Introduction from a Libera-Listening Thesis Writer

[liberavieve]

Greetings, Libera Fans!

I first came across Libera a few years back whilst poking around on Youtube for renditions of "Once, In Royal David's City," having fallen in love with a rendition from the 2004 Carols From King's. As you can probably guess, I came across Libera's performance of the piece with Aled Jones, and was—like so many others, I'm sure—immediately drawn in by the almost hauntingly gorgeous opening solo by a rather-smaller-than-he-is-now Josh Madine.

Needless to say, Libera have managed to hold my interest ever since, and though I'm a bit sad to see my personal "first generation" of choristers—Josh, Tom, Ed, etc.—growing up and out of their starring roles in the group, I'm excited to see a group of new leaders emerge from the ranks of the younger boys. It seems obvious that Stefan has great things ahead of him, and I've got my fingers crossed that we'll hear a bit more from Daniel Fontannaz before he follows Tom, et al. to Tenor World.

Some of Libera's most impressive songs are, to me, a few of Peace's more alto-range offerings— "Lullaby" is just fantastic, and the more I listen to "Faithful Heart," the more I like it. (Am I betraying myself as a bit of a Josh fan?) In fact, when I'm looking to procrastinate, I've taken to pulling up Libera tracks in Audacity, taking the pitch about 10-15% lower, and seeing what some of our Libera favourites would sound like sung by altos. (Go on: try it on Ben Crawley's "Do Not Stand;" it's often really lovely.) It's so nice to see, as on Peace, that the people behind Libera are acknowledging the fact that the voices of fifteen-year-old altos can be just as lovely as the voices of eleven-year-old trebles.

Apart from enjoying Libera's music, which is quite frequently playing in the background as I study, I also have a bit of an academic interest in the group. See, I'm currently writing my undergraduate thesis on sex and gender in the world of the choir— on how gender is constructed through music and how music, likewise, is constructed through notions of gender and sex.

The heart of my work is with the children's choir, and more specifically still in the treble voices of the cathedral choir and its offshoots, born as they were in a tradition of male-only ensembles. I'm writing on such ideas as the illusion of agelessness in boys' choirs; the attempt to de-gender singing children (boys, particularly) by turning them instead into singing angels; perceptions of the naturalness or unnaturalness of the child's voice; and the feeling, held very passionately in some circles, that the introduction of girls into traditionally male vocal spaces is spoiling things for boys.

...so, as you can likely guess, Libera interest me not just for the music alone!

I'm here to learn more and to share what I can. Please feel free, if you'd like, to ask me anything about the work that I'm doing, or to suggest thoughts of your own. I'd love to hear from others who clearly enjoy the work of groups like Libera!

So, that's my hello. Thanks for having me around!

Cheers,
Liberavieve
[Which, incidentally, has nothing to do with Libera, but with a piece of my last name!]

P.S.: For those of you who enjoy Christmas music, I'm currently keeping a blog ( http://choirmas.tumblr.com ) of Christmas and Advent carols and hymns, as performed by trebles and choirs (mostly of men and boys) from around the world. It updates daily through December, as it did last year, and I believe that I've even featured Libera once or twice. Have a look, if you'd like!

[Rebecca (:]

Welcome aboard!!
Wow, what you're doing sounds really interesting! I'm currently writing a piece on how listening to Libera, and Choral music in general, helps people focus.. It's not comming along to well though, and it's due Tuesday. But yeah, haha.

That's a really neat idea to lower the voices! I'll have to try that sometime, I'm sure it sounds great.

We're glad to have you here!!

[symphonica7]

Greetings, Libera Fans!

I first came across Libera a few years back whilst poking around on Youtube for renditions of "Once, In Royal David's City," having fallen in love with a rendition from the 2004 Carols From King's. As you can probably guess, I came across Libera's performance of the piece with Aled Jones, and was—like so many others, I'm sure—immediately drawn in by the almost hauntingly gorgeous opening solo by a rather-smaller-than-he-is-now Josh Madine.

Needless to say, Libera have managed to hold my interest ever since, and though I'm a bit sad to see my personal "first generation" of choristers—Josh, Tom, Ed, etc.—growing up and out of their starring roles in the group, I'm excited to see a group of new leaders emerge from the ranks of the younger boys. It seems obvious that Stefan has great things ahead of him, and I've got my fingers crossed that we'll hear a bit more from Daniel Fontannaz before he follows Tom, et al. to Tenor World.

Some of Libera's most impressive songs are, to me, a few of Peace's more alto-range offerings— "Lullaby" is just fantastic, and the more I listen to "Faithful Heart," the more I like it. (Am I betraying myself as a bit of a Josh fan?) In fact, when I'm looking to procrastinate, I've taken to pulling up Libera tracks in Audacity, taking the pitch about 10-15% lower, and seeing what some of our Libera favourites would sound like sung by altos. (Go on: try it on Ben Crawley's "Do Not Stand;" it's often really lovely.) It's so nice to see, as on Peace, that the people behind Libera are acknowledging the fact that the voices of fifteen-year-old altos can be just as lovely as the voices of eleven-year-old trebles.

Apart from enjoying Libera's music, which is quite frequently playing in the background as I study, I also have a bit of an academic interest in the group. See, I'm currently writing my undergraduate thesis on sex and gender in the world of the choir— on how gender is constructed through music and how music, likewise, is constructed through notions of gender and sex.

The heart of my work is with the children's choir, and more specifically still in the treble voices of the cathedral choir and its offshoots, born as they were in a tradition of male-only ensembles. I'm writing on such ideas as the illusion of agelessness in boys' choirs; the attempt to de-gender singing children (boys, particularly) by turning them instead into singing angels; perceptions of the naturalness or unnaturalness of the child's voice; and the feeling, held very passionately in some circles, that the introduction of girls into traditionally male vocal spaces is spoiling things for boys.

...so, as you can likely guess, Libera interest me not just for the music alone!

I'm here to learn more and to share what I can. Please feel free, if you'd like, to ask me anything about the work that I'm doing, or to suggest thoughts of your own. I'd love to hear from others who clearly enjoy the work of groups like Libera!

So, that's my hello. Thanks for having me around!

Cheers,
Liberavieve
[Which, incidentally, has nothing to do with Libera, but with a piece of my last name!]

P.S.: For those of you who enjoy Christmas music, I'm currently keeping a blog ( http://choirmas.tumblr.com ) of Christmas and Advent carols and hymns, as performed by trebles and choirs (mostly of men and boys) from around the world. It updates daily through December, as it did last year, and I believe that I've even featured Libera once or twice. Have a look, if you'd like!

Wow!!! Very Interesting....Psychologically Sociological....I'd love to delve deeper into the subject, however my mind would burst from epiphanies of the subject matter...that's very cool though. Very glad to have to you here...as I'm sort of a newbie myself....As we all have been greatly scared by the magical sound that is Libera melodies...Remind me to get back at you about the studies you are doing......





"word's can not describe the pure joy that is felt when emersed in the bliss that is Libera melodies...the voice of angels....so i will try to express it in the language of angels,... that which is music...."

[Murkskis]

Nice to see you here !
Lovely introduction !
Hope you will enjoy this place and good luck with your thesis

[Flora]

Ooh, I'm also writing a Libera-related thesis! Nice to meet you on the boards, and good luck in all of your future scholastic endeavors! Keep us updated if you can.

[Lexi]

Glad to have you here! Your Christmas carols blog has so many great songs! And I notice you chose Liam Connery's version of "Gaudete." Nice pictures, too. Thanks for sharing that!

Lauren (Lexi's mom)

[paul]

Welcome aboard.

Good to see new members.

It shows the Libera fanbase is growing.

[Yorkie]

The heart of my work is with the children's choir, and more specifically still in the treble voices of the cathedral choir and its offshoots, born as they were in a tradition of male-only ensembles. I'm writing on such ideas as the illusion of agelessness in boys' choirs; the attempt to de-gender singing children (boys, particularly) by turning them instead into singing angels; perceptions of the naturalness or unnaturalness of the child's voice; and the feeling, held very passionately in some circles, that the introduction of girls into traditionally male vocal spaces is spoiling things for boys.

I'm here to learn more and to share what I can. Please feel free, if you'd like, to ask me anything about the work that I'm doing, or to suggest thoughts of your own. I'd love to hear from others who clearly enjoy the work of groups like Libera!

Hi there Liberavieve, welcome aboard. I must say your thesis sounds very interesting. You did say ask anything so here goes:

What is your opinion on the introduction of girls to the traditionally male vocal spaces?