In Measure for Measure, an A Cappella Blog contributor takes a look at both sides of a controversial issue in collegiate a cappella.

In performing, groups should embrace the use of props and costumes on stage.

True: One of the fatal flaws of a lot of collegiate a cappella groups is that they take themselves too seriously. I’m all for careful preparation and a disciplined musical performance, but that doesn’t mean that you shouldn’t also take the time to have fun with what you are doing. Props and costumes are a great way of giving the audience a laugh and demonstrating that the group, itself, is having fun with a performance. What’s more, such items lend a visual element to the performance that just isn’t there otherwise. Sometimes, it’s a fun surprise for those who are watching closely—raising a random item to match up with the lyrics of a various part of a song. Otherwise, if, for example, you’re using signs, the sight of the group carrying out sheets of oak tag lets the audience know something interesting is on its way, creating a sense of anticipation and a wonderful pay off when the signs are revealed. All in all, props and costume are a fun and exciting piece of a cappella performance.

False: While there are a small handful of exceptions, by and large, the use of props—everything from posters to sunglasses to multi-colored scarves—does not enhance a cappella performance. On the contrary the appearance of these items looks unprofessional and silly and more often than not distracts both the audience and the performers from the music itself. If performers are worried about how and when to use their props, the odds are they are not concentrating as much as they should on pitch and rhythm. Similarly, when it comes to a cappella, I consider the visual presentation to be an extension of the sound—all created naturally by the human body. Under this rationale, facial expressions are good, choreography is fine, stage positioning is an important consideration. But props and costumes? This is the visual equivalent of instrumentation, which is contradictory to what a cappella is about.

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On a recurring basis, 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.

A lot of the appeal of collegiate a cappella comes from contemporary music choices, and entertaining performance choices, in contrast to more traditional performances from more traditional performance ensembles. With this in mind, a collegiate a cappella show should push boundaries. Skits, multimedia clips, costumes, cameo appearances—bring them all on! The more special attractions at a show, the better.

True: One of the coolest parts of attending a collegiate a cappella show is that you never know what you’re going to see. I’ve seen comedic videos. I’ve seen a member of a group come out dressed like a banana. I’ve stomp routines, alumni guests, school mascots joining in the fun. Part of what makes these shows great is just how unpredictable they are, and the opportunity they afford truly creative groups to shine.

False: There can be fun extracurriculars in an a cappella show, but it’s only worthwhile if it doesn’t come at the expense of the musical performance. A show should be entertaining for a full audience—not a few select friends of a group who will get the inside jokes. Videos and skits should complement a show, but they shouldn’t be what the spectators are talking about afterward. The core of a great a cappella show rests with the music, and the level of performance. A few special attractions are OK, but they’re best limited to a rational level.

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In Measure for Measure, an A Cappella Blog contributor takes a look at both sides of a controversial issue in collegiate a cappella.

With more and more media exposure, and more groups than ever before a cappella is, quite frankly, getting cooler.

True: There was a time when it was easy not to know that a cappella existed. That time has long passed. For one thing, there’s TV exposure. You have major networks programming around the a cappella concept with shows like Glee and Sing Off. From there, a cappella has a way of working its way into more general programming—Mosaic’s rise in America’s Got Talent, the preponderance of collegiate a cappella alumni on American Idol. What’s more, a cappella is having its moments in mainstream media that, otherwise, has nothing to do with music, like Ed Helms’s character on The Office, and major showing in films like The Break Up and Step Brothers. On top of all of this, you have Straight No Chaser breaking out on the national scene over the holiday season, exploding into the public consciousness.

Taking all of this into consideration, a cappella is better known and more accessible than it has ever been before, and by extension it’s more understandable and more acceptable to say you’re an a cappella performer or a cappella fan, all adding up to make a cappella cooler than ever before.

False: There’s little question that a cappella has a higher profile now than it has had at any other time in recent memory. Despite this fact, it’s difficult to really assess it as cool by any normal definition.

True, a cappella has sprouted up all over media. And yet, it’s Ed Helms’s Andy Bernard character on the office who perhaps best sums up the public perception of a cappella. It’s sort of fun, and certainly require some talent, but its performers are also annoying, self-absorbed, and despite what they might think, are anything but cool. Note, I’m not suggesting that these perceptions are really true, but they are the perceptions that portrayals in The Office, Step Brothers, and so on do nothing but perpetuate.

All of this, and it’s still arguable that the general public is not really conscious of a cappella. Maybe folks know it exists, but how many are familiar with the ICCAs or BOCA, or have ever listened to a cappella of their own volition? The evidence suggests that a cappella is still not cool.

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In Measure for Measure, an A Cappella Blog contributor takes a look at both sides of a controversial issue in collegiate a cappella.

It is unethical for a group to watch its competition and plan to counteract others’ material with its own performance.

True: Scouting out the competition and tailoring your set beat them is not right. Competition should be about bringing the very best of your group to the big stage—not about seeing what other people are doing and adjusting accordingly. Planning your set in such a way can manifest itself in a number of different ways. There’s flat out copying songs, moves or arrangements. Doing this indicates that a group lacks creativity, but thinks it can compensate by executing someone else’s material better. Otherwise, there’s planning out a set for the purpose of being different from a competitor’s set. Your competition does one of the songs from your repertoire better? Steer clear of it. Your competition is putting the crowd to sleep with back to back ballads? Bring on the energy with your own group.

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In Measure for Measure, an A Cappella Blog contributor takes a look at both sides of a controversial issue in collegiate a cappella.

In the midst of a good collegiate a cappella show or competition, having a professional group perform can be just the thing to shake up the evening a little, and provide a different brand of entertainment.

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