, and how it can stand on its own. And you will do so in an environment that both challenges you to improve and nurtures your professional and artistic development.
We’re not interested in producing graduates who all sound the same. We want our students to go out into the world sounding like the best versions of their true artistic selves.
You might be thinking, “I know what music majors do; they make music.” You would be right, but music majors—CBU music majors, at least—do so much more than use their instrument.
Music majors at CBU communicate with one another—on stage and in the classroom. They listen: to what the songs they’re perfecting are trying to say, to the other instruments in their ensemble, to the other voices in their choir. They hear beauty in a chord change or a crescendo, and they understand that, if performed correctly and with enough emotion, they can convey that beauty to the untrained ears of audience members.
Music majors grapple with the idea that we live in a time in which people are concerned about how they will support themselves with a music degree. In response to that concern, music majors investigate ways they can continue to pursue their passion and talent for music after they graduate. In other words, music majors prepare: for lives as musicians and teachers and worship leaders, as conductors and engineers and producers.
But music majors at CBU aren’t all work and no play. They still find time to attend Midnight Madness, the Yule Festival and the Lancer Cup, or participate in one of CBU’s 45 student organizations or explore Riverside with friends.
In fact, every experience our music majors share together strengthens their bonds as musicians and friends, and contributes to the close-knit community we’ve created here. So, what do music majors do? Everything they possibly can.
Posted on December 3rd, 2014 in Experiences
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Welcome to The Collinsworth School of Music from Collinsworth School of Music on Vimeo.
When young musicians dream about performing, the dream often involves a solo—a chance to showcase their talents and receive attention and adoration from the audience.
There’s nothing wrong with that dream; well-executed solos bring great joy to the performer and the audience. But there’s a different, more complex joy that comes from being a member of an ensemble.
It’s the joy that’s born from playing with a group of musicians, of working together to convey something that you couldn’t possibly achieve on your own. It’s the joy that accompanies being part of something bigger than yourself.
And though you won’t receive the same kind of individual attention in an ensemble, you still have the same responsibility to the music, to yourself and to the audience: You have to listen to the other people in your group, be mindful of how your part contributes to the piece of music as a whole, watch your conductor and be aware of how your fellow musicians are performing.
It sounds like a lot to master, and it is. But as a student in the Collinsworth School of Music, you’ll have the opportunity to participate in an ensemble every semester. In fact, it’s required. By the time you graduate, you’ll understand that there’s a great difference between an ensemble and a group of individuals, and that’s a lesson you can apply to any work environment, regardless of which profession you choose.
by: CBU alumni Geoff Grant
Dr. Bonner asked me to write a piece that encapsulates the heart of the Collinsworth School of Music. No big deal right? That’s kind of like saying, “We think something is a certain way, and we want you to figure out how we think it is, and then write something that you think sounds like how we think about this thing…” Very confusing. It’s as if Dr. Bonner asked me to compose a musical depiction of a diamond—I can spend a lifetime trying to think about what the diamond might look like from every angle, but the truth is that I only really know what the diamond looks like from my own perspective. I am not objective. How I feel and think about the Collinsworth School of Music is completely subjective to my own experience. So much of who I am is wrapped up in my years at CBU, and certainly those influences can’t help but drip onto the pages of my music.
All that to say, the Collinsworth School of Music is so much more than merely what I have personally experienced. With this understanding in mind, I humbly set out to try to embody some of the essence of the place that I was blessed to be a part of for four years:
The overall texture of the piece was derived from the dichotomy of fresh, modern sound and traditional textures. Simply put, the Collinsworth School of Music strives to create fresh, innovative music using mediums that are tried and true, rich with history and tradition. I wanted to create something that was modern and culturally appealing (think: Apple commercial) while using the vehicle most familiar to the School of Music. This was manifested through the use of traditional orchestral voices combined with electronic elements, minimalist techniques and a pseudo sonata form.
I spent hours trying to flesh out what some of the core values of the School of Music would sound like in musical form, and here are just a few ways that I was inspired to express them:
- The exposure to a variety of musical styles, performing opportunities, and worship venues: I chose to depict this through the stacking fifths found in the brass, woodwinds and piano. You can hear them most clearly in the transitions in and out of the ‘B’ section (around the 1:10 and 1:45 minute marks). Though these stacking fifths fit in the overall tonal key, they don’t quite fit with the common practice chords with which they overlap. They stack on top of each other, creating a more interesting musical concept than a traditional 1-3-5-7 chord stack. In the same way, the broad spectrum of experiences that CBU music students are exposed to do not always seem natural, but ultimately they fall into place, resulting in both a more interesting musician and a more well-rounded person.
- A curriculum designed to inspire: This was probably the easiest for me to imagine as a musical motive. It can be heard in the celeste, piano and harp outlining chords in eighth notes. This motive was designed to pose a question. The question is not specific, but rather symbolic of the philosophy behind the CBU music curriculum. I can honestly say that I graduated having more unanswered questions than when I began as a freshman. This wasn’t because the faculty failed to answer my questions, but rather because they taught me to think for myself and to wrestle with the many realities of life, including matters of faith, music and education. As the piece moves on, the tonality of this motif stabilizes, symbolizing that though questions will continue to arise as we grow and mature, we will also become more practiced in seeking wisdom and finding clarity and resolution.
- Emphasis on performance and musical communication: The performance motif acts as a response to the curriculum motif. As the tonality of the curriculum motif stabilizes, it is answered by the leaping arpeggios in the woodwinds. This symbolizes the unity between the curriculum and the performance emphasis. As the student is exposed to critical thinking and skill development in the classroom, they are also given a constant laboratory to put into practice the things that they are learning. In the same way, the woodwinds follow the celeste, responding to its melody.
- A respected student-centered faculty: The faculty motif is subtler. It can be heard in the beginning and end, played by the celesta and harp. Tonally, the motif falls downward in a pentatonic sequence. I thought that the faculty motif should be less present but still interesting, complex and challenging. At the Collinsworth School of Music, the primary purpose of the faculty is to support the success and growth of the students. They don’t exist to bring fame to themselves or promote their own academic agendas, but rather to selflessly serve their students and facilitate growth. Thus the theme is less obtrusive than the others, seemingly floating above the other textures and facilitating the overall success of the piece. It is not a demanding presence, but rather a humble cohesiveness.
- A strong community: This final motif is perhaps my favorite, not only because of its musical texture but also because of the meaning and memories that accompany it. The community motif serves as glue and can be found throughout the entire piece. It is in the minimalist textures played in the harps, guitars and flutes. This texture is the foundation on which everything else builds. The community of fellow students in the Collinsworth School of Music is the most present and continuous characteristic of the department. From the second you step on campus as a freshman until you pack up your car after graduation, the community is tight knit and selflessly supportive. I met my wife, four of my groomsmen, my best friend, several colleagues, my college mentor, my bluegrass band, and several professors (who are now dear friends) in the CBU music department. The joy of this program is that you are continually surrounded by likeminded people who challenge you and encourage you in your faith, musicianship and academic prowess. The community motif is occurring amidst all the other themes. In the experiences, the community it there. In the faculty and curriculum, the community is there. In the growth of musical expression, communication and performance, the community is there. The theme is meant to represent the constant support and presence of fellow musicians who make the CBU School of Music a place like no other.
I understand that these representations merely scratch the surface of all that CBU has to offer, and I am so grateful that I was given the opportunity to express some of my appreciation for all that it contributed to my own life in this musical medium. I certainly wasn’t anything special coming into the School of Music. I was the punk high school student, leading worship because I thought I was cool. I knew how to play bass guitar, drums and about five chords on the guitar and I listened to Dave Matthews Band, U2 and Switchfoot. However, these core values of the School of Music echo through its halls, and students who commit and engage cannot help but be transformed into more capable, creative, and intelligent human beings. I cannot imagine the kind of person I would be had it not been for the dedication of the faculty and staff that surrounded me in my college years. I graduated with a Bachelor’s of Music in Music Composition in May of 2014, and the Lord continues to faithfully grow and refine me. I’m now the Pastor of Worship at Immanuel Baptist Church in Highland, CA, where my wife Chelsea and I pray that the Lord will use our musical abilities and our passion for His Kingdom in a mighty way.