Measure for Measure

Measure for Measure: Recordings

By Mike Chin on March 13, 2008 in Measure for Measure

Each Friday an A Cappella Blog contributor will take a look at both sides of a controversial, interesting, or seemingly random statement related to collegiate a cappella.

We welcome you to weigh in on the topic at hand by posting a comment.

We also welcome readers to offer up their own statements for our writers to consider, Measure for Measure.

The increasingly produced sound found on many a cappella recordings takes away from the art form that is a cappella.

Measure for Measure: Who should be allowed to compete?

By Mike Chin on March 7, 2008 in Measure for Measure

Each Friday an A Cappella Blog contributor will take a look at both sides of a controversial, interesting, or seemingly random statement related to collegiate a cappella.

We welcome you to weigh in on the topic at hand by posting a comment.

We also welcome readers to offer up their own statements for our writers to consider, Measure for Measure.

In response to allegations during last years ICCAs that some groups had formed for the sole purpose of winning competitions, ICCA should institute stricter rules about who can compete—setting minimum amounts of time a group must be together before it can compete, or a minimum repertoire.

Measure for Measure: Splitting ICCA

By Mike Chin on February 29, 2008 in Measure for Measure

Each Friday an A Cappella Blog contributor will take a look at both sides of a controversial, interesting, or seemingly random statement related to collegiate a cappella.

We welcome you to weigh in on the topic at hand by posting a comment.

We also welcome readers to offer up their own statements for our writers to consider, Measure for Measure.

Given the wide range of styles and foci of collegiate a cappella groups today, ICCA should split to have competitions geared more toward groups that focus on musical precision, and more toward groups focused on entertaining an audience.

Measure for Measure: Collegiate A Cappella Compilations

By Mike Chin on February 22, 2008 in Measure for Measure

Each Friday A Cappella Blog contributors will take a look at both sides of a controversial, interesting, or seemingly random statement related to collegiate a cappella.

We welcome you to weigh in on the topic at hand by posting a comment. We also welcome readers to offer up their own statements for our writers to consider, Measure for Measure. 

This week, Mike C. and Melissa take on the true and false sides, respectively, of the following statement:

A group does not need to submit its material to large compilations to build credibility or attract attention.

Measure for Measure: The arrangements groups use for competition

By Mike Chin on February 14, 2008 in Measure for Measure

Each Friday A Cappella Blog contributors will take a look at both sides of a controversial, interesting, or seemingly random statement related to collegiate a cappella.

We welcome you to weigh in on the topic at hand by posting a comment. We also welcome readers to offer up their own statements for our writers to consider, Measure for Measure. 

This week, Melissa and Mike C. take on the true and false side, respectively, of the following statement: 

Groups competing in ICCA should only be allowed to perform material that a current member of the group arranged.

Measure for Measure: Blake Lewis and the a cappella world

By Mike Chin on February 6, 2008 in Measure for Measure

Each Friday an A Cappella Blog contributor will take a look at both sides of a controversial, interesting, or seemingly random statement related to collegiate a cappella.

We welcome you to weigh in on the topic at hand by posting a comment. We also welcome readers to offer up their own statements for our writers to consider, Measure for Measure.

By rising to stardom via American Idol, Blake Lewis went a long way toward bringing vocal percussion and, by extension, contemporary a cappella into the mainstream.

True: American Idol is among the most watched spectacles on modern television, period. Blake Lewis showed the nation that vocal percussion is serious business, and may have inspired a new generation of young beat boxers. All of this is good for a cappella. People liked Lewis, and they will want to see more of his unique talents. The fact is, there are better vocal percussionists on the professional and collegiate scene, and new fans are going to take notice, and stick around.

False: The weak box office results for this year’s American Idols Live tour demonstrated how little staying power Blake Lewis has in the American consciousness. Sure, he had his fifteen minutes. Heck, he may even steal fifteen more with a guest appearance on the show later this year. The bottom line is that people who liked Lewis like the total package, though, and aren’t going to go wild trying to see every beat boxer they can. Lewis’s stint on Idol will not have any meaningful impact on the a cappella world.

Measure for Measure: Competing at home

By Mike Chin on January 31, 2008 in Measure for Measure

Each Friday an A Cappella Blog contributor will take a look at both sides of a controversial, interesting, or seemingly random statement related to collegiate a cappella.

We welcome you to weigh in on the topic at hand by posting a comment. We also welcome readers to offer up their own statements for our writers to consider, Measure for Measure.

Given the concerns several groups expressed about an unfair bias going to groups competing at their own institutions, ICCA should no longer allow groups to compete with a “home field” advantage.

True: Home field advantage is a reality. Home groups are going to have more fans in their crowds, which is going to give them extra confidence every time they erupt in applause. Beyond that, home groups don’t have to worry about long road trips, crashing four to a hotel room the night before the show, or getting lost in an unfamiliar campus en route to the performance space. Putting all of these factors together, allowing some groups to perform at their own institutions gives them an unfair advantage. Furthermore, if a legitimately gifted group wins ‘at home’ it can taint their victory, as other groups can fall back on the excuse that the hometown judges were biased. It’s best to avoid all of the controversy, and potential for partiality by making everyone compete in foreign spaces.

False: In a perfect world, the ICCA production staff would have infinite ideal venues to choose from when scheduling events. In the real world, there are only so many suitable spaces in each region, only so many volunteers to host, and a limited time table to work with. I don’t envy the decisions they have to make, and adding a provision that no group could perform at its home institution would only make this process more convoluted. In addition, having home groups perform in a competition draws a much bigger audience to any given show. There are a lot of people who aren’t eager to shell out $5-$10 for an a cappella show featuring bunch of groups they’ve never heard of. Add in a home team for them to support, not to mention personal friends and family of group members, and all of a sudden, you’ve broadened your audience exponentially. While this crowd may play favorites, a show is infinitely more fun when there’s a packed house, compared to a half-empty auditorium. And who knows? Maybe the folks who just came to cheer on the home group will really enjoy themselves, and get hooked on the collegiate a cappella scene. Attracting more fans is a great thing.

Measure for Measure: All-female groups

By Mike Chin on January 25, 2008 in Measure for Measure

Each Friday an A Cappella Blog contributor will take a look at both sides of a controversial, interesting, or seemingly random statement related to collegiate a cappella.

 

We welcome you to weigh in on the topic at hand by posting a comment. We also welcome readers to offer up their own statements for our writers to consider, Measure for Measure.

In winning the 2007 ICCA crown, Noteworthy proved that all-female groups are every bit as much of a threat in competition as their all-male or mixed counterparts.

True: You can’t deny the evidence. While some may have quibbles with Noteworthy’s first place finish in the finals, no one can deny that the group was among the best, and had every right to perform on the finals stage. All-female groups have every bit as much potential to master the technical parts of music as any other group, and a group like Noteworthy proves that women can be every bit as engaging when it comes to performance.

False: Noteworthy is among an elite few all-female groups who make up an exception, not a rule, in competitive collegiate a cappella. Male and co-ed groups generally seem to bring more confidence to the stage than women’s groups. Confidence generally translates into higher energy and better entertainment value. Furthermore, guys groups seem to have more lee-way in what they can perform and how, with voices and appearances better suited to rocking tunes, as well as comedic pieces. While there are absolutely all-female groups that will fare well in competition, let us consider that, in last year's ICCA tournament, only one all-female group made it to the finals. It is not legitimate to say that all-female groups pose an equal threat to all-male and mixed ensembles.

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