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The article details the aspirations of Tapestry Opera and Nightwood Theatre to commission a large mural for their new joint space at 877 Yonge Street in Toronto's Rosedale neighborhood. Topics include the impact of losing their previous studio in the Distillery District, the challenge of high lease costs and venue closures in Toronto, and the significance of their new location in maintaining their artistic presence and community engagement.

Abstract: Emotional deception is a common behaviour that can have major consequences if undetected. For example, the sincerity of an offender’s expressed remorse is an important factor in sentencing and parole hearings. The present study was the first to investigate the nature of true and false remorse. We examined facial, verbal and body language behaviours associated with emotional deception in videotaped accounts of true personal transgressions accompanied by either genuine or falsified remorse. Analyses of nearly 300,000 frames indicated that descriptions of falsified remorse were associated with a greater range of emotional expressions. Further, sequential analyses revealed that negative emotions were more commonly followed by other emotions—rather than a return to neutral emotion—in falsified versus sincere remorse. Participants also exhibited more speech hesitations while expressing deceptive relative to genuine remorse. In general, the results suggest that falsified remorse may be conceived as an emotionally turbulent display of deliberate, falsified expressions and involuntary, genuine, emotional leakage. These findings are relevant to judges and parole board members who consider genuine remorse to be an important factor in sentencing and release decisions.

Vox Anima London is an organization that aims to appeal to a broader spectrum of choirs by bringing singers to the UK to sing concerts rather than services. They have a particular focus on contemporary choral music and regularly collaborate with professional choirs. Recently, they organized a collaboration between three choirs from the US and the UK, culminating in a concert at St. John's Smith Square in London. Vox Anima London also plans future projects, including a composers' workshop and a choir festival celebrating the music of female composers. [Extracted from the article]

The article discusses the author's new role as the president of the Royal College of Organists (RCO) and their mission during their two-year tenure. The author emphasizes the importance of being ambassadors for the organ and supporting all performances, from amateur to elite. They also mention the RCO's initiative to raise awareness of the organ in 2025 and encourage readers to engage with it. The author concludes by expressing their hope to encourage and inspire others to love and appreciate the organ and music as a whole. [Extracted from the article]

This article discusses the state of music education in the UK, particularly in state schools, and its impact on choral programs at Cambridge University. The author emphasizes that admission to Cambridge is based solely on academic merit and potential, and extracurricular activities are not considered in the assessment criteria. Due to cuts in music education in state schools, Cambridge is facing challenges in recruiting experienced singers for its choirs and is increasingly training less-experienced singers from scratch. The author provides case studies of individuals who have successfully joined the choir despite having little to no previous musical experience. The article concludes by highlighting the challenges faced by the UK musical community and the importance of responding to these challenges by creating new ways to teach the next generation to love music. [Extracted from the article]

The article discusses the Delaware Cambridge Choral Exchange, a program that brought together a group of 16 visiting singers from the University of Delaware with the choir of Selwyn College in Cambridge, UK. The exchange included joint performances, attending concerts, observing rehearsals and services in various chapels and cathedrals, and sightseeing. The musical exchange was enriching for both choirs, and the friendships formed during the week were a particular joy. The article concludes by inviting other choirs of university-aged students to consider participating in similar exchanges. [Extracted from the article]

The article discusses the challenge of maintaining a sense of Advent amidst the abundance of Christmas music. The author, Sarah MacDonald, shares her love for Advent and expresses sadness at missing out on certain hymns and traditions due to her commitments. She suggests finding personal ways to keep Advent alive, such as listening to Advent recordings in the car or attending sparsely attended services. MacDonald also emphasizes the importance of remembering that for some people in the congregation, the carol service may be their only experience of the nativity, regardless of how many times the musicians have performed the songs. [Extracted from the article]

The article discusses the need for more recognition and support for lesser-known English composers, particularly female composers, in the music industry. The author suggests the establishment of societies and foundations dedicated to composers like Madeleine Dring, Elizabeth Poston, Ethel Smyth, and Imogen Holst. The article highlights the existing societies for male composers and their efforts to promote their music through recording projects, performances, and conferences. The author emphasizes the importance of giving attention to the repertoire of these lesser-known composers and proposes to be an honorary patron of any future societies dedicated to them. [Extracted from the article]