Dedicated to being a ‘catalysts for social change’ with an advocatory-model expressed by ‘leading with action’, the recently founded, six-women vocal alliance, ‘Resonance Treble Ensemble’, directorally led by Simon Lee [trained operatic Baritone who, in 2019, performed as Pandolfe in Massenet’s Cendrillon] with management by Dana Hsu [trained classical Violinist who, in 2017, participated in the outreach-project called ‘Bach in the Subways’], gave a [digitally] sonic glimpse into the imaginative capabilities of the female choral sound which offered their listeners the chance to hear what Barenreiter calls the ‘delicate and subtle hues of the high registers’. This description seems appropriately fitting for R.T.E [called henceforth], and In-House arranger Emma Nelson [Cellular & Molecular Biologist by microsphere and Composer by macrosphere] certainly has acclimatized herself with the distinct, at times restrictive, challenges of SA harmonicity. This intricate dilemma is tough to navigate, especially since traditionally the female voice within a choral-setting is used to either fill-in the the textural body of a work, mostly given to mezzo and lower-pitched female voices, or divergently to further aid in the construction of a celestial [full?] soundscape by soaring in the upper atmosphere or even intoning the melody and its immediate, intervallic equivalents, evidenced by almost any ‘standard’ SATB choral piece. Female choral-groups are not a new phenomenon in the musical world, however, and can be found throughout the world, from Slovenia [now-disbanded Carmina Slovenica], Finland [Philomela], Bulgaria [Sofia Women’s C.C], and Sweden [Adolf Fredrik's G.C], to the UK [Mediaeval Baebes] and the U.S. [the first ‘feminist’ Choir ANNA Crusis], just to name a few.
Thus, R.T.E is not entering into a newly blossoming niche, and in order to firmly supplant themselves within the undulating socio-cultural fabric that is the choral subsection of the massive American Music Industry [‘classical music’ accumulating only 1% of music Album consumption in 2018, while in 2019 digital track sales amassed a total of only 3%], they’ll have to define, and redefine as it becomes necessary, what exactly makes them worth tuning in for, and why exactly a consumer should spend $5.99 on their latest EP entitled AWAKEN which [hint, hint] features an eclection of original works, arrangements, and interpretations of Bluegrass modalities [Hopeless], folkish communality [Bring Me Little Water, Silvy], and even time-negating harmonic washing [The Lake Isle, an homage to the island in Lough Gill, Ireland and its nostalgic grip on its original corporal translator, W.B. Yeats, nearly 130 years ago]. As I logged into YouTube for the debut of their Album nearly 16 hours ago [a small figure in comparison], I sat pondering on my previous aural experiences with female Choirs of both amateur and Professional status, and questions arose along the inquisitorial lines of ‘How will the textures be foundationally built’, and ‘What possibly could have been created which has not already been verbalized?’, a salient thought as we involuntary languish in the epochal horn-of-plenty, forever dodging the looming threat of ‘aesthetics of yesterday’ paradoxical uniformity which hangs in the air like a noxious fume. I was not only surprised, but unreasonably excited due to the fact that, 1) the sonorous depth and unspoiled ‘music of the people’ is still being innovated upon, and 2) t