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2022 UPCOMING CONFERENCE PRESENTATION

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NATS (National Association of the Teachers of Singing) Presentation for the 57th National Conference in Chicago, IL, July 2-6, 2022

“Own Your Own: How to start your own independent record label and plan, produce, market, release, and promote your music.”

Presenters: Patrice Jégou-Oyelese, DMA and Kolawole “Yinka” Oyelese, MD, MRCOG

SESSION ABSTRACT

“Own Your Own: How to start your own independent record label and plan, produce, market, release, and promote your music.” Do you want to record and release your own album? What do you do once you’ve completed the recording aspect of the project? Gone are the days when “shopping around” a well recorded and well produced album is a guarantee of being picked up by a major record label. The internet has leveled the playing field for musicians, and now, more than ever, independent artists are launching their own record labels, and releasing music on their own terms. In this presentation the artist-producer team of Patrice Jégou-Oyelese, DMA and Yinka Oyelese, MD will share their experiences in establishing Prairie Star Records LLC, and what they’ve learned in the past 10 years about navigating the artistic and commercial aspects of planning, recording, marketing, and launching full-length albums and album singles. This presentation will provide practical information, and is geared for students, teachers, and artists interested in recording and releasing commercially available music.

CURRICULUM VITAE

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Patrice Jégou-Oyelese, DMA

Curriculum Vitae

DOCTORAL THESIS

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Patrice Jégou-Oyelese, DMA

Rutgers, The State University of New Jersey

Mason Gross School of the Arts

Department of Music

“I NEVER SAW ANOTHER BUTTERFLY”:

SRUL IRVING GLICK’S INTERPRETATION OF CHILDREN’S EXPERIENCES IN A HOLOCAUST CAMP

ABSTRACT

Jewish-Canadian composer Srul Irving Glick (1934-2002) wrote the Holocaust themed song cycle I Never Saw Another Butterfly: a cycle of songs to children’s poems from the concentration camp at Terezin (1942-44) in 1969. Commissioned by the Canadian Broadcasting Corporation for celebrated Canadian contralto Maureen Forrester, the cycle was Glick’s first foray into song-cycle composition. His father and grandfather were cantors and Glick was raised in a devoutly Jewish home with little contact with the non-Jewish community. Given his upbringing, it is not surprising that the musical language in his cycle reveals borrowings from Jewish liturgical music and the cantor’s singing style. Drawing on a number of sources, including Glick’s autographs and fair copies, radio and personal interviews, his essays, and a variety of other documents housed at the University of Calgary (Canada), Archives and Special Collections, Srul Irving Glick Fonds, this paper aims to provide performers with a complete understanding of the origins of the song cycle and shed light on the Jewish borrowings which permeate the work.

SELECTED SYLLABI AND TEACHING MATERIALS

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Rutgers - The State University of New Jersey

Mason Gross School of the Arts - Department of Music

Music 07:701:157:01 Voice Class

Syllabus - Patrice Jégou, Instructor

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Rutgers - The State University of New Jersey

Mason Gross School of the Arts - Department of Music

Music 07:701:169 (et. al.) Applied Voice for Non-Majors

Syllabus - Patrice Jégou-Oyelese, Instructor

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