Lds Music And The Spoken Word Download
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On some occasions, special guests will also perform with the choir during the broadcast. These guests have included Renée Fleming, Frederica von Stade, Sissel, The King's Singers, Maureen McGovern, and other well-known groups, musicians, news anchors, and actors.
In addition to Music and & Spoken Word, the Choir performs regularly throughout the year, including annual Christmas, Pioneer, and various other concerts, as well providing music for the LDS Church's general conference. The Choir has also been on national and international tours.[18]
The Orchestra at Temple Square was created in 1999 in order to increase the aesthetic and musical quality of performances. The Orchestra frequently provides accompaniment for the weekly radio and TV broadcasts.
The program features inspirational messages, constituting the eponymous "Spoken Word". The original writer, producer, and announcer of the spoken portion of the broadcast was Richard L. Evans, who continued in that capacity for over forty years until his death in 1971. At that time the writing and announcing assignments were split, with a committee doing the writing. J. Spencer Kinard was the announcer from 1972 until he stepped down in 1990. Lloyd D. Newell has served as the host of the program since 1991; according to Newell, Gordon B. Hinckley, then a counselor in the LDS Church's First Presidency explained that each message had to be an "inspirational gem", and that when writing the messages, he should consider whether they would "enlighten and inspire" listeners and have "an insight or perspective that is wide and interesting and encouraging."[8] On December 10, 2023, Newell announced he would depart his role as the announcer for the choir effective in July 2024 to fill a role as a mission president.[21] Newell will be replaced by Derrick Porter.[22]
Recently I've been getting into spoken word music like Listener, Levi the Poet, and La Dispute. They make me wonder, where does the line start between poetry and music as an art form? The only "popular" artist who I can think of who uses spoken word at all would be Johnny Cash, so what prevents these genres from being embraced by a wider audience?
Spoken word is an oral poetic performance art that is based mainly on the poem as well as the performer's aesthetic qualities. It is a 20th-century continuation of an ancient oral artistic tradition that focuses on the aesthetics of recitation and word play, such as the performer's live intonation and voice inflection. Spoken word is a "catchall" term that includes any kind of poetry recited aloud, including poetry readings, poetry slams, jazz poetry, pianologues, musical readings, and hip hop music, and can include comedy routines and prose monologues.[1] Unlike written poetry, the poetic text takes its quality less from the visual aesthetics on a page, but depends more on phonaesthetics, or the aesthetics of sound.
Spoken word has existed for many years; long before writing, through a cycle of practicing, listening and memorizing, each language drew on its resources of sound structure for aural patterns that made spoken poetry very different from ordinary discourse and easier to commit to memory.[2] "There were poets long before there were printing presses, poetry is primarily oral utterance, to be said aloud, to be heard."[3]
Poetry, like music, appeals to the ear, an effect known as euphony or onomatopoeia, a device to represent a thing or action by a word that imitates sound.[4] "Speak again, Speak like rain" was how a poet of the Kikuyu people, an East African people, described her verse to author Isak Dinesen,[5] confirming a comment by T. S. Eliot that "poetry remains one person talking to another".[6]
Performance poetry, which is kindred to performance art, is explicitly written to be performed aloud[10] and consciously shuns the written form.[11] "Form", as Donald Hall records "was never more than an extension of content."[12]Performance poetry in Africa dates to prehistorical times with the creation of hunting poetry, while elegiac and panegyric court poetry were developed extensively throughout the history of the empires of the Nile, Niger and Volta river valleys.[13] One of the best known griot epic poems was created for the founder of the Mali Empire, the Epic of Sundiata. In African culture, performance poetry is a part of theatrics, which was present in all aspects of pre-colonial African life[14] and whose theatrical ceremonies had many different functions: political, educative, spiritual and entertainment. Poetics were an element of theatrical performances of local oral artists, linguists and historians, accompanied by local instruments of the people such as the kora, the xalam, the mbira and the djembe drum. Drumming for accompaniment is not to be confused with performances of the "talking drum", which is a literature of its own, since it is a distinct method of communication that depends on conveying meaning through non-musical grammatical, tonal and rhythmic rules imitating speech.[15][16] Although, they could be included in performances of the griots.
The poet and ethnographer Jerzy Ficowski has studied and written extensively about the Polska Roma tradition of spoken word. Though the vast majority of Polish-Romani people of that generation did not read or write, oral folk traditions were very strong. The most famous example is Papusza, who Ficowski discovered when he was following gypsy caravans on the road. Ficowski had her work translated and published, and she went on to become one of Poland's most iconic poets. [17]
In ancient Greece, the spoken word was the most trusted repository for the best of their thought, and inducements would be offered to men (such as the rhapsodes) who set themselves the task of developing minds capable of retaining and voices capable of communicating the treasures of their culture.[18] The ancient Greeks included Greek lyric, which is similar to spoken-word poetry, in their Olympic Games.[19]
Vachel Lindsay helped maintain the tradition of poetry as spoken art in the early twentieth century.[21] Composers such as Marion Bauer, Ruth Crawford Seegar, and Lalla Ryckoff composed music to be combined with spoken words.[20] Robert Frost also spoke well, his meter accommodating his natural sentences.[22] Poet laureate Robert Pinsky said: "Poetry's proper culmination is to be read aloud by someone's voice, whoever reads a poem aloud becomes the proper medium for the poem."[23] "Every speaker intuitively courses through manipulation of sounds, it is almost as though 'we sing to one another all day'."[9] "Sound once imagined through the eye gradually gave body to poems through performance, and late in the 1950s reading aloud erupted in the United States."[22]
Some American spoken-word poetry originated from the poetry of the Harlem Renaissance,[24] blues, and the Beat Generation of the 1960s.[25] Spoken word in African-American culture drew on a rich literary and musical heritage. Langston Hughes and writers of the Harlem Renaissance were inspired by the feelings of the blues and spirituals, hip-hop, and slam poetry artists were inspired by poets such as Hughes in their word stylings.[26]
The Civil Rights Movement also influenced spoken word. Notable speeches such as Martin Luther King Jr.'s "I Have a Dream", Sojourner Truth's "Ain't I a Woman?", and Booker T. Washington's "Cast Down Your Buckets" incorporated elements of oration that influenced the spoken-word movement within the African-American community.[26] The Last Poets was a poetry and political music group formed during the 1960s that was born out of the Civil Rights Movement and helped increase the popularity of spoken word within African-American culture.[27] Spoken word poetry entered into wider American culture following the release of Gil Scott-Heron's spoken-word poem "The Revolution Will Not Be Televised" on the album Small Talk at 125th and Lenox in 1970.[28]
In the 1980s, spoken-word poetry competitions, often with elimination rounds, emerged and were labelled "poetry slams". American poet Marc Smith is credited with starting the poetry slam in November 1984.[19] In 1990, the first National Poetry Slam took place in Fort Mason, San Francisco.[30] The poetry slam movement reached a wider audience following Russell Simmons' Def Poetry, which was aired on HBO between 2002 and 2007. The poets associated with the Buffalo Readings were active early in the 21st century.
Outside of the United States, artists such as French singer-songwriters Léo Ferré and Serge Gainsbourg made personal use of spoken word over rock or symphonic music from the beginning of the 1970s in such albums as Amour Anarchie (1970), Histoire de Melody Nelson (1971), and Il n'y a plus rien (1973), and contributed to the popularization of spoken word within French culture.
In Zimbabwe, spoken word has been mostly active on stage through the House of Hunger Poetry slam in Harare, Mlomo Wakho Poetry Slam in Bulawayo as well as the Charles Austin Theatre in Masvingo. Festivals such as Harare International Festival of the Arts, Intwa Arts Festival KoBulawayo and Shoko Festival have supported the genre for a number of years.[34]
In Ghana, the poetry group Ehalakasa led by Kojo Yibor Kojo AKA Sir Black, holds monthly TalkParty events (collaborative endeavour with Nubuke Foundation and/ National Theatre of Ghana) and special events such as the Ehalakasa Slam Festival and end-of-year events. This group has produced spoken-word poets including Mutombo da Poet,[35] Chief Moomen, Nana Asaase, RhymeSonny, Koo Kumi, Hondred Percent, Jewel King, Faiba Bernard, Akambo, Wordrite, Natty Ogli, and Philipa.The spoken-word movement in Ghana is rapidly growing that individual spoken-word artists like MEGBORNA,[36] are continuously carving a niche for themselves and stretching the borders of spoken word by combining spoken word with 3D animations and spoken-word video game, based on his yet to be released poem, Alkebulan.
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