Dr. Jeannine Jordan, Concert Organist

Posts tagged ‘david jordan’

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Storytelling is central to the human existence.

10 Things Classical Audiences Want

We’re all constantly exchanging our own narratives. We do it all the time. We do it on the phone, we do it online, we do it in coffee shops, we do with people we love, we do with people we just met for the first time. This is not new. For thousands of years almost every human culture has been telling stories. Telling stories helps make sense of what it is to be human.

Stories let us carve our initials into the wet cement of the moment.

Creating stories allows for a prophetic dimension to emerge from the relics of our musical heritage,inspiring a reinterpretation. To discover in them something we have not seen before. The story-line both informs and creates a context for the various pieces, all perfectly delightful in and of themselves, but now enhanced by their new placement within ideas quite relevant to our current lives. Can they speak to modern ears, with new meaning? Yes, absolutely.

We know this much: people want to be immersed.They want to get involved in a story, to carve out a role for themselves, to make it their own.
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Dr. Jeannine Jordan, organist, and her husband, David Jordan, media artist of Pro-Motion Music , are the creators and presenters of the dramatic story-driven organ and multimedia concert experiences, From Sea to Shining Sea, Bach and Sons, and Around the World in 80 Minutes.  Subscribe to our free monthly e-newsletter for more intriguing and engaging articles – click here  #DrJeannineJordan  #OrganAndMultimediaConcert

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CLASSICAL AUDIENCES WANT A MIX OF EMOTION, TECHNIQUE, TO BE ASTONISHED

While attending a narrative-based performance requires concentration and memory in order to make sense of the work (Woodruff, 2008), the enjoyment of a classical concert as an event (rather than merely as a performance) can come from engaging with the music/performance and/or with one’s inner dialogue.

Lydia Goehr’s (1992) book The Imaginary Museum of Musical Works consolidates this idea by examining the rise of the ‘work concept’ in the late eighteenth century, especially through what she terms the ‘separability principle’, by which ‘it became the custom to speak of the arts as separated completely from the world of the ordinary, mundane, and everyday’. (Goehr, 1992: 157) This quote also demonstrates how going to concerts inevitably involves a degree of risk (cf. Radbourne et at., 2009). Unlike a recording or a film, it is impossible to read a review of the exact ‘product’ before you ‘buy’ it; but, counter-intuitively, expectations about the performance may be higher, generated by the anticipation of seeing a unique performance that is therefore a rarer commodity than more widely available mediatized products.

A description of enjoyment being shaped by ‘watching star performers, hearing new interpretations’  reiterates that live experience offers authenticity: it allows concert attenders to experience the work of performers whom they know they like, but in a live capacity: therefore witnessing performance quality in the most direct way possible, as well as being privy to a performance by a well-regarded player that will never be repeated exactly.

 Attending live performances was important to the participants because it provides access to experiencing live sound, which increased the degree to which the listening experience was perceived as ‘holistic’. 13% of questionnaire respondents indicated that either the hall’s acoustics or the quality of live sound contributed to making concert attendance an enjoyable experience: Live music is what matters most in music appreciation. To hear live sound, well played in a good acoustic setting … ah! [Q117/Calum]

One respondent described ‘seeing and hearing world class performers capturing one’s whole being’, while another characterized live concerts as ‘an experience for the senses’. 

These descriptions relate to recent research in music cognition which has found that when participants can both see and hear a performance (as opposed to visual-only or auditory-only conditions) higher levels of physiological arousal are observed, leading to the conclusion that ‘the interaction between the two sensory modalities conveyed by musical performances created an emergent property, a holistic perception that was greater than the sum of its parts’.

For audience members who do not seek a primarily auditory experience, visual details therefore enhance the concert experience: allowing audience members to regard performers as people.  This idea relates to Becker’s assertion that a musical event is not just in the minds of the participants, it is in their bodies; like a vocal accent in speaking, emotion in relation to musical listening is personally manifested, but exists supra-individually.

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Dr. Jeannine Jordan, organist, with her husband, David Jordan, media artist of Pro-Motion Music are the creators and presenters of the dramatic story-driven organ and multimedia concert experiences, From Sea to Shining Sea, Bach and Sons, and Around the World in 80 Minutes.   #DrJeannineJordan  #OrganAndMultimediaConcert

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CLASSICAL AUDIENCES WANT YOU TO MAKE USE OF NEW TECHNOLOGY

California Symphony’s executive director Aubrey Bergauer says, “I warned them I was going to do things differently.” 

Unlike many orchestras that try to appeal to younger audiences (in the symphony world, “younger” means “under 60”), Bergauer and Donato Cabrera, the California Symphony’s music director and conductor, didn’t start with the premise that there was something wrong with the music itself.

“People think that to bring in younger audiences you need ‘The Symphony Meets the Beatles,’ but a Beethoven symphony is amazing to anyone. You don’t have to ‘symphonize’ pop music,” Cabrera says. “We needed to change the experience, not the repertoire.”

People outside the organization have taken note. “She’s recognized that, as a field, we tend to be ritualistic about how we do things and how we’ve operated behind a sort of veil,” says Jesse Rosen President and CEO of the League of American Orchestras. 


“She’s focused on the quality of the experience, beginning with how an orchestra comes across online, and worked to make it more in line with contemporary audiences. She’s a gifted leader who’s getting good results.”

Participants in a focus group noted that the lack of visual stimuli contributed to a feeling of being ‘disconnected’ or ‘distanced’ during the concert. “When you can watch, you can focus more easily.”   When they were purely listening to music with which they had little affinity, it was easy to become disengaged. However, they experienced the event becoming ‘personalized’ through the ability to see or interact with the performers, as was the case in the other concerts.

Being aware of the audience’s expectations.

Thus the presence of novelty in a classical concert perhaps reemphasizes live classical listening as a distinctive, special experience, as it is distinguished by a greater period of anticipation from the more immediate gratification of recorded listening.

Visual cues are indispensable in helping the listener to [accept] every event just as it comes and [resist] the temptation to fight each one by comparing it with a private version. 

Multimodality in the 21st century has caused educational institutions to consider changing the forms of even its traditional aspects of classroom education. According to Hassett and Curwood, authors of Theories and Practices of Multimodal Education, “Print represents only one mode of communication…” and with a rise in digital and Internet literacy, other modes are needed, from visual texts to digital e-books. 

Other changes occur by integrating music and video with lesson plans during early childhood education; however, such measures are seen as augmenting and increasing literacy for educational communities by introducing new forms, rather than replacing literacy values.

The same holds true for classical music. We don’t need to replace the crucial values of Classical Music but can introduce new forms of presenting it.

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Dr. Jeannine Jordan, organist, with her husband, David Jordan, media artist of Pro-Motion Music are the creators and presenters of the dramatic story-driven organ and multimedia concert experiences, From Sea to Shining Sea, Bach and Sons, and Around the World in 80 Minutes.   #DrJeannineJordan  #OrganAndMultimediaConcert

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Around the World in 80 Minutes – organ and multimedia concert experience

Around the World in 80 Minutes Organ and Multimedia concert experience

Around the World in 80 Minutes – a fast-moving concert featuring unique global organ repertoire by native composers and is as exciting as it sounds. A great journey that transcends the boundaries of countries, religions, nationalities, time periods and styles. Bringing people together through music, visuals and the grandeur of the organ. A story celebrating the fascinating diversity of the music of the world. 
This concert is performed in a rich multimedia format, with 5 cameras, computers and lighting, which makes it even more captivating and engaging for the audience. They become one with the story and they love it.

Dr. Jeannine Jordan, organist and David Jordan, media artist of Pro-Motion Music are the creators and presenters of the dramatic story-driven organ and multimedia concert experiences, From Sea to Shining Sea, Bach and Sons, and Around the World in 80 Minutes.   #DrJeannineJordan  #OrganAndMultimediaConcert

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