Dr. Jeannine Jordan, Concert Organist

Posts tagged ‘jeannine jordan organist’

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Questions galore

Each of my students is asked to prepare at least three questions for each of their lessons. It is a great teaching/learning tool for student and teacher. Following are several from last week.

“Where did the word “organ” come from? The word organ is derived from the Greek όργανον (organon), a generic term for an instrument or a tool, via the Latin organum, an instrument similar to a portative organ used in ancient Roman circus games.

OK. What is a portative organ?
A portative is a small pipe organ  that consists of one rank of flue pipes, sometimes arranged in two rows, to be played while strapped to the performer at a right angle. The performer manipulates the bellows with one hand and fingers the keys with the other. The portative organ lacks a reservoir to retain a supply of wind, thus it will only produce sound while the bellows are being operated. The instrument was commonly used in European secular music from the twelfth to the sixteenth centuries.Doesn’t this sound a lot like the organ we built at theOrgelkids workshop?
What is the longest organ piece ever composed?The longest music piece in the world is being performed in the city of Halberstadt in Germany: John Cage’s composition for organORGAN2/ASLSP – As SLow aS Possible – is resounding here in an extreme interpretation of 639 years, that means until the year 2640!Check it out at:https://universes.art/en/specials/john-cage-organ-project-halberstadt/
What is the most wonderful instrument you, Jeannine, have ever played?Ah…that was the gorgeous organ built by the Swiss organ firm, Goll Orgelbau, located in the Marktkirche in Hanover, Germany. Simply stunning and a joy to play!

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Dr. Jeannine Jordan, organist, has a large organ studio with students of all ages and skill levels.  With her husband, David Jordan, media artist of Pro-Motion Music , they 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 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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CLASSICAL AUDIENCES WANT TO BE MOVED – TO BE TRANSPORTED

Many people see the arts as separated completely from the world of the ordinary, mundane, and every day. Each classical concert is a living, unique event that is constitutive of (not set aside from) social life.  While an important part of the event is its role in facilitating engagement, a recorded performance may supply ‘perfection’ but can it also convey a combination of ‘enthusiasm’, ‘personal expression’, and ‘character ‘a personal, individual experience?

The capacity for variance, a sense of uniqueness, and the immediacy of the experience creates anticipation in the concert goer. 

Enjoying the 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. 

We have so many components happening simultaneously in our organ and multi-media concerts that help transport a concert goer to another place, another world. Johann Sebastian Bach couldn’t have written harmony more tightly woven than these experiences. Orchestrated in our dramatic concerts is that the whole truly becomes one. It is why people are transported. 

In live performances, people are lifted from the present to another place. Live performances areexperiences for the senses.

Concert goers commented on live concerts as…a holistic perception that was greater than the sum of its parts… in live performances you get to know the pieces and the artists…the concert hall’s a detachment from everyday life…it is some form of ‘sacred space…in the simple audience context…they will be invested with a sense of the sacred.

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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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