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A in Ghana

Perform under the direction of
Dr. André Thomas
at th
thee National Theater, Accra Ghana

Meet African choirs and hear their music. Share

your music in villages, schools and churches. Sing
at the historic Cape Coast Castle.

Discover the Culture of Ghana with its Kente

weavers, Drummers, Wood Carvers, Jewelry
artisans, Traditional dancers and the most friendly
people on Earth!

Culture, Warmth & Much More...

I look forward to welcoming you to Ghana
in 2012 and hearing your voices as part of
The African Choral Festival.
President of Ghana
H.E. Prof. John Evans Atta Mills
Organized by the Government of Ghana,Ministry of Tourism and The Ghana Tourist Board

1-8 0 0 -624-0 1 6 6
March 2011
Vol. 51 • no 8




Tim Fredstrom
6 20 26

6 Influence Changes Ever ything: How Conductors
Conductor s Can Shape Momentum, 2 From the Assistant Director
Create Momentum, and Reframe the Musical Experience 4 From the President
5 From the Guest Editor
by Ramona M. Wis
25 Career Moves
45 In Memoriam
20 A Picture is Wor th a Thousand Words: 59 In Memoriam
Promoting Choral Ar tistr y Through Presentation Technology 80 Advertisers’ Index
by Tim Fredstrom
The Choral Journal is the official publication of The
26 Digital Natives and Immigrant Choral Director
s: American Choral Directors Association (ACDA). ACDA
is a nonprofit professional organization of choral di-
Catching Up and Reaching Out rectors from schools, colleges, and universities; com-
by Philip Copeland munity, church, and professional choral ensembles;
and industry and institutional organizations. Choral
Journal circulation: 19,000.

C OLUMNS Annual dues (includes subscription to the Choral

Journal ): Active $85, Industry $135, Institutional
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43 Hallelujah! edited by Richard Stanislaw Copy $3; Back Issues $4.

Jubilate, Amen! A Festschrift in Honor of Donald Hustad

Permission is granted to all ACDA members to
47 Rehearsal Breaks reproduce articles from the Choral Journal for non-
From Super Bowl to Salty Snacks: commercial, educational purposes only. Nonmembers
Opportunities for Advocacy Presented by the Use of “Classical” Music on Television wishing to reproduce articles may request permission
by Theodore Albrecht by writing to ACDA. 545 Couch Drive, Oklahoma City,
Oklahoma 73102. Telephone: 405/232-8161. All
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61 Recorded Sound Reviews edited by David Castleberry The Choral Journal (US ISSN 0009-5028) is issued
monthly except for July. Printed in the United States
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National Officers
FROM THE Check your pulse and professional desires
if you left Chicago uninspired from a reunion
Jerry McCoy
University of North Texas
ASSISTANT with colleagues, discussions during round
tables, one-on-one conversations with an

940-369-8389 (voice) admired peer during a button-hole session, a
Vice-president catch phrase during an interest session, or a
Hilary Apfelstadt
University of Toronto magical moment during a concert. My hope
416-978-0827 (voice) for 2011 and choral music education is that each of you
President-elect not only experience an inspirational moment, but also a
Jo-Michael Scheibe
University of Southern California life-changing moment may have presented itself; consider
these opportunities:
Jo Ann Miller
North Dakota State University • Helmuth Rilling and the Chicago Symphony;
Craig Gregory
Executive Director
Tim Sharp
405-232-8161(voice) • ACDA’s Premier Shabbat service;

Central Division President

Mary Hopper
• seeing Kettering High School live during Jazz Night;
Wheaton College
630-752-5828 (voice) • a cup of coffee or cocktail with an admired colleague; and
Eastern Division President
Bob Eaton • a memorable experience by a performance by a featured chorus.
North Central Division President
Aimee Beckmann-Collier
Drake University Flashback to the mid-1970s—Sunshine Singers from the Mexia State School
515-271-2841 (voice) came to First Methodist Church in Duncanville,Texas, for a public performance.
Northwestern Division President My life would never be the same after that performance. The passion, inspira-
Solveig Holmquist
Western Oregon University tion, dedication, conviction, love of singing, and achievement was overwhelming.
503-838-8437 (voice) Was it musical excellence? I guess that depends on your definition of excellence.
Southern Division President Fast-forward to ACDA National Conference Chicago 2011—Joyful Noise
Tom Shelton
First Presbyterian Church
from New Jersey presents an interest session with Allison Fromm and Alice
336-275-9398 (voice)
Parker on Saturday morning. As Sue Sylvester from Glee says,“they are handicap
Southwestern Division President
capable.” Was it musical excellence? I guess that depends on your definition
Margie Camp
Young Voices of Colorado
of excellence.
303-797-7464 (voice) An educator understands the importance of these life-changing events, and
the daunting amount of work to take this journey to Chicago. A teacher may
Western Division President
Cheryl Anderson think it’s “lovely.” Preparation, fund raising, auditions, rehearsals outside the
Cabrillo College - VAPA
832-479-6155 (voice) daily school schedule, sleepless nights, and frayed nerves barely scratch the
surface. Can you place your finger on a life-changing moment securing your
Industry Associate Representative
Alec Harris love of choral music?
GIA Publications Inc.
708-496-3800 (voice) Prioritize your experiences with interest sessions, performances, and discus-
Chair, Past Presidents’ Council sions that provide you with knowledge and understanding for the classroom
Michele Holt
Providence College and professional development. Did you stretch yourself and select one session
401-822-1030 (voice)
outside your musical and intellectual strengths? There’s always a lesson to learn.
National Past Presidents There’s always a new song to sing.You make a joyful noise in everything you do.
† Archie Jones Maurice T. Casey
† Elwood Keister † Hugh Sanders
† Warner Imig David O. Thorsen
† J. Clark Rhodes Diana J. Leland
† Harold A. Decker William B. Hatcher

Craig Gregory
† Theron Kirk John B. Haberlen
† Charles C. Hirt † Lynn Whitten
† Morris D. Hayes James A. Moore
Russell Mathis Milburn Price
† Walter S. Collins David Stutzenberger
H. Royce Saltzman Mitzi Groom
† Colleen Kirk
National R&S Chairs FROM THE The Sunset of An Age

National Chair
PRESIDENT Sunday, February 6, 2011, saw the passing of
Morris J. Beachy, one of America’ s great uni-
Nancy Cox versity choral conductors, a founding member
580/482-2364 (voice) of ACDA, and long-time director of choral studies at the
Boychoirs University of Texas at Austin. He was my teacher and friend.
Julian Ackerley
Tucson Arizona Boys Chorus
Morris was the third of the choral giants to pass on
520/296-6277 (voice) whom I thank for whatever artistic success I’ ve had as a
conductor/teacher, the others being Hugh Sanders and
Children and Youth Community Choirs
Robyn Lana Robert Shaw.
Cincinnati Children’s Choir
513/556-0338 (voice) Jerry McCoy Morris was one of the icons of American university choral singing in the mid- to late-twentieth century. Along with
College and University Choirs others of his generation who have passed on—such as Robert Shaw, Roger Wag-
William McConnell
St. Andrews Presbyterian College ner, Robert Fountain, Hugh Sanders, Ron Shirey—Morris did not fear to incite, to
910/277-5262 (voice)
pique, to challenge, to inspire, to rattle our sense of comfort, and challenge our
commitment levels. This generation of standard bearers never equivocated with
Community Choirs
Ron Sayer artistic mediocrity. As these men were, so should we become!
Marshall Community Chorus
660/831-5197 (voice)
I have a friend who calls such teacher/musicians the “gate keepers.” The gate keepers teach us to ask the hard questions: What should be the function of the
Ethnic and Multicultural Perspectives choral art in the American culture? Should it allow us a forum for looking deeply
Sharon Davis Gratto at ourselves, gods, myths, and communal nobility? Should it enhance and pass on
University of Dayton
973/229-3946 (voice) our concepts of greatness? Should it foster understanding among the tribes that
constitute America and the world? Should it invigorate the spirits of the per-
Junior High/Middle School
Gretchen Harrison former and listener? Should it entertain as well as inform? Their stances on these
Frontier Trail Junior High
913/780-7210 (voice)
questions were manifested in each rehearsal they conducted, each concert they gave, each choice of literature they made, and each discussion they held with a
Male Choirs student, singer, parent, principal, dean, or minister.
Ethan Sperry
Portland State University The loss of one’ s teacher is, in some ways, different from the loss of one’ s other friends. It represents the final passing of the torch to one’ s own generation.
Music in Worship The truth is, no one knows how deep and long the stream of one's legacy runs.
Terre Johnson
Vestavia Hills Baptist Church Our influence, for good or ill, reaches out in ways we cannot imagine. If Beachy
hadn't taken a chance on me at the University of Texas, I wouldn't be where I
Senior High Choirs am today. He taught me the expressive power of the sounds of words wedded
Amy Johnston Blosser
Bexley High School to singing, and the core of how I build tone in my choirs. He taught me the value
614/539-5262 (voice) of persistence and perseverance in rehearsals, and the love of the moment in
Show Choirs performance. In the past ten years, I have been fortunate to place a significant
Robert Lawrence
University of Central Missouri
number of graduates in university teaching and professional conducting posi- tions across the USA, Mexico, and South Korea. All of them further the legacy
Two-Year Colleges of Beachy's artistry and his unswerving commitment to the deepest expressions
Dianna Campbell
Seminole State College of Florida of the human heart.
407/708-2644 (voice)
Our participatory art is the largest and, in many ways, the most influential in
the world. In its myriad manifestations we have the opportunity to shape na-
Vocal Jazz
Kirk Marcy tional character, enhance national work ethics, deepen worship experiences, and
Edmonds Community College
425/640-1651 (voice) broaden our place in the world. As the sun begins to set on this generation of
American choral titans, the torch and mantle become ours to bear. It’ s time that
Women’s Choirs each of us became involved. It’ s time to stand up for the place of art in education,
Iris Levine
Vox Femina Los Angeles worship, and our national daily life. It’s time to make our case known to every
American. It’ s our turn, not only to guard the gate, but to open it.
Youth and Student Activities
Joey Martin
Texas State University—San Marcos

Jerry McCoy
Editorial Board
FROM THE Welcome to Part 2 of the Choral Journal High

GUEST School Focus series. The high school choral con- Editor
Carroll Gonzo
ductor could be considered the ultimate multi- University of St.Thomas
651-962-5832 (voice)
tasker. Musician, manager, motivator, mental health

professional, mentor—and much much more! Managing Editor

Ron Granger
What could we address in this series that would ACDA National Office
405-232-8161 (voice)
be relevant, meaningful, and immediately applicable <>
to this readership? Determining which topics to Editorial Associate
David Stocker
include was a major challenge, given the over- 281-291-8194 (voice)
whelming number of possibilities. In addition, this <>
Board Members
is the first time the Choral Journal has devoted an
Hilary Apfelstadt
entire series to high school choral programs.While University of Toronto
considering the direction to take, I came upon a 416-978-0827 (voice)
Cheryl Frazes Hill
2009 Roundtable Discussion on the ACDA Web Terry Barham
site. I was struck by the comment of a contributing Emporia State University
620-341-5436 (voice)
member suggesting that ACDA should provide more “nuts and bolts, more <>

practical tools for elementary, middle, and high school (choral programs).” It Richard J. Bloesch
319-351-3497 (voice)
was with this idea the authors set forth, providing informative, substantive, <>

and practical articles relevant to the multifaceted demands of high school Kristina Boerger
Carroll University
choral teaching. In the first issue of the series, attention was given to rehearsal 262-524-7183
planning and preparation, techniques for incorporating gesture and move-
David Castleberry
ment into the rehearsal, and selection of repertoire to fulfill curricular goals, Marshall University
including an extensive annotated repertoire list. 4304-696-2963
This month’s edition offers innovative ideas for the high school choral J. Michele Edwards
director to consider. Focusing on conductors’ influence on their ensembles, 651-699-1077 (voice)
Ramona Wis explores the question “How can conductors create an envi- Lynne Gackle
ronment where there is always a sense of momentum, where ensemble Baylor University
254-710-3654 (voice)
members take ownership of their experience, and where success defined as

more than the final concert, can be achieved without compromising the spirit Sharon A. Hansen
University of Wisconsin—Milwaukee
of the ensemble?” Wis suggests practical advice to achieve these goals in her 414-229-4595 (voice)
article, “Influence Changes Everything.” Tim Fredstrom addresses learning
Paul Laprade
styles in his article “A Picture is Worth a Thousand Words.” Fredstrom posits Rock Valley College
the idea that by through presentation technology, visual images can increase 815-921-3347 (voice)
the student’s perceptions and understandings beyond the conductor’s verbal Edward Lundergan
descriptions. Utilizing technology to better manage those time-consuming SUNY-New Paltz
845/257-2715 (voice)
tasks and to become more connected with the world in which our students <>

excel is addressed in Philip Copeland’s article “Digital Natives and Immigrant Donald Oglesby
University of Miami
Choral Directors: Catching Up and Reaching Out." Copeland informs “digital 305-284-4162 (voice)
immigrants” with extensive explanations and resources.
Ann R. Small
It has been a great pleasure to work with the wonderful authors on this Stetson University
series. As a veteran high school choral director and now as one who guides <>
future choral directors, it is my hope that the ideas shared in this focus se- Magen Solomon
University of Southern California
ries will refresh, inspire, and motivate readers to continue the work of this 213-740-3225
wonderful profession with renewed energy and spirit. <>

Richard Stanislaw
Ocean City Tabernacle
609-399-1915 (voice)
Cheryl Frazes Hill

Stephen Town
Northwest Missouri State University
660/562-1795 (voice)
Cheryl Frazes Hill is the head of music education and director of choral activities at the <>

Chicago College of Performing Arts, Roosevelt University, and the associate conductor
of the Chicago Symphony Chorus



Ramona Wis

Ramona Wis is the Mimi Rolland Distinguished Professor in

the Fine Arts and professor and chair of music at North Central
College in Naperville, Illinois. She is the author of The Conductor
as Leader: Principles of Leadership Applied to Life on the Podium
(GIA Publications, 2007) and former president of Illinois ACDA.
Question 1
Do you believe things can change?
If yes, move to question 2.

Question 2
Do you believe you can change?
If yes, move to question 3.

Question 3
Do you know that the change
you wish to see in others
starts with a change in you?

If yes, read on.

If you answered no
to any of these questions,
read on and see if whether what
you learn changes any of your
answers to yes.

CHORAL JOURNAL Volume 51 Number 8 7


This focus issue of the A Starting Point: ensemble or the overall program, the com-
Choral Journal is written mitment level of the singers, the quality of
Understanding Our Influence
with an emphasis on the their artistry, the singers’ musical tastes, and
“real life” of choral conduc- Conductors are leaders—and as lead- certainly their skill and understanding—it all
tors and teachers—profes- ers we can move to an entirely new level starts with us. This is a powerful realization,
sionals who come to rehearsal wanting to of effectiveness when we understand our requiring us to examine our own thinking
teach, to share their passion for music and position to influence others for good by who and the way in which we use our influence
for people, and to create an environment we are, what we say, and what we do. John by the decisions we make and the way in
that says musical experience and the pursuit Maxwell’s definition is simple and powerful: which we interact with everyone involved in
of artistry matters at every age and experi- “Leadership is influence—nothing more, the organization, from singers to colleagues
ence level. In this issue, tips, resources, lists, nothing less” (Maxwell, 1998, p.17). If we and from parents to administrators.
and suggestions abound, providing us with are going to move our ensembles forward, if It is easy to underestimate or misapply
direction to improve our work with our we are going to lead singers and not simply the power of our influence. We underes-
ensembles. But unless we take time to ex- manage them, then we will do so by using timate it when we tell ourselves that we
amine the broader framework within which our influence. are not in control of our professional lives,
our work takes place, we can get caught up Influence is defined as the power to affect and we misapply it when we use coercive
in a “to-do list” of tasks that don’t seem to the actions or thinking of others. Conductors tactics to get others to follow us. Neither is
make a significant or lasting difference in are accustomed to thinking of ourselves as a realistic perspective on getting the most
our conducting lives or in the lives of those musicians and educators, but how often do from our position of influence.
we lead. In this article, we will explore how we think of ourselves as agents of change? There are always aspects of our program
we can use our influence as conductors to More than anyone or anything, we are in that we do not control, though given time
create an experience that is characterized by the position to influence the performance, and the power of our influence, we are
motivated singers, ever-increasing momen- thinking, and character of our ensembles. If usually able to effect some change, even dra-
tum, and both a successful musical product we want changes in the atmosphere or the matic change.We can choose to feel helpless
and a meaningful musical process. energy of the rehearsal, the “image” of the and complain about our situations or we
can work from whatever starting point we
are given and begin to move and shape our
artistic reality for the better. We do this by
sharing our passion, by casting a vision for
what “could be,” by persuading others with-
out coercing them, and by educating rather
than criticizing.
If we focus less on our feeling influenced
by others and more on ways in which
we can use our own influence on others
(including boards and administrators), we
realize the enormous power we have and
everything changes. But this mental shift
requires our professional maturity to accept
responsibility and think twice before blaming
others for the way things are. If we accept
the power of our influence, we also accept
the responsibility for shaping an environ-
ment where growth can happen and where
the musical experience can be profound,
rewarding, and of the highest caliber. Bottom
line: If change is not happening, we need to
first look inward at ourselves before pointing
the finger at everyone else.This is a sobering
part of our job but it is also the catalyst for
meaningful and lasting change.
How do we use our influence to shape
motivation (isn’t that the singers’ problem?),

8 CHORAL JOURNAL Volume 51 Number 8

create momentum (ditto), and reframe the ficiently powerful to be the primary reason if the ensemble finds the music interesting,
musical experience? What “Influence Steps” for singing. In Drive: The Surprising Truth About rewarding, and challenging, they are more
can we take to move our ensembles further What Motivates Us (2009), Daniel H. Pink likely to attend rehearsals and be deeply
down the continuum toward a more suc- presents compelling research about the re-
cessful and rewarding musical experience? lationship between intrinsic motivation and
creativity: “For artists, scientists, inventors,
schoolchildren, and the rest of us, intrinsic
Who Are These People? motivation—the drive do [sic] something
because it is interesting, challenging, and
The Role of Motivation absorbing—is essential for high levels of
in Creativity creativity.” (p. 46) This means that grades, “Eastman Classic” Choral Institutes
Creating momentum starts with knowing awards, social activities, and tours, while part Each participating conductor will conduct
our singers so that we can understand what Voices, the professional chamber chorus in
of the recipe for motivation, cannot be the residence at the Institute.
motivates them. It is not sufficient to think driving force for creating an engaged and
of them as “freshman boys” or “community high-achieving ensemble. The music and the Choral Conducting Workshop:
members;” if we are going to be able to experience of creating music must be our American Choral Landscapes
JULY 18-22
maximize our influence we need to think strongest motivations. WILLIAM WEINERT, DIRECTOR
from an others-centered point of view. This WITH GUEST CONDUCTOR
can be a challenge for conductors because Practical approaches to rehearsal technique,
our training and experience have been Influence: performance practice issues, conducting, score
“me-focused” for much of our lives. We Choosing Repertoire That analysis and preparation. Each participating
conductor will work with both teachers.
are expected to be excellent musicians and Enrollment is limited to 14 conductors.
technicians, to know how to discipline (man-
Is Sufficiently Challenging
Professional Development Hours: 30
age) a group of students, and to understand Step 1 Choosing a high-quality, balanced Tuition: $2,300/2 credits $625/noncredit
how to analyze scores and diagnose prob- program of repertoire is nothing short of an
lems, and prescribe solutions in a rehearsal. Olympic event for conductors—it demands Choral Conducting:
But how much time have we spent learning ongoing training (searching for repertoire), Artistry, Vocal Pedagogy, Musicianship
how to connect with the individuals that a refinement of one’s sense of foresight (to JULY 11-15
make up our ensembles? How much have envision how effectively each piece can be FACULTY: ROBERT MCIVER, MONICA DALE
we thought about why singers don’t respond learned and performed), as well as an aes- Topics that choral directors and accompanists
in the ways we wish they would, and about thetic sense of balance and flow (to ensure address in the context of choral singing: daily
sessions in conducting, singing, musicianship,
how we can influence their response using that the rehearsals, and not just the perfor- class performance, vocal pedagogy, repertory
positive and long-lasting means? mance, offer variety, challenge, and reward.) selection and movement-oriented Dalcroze
Eurhythmics. Enrollment is limited to 14
Our ensembles are composed primarily Excellent repertoire is not necessarily conductors.
of “volunteers”—students of various ages or technically demanding. Some of the most Professional Development Hours: 30
community members—and as volunteers, beautiful pieces are simple, well-constructed Tuition: $2,300/2 credits $625/noncredit
they are choosing to give of their time for melodies that offer the opportunity to
reasons other than a paycheck. In almost develop our expressive abilities rather than Also in Sumer 2011
every case, musicians will be motivated by display our technical prowess. Technical Practical Vocal Pedagogy
some combination of three factors: the mu- challenges, however, are part of what makes JULY 24-29
sic itself (the strongest motivator, we would music interesting (read “motivating”) so For school teachers, private teachers, church
hope); a sense of community (the social/ creating variety within a concert program musicians, and singers.
emotional/psychological aspect); and the is essential. Aim for variety in musical styles, $1,500/1 credit $560/noncredit
experience of contributing to a bigger whole difficulty levels, tone colors, keys, tempi,
(the human desire for significance). Under- accompaniment options, and language and
standing motivation helps conductors to cultural backgrounds. Remember: you will
shape a musical environment that connects live with this music for weeks, maybe months, 1-800-246-4706
the music, the musicians, and the conductor before you perform it. The atmosphere of in New York State: 585-274-1400
in a deep and productive way. each rehearsal will be determined by the
The music Although the impetus for music you are studying and preparing, so
joining an ensemble is often social in nature, choose wisely or you will deflate the singers’
we want singers ultimately to regard the motivation and make it much more difficult
music and the creative experience as suf- to create a sense of momentum. Put simply:

CHORAL JOURNAL Volume 51 Number 8 9


involved in the creative process. Using our choices and our leadership. If we are un- the solitary decision-maker and pedagogue
influence means choosing excellent music to prepared, singers will follow suit and take on the podium. We must be strong leaders
provide this opportunity. a similarly casual approach to their own with great vision, and the ability to bring
A Sense of Community The social or com- commitment to the ensemble. And if we the ensemble to realize this vision—make
munity aspect of an ensemble is often what are inconsistent—happy and outgoing one no mistake about that. But a critical leap of
initially attracts singers and in the end, a day, a tyrant the next—singers will have no faith for conductors is to dialogue about the
lack of community can drive singers away. confidence in their musical lives, which we, music in ways that not only enhance the sing-
Musicians will be freely expressive only in an as their conductors, lead. If we have gaps in ers’ understanding and their performance
environment where they feel safe to make any of these areas, our ensembles will not but also engage them in the rehearsal and
mistakes and where they are valued for trust us to lead and teach them. commit them on a much deeper level to the
whatever talents they bring. Asking them to Trust must work both ways if we are goals of the ensemble. Using our influence
take artistic risks will be met with resistance going to maximize everyone’s potential and means doing more than diagnosing problems
if singers do not feel comfortable with us, motivate singers to work at a high level to and prescribing solutions: it means also ask-
as leaders of the experience, and with the accomplish musical goals.The clearest way to ing questions, discussing musical intent, or
other members of the ensemble. show singers that we trust them is to involve trying out multiple approaches to solving a
them in the artistic decision making process, technical challenge and choosing a solution
at whatever level appropriate for them; we with the input of the ensemble.
Influence: need to do more than drill technique, or If you think you “don’t have time” to
“pound notes and rhythms.” We need to let engage the ensemble in this way, then con-
Create an Environment of Trust. singers enter into the artistic process and sider the alternative: singers who are not
Step 2 Creating a sense of community is show them how to make musical decisions. motivated because they do not feel valued at
deeply dependent upon the way in which Give them some artistic freedom so they a deep level; singers who don’t take initiative
we, as conductor/leaders, use our influence will learn to do more than simply following because we don’t give them an opportunity
to construct an environment where sing- our directions on cue. “Living a satisfying life to do so; or singers who start over at the be-
ers are “known” in an important way. This requires more than simply meeting the de- ginning of every rehearsal cycle of new music
means creating an environment where the mands of those in control. Yet, in our offices because we have trained them to obediently
singers can trust us, and where we, in turn, and our classrooms, we have way too much follow instructions without teaching them to
demonstrate that we trust them. compliance and way too little engagement.” think deeply about why their actions make
For singers to trust us, we must be (Pink, 2009, p. 112) sense within a musical context.
trustworthy. This means being competent, Trusting the ensemble in this way is
prepared, and consistent in who we are scary business for conductors, because we Contributing To the Larger Whole
and what we do. If our skills are weak, the have been trained to be “THE” authority,
ensemble will be reluctant to trust our Closely related to a sense of community
is the feeling that what we do matters be-
yond a successful concert or competition.
When we can do something creative and
contribute our talents in a meaningful way,
motivation is strengthened.

Inspire Singers With A Cause
Larger Than Themselves.
Step 3 Conductors must constantly rein-
force the idea that what we do in rehearsal is
much more than getting the music “correct”
for the next performance. We are artists,
creating something together that we cannot
create individually. For us, the whole is much
greater than the sum of the parts and the
whole is constantly changing as we grow in
our musical skill and understanding and as
we learn from every performance.

10 CHORAL JOURNAL Volume 51 Number 8

As conductors, it is our job regularly tum is characterized by an unmistakable
to remind the ensemble of the power of sense of growth, forward motion, success,
sharing our art with one another and with and anticipation.To create momentum, con-
audiences. Making sure all musicians know ductors need a keen sense of time and how
they are a part of something bigger than to use it, whether throughout the concert
themselves is an important use of our influ- season or in the 50-minute rehearsal hap-
ence and makes a big difference to the drive pening today. TRINITY LUTHERAN
behind the ensemble. They need to know,
This is significant. I am significant. What I do,
The Concert Season
matters. Columbus, Ohio
Momentum, or lack of it, is first felt in the
Contributing our music to events such as Summer Music Courses 2010
way conductors build the concert season. Courses are for graduate credit or audit.
concerts for at-risk students or handicapped Finding the best balance between too few
individuals is another way to help develop and too many performances is an important WEEK ONE June 7–11
the ensemble’s sense of significance. Young skill for conductors wanting to create a sense Music & Liturgy, 1:00 – 4:30 p.m.
people are increasingly interested in service of momentum throughout the year. May Schwarz, Professor of Church Music,
projects, mission work, or social-justice Trinity, with Ronald Jenkins, Minister of
initiatives; tapping into this interest is an Music and Liturgy, First Community Church,
Columbus, Ohio
important way to connect with our singers
and to contribute our creative talents to a Influence: Playing the Text: Interpretive Hymn
Playing, 5:00 – 7:15 p.m.
cause larger than all of us. Build in Enough Time Class at First Congregational Church,
When excellent music is at the core of Between Performances to “Get Columbus, Ohio (72 rank Beckerath organ)
an environment of trust and a well-defined Hungry” But Not So Much Time James Bobb, Minister of Music, First
sense of significance, motivation will be Congregational Church
consistently high and built on a lasting
That The Ensemble’s Music Technology for Church Musicians,
foundation. Positive or negative extrinsic Appetite Is Lost Altogether. 4:45 – 7:00 p.m.
Mark Lochstampfor, Professor of Music,
rewards—pizza parties, trophies, grades, or Step 4 It is difficult to create and sus- Capital University, Columbus, Ohio.
chair auditions—should be used sparingly, if tain momentum for a long period of time WEEK TWO June 14–18
at all, since they can actually decrease mo- without a clear goal to work towards. The Perspectives in Choral Conducting,
tivation in the long run and even negatively perception of “now” creates momentum; 1:00 – 3:15 p.m.
impact our goals and the development of but if the next performance is so far into Robert Ward, Associate Director of Choral
the ensemble. Ultimately, making music the future that the ensemble is thinking of it Studies, The Ohio State University,
together is the most powerful community Columbus, Ohio
as “then,” there will be no momentum—and
builder for our ensemble; social events and that can lead to attendance and attention
Master This! (Organ Literature
Masterclass), 3:45 – 6:00 p.m.
rewards aside, it is the act of creating sound problems, re-rehearsing music (because Paul Thornock, Cathedral Director of Music,
with other committed musicians that most there was no investment on the part of the St. Joseph Cathedral, Columbus, Ohio
strongly unites a community of singers. singers the first time around), and general Handbells I, 5:00 – 7:15 p.m.
Knowing what motivates our singers apathy. Without a healthy sense of urgency, Jane McFadden, Director of Handbells,
best allows us to understand how to use we may be tempted to cancel rehearsals or Christ Lutheran Church, Bexley, Ohio;
our influence—our skills, our position of composer and arranger
schedule mindless alternative activities (study
authority, and our foresight—to create the halls, movies, puzzle worksheets), all of which WEEK THREE June 21–25
momentum needed to propel us toward can be an interesting diversion if used spar- Advanced Handbell Skills (Handbells 2)
our collective musical goals, and to do so in ingly but which can become all-too-regular
1:00 – 3:15 p.m., Jane McFadden
a way that demonstrates our character and substitutions for real musical learning and Music and Worship in the African
cultivates character in those we lead. American Tradition, 3:30 – 7:00 p.m.
experience. Raymond Wise, Affiliated Professor of
If your season is traditionally built around Church Music, Trinity Lutheran Seminary
Momentum 101 (. . . 201, 301, 401 . . . !) two major events, such as holiday and spring
Momentum is about planning and manag- concerts, find other meaningful opportuni- For further information contact:
ing our time and energy toward an end goal. ties to perform throughout the year so Professor May Schwarz
Among our greatest frustrations is the sense that the ensemble always has something in Director, M.A. in Church Music
2199 East Main Street
of “stalling:” of going nowhere, or of doing the not-too-distant future. But, these must Columbus, Ohio 43209
the same thing over and over while achieving be worthwhile events. There will be no 614-235-4136
the same, not-so-good results (which some momentum unless singers view the upcom-
say is the definition of “insanity”). Momen- ing performance as valid and achievable;

CHORAL JOURNAL Volume 51 Number 8 11


more important, your program can quickly be the goal. upcoming performance. Each performance
become known as an entertainment or ser- More common than having too few is unique, even if the repertoire is the same.
vice program instead of a legitimate musical performances in the season is having too Singers need to be physically “in voice” and
ensemble if too many events of this kind many—scheduling so many performances adequately rested. Just as importantly, they
are scheduled. Walking the line between the so close to one another that there is no need to want to perform. If the concert
two is tricky, especially if your administrators time to get excited, much less adequately feels like drudgery, like the “same-old, same-
exert pressure on your performance calen- prepared, for each one. Before scheduling a old;” if the singers are exhausted or preoc-
dar. Even if they don’t, we acknowledge that Wednesday night concert during tech week cupied, or if there is a deep anxiety about
outreach events are a part of what we do of the spring musical, followed by an out-of- not being prepared, momentum will stall.
as musicians and they can serve both healthy town tour and festival the next weekend Be careful not to mistake frenzy for pro-
musical and non-musical purposes. Being (which is the weekend before prom), con- ductive activity; resist the urge to book more
able to clearly articulate what constitutes ductors need to think about the energy it events than your ensemble can capably and
a respectable, balanced, and professional takes for the ensemble not only to prepare enjoyably prepare. While a little pressure
concert schedule is an important part of the the music in a meaningful way (that is, not (a busy performance weekend with two or
conductor’s leadership skills and while there just pounding notes and drilling the music three back-to-back concerts) can add to the
may be occasional compromises, aiming for under pressure) but also to have the physical excitement and momentum, we need to use
credibility and excellence at all costs should and psychological energy to focus on each our sense of foresight and balance to deter-

Choral Conductors Workshop

with Rod Eichenberger

Workshop Locations
Alexandria, Virginia
July 18 – 22, 2011
Cannon Beach, Oregon
August 1 – 5, 2011
For more information, contact:
George Fox University
Performing Arts Department
or visit

A five-day professional development workshop for choral conductors at all levels

12 CHORAL JOURNAL Volume 51 Number 8

mine the right schedule for the ensemble at and a polishing or performance phase.These Influence:
any point during the season. phases take different kinds of energy and
rehearsal time, with more time spent in the Set Goals To Be Met
The Concert Cycle middle stage than the others. If the goal is Throughout The Concert Cycle
How often, on the day of a concert, do we to teach and not just train, we will want to Instead Of Waiting Until
wish we had “just one more week” (or day, allow time to talk about the music, explore The Final Performance.
or rehearsal) before the performance? Then artistic options and musical challenges, work
Step 6 Learn at least one piece relatively
we would be ready, we think. with balance and blend, and ask questions
quickly and use it as a “success piece” that
The bigger question is: How regularly do about everything from the meaning of the
can be sung at the beginning or end of
we find ourselves in this same predicament, text to the cultural and social implications
subsequent rehearsals or at any time the
wishing we had “just one more”? Do you of the pieces we collaboratively bring to a
ensemble needs to “just sing.” Rotate the
accurately predict that every concert week polished stage. Scheduling too tightly dur-
other pieces of medium or high difficulty
will be “crazy” or that you will be rushing to ing the concert cycle will make this kind of
in and out of rehearsal, and set goals for
get things ready for the performance? If so, teaching and learning impossible.
when these pieces should be “learned”
ask yourself: “Why am I planning, in advance, Devote the early rehearsals to intro-
(capable of being performed with the score
to be out of time and unprepared?” ducing new repertoire but be sure to
in hand and few, if any, technical errors) and
One of the most important skills con- include one or two pieces in the program
when they should be “performance ready”
ductors must acquire is the ability to design that the ensemble can learn relatively
(memorized, fully expressive performances).
the concert cycle, the period of weeks quickly. This will create an immediate sense
Establish these goal dates with the input
leading up to a performance, in a way that of accomplishment and set momentum
of the ensemble: ask them, “Which piece
allows for the needed technical learning, the on its feet. Program other pieces that
should we have learned for Friday?” Spread
ongoing development of musical skill and will take more of an investment of time
these finishing goals throughout the concert
understanding, and a meaningful musical and energy and at least one piece that
cycle so the ensemble feels a growing sense
experience. Until we master this skill, we may need most of the rehearsal cycle to
of accomplishment and so your conductor
will always be in danger of reliving the same prepare because it pushes the ensemble to
“checklist” can account for the ensemble’s
chaotic and stressful process over and over its limits of technical and artistic ability. This
readiness as the concert date approaches.
and shortchanging what the music and the balance of difficulty levels within a concert
Trying to peak all the pieces simultaneously
musicians can offer. Instead of momentum, program ensures that rehearsals will have
in the few days leading up to a performance
ensembles will experience a series of slow momentum because there will be a variety
creates unnecessary stress and compromises
or perhaps mildly productive rehearsals fol- in the way time is used and in the level
the quality of the work you can do in those
lowed by pressured “cram sessions.” Seeing of challenge presented throughout each
final rehearsals.
the concert cycle as a whole and making rehearsal.
smart decisions in advance can prevent this

Subtract At Least Two
Rehearsals From The Number
You Think You Have.
Step 5 If we plan a concert program
based on the actual number of scheduled
rehearsals, we are scheduling too tightly. Al-
lowing no room for the unexpected (snow
days, a flu epidemic, surprise fire drills, or
music that takes longer to learn than we an-
ticipated) means boxing the ensemble into a
corner where singers are being force-fed the
music—hardly an enjoyable or educational
Learning music may be thought of in
three phases: a reading or introductory
phase, a learning and exploration phase,

CHORAL JOURNAL Volume 51 Number 8 13


these final rehearsals by planning the singers’ the ensemble’s ability. Waiting too long to
Influence: standing arrangements and entrances/exits enact a Plan B can also obscure any benefits
Plan The Final Two Rehearsals in advance. Develop a written lineup or that might have cascaded to the other reper-
To Focus On Logistics And chart so they know where to go when they toire (such as extra rehearsal time on those
On Performing, Not Just arrive at rehearsal; better yet, rehearse in pieces), had we put it into place sooner.
concert arrangement during the rehearsal(s) A conductor’s reluctance to use a Plan
“Running,” The Concert. prior to concert week so that this is one less B is sometimes the result of a personal ego
Step 7 The final rehearsals always present thing to spend time on. Give the ensemble struggle rather than an inability to see that
new challenges. Bringing in an accompanist a running order of the concert with details it is the best decision for everyone involved.
or guest musicians, working with entrances, about entrances and exits, if/when there are Keep in mind that Plan B does not have to
exits, and riser arrangements, and adjusting announcements, where they will be seated be presented to the ensemble in a defeatist
to the new acoustic of the performance before and after their performance, and any way (“we failed”). If we are regularly dialogu-
space take time—we need to plan for that other logistics that they will need to know in ing with the ensemble about their progress,
time. Continuing to build momentum in order to be comfortable and professional in assessing where we are and still need to go,
those final rehearsals requires that the music their presentation.To be even more efficient, then it should become apparent when a Plan
is performance ready and that conductors find a way to provide this information by B is needed. Involve the ensemble in making
use their foresight by preparing the en- using an ensemble Web site or Facebook this decision. Lead a discussion about a Plan
semble for what will be needed as they bring page devoted to communicating with the B in a way that continues to develop the
all the pieces together for the performance. ensemble. Referring the singers to these musicians, helping them to see reality and
Set a new and higher bar for concentra- resources can save valuable time in the final to use temporary setbacks as fuel for the
tion and focus for these rehearsals. Let the rehearsals. next goal. What one learns by being part of
ensemble know they need to trust you; that an ensemble is not only musical in nature; so
adjustments will be needed in this new en- much of the learning is about understanding
vironment and they need to respond quickly Influence: the creative process, the wise use of time
and quietly. The stakes are higher during and energy, and the way in which individual
Have A Plan B And Use It,
these final stages and while conductors must and group goals depend on each other.
continue to lead with dignity, singers need to If Necessary, Early Enough The concept of “peaking for perfor-
understand that efficiency and focus are key. In The Process To Make A mance” is one that athletes know well but
Save time and prevent undue stress in Difference And To Preserve that often eludes conductors and ensembles.
Momentum And Morale. Using these Influence Steps to create mo-
mentum during the concert cycle will greatly
Step 8 Sometimes things just don’t work
enhance not only the performance, but
the way we planned; the music doesn’t seem
also just as importantly, the experience of
to be coming together in a timely way. This
learning and preparing the music. Even with
happens to even the best ensembles and
a well-strategized concert cycle, ensembles
while we should spend some time reflect-
Lyric Choir Gown ing on what led us to that predicament, we
and conductors are likely to encounter
Company need to use our influence, our leadership,
surprises; but if the groundwork has been
laid and we have developed a conscious
to put a Plan B into action early enough
approach to creating momentum in our re-
in the process for it to preserve the final
Professionally product as well as the morale and energy
hearsals, conductors will be able to re-assess
Tailored and re-direct efforts when these surprises
of the ensemble.
happen ensuring, in the end, a successful
Gowns of Whether the Plan B means pulling a
performance and positive experience.
Lasting piece from the program, using a small group
or soloist in a particularly challenging passage
Beauty or movement, postponing a piece for a later The Rehearsal
Planning and managing our time well
FREE performance, or singing in English instead of
the native language—the key is to make this throughout the year and within each concert
catalog decision before the final days of rehearsal or cycle will go a long way toward creating
& fabric it is likely to leave singers feeling that they momentum and energizing ensembles for
samples wasted their time and efforts. This will most success. The final piece of the momentum
AZ certainly lead to low morale, even anger, and puzzle is to plan and manage time within
1.800.847.7977 • a lack of confidence in our leadership and each individual rehearsal. This depends on

14 CHORAL JOURNAL Volume 51 Number 8

creating a context for the musical learning, what we did last time . . . ”) and conductors remember what we did?!”).
layering the learning as a series of ever- will become frustrated (“This is just like the After establishing a context (the first
increasing and interesting goals, and involving part we worked on last time! Why can’t you “Whole”), move to the details (the “Part”)—
singers in the decision-making, assessment,
and goal-setting process.

Create A Context For Musical University of Kentucky 2011 Summer Choral Workshop
Learning And Experience By
Using A Whole/Part/Whole
(WPW) Approach.
Step 9 This is the simplest yet most effec-
tive strategy conductors can call upon when
planning and leading a rehearsal. Put simply,
“Whole/Part/Whole” means starting with a
context for the learning (Whole), working
on the details (Part), and then putting the
learning back into a newer, more enlightened
context (Whole). While this strategy seems
evident, many conductors are so concerned
about the details that they launch into work-
ing the minutiae of each piece because it June 12–14, 2011 • Lexington, Kentucky
gives the illusion of being able to check off
those items from their conductor to-do list.
But singers need a context or anchor for the
learning every time they approach the music
if the details are going to make musical sense
and if they are going to “stick.”
When working through a section of a
piece that involves either new material or
technical challenges, start by singing through Guest Clinicians
this section, playing a recording, or leading Dr. Brad Holmes, Millikin University
a brief discussion about the music and the Dr. Eric Nelson, Emory University
goals you have set.This is the first Whole, the
beginning context. Remind the singers what Host Clinician
they worked on the last time they encoun- Dr. Jefferson Johnson, Director of Choral Activities
tered this passage, or, if it is new material, University of Kentucky
lead them on a fact-finding mission: “What
do you see? How does this section relate
to what we have already learned? What
did we talk about last time we rehearsed
this piece? What are our goals? What is the
cultural context?” These kinds of questions
not only engage the singers more deeply
but also help ground them in the piece
so that what they are about to work on
makes sense. Without this step, singers will For more information:
lose time while they try to get mentally and email
vocally connected to the piece (“How did
this go? Is this new stuff? I don’t remember

CHORAL JOURNAL Volume 51 Number 8 15


tricky rhythms, new melodic material, disso- all the while connecting the known to the Before you run the final Whole take a
nant chords, matched vowels, pronunciation unknown, the already learned music to the minute to articulate the goals you set for
of a foreign language—and layer the learning challenges that still exist. this piece at the beginning of the rehearsal.
so that with each repeat something has been Before leaving one piece and moving to Then, perform the section you worked on or,
mastered and a new goal has been set. Once another, put everything you have done on if time and energy allow, sing the entire piece.
the ensemble masters a goal (the awkward that piece back into context for the final When you are finished, assess how it went,
leap in measure 20, for example), put it back “Whole.” Besides providing a musical and drawing input from the ensemble. How did
into context, starting with most immedi- psychological payoff for the work, this final we do? What goals still lie ahead? What can
ate context and expanding it into broader Whole will help focus the singers, who might we do before the next rehearsal to be sure
contexts in order to reinforce the learning still be reeling from counting a complex we continue to move forward? Even if the
and help singers understand how this detail rhythmic passage or learning a foreign text, singers are still struggling and the final Whole
relates to the larger whole. Rehearse the and it will allow everyone to step back and was less than confident, assessing progress
now-corrected awkward leap in measure take a broader, more musical view of the collaboratively is important so that everyone
20 by singing measures 19– 21. Successful? piece. Knowing it is the last time they will has a keen sense of time and direction, and
Then widen the context to include the en- sing this piece for the day also creates mo- so singers can take responsibility for their
tire phrase, perhaps 17– 24. Still successful? mentum because everyone knows they are part of the learning process. This is not the
Consider this goal met and move to another, soon moving on to something else. time to be negative but it is the time to


JUNE 27 - JULY 22, 2011

Ysaye Barnwell: Building a Vocal Community
(afternoons, July 4-8)
Pamela Perry: Choral Symposium
(mornings, July 4-8)
Ysaye Barnwell Brenda Smith Ron Burrichter
Brenda Smith and Ron Burrichter:
Many other workshops in
Choral Pedagogy and Vocal Health: Classroom Music, Music
Strategies for Lifelong Singing Technology, &
(afternoons, July 11-15) Instrumental Music.

Al Holcomb: All workshops can apply

as electives in our Master
Solfege: The Key to Successful Musicianship of Music Education
(mornings, July 11-15) program —
Summers-only residency.
Pamela Perry Al Holcomb

Please visit:

More Course Offerings!
Get your Master’s in the Summer @ CCSU! Renowned Faculty!
For a printed brochure: 860-832-2914

16 CHORAL JOURNAL Volume 51 Number 8

be honest. Unless everyone knows where Reframing Success arate process from product but depending
things stand, it will be challenging to move and the Musical Experience on our viewpoint, we can wind up focusing
together to the next level of preparation and Traditionally, success is defined as an end on one to the exclusion of the other and
ultimately, to performance. product; for conductors and their ensembles, unwittingly create an imbalanced musical
An important point: unless there is a very the end product is a public performance. experience for our ensembles. Using our
good reason for doing so, do not run the Performing a “clean” concert which is well influence means making a conscious effort
piece or section again after the final Whole. attended, achieving a winning performance to balance the quality of both process and
Let it be. Make notes about what to accom- at a festival or contest, or garnering a stand- product with our ensembles.
plish next time and move on. Re-running the ing ovation from the audience are all won-
piece after the final Whole is likely to feel derful rewards for the work you did over
anticlimactic and rarely results in a better or weeks or months of rehearsal. Influence:
more inspired performance unless the sing- But if success is measured only by the Define Success Both As
ers unanimously view a rocky run-through quality of the end product, what does this
as a personal challenge to do better. If they
An Engaged And Challenging
mean for all the rehearsals leading up to Learning Process And A High-
clamor, “We can do it! One more time, we’ll the concert? If a piece does not go well in
get it!” then by all means, go with their in- performance does that mean all of our work Quality End Product And
stinct and energy and perform it again. in those rehearsals was wasted? What if we Be Sure You Demonstrate
Thinking of the entire rehearsal as one succeed in presenting a polished concert This Belief In Your
big Whole/Part/Whole will also help create but the rehearsals leading up to that con-
and sustain a feeling of momentum. Begin-
Actions And Character.
cert were tense, even antagonistic at times?
ning and ending rehearsal with music (first Step 10 An engaging, edifying rehearsal
Does the end justify the means, any means
and last Whole), instead of announcements process and a technically clean, expressive
of getting to a “successful” performance?
or other tasks, reminds everyone why they performance do not have to be mutually ex-
On the opposite end of the product-
are there—to sing. Keeping the most difficult clusive. Understanding the process-product
process continuum are rehearsals colored
or challenging work in the middle of the re- balance and putting it into action require us
by low expectations, enabling behaviors,
hearsal (the Part) will ensure that singers will to reframe our vision for what the musical
and brain-numbing activities, all justified as
be physically and psychologically ready for experience can be. This starts with opening
necessary so that our singers will always be
this level of detail—they have been prepared our eyes to significant changes in the way
happy. So what if the end product is embar-
by warm-ups and that first success piece, people view organizational leadership and
rassingly simplistic and does not even begin
but they are not yet restless or fatigued and applying this new understanding to our influ-
to tap into the capabilities of the ensemble?
checking the clock to see when rehearsal is ence roles as conductors.
At least they “had fun” along the way.
going to end. Peaking the rehearsal toward At the heart of this perspective is know-
Intellectually, we know we can never sep-
a final sense of closure or success is an im- ing that to get the most from those we lead,
portant step for conductors. Performing a
piece from memory, using soloists or student
conductors, singing in a new arrangement, or
doing anything that creates a sense of inter-
est while drawing the work of the day to a
close can contribute powerfully not only to
the sense of momentum for that rehearsal,
but also to those rehearsals yet to come.
Conductors who plan and manage
their time well throughout the season, the
concert cycle, and within each rehearsal
consistently create a consistent sense of
momentum that not only contributes to
an ongoing sense of engagement and high
morale among the singers but also reframes
the musical experience as much more than
just a concert.

CHORAL JOURNAL Volume 51 Number 8 17


we need to bring them into the decision- do this by allowing them to “weigh in” on is- to see my job as simply creating an environ-
making process in a more meaningful way. sues of interpretation, approaches to solving ment where that could happen. Once I
Rather than the old model of top-down, technical problems, and even the managerial learned to engage their artistry, everything
hierarchical, autonomous leadership, a new and goal-setting aspects of the ensemble. Ac- felt so much easier.” (Nierenberg, 2009, p
model of leadership characterized by collab- knowledging the ensemble’s ability to make 19)
oration, questioning (rather than providing musical judgments, even at the beginning of As leaders of our ensembles, we need to
all the information), and intellectual as well their musical training or skill, means develop- judge the best ways to engage the ensemble
as functional engagement is being applied ing rehearsal strategies that require singers so that our time is still used efficiently to-
to organizations of all kinds with remarkable to think, conduct, analyze, and evaluate while ward accomplishing our group goals under
results in both process and product. Con- learning their music. a unified vision. If we know what motivates
ductors are skilled at directing the actions of The conductor in Maestro: A Surprising our singers, manage our time well to create
others and making quick, informed decisions Story About Leading By Listening, shares his momentum, and continually take stock of the
about the music; what we need to do better discovery about engaging musicians in order balance between process and product, we
is learn to ask singers for information rather to get the best performance: “Eventually I will maximize our opportunity to influence
than always giving them the answers and realized that a great performance would the learning and artistry of those we lead,
challenge their thinking by engaging them happen only when the motivation sprang becoming an “agent of change” for the better.
in richer ways in the rehearsal process. We as much from them as from me. I learned

L egendary Choral Conductors and Your Choir!

Since 1997, the Finest Conductors, Historic Locations & Repertoire Since 2000, Great Conductors, Superb Repertoire & Historic Locations

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June 22-29, 2012 June 15-22, 2012

Festival Choir Evensong in 13th c. Rehearsal for Evensong in 13th c.

Quire of York Minster Quire of York Minster

Final Concert w/orchestra at Westminster Central Hall Final Concert w/orchestra at Westminster Central Hall

Conducted by Conducted by
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Jean Artistic Director
Ashworth Dr. Eph
Bartle Ehly
Evening Concert in 14th c. Evening Concert in 12th c.
Nave of Beverley Minster Nave of Ripon Cathedral

Three Festival Choir Concerts: Evensong at York Minster, Evening Concert at Three Festival Choir Concerts: Evensong at York Minster, Evening Concert at Ripon
Beverley Minster, Final Concert at Westminster Central Hall with Orchestra. Cathedral, Final Concert at Westminster Central Hall with Orchestra.

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18 CHORAL JOURNAL Volume 51 Number 8

Nierenberg, Roger (2009). Maestro: A Sur- Wis, Ramona M. (2007). The Conductor as
RESOURCES Leader: Principles of Leadership Applied to
prising Story About Leading by Listening. New
York, NY: Portfolio. Life on the Podium. Chicago, IL: GIA Publica-
Maxwell, J.C. (1998). The 21 Irrefutable tions, Inc.
Laws of Leadership. Nashville, TN: Thomas
Pink, Daniel H. (2009). Drive: The Surprising
Nelson, Inc.
Truth About What Motivates Us. New York,
NY: Riverhead Books.

Who and What is the American Choral Directors Association?

We are a nonprofit organization We strive to elevate the role of

whose goal is to promote excellence choral music and the way it touches
in choral music. our society.

We inspire and lead over

We are a group of choral a million singers
professionals whose joy comes from nation-wide.
the performance, composition,
publishing, research, and teaching
the fine art of music.

We are the American Choral Directors Association. Join us.

Membership information is available on our website at <>.

CHORAL JOURNAL Volume 51 Number 8 19

Tim Fredstrom
Tim Fredstrom is an associate professor of choral music
education and assistant director of the Illinois State Uni-
versity School of Music, where he also conducts the Men’s
Glee. Prior to joining the Illinois State University faculty
he taught choral music in the Nebraska Public Schools for
10 years.

20 CHORAL JOURNAL Volume 51 Number 7

increase the likelihood
that more of their stu-
dents will remember the
work done in rehearsal each
day. These ideas are consistent
with the approaches of Universal
Design for Learning—in a class
if material is presented in multiple
ways there is a greater likelihood that
more students will learn than if material
is presented in only one way (Lynch, 2008).
The more students who are able to master the
skills and musical ideas taught in rehearsals,
the faster the rehearsal process can progress.
Imagine the artistic achievement of a choir if
the key ideas and skills rehearsed on Monday
There were remembered on Tuesday and if Tuesday’s
would be rehearsal could build on Monday rather than
little ques- spending time reviewing and teaching the
tion among same ideas and skills again. No doubt, there
choral directors is always a refinement process from day-to-day
that their choir in rehearsals, but if the three-steps-forward two
members have differ- steps back pattern could be minimized, en-
ent learning preferenc- sembles’ artistic achievement could be greatly
es and perceive, learn, increased. By communicating key rehearsal
and remember information material verbally and visually, choir members
in different ways. Choral di- are more likely to master the rehearsal ideas
rectors today direct ensembles and skills each day, internalize them, and ap-
of ever-increasing diversity, not ply them in their musical contribution to the
just culturally, but also in the learn- ensemble. As a result, we can accelerate the
ing readiness and musical experiences artistic achievement of the ensemble.
that choir members bring to a rehearsal. Presentation technology is an effective tool
For a myriad of reasons, a one-size-fits-all for including the power of pictures and visual
approach to rehearsal is becoming less and images in a choral rehearsal. At a basic level,
less effective. However, choral directors can presentation technology consists of a com-
help members of their ensembles learn more puter software application used to manipulate
effectively, and thus achieve higher levels of and display content on a screen in the form
artistry, by differentiating their rehearsal ap- of a slideshow. The content is displayed on a
proaches to accommodate students’ multiple screen, via projection or directly on a large
learning preferences. LCD-type monitor. At this time, Microsoft
One way to accomplish this is to follow the PowerPoint for Windows or Macintosh (http://
advice of the old adage, “a picture is worth and Apple Keynote for
a thousand words.” Choral directors who are Macintosh ( are the
able to include visual information—images industry standard for presentation software
or pictures—in their instruction can greatly applications. Beyond simple projection tech-

CHORAL JOURNAL Volume 51 Number 7 21

A Picture is Worth a Thousand Words

ral directors verbally describe metaphors of

nology, interactive projection technologies sound. They might ask choirs to sing with a
are becoming increasingly commonplace. Ex- “warmer” tone. In this process, a choral di-
amples of interactive technology at this time rector might describe an image of a glowing
are Smartboards (http://www.smartboards. fireplace, using words that describe warm
com/), touch-sensitive screens that allow colors—reds, yellows, and oranges—warm
one to manipulate the computer using the temperatures and perhaps even how it
projected computer image and classroom feels to be near the glowing fireplace. In
response devices “clickers” (http://www. the process, many words may be used, but, wireless devices depending on how skillfully the story is told,
that allow students to respond individually to the description might simply conjure up an
projected words or images. As more choral image only in the director’s mind rather Example 1
classrooms are equipped with various forms than stirring the imaginations of the choir
members. image.” (See Example 1.)
of presentation technology, choral directors
Using presentation technology, choral “Please sing with a tone that sounds like this.”
can consider incorporating this resource in
directors could display an image of a glowing Rather than trying to describe her or his im-
their rehearsals.
fireplace and say to their choirs,“Look at this pression of a glowing fireplace to a choir, the
Consider this example—frequently, cho-

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director invites individual members of the and singers alike. cate ideas has potential benefit for many
choir to look at the projected image of the While using visual images to communi- situations and different types of choirs, con-
fireplace and find personal meaning in the
image. Then, appealing to their imaginations,
the director encourages them to transfer
their personal meaning of and experiences
with the image to their sound production.
Effectively and efficiently, directors empower
and encourage choir members to contrib-
ute their individual understanding of warm
tone to the ensemble’s sound. No doubt,
the director will help unify the ensemble’s
sound, but the effectiveness of this approach
is enhanced because the sound originated
from the choir members’ imaginations, initia-
tive, and artistry.
Using projected visual images is appli-
cable to many other situations in a choral
rehearsal. When rehearsing a piece that is
andante and sostenuto, like Durufle’s Ubi
caritas, perhaps an image of a canoe glid-
ing along in a quiet lake could be a visual
metaphor to depict the moderately slow
tempo, legato quality, and the gentle forward
movement of this piece. These ideas can be
stimulated in choir members’ minds through
an image projected using presentation
technology. Further, a director can project
the image again in subsequent rehearsals
to remind choir members of the desired
sound for the piece. A director might say,
“Look at this image and remember how it
represented the sound we achieved yester-
day. Please sing this piece again today with
that same sound.” In this way, directors can
connect today’s achievement to yesterday’s
learning, propelling rehearsal momentum
forward.This activates choir members’ minds
and encourages them to apply their previ-
ous learning to the new learning. Again, this
serves to diminish the cycle of three steps
forward and two steps back as directors
remind choir members of their prior experi-
ence through a projected image. This image
effectively and memorably conveys meaning
and transforms actions with very few words.
Directors can promote artistic achieve-
ment in a timesaving and effective manner.
The potential of this instructional process is
limited only by a director’s imagination. Fur-
thermore, this process can promote creative
ways of thinking about a piece for directors

CHORAL JOURNAL Volume 51 Number 8 23

A Picture is Worth a Thousand Words

different approach. She or he may say,“Choir, not just verbally—communicate the specific
the balance we need to have for this section outcomes for a given rehearsal (Example 4).
sider its effectiveness especially with choirs is shown in this diagram.” (Example 2).
of less-experienced singers. Experienced
choral singers, through years of practice,
repertoire knowledge, and possibly many
voice lessons, develop refined skills as choral
musicians. It is likely that experienced singers
can respond quickly and flexibly when asked
to make changes in their manner of tonal
production or stylistic interpretation. They
may even add their own artistic dimension
that goes beyond the direction from the po-
dium. However, in choirs of less experienced
singers, this is often not the case. Adding
a visual dimension to a rehearsal through Example 4
presentation technology can be a valuable
tool to encourage the artistic growth of the Example 2 By communicating the desired outcomes
ensemble. for a rehearsal, choral directors can increase
For example, imagine the process of their ensembles’ potential for artistic achieve-
teaching the concept of balance among ment.This is a particularly useful method for
parts to a choir. A choral director could “The balance I heard the last time we sang focusing singers’ attention on specific re-
explain the desired proportion of volume was like this diagram.” (Example 3). “Please hearsal tasks.The better that choir members
of the soprano as related to the alto and sing this section again and focus on singing understand what they are supposed to do
so on. Of course, this would require some with the balance described in this diagram.” in a rehearsal, the greater the likelihood they
description, and as many choral directors (Example 2). will achieve the desired outcomes (Saphier,
who have experienced this process first 2008). Further, choral directors can refer to
hand can attest, the results may have less an outcome from a previous rehearsal to
than the desired effect. By using presentation remind singers of what they accomplished,
technology, a choral director could take a which is a strategy to avoid having to relearn
material. Choral directors can extend this
idea by adding an assessment dimension to
rehearsal objectives. For example, projecting
a rubric or simple matrix to assess the stated
outcomes promotes singers’ accountability,
When only the best particularly when they are involved in the
assessment of their individual performance
will do... and the performance of the ensemble (see
Example 5).

Example 3

One of the most powerful uses of pre-

sentation technology may be in providing
clarity and adding structure to a rehearsal.
By projecting the plan for the rehearsal, a
choral director can help choir members
understand the big picture of the rehearsal
SoundByte Studios as well as the specific outcomes they need
to achieve. For example, rehearsal agendas
The Choral Recording Specialists can be projected and referenced throughout a rehearsal. Choral directors can visually— Example 5

24 CHORAL JOURNAL Volume 51 Number 8

By using presentation technology, choral directors; however, directors must always re- As more choral classrooms are equipped
directors can effectively incorporate multi- member that the focus should be on using it with presentation technology, choral direc-
media examples into rehearsals that will help to help choral musicians sing more artistically. tors can consider incorporating this resource
choir members connect more intimately Showing one slide after another of lengthy into their rehearsals. In so doing, directors
with the repertoire. For example, if a choral or involved text is a common mistake. It is can promote artistic achievement by helping
director wanted to play an audio example better to keep any text or notes brief—pre- choir members connect more deeply with
to illustrate a musical idea or technique, the sentation technology is not a substitute for the music.
specific location of the recording can be good instruction or effective communication.
selected and played for the choir with the Students tune out slide-based presentations
click of a mouse. This allows a director to when they are overflowing with text. The RESOURCES
avoid searching for the excerpt while the term “Death by PowerPoint Syndrome” is
choir waits. Further, a choral director can used to describe this phenomenon, and it Clark, J. (2008). Powerpoint and Pedagogy.
use presentation technology to show video must be avoided (Clark, 2008). With pre- College Teaching (Winter), 39– 45.
examples in much the same way. Presenta- sentations, choral directors should focus
tion technology is also an effective way on promoting artistry by increasing choir Lynch, S. A. (2008). Creating Lesson Plans
to cue examples taken from the Internet. members’ connection with the art using for All Learners. Kappa Delta Pi Record
Links to websites can be created within a varied media and instructional clarity. (Fall), 10 – 15.
presentation file and can be accessed again When used properly, presentation tech-
by a mouse click, avoiding the need to enter nology is an effective and efficient way to Saphier, J. (2008). The Skillful Teacher: Building
the URL into a browser window while the engage choir members’ imaginations and Your Teaching Skills. Acton, MA: Research for
ensemble waits. attention. It gives directors an opportunity Better Teaching, Inc.
Choral directors have more technology to increase their instructional variety and
available to them than ever before. Using allows them to communicate abstract ideas
presentation technology to promote choral in a way that is more inclusive of the diverse
artistry can be a valuable tool for choral learning styles represented in the ensemble.

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CHORAL JOURNAL Volume 51 Number 8 25

Philip Copeland is director of choral activities
at Samford University in Brimingham, Alablama
and chair of the ACDA Technology Committee
They are called by many names: Generation Y1, Millenials 2, Genera-
tion Speed3. Mark Baurline describes them as a “diverted and distracted
generation” in his book The Dumbest Generation,4 while Don Tapscott
sings the praises of their technological prowess and innovative nature in
Grown Up Digital.5
One thing is undeniable: today’s student is different from those of the
past. In 2001, Mark Prensky invented an especially appropriate term to
describe this generation: Digital Natives. He also supplied a compan-
ion term for the rest of us: Digital Immigrants.6 Digital “natives”
grew up immersed in technology while the “immigrants”
came to the shores of technology later in life.

CHORAL JOURNAL Volume 51 Number 8 27

Prensky’s terms help explain the dys-
functional nature of today’s student-teacher
relationship when it comes to technology: WWW. IMMIGRANT CONDUCTOR.ORG
the student knows more than the teacher.
This backwards relationship causes frustra- Philip Copeland has created a companion Web site to this article located
tion in many; they choose to “opt out” of at
technology instead of embracing it as a tool
for becoming more effective. Located on the Web site are videos, additional articles, and supplements
A large percentage of choral directors to this article.
missed out on the digital revolution and are
resistant to change. Others find it difficult to
keep up with the fast pace of technological
development. Many own an iPhone but don’t
Digital natives have become accustomed to
know what to do with it. Some choose to
• communication with students, parents, and communication that takes place at an incred-
plead ignorance, thinking that their students
the local community; ibly rapid pace. They spent their formative
and the rest of the world will accommodate
years communicating instantly with their
their inability to function with technology. It • organization and management of the cho- parents and friends. They have grown up
is a poor choice; resistance to change brings ral program; and getting the information they want quickly
an ignorance of how the world works today. and in a variety of electronic forms. Likewise,
This ignorance usually results in irrelevancy, • staying current in the profession. parents of digital natives are crying out for
a condition that renders teachers ineffec- efficient communication of the information
tive in their communication with others and they need to help organize the lives of their
impairs the ability to effect positive change Communication with children and themselves.
in the lives of students. Students, Parents, and Community These soaring expectations place a fresh
The purpose of this article is to help Digi- challenge on the immigrant high school
In his book Grown up Digital, Don Tap-
tal Immigrant choral directors catch up to scott talks about the new “norms” for this choral director. The reliable tools and
their students. By mastering these tools and Internet-based generation. The “norms” strategies of yesterday don’t work anymore,
strategies, the digital immigrant high school emanate from the way today’s students especially when it comes to communication.
conductors can become more proficient in were raised with immediate access to per- After teaching our choirs the music, commu-
critical aspects of their job: tinent information and rapid communication. nication becomes the most important skill
we need in our interactions with students,
parents, administration, and our local com-
Paper, the primary communication me-
dium for the last 600 years, is dying a slow
death in terms of its usefulness. It has a
number of disadvantages. It is:

• time-intensive and costly to replicate for

large audiences;
• impossible to correct if a mistake is made;
• unable to adapt to new situations;
• unreliable - students lose paper easily;
• must be reproduced every new aca-
demic year; and
• detrimental to the environment.

28 CHORAL JOURNAL Volume 51 Number 8

Paper’s disadvantages, along with the (1)They are free and easily accessible from (3) They are owned and operated by well-
pressure from the recent economic down- any Internet connection. established companies.
turn, have forced many to transfer their ana-
(2) They are familiar to a large segment of (4) A number of different privacy settings are
log paper communications to digital formats.
the population. available for each tool.
Although it isn’t without some problems,
digital communication offers a number of
advantages over traditional paper:

• replication – electronic communication can

be scaled easily to a large number of
• it is easy to correct mistakes and accom-
modate new developments or changing Open a Google Account (
circumstances; A Google e-mail account is optional but recommended, it is a powerful tool.
• parents and students can always turn to With a Google account, you can easily:
the original source for the most reliable
a. Set up a Blog. ( It is easy to transform your blog into a
Web site by purchasing a domain name for $10

• much of the information can be recycled b. Set up a Google calendar

every year. Consider using Google’s calendar for your personal calendar
Set up a new Google calendar for your choir.
Electronic communications enable choral Enable the new choir calendar to be listed publically and subscribed to
directors to communicate quickly and effi- by your students (see settings).
ciently with the group that is most interested
in following all of the news associated with c. Set up a “Form” for your choir to fill out online via e-mail, blog, or Web site.
a choral program. That community that is Use this form to create information.
composed of several different populations: d. Set up an online Google document that can be edited by others from their own internet
connection. Consider making your next “sign up” event or opportunity an online
• choir members; process.
• friends and family of your choir members; e. Create an account in Google Reader. Subscribe to Web sites with RSS feeds.

• administrators, community leaders, church Open a Twitter Account: (

leaders; Create the first Twitter account for yourself. Use this account to follow people you
• music enthusiasts; and are interested in and thus create a “personal learning network”

• friends and family of conductor. Create a twitter account for your choral program. Use this account to promote
blog postings, concerts, fund-raising activities, etc. to your community of
E-mail was once looked upon as the parents, administrators, and community leaders.
electronic communications solution, but it Create a Twitter account for each choir in choir program.
isn’t as efficient as it used to be. Although Ask your students to open it
still effective for parents and administrators,
Ask students to subscribe to the choir twitter account with their cell phones (warning: cell
e-mail is not the primary communication
phone messaging costs do apply—this option is best for those with “unlimited” texting)
tool for students.
Three well-known internet applications Students can subscribe to Twitter account by RSS is they do not want text messages. Some
enable the choral director to facilitate easy services will transform an RSS feed into an e-mail that is delivered to the students.
communication to their various audiences:
Open a Facebook Account for yourself (
Blogs, Twitter, and Facebook.
Create a fan page for your choir program.
These tools share similar benefits: Encourage your students to join the fan page.

CHORAL JOURNAL Volume 51 Number 8 29

These three applications (Blogs, Twitter, Parents, administrators, friends, and music Blogs
Facebook) allow choir directors to engage enthusiasts fall into a second, more general
Blogging is the easiest way to publish a
the world in new ways. Different uses of the audience. This group doesn’t care as much
wide array of information on the internet.
tools enable choral directors to reach each about the daily workings of the choir, but
Two sites are the most popular for beginning
population. they are very interested in hearing choir con-
bloggers: blogspot ( and
Choir members are the first audience; certs or reading about choir achievements.
wordpress ( It is easy
they are most interested in the information This audience is more interested in concert
to set up a blog and create a first post; the
that surrounds the proper execution of choir times, ticket sales, and choir achievements
process takes only a few minutes.
membership. The director can use digital like festival ratings, prestigious invitations, and
Blogs are much easier to manage than
tools to communicate rehearsal feedback, new recordings.
traditional Web sites. No special software is
directions, and information about the next Blogging, Twitter, and Facebook can be
needed; only an Internet connection is re-
rehearsal. The same tool can also be used used in different ways to reach both audienc-
quired. The blog is the place to go into detail
to promote the achievement of individual es. It isn’t as important to pick the right tool
about announcements or events. It is an ideal
members of the choir, point to recordings as it is to use it repeatedly. Communication
spot to place any message, thought, picture,
of your literature, or even produce aids in comes from clear and consistent messages;
sound file, or video. Information placed on
learning musical notes, pronunciations, or each tool will be effective if used consistently.
a blog is usually publicly available, although
there is an option to make the blog private.
Blogs offer an excellent way to control
the message that you send to your students,
parents, and broader community. When you
post on the blog, you have the opportunity
BLOGGING FOR CHOIRS to speak to a number of different audiences.
It is an ideal way to stay in touch with former,
There are three general benefits for using a blog for your choir: current, and future members of the choir.
Over time, your blog will evolve into a digital
• It saves time: you don’t have to talk about it in rehearsal. record of your choir’s activities.
• It saves money: you don’t need to duplicate everything for everyone. There are definite advantages of blogging
• It allows you to share your work with the rest of the world. as a tool for digital communication. There is
no size restriction on the amount of informa-
I recommend a blog for every organization that employs you, whether you work
for a school, church, or community choir. There are multiple ways you can use a tion in each post. Many people use a blog
blog to enhance your teaching: for their detailed communication and then
“point” to it from other applications, includ-
Provide feedback to your choir. Blogs can communicate praise or correction to ing Twitter and Facebook.
your choir concerning events and performances. You can rehash rehearsals and
even frame negative events into a new context outside of class. Writing about
rehearsals also creates a record for what was covered in class for those absent.
Gather opinions from your choir members. The dynamic nature of blogs allows Twittering is similar to blogging and the
them to be used as an assessment tool; you can use choir member’s opinions to Twitter system is a “micro-blogging” tool
help shape your plans and decisions. because it allows only a 140-character mes-
sage to be transmitted to the world through
Communicate the important as well as the mundane. A choir blog is a perfect the internet. “Tweets” can be communicated
place to provide the routine details of uniform ordering and syllabus sharing.
from cell phones as well as computers or
Point your choir to recordings and part-learning help. The blog can link to other internet devices.
recordings available online from iTunes or Amazon. In addition to commercial The power of Twitter is often underes-
recordings, there are many sites that contain midi files for part-learning help for timated. For many, Twitter is a repository
learning major works and other well-known pieces. for minutia; they use the service to com-
municate only the mundane details of their
Pronounce, translate, and discuss the text. The blog is a wonderful tool to
lives. However, Twitter is also an influential
deal meaningfully with the text of a work. You can provide translations and
pronunciation guides for each text. The dynamic nature of the blog provides your tool for sharing and gathering information. It
choir members a forum to discuss the text of a work outside of class. provides an opportunity for choral directors
to build world-wide professional networks
and establish strong bonds with students,

30 CHORAL JOURNAL Volume 51 Number 8

parents, and administrators. High School gets straight superiors at state of its location on one of the world’s most
Twitter’s great advantage is the brevity of contest!!” The subject of popular Web sites.
its message and the ease of communication. the article or note is usually contained in the
Messages are easy to create and post; fol- tweet; the link refers the reader to the longer It is attractive for a number of reasons:
lowers can read the message from anywhere blog post if they want to read it.
in the world. • it is free;
Many choir directors use Twitter to give
feedback to their choirs following rehears- Facebook • you can promote events;
als. The Grimsby Bach Choir (BachChoir) Facebook, the Internet’s top social net-
tweets about a number of issues common working Web site, needs little introduction. • it is a channel to your blog and Web site;
to every choir: Many educators have resisted joining be- and
cause they don’t like the idea of becoming
• reminders about rehearsals; “friends” with students. Others have found • you can add unlimited photos and videos
tremendous rewards in connecting online and sound clips.
• listening suggestions; with old classmates and students.
Facebook can also be used as a tool
• feedback from rehearsal; to promote groups and organizations. The Organization and Management
popularity of Facebook and its pervasive- of the Choral Program
• openings for new members; and ness with all ages makes it an ideal tool to One of the most difficult part of choir di-
promote your choir. recting is the managing of events, people, and
• ticket sales. Creating a “Facebook Fan Page” is an information. The creative brains of musicians
excellent way to communicate with your are usually better at interpreting music than
One of the most powerful things about target audience. It offers many of the same keeping up with all the details. Technology
Twitter is its integration with the text mes- advantages as a blog with the added benefit
saging abilities of cell phones—you can use
it to communicate instantly with your choir.
If a person is subscribed to your Twitter site,
they can receive updates via text messaging:
whatever you post is transmitted instantly
The significance of this cannot be missed.
The overwhelming majority of Digital Na- 1. Create an additional profile for professional use only. The profile should
tives use text messaging as their primary contain contact information, an e-mail address, office address, and
means of communication. With this tool phone number.
from Twitter, the Immigrant Conductor can 2. Inform students of their Facebook profile.
easily reach students subscribed to the Twit-
ter account. 3. Teachers should not invite students to be their “friends.” Students may
Twitter can easily be used to promote perceive this as an invasion of privacy and subtle form of intimidation.
your choir program to the community. Once
4. Keep your profile “open” to the public rather than “private.”
you set up your choir’s twitter account, you
can promote audition results, concerts, 5. List your Facebook profile in course syllabus or email signature.
awards, reviews, and fund-raising events.
Many use Twitter in combination with a blog 6. Invite students to designate their teacher on their “limited profiles.”
or Facebook; they send messages about new Teachers should not view students profiles.
blog posts. The “tweet” directs the reader 7. Teachers should demonstrate how to use Facebook privacy settings to their
to the longer article contained on the blog. students and model proper online behavior for the student.
ACDA Executive Director Tim Sharp
uses this technique often; he “tweets” about Derived from “Opening Facebook: How to Use Facebook in the College Class-
longer articles that he writes on the ACDA room” a paper presented at the 2009 Society for Information Technology
Web site or ChoralNet blog and then refers and Teacher Education Conference in Charleston, SC by Caroline Lego
to them with a hyperlink. Muñoz and Terri L. Towner.
The “tweet” might look like this: “Friends

CHORAL JOURNAL Volume 51 Number 8 31

can help the creative people manage the and then assimilate the information into a • it takes time to assimilate the information
organizational parts of the job. database or spreadsheet. The process has and get it into a usable format.
Google is one of the leading technology disadvantages:
companies in the world and it has created Google Forms and Spreadsheets give you
a number of free applications that can aid • if paper is used, producing choir rosters a way to replace this outdated process of
in management and organization. Two of is a complicated exercise in time, information gathering. Instead of using paper,
their applications can help the high school energy, and money; you use the internet. You create an online
choral director manage people and events: form containing all the normal questions
Spreadsheets (Forms) and Calendars. • it takes time to create the form; (name, address, phone, e-mail, etc.) and have
choir members fill it out online, either from
• it takes paper and money to duplicate a blog, Web site, or e-mail. Whatever your
Google Forms for Choir Rosters the form; choir members type into the form is tran-
One of the first tasks of any choir scribed immediately into the corresponding
director is to develop a roster of all the • it is often difficult to read choir mem- spreadsheet. Instantly, your spreadsheet is
participants. We create an information form, ber’s handwriting, resulting in inac- populated with their data; it is almost magic.
duplicate the form, distribute it to the choir, curate information; and Creating the form is a simple matter, and

32 CHORAL JOURNAL Volume 51 Number 8

Google gives you the code to insert into an they can be shared with other users by Staying Current in the Profession:
e-mail, web page, or blog. The information means of a hyper-link or invitation. Networking Online
populates the spreadsheet quickly and you The real power of Google Docs comes One of the common problems among
have saved an incredible amount of time in the collaborative aspect of the software. high school choral directors is professional
and effort. Multiple users can work in partnership on isolation. Many directors serve as the only
the same document. Google also allows choral music teacher in a high school with
users to store digital files online; users can few peers; the situation is amplified if the
Google Calendars for Choir Events place any type of digital file online in order teacher is geographically located far away
Another common task of every choir to share with others. There is a limit of one from cultural centers. The Internet can help
director is the communication of rehearsals gigabyte for free accounts, but more storage keep an isolated teacher networked to the
and performances to every choir member. can be purchased for a small cost. latest developments from experts in a wide
Most choir directors develop a calendar For the high school choral director, variety of fields.
at the beginning of the year and distribute Google Docs can be used in a variety of For years, professionals have turned to
it to their choir members. The calendar is ways: books and journals as well as traveled to
usually a list of dates; the students and their conferences to learn about the latest de-
parents are expected to write the dates into • directors can use the file storage that velopments in their professions. In recent
the master calendar of their life or perhaps Google offers for free instead of pur- years, this activity has been supplemented
program into their smart phones. chasing network storage from another or replaced by an Internet model where
Besides all of the previously-mentioned company; blogs, twitter, wiki’s and podcasts contribute
disadvantages of paper, there is one other significantly to professional learning.
weakness of this approach: the expectation • choirs can replace their printed choir Recently, educators have become more
that the student or parent will actually place handbook online in PDF form or intentional about the creation of this pro-
the event on a master calendar. convert the file to a more manageable fessional support system, and the term
Google calendars give the choir director Google text document; and “Personal Learning Network” (PLNs) has
an answer to this weakness: students can evolved to fully describe this activity. PLNs
digitally subscribe to the created calendar • the collaborative aspect of document are defined as “deliberately formed net-
on their Smart Phones or digital calendars. management allows directors to del- works of people and resources capable of
With the touch of a button or two, a stu- egate some information-based tasks guiding our independent learning goals and
dent’s (or parent’s) calendar is immediately to students or volunteers, like a choral professional development needs.”
updated with date, time, and place of a re- library or uniform list. One of the most highly valued aspects
hearsal, performance, or other event. These of a PLN is “crowdsourcing,” an activity
calendars can also communicate notes about where one person asks questions of the
the event, including directions, performance
attire, or other instructions.
Google calendars are able to be shared
in three formats: XML, ICAL, and HTML.
Directors can share the calendars they cre-
ate through e-mail, facebook, or their blogs.

Google Documents for Official
Documents and File Storage Staff development workshops TedTalks,YouTube, Podcasts
Graduate school courses RSS feeds, online presentation sharing
Another powerful tool offered by
Books Twitter
Google is Google Docs, an Internet-based
Journals Twitter, social bookmarking
word processor, spreadsheet, and presenta-
List Servs Wikis
tion application service provided at no cost
Face to Face Conferences Blogs
to the user. Although not as feature-rich as
traditional word processors like Microsoft
Cost: Fees, travel costs, Cost: Free
Word, Google Docs provides a cloud-based
purchases, tuition
system of computing. In Google Docs, tradi-
tional word documents become web pages;

CHORAL JOURNAL Volume 51 Number 8 33

broader community about an issue. Fortu- “users to communicate regarding particular for years to come.
nately, choral directors have enjoyed that sub-topics of choral music and self-identify High school choral directors can emulate
luxury for years with ChoralNet. Recent as a member of (sic)a subset of choral musi- the practices of other education profes-
developments in ChoralNet have provided cians.”With the recent merger of ChoralNet sionals for further customization of their
additional networking opportunities. In July and ACDA, these communities and the mes- personal learning network by experimenting
2010, ChoralNet released a new tool called sage boards will continue to fulfill many of with a variety of online tools, including:
“Communities” with the intent of allowing the professional needs of choral musicians
video (YouTube, TedTalks)
microblogging (Twitter, Plurk),
social networking (Facebook, LinkedIn),
social bookmarking (, Diigo),
RSS readers (bloglines, Google Reader)
BUILDING YOUR PERSONAL LEARNING NETWORK (PLN) wiki’s (pbworks, wikispaces), and
online presentation sharing (slideshare,
@TimothySharp Executive Director Timothy Sharp frequently posts about his travels, All these tools fulfill the basic functions of
developments in choral music and ACDA, and blog posts related to choral music.
a PLN: connecting with like-minded profes-
@madolu Marian Dolan is a choral conductor, music professor, and editor with strong ties sionals, collaborating on projects and ques-
to the International Federation of Choral Music. tions, and providing a vehicle for our own
contributions to the profession.
@olagjeilo Ola Gjeilo is an outstanding composer of choral music. He frequently tweets
about his new music, performances, and cute dog videos.

@ericwhitacre Eric Whitacre frequently tweets about his music, upcoming performances, Conclusion
and new recordings. Eric also blogs at High school choral directors have difficult
jobs; they manage large numbers of students
BLOGS and teach classes in rapid succession with
little downtime. Nevertheless, they live in a
Richard Sparks blogs: Ricahrd Sparks is professor of music at the University of North Texas, digital, globally-interconnected era, and they
where he conducts the Chamber Choir and Collegium Singers, and teaches a variety of owe it to themselves and their students to
academic courses. He is also Artistic Director and Conductor of Pro Coro Canada in Ed- be current with the latest technology in
monton, Alberta. Find him at communication, organization, and develop-
Liz Garnett is an outstanding choral blogger at “Helping You Harmonise.” Her thoughtful
ments in their field of specialization.
posts can be found at
Embracing technology doesn’t come
naturally to some, but the dividends arrive
Don Tapscott is the author of thirteen widely read books about information technology in quickly, and the efficiencies are long-lasting.
business and society, most recently Grown Up Digital: How the Net Generation Is Chang- Choral directors can use the advances in
ing Your World (October 2008). He tweets @dtapscott and blogs at http://dontapscott. digital communication to remind their stu-
com/blog/. dents of past successes, current issues, and
future programs. They can use the internet
Scott McLeod is Associate Professor at Iowa State University and frequently writes about and other digital communications to keep
technology, leadership, and the future of schools. He was co-creator of the video “Did You themselves better informed about the latest
Know (Shift Happens). He tweets @mcleod and blogs at developments in pedagogy, literature, and
other issues in music education. In a world
Slideshare is the place to find presentations, documents, and professional videos. Find where the students often know more than
compelling videos by searching the “Most Favored” presentrations. http://www.slideshare.

The TedTalks mantra is “ideas worth spreading” and the videos as “riveting talks by remark- The letter to the Editor in the February 2011
able people, free to the world.” An incredible resource. issue was written by John Weiss in Bismark,
North Dakota, not South Dakota.

34 CHORAL JOURNAL Volume 51 Number 8

their teachers about current tools, choral 30, 2005 [online] available from http:// press). “Social Media as a Professional
directors have an opportunity to model the Development Tool: Using Blogs, Microblogs
proper use of digital technology within this story?id=1172574&page=1, August 1, 2010. and Social Bookmarks to Create Personal
incredible discipline of study. Mar k Bauer lein, The Dumbest Generation, Learning Networks.” In C. Wankel (ed.)
2007 [online] available from http://www. Teaching Arts & Science with Social Media.
NOTES, August Bingley, U.K.: Emerald. [online] available from
1, 2010.
Ellen Neuborne, Generation Y, 1999 [online], Don Tapscott, Grownup Digital: How the Net a-per sonal-learning-networ k-5016387,
available from http://www.businessweek. Centeration Is Changing Your World, [online] September 1, 2010.
com/1999/99_07/b3616001.htm, September available from http://www.grownupdigital.
4, 2010. com/archive/index.php/about/, August 1,
Scott Keeter and Paul Taylor, The Millennials, 2009, 2010.
[online] available from http://pewresearch. Mark Prensky, “Digital Natives, Digital Immigrants”
org/pubs/1437/millennials-profile, August 1, from On the Horizon (NBC University Press,
2010. Vol 9 No. 5, October 2001)
Generation Speed: Today’s Teens, September Corinne Weisgerber and Shannan Butler. (in

CHORAL JOURNAL Volume 51 Number 8 35

Nancy Cox, Editor

ments continue to amaze you? Harrison Your work as composer, arranger,

Junior High/Middle School and clinician is widely supported. Your com-
Gretchen Harrison, Dilworth Over the years I have been for- positions and arrangements are favorites.
tunate to work with thousands of JH/MS You are in high demand as a clinician. What
National R&S Chair
musicians. I am always amazed at the level is the secret to your success in these areas?
of artistry these young people are able to
achieve. If you treat them as “young artists” Dilworth For me, the art of writing and ar-
and set high goals, the artistic product will ranging choral music is a precious gift that
A Conversation with
not only meet—but often exceed—your comes with a wealth of responsibility. On
Rollo Dilworth
expectations. one hand, it affords me the opportunity to
Many middle school students, by their express myself creatively, on the other hand,
Noted composer, conductor, clinician, and very nature, are great risk-takers.They are at my compositions and arrangements become
educator Rollo Dilworth has been working a stage in their lives in which they are willing a tool for teaching my students about style,
with middle school musicians for 20 years. to accept the dare of pushing the boundar- culture, performance practice, and how to
As an in-demand clinician, Dilworth brings ies. This concept transfers very well into the be artistically expressive with choral music. I
passion, excellence and artistry to the honor- choral classroom, because you will find that am committed to working hard to provide
choir experience around the world. As the many JH/MS singers are up for the challenge the highest quality experience to all students
conductor of the 2011 ACDA National JH/ of experimenting with some of your ideas, and clinic participants. I hope that my passion
MS Honor Choir, he will inspire singers and and will often come up with a few ideas of and commitment for serving the choral art
directors with his musical integrity and pas- their own. is exhibited in each and every presentation.
sion for choral music.
Harrison What changes are most evident Harrison Many people who reach your level
Harrison Please share with us about your to you regarding this age musician in terms of success have a strong mentor and support
passion for JH/MS singers. of rehearsal preparation, participation, and environment. Who, in your experiences, has
performance? served as mentor and supporter for your
Dilworth I started my teaching career as a life’s work? What defining characteristics
middle school teacher 20 years ago in my Dilworth Now that there have been so were common in your mentor and support
hometown of St. Louis, MO. JH/MS school many advances in technology, students are group?
students are challenged by so many transi- better able to work independently or in
tions in their lives, including various stages small groups to rehearse their part. I think Dilworth Many people have told me that
of vocal range contraction and expansion. that more middle school-age students are you are lucky if there is one person or
It seems that these vocal challenges can be excited about performing in choral activi- teacher that significantly impacts your life. I
a major cause for lack of interest in choral ties because of the popularity of television have been fortunate enough to have many
programs at the JH/MS level. My goal is to shows that focus on choral singing. In terms of such people in my life—perhaps too many
find creative ways of nurturing the JH/MS of performance, I have found that singers of to enumerate for this interview. Ever since
voice and spirit so that students will gain the all age groups—especially this one—want to the early days of my music education, I can
confidence and desire to keep vocal music in have a personal connection with the reper- remember taking lessons (both formal and
their lives throughout adulthood. toire. Therefore, it is important to program informal) from many people—all of whom
quality, diverse repertoire so that students were introduced to me by my elementary
Harrison As you travel across the world can experience a variety of genres and styles. music teacher. Although no one in my fam-
working with JH/MS musicians, what ele-

CHORAL JOURNAL Volume 51 Number 8 37

ily was a musician, since the age of seven, I write a short choral work for orchestra and away a deeper understanding of and respect
have always been surrounded by a plethora chorus. The piece is titled Freedom’s Plow, for the choral art.
of musicians who have selflessly shared their which is based upon the last 14 lines from a
knowledge and skills with me. One could Langston Hughes poem that bears the same Harrison What final words of advice or
say that it took an entire village to raise me, title. The opportunity to write the work and encouragement would you offer to JH/MS
with each member of the village contrib- hear it performed by a major performing Choral Musicians/Educators?
uting their unique wisdom to my musical organization has definitely been one of my
development. career highlights. Dilworth Keep doing all that you can to use
the power of music to inspire young singers.
Harrison Is there one particular accomplish- Harrison After the applause is over, what do
ment you are most proud of in terms of your you hope the singers in the 2011 National
conducting/clinician career? JH/MS Honor Choir will remember most
from their work with you?
Dilworth Last year I received a commission
from the St. Louis Symphony Orchestra to Dilworth I simply want each singer to take

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CHORAL JOURNAL Volume 51 Number 8 39

Making the Case for

Now more than here is plenty of evidence that elementary school principal and my mother
singing in a choir helps students taught choral music in the public schools
ever, we all succeed in school, work, and life. for 47 years. A celebrated educator and
And yet, today choral programs lifetime ACDA member, my mother loved
must stand up are under siege—competition teaching music and, perhaps even more, she
for school dollars, time in the school day, and loved children. Growing up, our dinnertime
for school a narrow focus on just a few subjects covered conversations were all about education and
on standardized tests all pose significant inevitably the relative merits of teachers
choirs— challenges to the future of school choirs. (Dad) and administrators (Mom). So it was
Today, choir directors must actively and completely natural for me to get my degree
Chorus America expertly advocate for their programs so in music education, become a middle school
has a new tool that decisionmakers charged with cutting music teacher, and—after a stint singing in
budgets look elsewhere for cost savings. the Air Force Singing Sergeants and addi-
to help To make it easier, Chorus America offers tional academic study—to work at MENC,
our newest publication, Making the Case the National School Boards Association, and
for Your School Choir: An Advocacy now as President & CEO of Chorus
Guide. Access the complete toolkit America. For me, the fight to keep choral
online for free: music in our schools is personal and part
choiradvocacyguide/free of my DNA. I bet it’s personal for you, too.

UR Making the Case Making the Case is Urgent

SCHOOL is Personal I grew up in the era when most public

schools had thriving music programs that

The desire to help make the case for
your school choir is both professional made a difference for kids each and every
and personal for me. My father was an day. This has not been the experience for
my daughter’s generation because, over the
An Advocacy Gu
ide years, music education began to be seen
as an expendable luxury. As former NEA
Chairman Dana Gioia has said and most
© 2011 by Chorus
America of us know through experience, increasingly
a child’s access to music education is largely
a function of his or her parents’ income.
The Chorus America Chorus Impact
Study—the only research on record that
documents the benefits of singing in choir for
children and youth—reports the following
key findings:
> More than 1 in 4 educators surveyed said
there is no choral program in their school.
> 1 in 5 parents surveyed said that there

are no choral singing opportunities for their

> Of the educators who said that their
school has no choir program today, 31% said
their school used to have such a program.

40 CHORAL JOURNAL Volume 51 Number 8


Your School Choir

Making the Case is Vital > Strategies for making every performance What Is Advocacy?
for the Choral Field an advocacy opportunity
Advocacy is speaking out
> Data from notable, quotable sources
Chorus America is devoted to sustaining about issues that you
that illustrate the value of singing for
and advancing the whole choral field and,
children and support these facts: feel are important to help
given the situation today, we are especially
s Choral singing is an integral part of arts
concerned about ensuring that generations inform decisionmakers.
education, which is a necessary component
of young people don’t miss out on the
of a comprehensive and competitive educa- Advocacy takes place on
advantages that singing in a school choral
tion. Singing in choir promotes academic
program is uniquely positioned to deliver to a continuum and it can
achievement and develops success skills.
them. Multiple studies have shown that adults take many forms and occur
s Choruses build community.
who are exposed to the arts at a young age are
Singing in choir provides a sense of real at many levels including
most likely to participate actively in the arts
belonging, offers new opportunities for
throughout their entire life. We know that one personal advocacy,
learning, encourages student engagement,
of the most meaningful ways to carry out
and promotes civic engagement. advocacy for others, and
Chorus America’s mission “to build a dynamic
s Choral singing has intrinsic value.
and inclusive choral community” is to support advocacy in the public
The collective expression of a chorus
choral music education in our schools.
singing together has the power to lift interest. Advocacy includes
According to the National Endowment for
spirits and transform lives.
the Arts and our own Chorus America data, the case, strategies,
choral singing is by far the most popular So while I know firsthand that you’re al-
actions taken, and solutions
form of participation in the performing ready very busy running your choral program,
arts today and we need to act now if we I urge you to visit proposed to influence
are to keep it that way. choiradvocacyguide/free to find the tools and decisionmaking and create
ideas that are most relevant to your situation,
your school, and your community. Together positive change.
Making the Case we can make the compelling case locally,
Just Got Easier regionally, and nationally for keeping choral
This guide is offered as a tool to make it music where it belongs—in the lives of our
easier for you to be an effective advocate young people. ■
so you can get back to your important work
in the classroom. Every school presents a Ann Meier Baker is President & CEO
unique set of challenges—and not every of Chorus America. Contact her at:
tool will fit your situation. Our hope is that
from this compendium of resources, culled
from the best practices of other successful DOWNLOAD THE ADVOCACY
advocates, you’ll find something that is GUIDE FOR FREE AT
valuable to you and your school choir. The
guide includes:
> Advice on understanding your impact choiradvocacyguide/free
and building a strong network
> Ideas for working in partnership with
your school administration
> How to reach out to community Chorus America serves to strengthen choruses and
provide their leaders with information, research,
partners, especially independent choruses
professional development, and advocacy to help
in your area them contribute to their communities and inspire
innovation and artistry in performance.

CHORAL JOURNAL Volume 51 Number 8 41

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Jubilate, Amen!
A Festschrift in Honor of Donald Paul Hustad

edited by Paul A. Richardson and Tim Sharp

Donald P. Hustad has influenced church • Tom Bolton (Southern Baptist Theological • David Music (Baylor University): new
musicians for the past 80 years. Sixty years Seminary, Louisville): a well-reasoned insights into two books by nineteenth-
ago, he published popular arrangements of warning about the state of church century Oliver Holden.
hymns for the Moody Chorale—early ex- music ministry and some prescriptions
amples of that now-common church choral for the future. • Bert Polman (Calvin College): an overview
literature. His organ playing for Billy Graham of settings and usages of the Magnificat.
Crusades generated still-used organ-piano • William Clemmons (Point Loma Nazarene
arrangements with Tedd Smith. He is a University): a fresh approach to writing • Milburn Price (Samford University): re-
Fellow of the Royal College of Organists hymn tunes. Clemmons also prepared flections on worship as intellect and
(London). He touched generations of church the numerous musical examples emotion.
musicians through his teaching at Southern throughout the Festschrift.
Baptist Seminary in Louisville, where ACDA’s • Michael Raley (Wake Forest University):
Tim Sharp was among his pupils. He is a • Carl Daw (Episcopal Priest and former a heavyweight and careful study of
Fellow of the Hymn Society and editor of Hymn Society Director): a critique of German church music in the mid 16th
numerous hymnals. Don is the personifica- song theory in Robert Bridges. century.
tion of church music.
• Pam Davis (Library of Lambuth University): • Paul Richardson (Samford University): a
This Festschrift celebrates Hustad’s ca-
a remembrance of influential teacher biographical survey of the influential
reer and includes articles by 29 peers and
Frank Lincoln Eyer, a major contributor Poteat family of leaders and musicians
former students. It draws its title, Jubilate,
to Etude. at Wake Forest College and Furman
from Don’s own books and, indeed, provides
an “Amen!” to what Don has taught us.
• Michael Hawn (Southern Methodist
In the tradition of a Festschrift, the book • Carl Schalk (Concordia University): a
University): a supplement to Hustad’s
includes scholarly articles intended to be jaunt through church music philosophy
own scholarship on African music in
cited in future research. But this is more and song.
than a collection of potential footnotes; it
is a loving tribute on Don’s 90th birthday. • Christopher Idle (Church of England • Tim Sharp (ACDA): a reminder of the
Billy Graham’s description of Don’s Priest): three “footpaths” of hymnody. influence of Moravian musicians in
Christian commitment begins a section of colonial America.
personal recollections. Rhonda Furr traces • Deborah Carlton Loftis (Baptist Theo-
Hustad’s biography and list of works, a 40- logical Seminary, Richmond, and Hymn • Paul Westermeyer (Luther Seminary):
page bibliography; the late Hugh McElrath Society Director): cogent practical church music in church-related college:
(Southern Baptist Theological Seminary) and suggestions for approaching changes in analysis and suggestions.
George Shorney (Hope Publishing Com- church music.
pany) add tributes; and Les Hollon prays. • Mel Wilhoit (Bryan College): a fascinating
The list of contributors is a “Who’s • Alan Luff (Church of England Priest): a review of popular and political music
Who” of church music. Every essay adds to personal travelogue of the Welsh hymn from the Scopes trial, including sheet
scholarship’s knowledge base— tune Cwm Rhondda. music art.

CHORAL JOURNAL Volume 51 Number 8 43

• Brian Wren (Columbia Theological Semi- Turner,William Bradley Roberts, and Donald thoughtfully; it will challenge the mind and
nary): surprisingly inclusive language in Hustad, himself. touch the heart. It honors Don Hustad; it
a 5th century hymn, “Of the Father’s I talked with Don about that large honors church music.
[Parent’s] Love Begotten.” number of people his music ministry has
touched and impacted. He graciously said
Also in the Festschrift are hymns and that it was all of those fine musicians who
tunes by Timothy-Dudley Smith, Michael have “enriched” his life.
Saward, Carl Daw, Austin Lovelace, Ronald This is a book to read slowly and


8FFL+VOF  Worship & Music
JUNE 19-24, 2011
44 CHORAL JOURNAL Volume 51 Number 8
Curtis E. Hansen

1921– 2011

Curtis E. Hansen, age 90, of Edina, MN, passed away Achievement Award and being inducted into the MMEA
peacefully on January 31, 2011. As one of seven original Hall of Fame. He was a long-time member of the Bloom-
founders of the American Choral Directors Association ington Medalist Band, a member of Bethlehem Lutheran
(ACDA) in 1959, he was the only one remaining until his Church in Minneapolis since 1963, and held membership
death. After graduation from Amery, WI, High School and with the American Legion in Brainerd, MN. He became the
St. Olaf College (where he studied and sang with F. Melius music editor of Schmitt Hall and McCreary (Minneapolis)
Christiansen), he earned a Masters degree from the Min- in 1963 after which he founded Curtis Music Press in 1977
neapolis College of Music. He began his teaching career to provide new music for school and church choirs. He
in Luck, WI, and went on to Brainerd, MN, where he de- first served his country as a member of the United States
veloped an outstanding choral music program. His choirs Navy Band and was later commissioned as an officer in the
performed at state and national music educator's confer- amphibious forces that made a D-Day landing at Omaha
ences and conventions. In addition to being a founder Beach (France) and in Okinawa in the Pacific.
of ACDA, he also was a charter member and elected as Cur tis Hansen was inter viewed by Diana Le-
ACDA National Vice-President. He also served as presi- land on May 5, 2008, as one of ACDA's founders. To
dent and vice-president of the Minnesota Music Educa- view that video, please visit:
tors Association (MMEA). His honors included being the watch?v=XVMuygADCYo.
recipient of ACDA-MN's F. Melius Christiansen Lifetime

CHORAL JOURNAL Volume 51 Number 8 45

Perform alongside the pageantry of the Queen's Diamond Jubilee
and in the year of the 2012 Olympic Games
From Super Bowl to Salty Snacks:
Opportunities for Advocacy Presented by the Use of “Classical” Music on Television


Theodore Albrecht

Red-blooded American football fans • Ponchielli (1834 –86), La Gioconda, Dance from which to select for the products of
huddled in front of their televisions to watch of the Hours—Pepsi. their clients. Among recent or current televi-
Super Bowl XLV on Sunday, February 6, sion commercials not necessarily associated
they might have reflected upon the musical • Boccherini (1743 –1805), String Quintet in with the Super Bowl, we find:
implications of the game and on the Clas- E, Minuet—Pepsi.
sical music they heard and associated with • Beethoven (1770 –1827), “Waldstein”
it—and especially with its wildly popular • Prokofiev (1891– 1953), Peter and the Piano Sonata, opening bars—Honda.
(and outlandishly-budgeted) commercials. Wolf—what was that product?
An hour-long CBS television program on • Bruckner (1824 –1896), Symphony No. 7,
the Friday night before was devoted to these • Williams, John (b. 1932), Star Wars (or opening bars—Arby’s fish sandwich.
commercials, current and retrospective, adaptations)—products fade from
and included the following uses of Classical memory, but the music remains. • Bach (1685–1750), “Little” Fugue in G
music: minor (orchestrated)—University of
Of course, John Williams based his 1977 Pittsburgh Medical Center (possibly
• Verdi (1813–1901), Requiem, Dies irae— Star Wars movie score on the stylistic traits duplicated by an ad agency for use
Doritos. of British composers Elgar (1857–1934), elsewhere in the country).
Holst (1874 –1934), and Vaughan Williams
• Verdi, La traviata, Brindisi, “Libiamo”— (1872 –1958). In 1984, he also composed a • Beethoven, Symphony No. 9, Scherzo—
Doritos. series of openers, interludes, and closings to used in some recent national news
be used for the NBC Nightly News and morn- program.
ing Today Show, some of them reminiscent
of his score to the 1978 movie Superman. The beginning of the Beethoven scherzo
As the dates cited here suggest, the pro- has been used frequently since it first
Theodore Albrecht, former Music
ducers of these commercials would not have provided the opening theme for NBC’s
Director of the Philharmonia of Greater
been able to select these pieces if they had Huntley-Brinkley Report starting in 1968,
Kansas City, is professor of musicology
at Kent State University in Ohio. not known historic musical literature very but few Classical music lovers would ever thoroughly, although advertising agencies have associated the opening of Austrian
simply have banks of appropriate themes Anton Bruckner’s Seventh Symphony with the

CHORAL JOURNAL Volume 51 Number 8 47

depths of the sea! Even so, it works! Other • Richard Strauss (1864 –1949), Also sprach used the Appalachian Spring ballet suite by
older and repeated uses of classical music Zarathustra (or adaptations)—com- Copland (1900– 1990) to suggest his grass-
for TV commercials include: monplace from automobiles to razor roots or “common-man” origins. And, there
blades since Kubrick’s 2001: A Space is his celebrated Fanfare for the Common
• Vaughan Williams (1872–1958), Symphony Odyssey, over four decades ago. Man, often used in commercials or patriotic
No. 6, opening bars—Suddenly Susan programming in its original or adapted form.
(with Brooke Shields), perhaps a dozen • Orff (1895–1982), Carmina Burana, “O The list could go on seemingly forever.
years ago, but recently resurrected Fortuna” (or adaptations)—anything Most of us will have favorites (or un-favor-
briefly for NBC seasonal promotions. cataclysmic. ites) among today’s and yesterday’s com-
• Rossini (1792–1868), Barber of Seville, mercial uses of Classical music, and they may
Overture and “Largo al factotum”— • Handel, Messiah, “Hallelujah”—moments provide an opportune moment to impress
numerous commercials, but especially with a feeling of immediate joy or upon our colleagues, administrations, legis-
Italian foods and restaurants. triumph. lators, and the public at large that without
Classical music—and the kinds of instruction
• Handel (1685–1750), Water Music—Delta • Joplin (1868-1917), Maple Leaf and that it entails (from private lessons, to en-
water faucets. Entertainer rags—upbeat or nostalgic semble performances, to theory and history
background. classes, and to a broad general education),
• Leoncavallo (1857–1919), I pagliacci, “Vesti extending from elementary school to the
la giubba”—Rice Krispies. • Beethoven, Symphony No. 9, “Joy” theme— college level—we might not have the music
moments with a feeling of universal they otherwise take for granted as they
• Brahms (1833– 1 8 97), Symphony No. 3, warmth or brotherhood. watch and enjoy their favorite shows on tele-
third movement—Lexus. vision, including past and future Super Bowls!
Earlier on Super Bowl Sunday, a CBS And, with a little more advocacy on the
• Tchaikovsky (1840 – 1893), 1812 Over- Sunday Morning tribute to President Ronald part of all of us who might second MENC’s
ture—Coca-Cola, among others. Reagan on the 100th anniversary of his birth campaign, some nationally-televised Ameri-
cans (especially those who can’t sing the
melody) might even learn the words to The
Star-Spangled Banner! Tune in to next year’s
Super Bowl to find out!


Concept Tours I would like to thank my colleagues

at Kent State University who entered into
A bridge to the world
the intended spirit of identifying, applauding,
laughing at, and even groaning about some of
the commercials enumerated here: Dennis
Great venues Nygren (clarinet), David DeBolt (bassoon),
Concerts Theodore Rounds (percussion), Renée Illa
Festivals (music history), and Patricia Grutzmacher
Joint concerts (music education) and our supportive Dean
Culture John Crawford. And—of course—my wife
Sightseeing Carol Padgham Albrecht (oboe and musicol-
ogy) at the distant University of Idaho.


48 CHORAL JOURNAL Volume 51 Number 8

50 CHORAL JOURNAL Volume 51 Number 8
Stephen Town, Editor

The Masses of Joseph Haydn or Nelsonmesse will profit enormously from how any performance will be shaped—and
Robert W. Demaree and Don V Moses seeing what these gentlemen have to say heard. There are references to the so-called
Rochester Hills, MI: Classical Heritage, 2008 about them. “Haydn fanfare” that help us understand
853 pp. Consider the Nelsonmesse. Since the why the authors include a glossary—so that
$95.00 authors devote 60 pages to it, we do expect newcomers don’t have to go blundering a wealth of information, including some new through the rest of the book looking for a
insights. Once they get past an obligatory definition, and old-timers don’t have to skip
Although the size (and price) of this vol- discussion of the work’s nickname, Moses over a definition here!
ume may seem daunting, potential readers and Demaree do not disappoint. We learn I was particularly taken by the many
should bear in mind its value: within these that the shocking Kyrie combines elements practical performance tips given at various
pages, Don V Moses, arguably America’s most of fugue, concerto form, and sonata-rondo; points: wise words about the notorious
knowledgeable and experienced conductor that the movement’s power derives largely Haydn “wedges,” for example, and a nice
of Haydn’s choral music, shares a lifetime from “Haydn’s management of motion sidebar about the advent of the keyed
of engagement with these cornerstones of through constants,” a relentlessly driving ba- trumpet, for which Haydn had written an
the repertoire. Who wouldn’t spend two or sic pulse interrupted only for the two “great extremely popular concerto only two years
three times that, just to sit for an hour or two dramatic pauses” marked by fermatas and earlier. And then this sort of thing, regarding
and talk Haydn with someone who knows, otherwise heightened by hemiola writing at the tricky opening bars of the Sanctus and
really knows, this music? (In fact, from 1976 other climactic moments; and that the many based on the authors’ experience in Haydn’s
onward, plenty of musicians and teachers high A-naturals in the soprano line help set own venues:
made the pilgrimage—and spent consider- up a “glass ceiling” that will be shattered, first
ably more—to participate in the Classical by the soloist and then (in m. 126) by the Each of the two fermate should be
Music Festival in Eisenstadt, which Moses entire section. All of this directly bears on permitted no less than the value
created and then sustained for many years
with his energy and vision.)
Ably abetted by faithful co-author Robert
W. Demaree, with whom Moses previously
created The Complete Conductor (Prentice-
Hall, 1995) and Face to Face with Orchestra
and Chorus (Indiana Univ. Press, 2d ed., 2004),
Moses gets its all down here. After a couple
of introductory chapters devoted to the
composer’s childhood and apprenticeship,
the book settles in for a work-by-work
discussion of the Masses, covering every
movement—and sometimes, it would seem,
every measure—in exhaustive detail. And
yet it doesn’t exhaust us. Rather, Moses and
Demaree manage a combination of descrip-
tion, analysis, and performance acumen that
revives our interest in these great pieces,
wakes us up again to their evergreen charm
and power. Any conductor facing rehearsal
and performance of another Nikolaimesse

CHORAL JOURNAL Volume 51 Number 8 51

of an additional quar ter-note in and price are further justified by its “extras”: are also abbreviations, copious endnotes, a
this tempo, and it requires at least copious music examples, illustrations, a glos- fourteen-page bibliography, a complete list
two seconds in the Eisenstadt sary, appendices including a chronology of of Fanny Hensel’s compositions, an index
Bergkirche for the reverberation the Masses, the Mass text in Latin and English, of Felix’s compositions, as well as a general
to clear each time. (The conductor a list of Esterházy music personnel (actually index. Within the confines of the nineteenth
will need to recall that musicians four lists), and a brief narrative, “Haydn and century’s attitudes toward women, Fanny
are always willing to crescendo, but the Italian-Austrian Inheritance,” citing Italian Hensel was on her ascent as a musical figure
are not always quite so cognizant of influences from Giovanni Priuli (1575–1629) and composer at the time of her death.
diminuendos.) (p. 545) and Antonio Vivaldi (1678–1741) and Luigi This ascent in stature has been gradu-
Tomasini (1741–1808), Haydn’s concert- ally increasing during the latter part of the
Much more could be cited, but you master. This book is now essential reading twentieth century and beyond. Many voice
should have the picture by now. Occasionally for anyone preparing to conduct one of the pedagogues know about the performing
one does encounter a copy-editing slip or a Haydn Masses. editions of Hensel’s own songs which have
bit of musical detail over-emphasized; these appeared gradually during the last fifteen
are extremely insignificant matters com- Lawrence Schenbeck years. Todd skillfully illustrates several of
pared to the richness, accuracy, and wisdom Atlanta, Georgia these songs with musical examples, which
of the contents overall. The book’s weight most succinctly show Hensel’s developing
style independent of her brother. And her
Fanny Hensel:The Other Mendelssohn cycle for piano, Das Jahr, has become recog-
R. Larry Todd, nized as a pivotal work equal to such works
New York: Oxford University Press, 2010. as Carnaval by Robert Schumann and other
426 pp. major multi-movement piano works of the $45.00 first half of the nineteenth century, accord-
ISBN: 9781860962981 (Hardcover) ing to Todd.
Know Your [ Todd painstakingly identifies the major
Tempo As It eral/subject/Music/MusicHistoryWest- musical and compositional influences that
Happens ern/NineteenthCentury/?view=usa& shaped Fanny Hensel, including her brother
Toll Free Felix and the compositions that he wrote
for her. He also discusses other major
1-888-803-6287 Mendelssohn scholar R. Larry Todd has composers of the nineteenth century and
already written the successful work, Mendels- their influences, including the artist Wilhelm
sohn: A Life in Music, about Fanny’s brother Hensel, her husband; poets Heinrich Heine Felix. It received the Best Biography award and J. W. von Goethe; and Berlin Singakad-
of the Association of American Publishers in emie director and composition teacher C. F.
“The Music 2003. Todd’s work about Felix’s sister Fanny Zelter. Composers who receive more than
Education is at least equally compelling, if not more so. casual mention include J. S. Bach and Mozart
Yellow Pages” In his Preface, Todd makes a convincing as influences, as well as contemporaries
Sign-up for Your case for our reviewing Fanny Hensel is a Fréderic Chopin, Hector Berlioz, Charles
great composer, especially given “Her story Gounod, Clara and Robert Schumann, and
FREE Choral is one of metamorphosis from ‘amateur’ Niccolo Paganini. Other artistic personages
E-Newsletter, to a professional composer with a distinct include Hans Christian Anderson, William
Choral Resource authorial profile and individual voice” (xvi). Sterndale Bennett, Giacomo Meyerbeer, and
Packet & CD-Rom The work is divided into twelve detailed Ignaz Moscheles, all of whom had positive
chapters, each covering approximately two things to say about Fanny Hensel and her
to three years of her life, except for the first music. In fact, Clara Schumann was going to
Starting a Music Biz?
chapter, covering the years 1805–1818. The dedicate a piano trio to Hensel but Hensel chapters have generally clever titles, such as died before it was completed.
“Fugal Fingers (1805–1818)” and “Engraver’s Also legendary were the concerts in Ber-
Learn How to Start & Grow Ink and Heavenly Songs (1845–1847).” The lin which she organized, of other composer’s
Your Music Business latter refers to Hensel’s new-found success works, including those of Felix, as well as her
Get FREE Music Marketing Calendar as being published in her own right without own. These were legendary, and served to
Email: Felix’s name, which happened only just further the music of Mendelssohn, Hensel,
before her death of a stroke in 1847. There
52 CHORAL JOURNAL Volume 51 Number 8
and other composers. Handbook for the Music Mentor music education students observing extant
Of interest to choral conductors is Colleen M. Conway, Michael V. Smith, classrooms. Part Two focuses on the roles
Fanny’s role as a chorister, where she learned and Thomas M. Hodgman of the mentor when working with a student
much of the choral craft, singing alto (along Chicago, IL: GIA Publications, 2010 teacher, and Part Three provides suggestions
with Felix) in the Singakademie. This is 472 pp. for mentoring beginning teachers. One
coupled with more than casual mention of $44.95 of the greatest strengths of this valuable
choral works such as Nachtreigen and the ISBN: 978-1-57999-786-1 (softcover). volume is the many “vignettes” contributed
Gartenlieder, which are also coming into their by undergraduate students, co-op teachers,
own as the twenty-first century begins. In recent years, many states and state and university supervisors.These stories are
Appearing with the book is an online in- music associations have instituted music carefully correlated with the topics under
teractive resource including musical listening mentor programs whereby new teachers consideration and, for the most part, are
examples.This seems to function reasonably are offered the opportunity to receive engagingly written and quite compelling.
well and is a fine addition to the printed ongoing input and advice from seasoned Chapter One deals with the under-
material. Musical examples, some ingeniously teachers. Handbook for the Music Mentor is graduate music education student. Topics
comparative with Felix and other compos- an extremely useful compendium of infor- addressed include characteristics of music
ers, are strategically placed and more than mation that succeeds in addressing every education students, curriculum, freshman/
adequate. Family trees at the beginning of the conceivable issue that might be encountered sophomore/junior experiences, music
book are clear and in a reasonable format. by mentors and mentees. identity development, and undergraduate
The Epilogue chapter is engaging, particularly In the preface the authors state: perceptions of in-service teachers. Among
the discussion of Hensel’s son Sebastian, the many salient observations offered by the
who lived from 1830-1898. He published [The] Handbook for the Music authors is their focus on the challenge for
Die Familie Mendelssohn 1729–1847 (three Mentor is designed for music the music education student to balance the
volumes) in 1879, and preserved many fam- educators working as mentors for: development of personal musicianship skills
ily records, diaries, Wilhelm’s art works and (a) undergraduate music majors in with the development of the skills needed
drawings, and other Mendelssohn/Hensel pre-student teaching; (b) student to teach these same concepts to children of
documents that are part of the Mendels- teachers; and (c) beginning music various ages and in various musical contexts.
sohn Archiv in Berlin and the basis of much teachers in their first year or two The authors suggest that more time spent
of Todd’s original research. on the job. out in the schools [early field experience]
Fanny Mendelssohn Hensel has tran- and less time in coursework might be use-
scended the nineteenth century’s stigma The text is organized into three parts. ful in this regard; in other words, ensuring
about women, finally, at the beginning of the Part One focuses on interactions that that the linkage between college/university
twenty-first, largely due to R. Larry Todd. mentors might have with undergraduate coursework and real-world practice is estab-
He states: “Her life celebrates the power
of an artistic genius that did transform the
‘other Mendelssohn’ into Fanny Hensel, a
composer we should now recognize and
celebrate” (xvi).

Donald Callen Freed,

Alpine, Texas

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American Choral
American Choral
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CHORAL JOURNAL Volume 51 Number 8 53

lished early in the music education student’s Music Teacher. I have been using these forms (PDS) Model, Service Learning, teaching a
preparation. in my music education methods class for song in a general music class, working with
Chapter Two is titled “Hosting Class- the past several years and have found them uncertain singers, movement and listening
room Observers” and, thus it is addressed to be extraordinarily useful in structuring activities, sectional rehearsals, warm-up
primarily to in-service practitioners. Various my student’s observations of various types activities, logistics, and confidence-building.
types of observations (single visit, multiple of music classes. Each form is uniquely cor- The chapter concludes with a useful First
visits, individual/group visits, with or without related to the specific type of class being Fieldwork Teaching Experiences Reflection
professor visits); and the logistics of observa- observed and the questions posed to the Worksheet.
tions including suggestions from cooperating observer are cogent and relevant. Part Two is addressed to practitioners
teachers are discussed. One of the most Chapter Three: “Fieldwork Experiences who serve as cooperating teachers for
valuable aspects of this chapter is the inclu- Including Teaching” concludes Part One. student teachers, however, the information
sion of Sample Music Class Observation Topics covered in this chapter include: types presented is also valuable for university su-
Forms.These forms come from another GIA of pre-student teaching fieldwork experi- pervisors and student teachers themselves.
publication, The Handbook for the Beginning ences, the Professional Development School Chapter Four opens with a discussion

René Clausen Janet Galván Complete information online

w w w. re n e c l a u s e n . c o m
Concordia College, Moorhead, Minn. Ithaca College, New York
Composer & Conductor Conductor, Educator & Author

Additional faculty: Abbie Betinis, Composer; Matthew Culloton,The Singers; Michael Culloton, Choral Arts Ensemble

Join us July 23 - 27, 2011

Concordia College | Moorhead, Minnesota

54 CHORAL JOURNAL Volume 51 Number 8

around student teachers: characteristics, to mentors of newly employed, beginning that only experienced teachers would as-
procedures for placement, goals, matching music teachers. Although it seems obvious sume the mantle of mentor to a beginning
student teachers with cooperating teach-
ers, goals of student teaching, the student
teacher seminar, and the student teacher
portfolio. The vignette titled “I can do 8:00
a.m. Saturday…and that means I get to sleep
in!” addresses the issue of applied lessons
(the “music fix”) during the student teaching
experience; it is engagingly written by Joel
Schut, a University of Michigan student.
Chapter Five is titled “Preparing for Your
Student Teacher and Designing the Student :\TTLY=VJHS7YVNYHTZ
Teaching Experience.” It should be required
reading for all prospective cooperating
teachers. Written by Colleen Conway, this
chapter discusses the logistics, laws, and
procedures guiding the student teaching
experience, including substitute teaching T7\SZL
policies. It also presents valuable generic 6XPPHU9RFDO$UWV,QVWLWXWH
suggestions as well as some that are specific
to the elementary general music classroom
and others that are specific to band. While IRUKLJKVFKRROVWXGHQWV
the ideas associated with band could easily
be extrapolated to the choir classroom, I be-
lieve a short section devoted specifically to
choir would have strengthened this chapter. 1LYY`)SHJRZ[VUL
Chapter Six: “Rappor t, Observation,
Feedback, and Evaluation of [Student] Teach-
ing” serves as a potent reminder of the very
real human considerations that can result in
a positive experience for all of the stake-
holders or, conversely, result in a lose-lose
situation. Four templates for observations
conclude the chapter.
Chapter Seven: “Strategies to Diversify :`TWVZP\T 7H\S9HYKPU

the Experience and Instill Professionalism” -XO\

is an “outside the box” discussion of activi- DGXOWZRUNVKRS
ties that can enhance the student teaching -HUU\%ODFNVWRQH3DXO5DUGLQ-XOLH6NDGVHP
experience.Topics covered include mock in- $ZRUNVKRSGHYRWHGWRWKHHQKDQFHPHQWRIEHDXWLIXO
terviews, the role of the cooperating teacher DQGFRPPXQLFDWLYHFKRUDOVLQJLQJLQFOXGLQJFRQGXFW
in developing professionalism, teaching “out LQJDQGUHKHDUVDOWHFKQLTXHVDSSURSULDWHIRUDZLGH
networking. Teachers are always on the SDUWLFLSDQWV
lookout for ideas and processes that will
improve the efficacy of the teaching/learning PXVLFXPLFKHGXDGXOWSURJUDPV
experience. I found the idea advocated in
“The Wristband Story” (vignette) by Rachel
Gladys to be especially creative and useful.
Part Three of the Handbook is addressed

CHORAL JOURNAL Volume 51 Number 8 55

teacher and that these individuals really have tor” presents both positive suggestions for much more attention than has often been
little need of guidelines, the reality is that the and pitfalls of mentoring. Mentee devel- the case and the music mentor can provide
information included in Part Three (chapters opmental needs are delineated in three valuable guidance in this realm.
8–14) is positively invaluable. It is perhaps rubrics—surviving, striving, and thriving. Chapter Ten addresses the mentor-men-
also true that experienced teachers are One might reasonably expect a topic such tee relationship and mentoring principles.
precisely those individuals who will under- as this to be pedantic, but the presenta- Mentoring is defined and the characteristics
stand and appreciate the wealth of collected tion is thoughtful and engaging. The sidebar, of successful mentors are specified. Each of
wisdom presented in these chapters. “How a Mentee Can Continue to Grow as the following bullet points is discussed in
Chapter Eight: “The First Year Teacher” a Musician,” focuses on one of the most chal- useful detail:
assesses the characteristics, dispositions, and lenging issues for new teachers—achieving
needs of new teachers. The vignettes in this a balance between the demands of the job • be insightful
chapter are particularly relevant, even poi- and the individual’s need for personal musi- • be supportive and protective
gnant. I believe new teachers would benefit cal nourishment. Many newly-minted music
greatly from reading this chapter, especially teachers struggle mightily as they transition • listen
the vignettes. from an identity of student/performer to • use eye contact
Chapter Nine: “Preparing to Be a Men- one of teacher/leader. This matter deserves

56 CHORAL JOURNAL Volume 51 Number 8

• express warmth to one’s particular situation, nearly all of the than that of the cover price and they will find
ideas in each of the lists could (and should) themselves returning to it for its wealth of
• be honest insights again and again.
be extrapolated to the other categories.
• be a role model In addition to the checklists, the chapter
contains a section on professional develop- Vance D. Wolverton,
• be affirming
ment and another on mentee journaling.This Highland Heights, Kentucky
• follow the mentee’s lead chapter is one of the most valuable in a very
valuable book.
Mentoring styles are also enumerated (pre- Chapter Thirteen deals extensively with
scriptive, persuasive, collaborative, confirma- the process of classroom observations. Sev-
tive, autonomous) and explained. eral templates are offered including “Survey
Chapter Eleven deals with the mentor- of Effective Teaching Traits and Behaviors”
ing practices of successful mentors. Several and a “Conducting Evaluation.” The process
functions of mentoring are cited: of structuring observations and conferencing
are discussed as are observation strategies
• teaching and techniques.
• sponsoring The final chapter covers the topic of
facilitating ongoing interaction. The chapter
• encouraging opens with a discussion of the two most
• offering counsel obvious modalities of interaction—high-tech
• offering friendship
and traditional (one-on-one). The discussion
• giving political tips
of high-tech utilities should prove useful to
traditionalists, just as the discussion of tra- Director
ditional interactions should prove useful to
• giving challenging assignments
technology-oriented individuals. Classroom
• helping with career moves management is briefly addressed through
• providing visibility a series of scenarios for discussion. The
(for mentee achievements) chapter also includes a section devoted to Master Chorale of South Florida
assessment and grading procedures. Lastly, seeks Artistic Director for critically
• protecting but of tremendous value, the chapter con- acclaimed 120-member chorus.
tains several detailed, school-year specific Candidates should have minimum 7
In addition to these concepts, several other calendars for elementary general music, sec- years’ choral/orchestral conducting
considerations are offered as items “not to ondary choral, and band programs. The last experience with established reputation
be overlooked,” including school site proce- of these (band) could easily be adapted for for excellence in artistic achievement
dures and duties, school site geography, sup- use in an orchestral program. and demonstrated ability to build
plies, administrative forms and procedures, The title, Handbook for the Music Mentor, on the organization’s high quality
audio-visual and technology resources, and simply does not do this volume justice. The
staff introductions. Each of these functions
reputation. Job description and
Handbook is simply a fantastic resource on application requirements at www.
is explained and expanded upon in the en- so many levels that it would be difficult to
suing discourse. Several pages of prescient
enumerate them all.Yes, mentors are the pri-
discussion are devoted to the concept of Recognized as the premier classical
mary audience for this text, but experienced
active listening. One can readily see that the choral ensemble in South Florida, the
teachers, beginning teachers, administrators,
authors are truly advocates of the mentoring undergraduate and graduate students will all
Master Chorale performs primarily
process and, by extension, of mentees. find material of tremendous utility and value.
major choral/orchestral works with
Chapter Twelve: “Making Contact and The Handbook represents the most success- local and visiting orchestras. This
Early Mentoring Interactions” presents a ful synthesis of research and practice I have part-time position commences
useful set of checklists and tips. There are ever encountered. My only concern with the July 2011 with prep for 2011-2012
checklists for both mentor and mentee. The Handbook for the Music Mentor is that many season. Applications to
organization of these checklists and tips into (most?) co-op teachers and practitioners will Carole Sandvos,
categories by specialization (instrumental, be intimidated by its length and cost. I hope Master Chorale of South Florida
choral, elementary, general) is particularly I am mistaken in this assessment because I 8408 SW 26th Place, Davie, FL 33328
helpful. While one could easily turn to those believe everyone who cracks the cover of
lists and tips that are immediately relevant the Handbook will find its value worth more
CHORAL JOURNAL Volume 51 Number 8 57


With over 25 years of experience creating efficient
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 [ [ [ Q E W X I V W X E K I  G E
Morris Beachy

1928– 2011 *

Choral director and University of Texas at Austin Professor Emeritus, Morris

Beachy joined the faculty of the university in 1957, and over the next 36 years
he developed one of the largest university choral programs in the country, noted
for its diversity and high standards. He founded nine ensembles, including the UT
Chamber Singers, the Longhorn Singers, and the University Chous.
Beachy earned his BM from Colorado State University in 1951, his MM from
the University of Oregon in 1952 and his DMA from the University of Southern
California in 1955. Before joining the faculty of The University of Texas at Austin,
Beachy held teaching positions in Colorado, Oregon, Washington, and California
before accepting a position at Hardin-Simmons University in Abilene, Texas..
Beachy served the Department of Music (now the Butler School of Music)
in several capacities, including coordinator of the conducting faculty, adviser to
the graduate programs in choral music, and acting chairman of the Department
of Music. The University Chamber Singers (now the UT Chamber Singers), has
consistently ranked among the best in the nation. He retired from the University
of Texas in 1993 as the Marlene and Morton Meyerson Centennial Professor
Emeritus in Music.
Beachy founded the Austin Choral Union, a group that sang with the Austin
Symphony Orchestra, and later Austin Choral Artists and the Morris Beachy
Singers. His association with the Austin Symphony Orchestra began in 1958
preparing major choral works and, on occasion, until 1994, serving as guest con-
ductor and soloist for the symphony. He held the position of chorus master for
the Austin Lyric Opera for its first six seasons. Beachy was a baritone soloist in
opera, oratorio, and recital and was also a prolific author, publishing many articles
about singing and choral performance.

* We regret that no picture of Morris Beachy was available when we went to press.

CHORAL JOURNAL Volume 51 Number 8 59

David Castleberry, Editor

whose number may be small, but the mark bare the music’s relentless development,
Barber: Samuel Barber’s Collected Choral
on the composer’s output is indelible. creating appropriate tension between the
Barber demonstrated in his works for recurrent five-beat figure on the name An-
The Esoterics, Eric Banks, director
voice, both in solo and ensemble writing, a thony O’Daly, and the three-four meter that
2010 Terpsichore Records – CD 1110,
rare sensitivity to the meanings and inflec- guides the other voices.The music speaks for
tions of words. Combined with his idiomatic itself, without need for mannerisms or fuss.
writing for the voice (Barber was himself a Slightly less successful, perhaps, is this reading
This new disc surveys the choral music of
noted singer and pianist), is a level of com- of The Coolin, the best-known piece of the
American composer Samuel Barber (1910–
positional craftsmanship that responds to group. Its gentle siciliano feels a bit hurried
81) and encompasses his choral oeuvre, save
poetry with just the right lyrical impulse and and, though beautiful, leads to a somewhat
for two extended compositions for chorus
textural development needed to convey and abrupt conclusion.
and orchestra, Prayers of Kierkegaard and
illuminate the material at hand. One need For those who might not be familiar
The Lovers, and choruses from his operas. A
look no further than the first of his Reincar- with Barber’s other choral works, A Stop-
few of the selections here are mainstays of
nations, Mary Hynes, with its kaleidoscoping watch and an Ordnance Map is a powerful,
the choral repertoire, such as Reincarnations
vocal lines, restless rhythmic vitality, and arresting work for TTBB chorus. Stephen
and the composer’s choral transcription of
quickly passing harmonies wedded to a text Spender’s poem, which was dedicated to
the famous Adagio for Strings, originally the
that, when spoken, follows almost exactly Samuel Barber, evokes the heartbreak of
slow movement of his String Quartet, Opus
the cadence the music puts forth. Thus, the a young soldier’s death during the Spanish
11, set here as an Agnus Dei. Most of the
performers must find simplicity, rather than Civil War, “all under the olive trees.” Twelfth
other octavos remain little-known but, as
complexity, if they are to penetrate this Night, on poetry of Laurie Lee, is equally
the performances here remind us, deserve
wonderful octavo. The ensemble is quite searing, musically and emotionally, and feels
our attention.
successful here, as they are also in Anthony like a self-contained three-minute drama as
Listening to this disc, one is struck by
O’Daly, the second of the set. Eric Banks lays it traces lines from death to rebirth.
the utter lack of artifice or gimmickry in
Barber’s writing. The composer relies on
craft, sensitivity to text, and a singer’s under-
standing of the human voice, to circumvent
the vicissitudes of passing fashion in the
creation of works of enduring freshness and
relevance. The “Neo-Romantic” label often
applied to Barber seems patronizing when
one regards the whole of his output. Rather
I magine …
singing in the venues
of the great
Sing Where Inspiration Was Born.
than following a particular stylistic dogma or composers, in awe
inspiring cathedrals and
trend, Barber worked with each text on its charming village churches,
own terms, responding to the opportunities for appreciative audiences
around the world.
and challenges that each presents.The result Let us take you there.
is music as vivid now, thirty years after the
composer’s death, as it must have seemed
on first hearing. The performances on this
recording by The Esoterics, under the direc-
tion of Eric Banks, are appropriately straight
forward, direct, and faithful to Barber’s indi-
cations.This disc provides a highly enjoyable, (866) 499-3799 | | | 2836 W. Main St., Kalamazoo MI 49006
musically satisfying encounter with works

CHORAL JOURNAL Volume 51 Number 8 61

Although few of Barber’s works could be Requiem, A Thanksgiving for Life: pianist, harpsichordist, and conductor on a
described as “light,” The Virgin Martyrs and Choral Works by Sir Philip Ledger large number of recordings.
Heaven-Haven do indeed demonstrate what The Choir of Christ’s College, Cambridge Requiem, A Thanksgiving for Life: Choral
the composer could do with headier, more Directed by Sir Philip Ledger Works by Sir Philip Ledger highlights Ledger’s
esoteric texts. The former, set for SSAA and David Rowland work as composer and arranger, and reveals
women’s voices, is Barber’s first choral opus. 2009 REGCD305, 1’ 10” yet another aspect of Ledger’s multifac-
The scene is heaven, and the brief octavo eted musicianship. The recording highlights
recounts the names of maidens “worthy Sir Philip Ledger has secured a prominent Ledger’s individual style in its emphasis on
now of God’s company.” “To Be Sung on place in English music for the past half- clarity, balance, transparency, and immediacy.
the Water,” on a text by Louise Bogan, is a century through an array of activities and As described in the liner notes, “His music
model of transparency and gracefulness, and accomplishments. In 1962, at age twenty-five, does not set out to challenge perform-
reinforces the poet’s view that rhythm forms he became the youngest cathedral organist ers or listeners. Instead, it rests easy in a
the basis for all poetry. in the United Kingdom as Master of Music settled, confident manner. Above all else, it
Each selection on the disc articulates on at Chelmsford Cathedral. As an artistic di- is crafted and elegant.” With these elements
some level the composer’s view of what is rector of the Aldeburgh Festival beginning understood, Ledger’s music has much to
essential within the texts and how this might in 1968, he worked closely with Benjamin offer listeners. He creates pleasant pieces
be translated faithfully into musical setting. Britten and continues to serve as a festival that deliver text directly and through simple
Performances are strong throughout, but vice-president. He was appointed Director musical means. His tonal, highly consonant
are slightly diminished by microphone place- of Music at King’s College, Cambridge, fol- harmonic language, straightforward formal
ments that sound a bit remote. Given the lowing Sir David Willcocks, and served there structures, and thin textures all serve a very
straightforward delivery of the performanc- from 1974– 82. His contributions to higher natural effect.Through careful craftsmanship,
es, one would like to hear the choir’s sound education include a variety of academic and Ledger keeps music from sounding common
with a bit more presence. Nonetheless, this administrative appointments, his last being or trite, despite its uncomplicated materials.
collection is a valuable addition to the Barber Principal of the Royal Scottish Academy of Ledger’s choral writing culminates in his
discography and an excellent introduction to Music and Drama. As a conductor, he has Requiem, A Thanksgiving for Life, composed
some of the composer’s lesser-known works. led many of the most prominent orchestras in 2007. Like many others before him, he
in Great Britain, including the London Phil- does not hold fast to the liturgical Requiem
David Castleberry harmonic Orchestra, the Royal Philharmonic text, but draws from external sources—in
Huntington, West Virginia Orchestra, and the Academy of St. Martin-in- this case, the mystical English poet Thomas
the-Fields. Ledger has performed as organist, Traherne (c. 1636 –74). He weaves three of
Traherne’s poems together with seven of
the liturgical Latin texts to trace the lifecycle,
beginning with the poem Birth of the Soul and
ending with In Paradisum. Like Brahms and
Fauré, Ledger emphasizes the hopeful and
consoling aspects of death. In Ledger’s view,
Engage your parishioners through song “when composing for choirs, you have to
set the words sensitively and reverently.” To
help achieve this aim, he scores the work in-
Increase participation with FREE assembly
timately, writing for soprano and tenor solo-
downloads for over 2,000 hymns and songs ists, mixed chorus, and a chamber ensemble
you know and love. Plus, enjoy exclusive that includes flute, harp, cello, double bass,
timpani, and organ.Those movements whose
permissions for “Here I Am, Lord”
texts convey peace and rest are, not surpris-
and 100,000 other popular titles ingly, more convincing than those that pursue
to inspire your congregation. more dramatic themes. The Latin texts,
interestingly, elicit more inventiveness and
variety from Ledger than those in English. In
Start an annual license! particular, the Kyrie contains a commendable
balance of artful, free-flowing polyphony and
convincing homophony. The Sanctus opens
with a beautiful, ethereal women’s section
1-800-LITURGY (548-8749) and closes with a playful, joy-filled Hosanna.

62 CHORAL JOURNAL Volume 51 Number 8

The Pie Jesu, with soprano solo and cello, has tions of the complexity of human nature. of consideration.
moments of transcendence that become the When looking for beautiful music that speaks
highlight of the entire work. easily to singers, audiences, or congregations, Dirk Johnson,
In addition to the Requiem, the disc Sir Philip Ledger’s choral works are worthy Charleston, West Virginia
includes four teen individual settings of
English texts: carol arrangements, anthems,
and original settings of traditional Christmas
fare. Each reflects Ledger’s preference for
approachability and immediate intelligibility. P
He freely, and frequently, shifts from unison,
divided women, divided men, and SATB
textures, establishing transparency with the
thinner vocal textures and providing points
of emphasis with the full choral sound. His
forms are straightforward, very frequently YALE SCHOOL OF MUSIC
repeating music literally in subsequent NORFOLK CHAMBER MUSIC FESTIVAL
stanzas, and the organ accompaniments are
subtle and effortless. Because of the music’s
simplicity, pieces tend toward the formulaic,
at least in their formal structure. Their in-
Chamber Choir & Led By
Simon Carrington
ventiveness and natural balance within the Choral Conducting Workshop August 14 – 21, 2011
melodic line, however, elevates them above
the commonplace, to be both serviceable
and highly effective for church choirs. Ledger DEADLINE All materials must be received by Friday, March 25, 2011
is particularly successful in his arrangements.
The carol Good Christians All Rejoice is made Music Among
jubilant through rhythmic variety in the Friends
voices and energetic organ interjections. This
Joyful Eastertide, the strongest work on the A week-long workshop of
disc, sparkles with textual interplay in the coachings, masterclasses, rehearsals
opening lines, antiphonal writing between and seminars for advanced singers
and choral directors
voices and organ, and a full and glorious
conclusion. Among his original compositions, Repertoire will range from the
Adam Lay Ybounden, Advent Calendar, Loving Renaissance to the 20th century
Shepherd of Thy Sheep, and Jesus Christ the
Workshop sessions and final concert
Apple Tree are especially effective. will be recorded on DVD
The Choir of Christ’s College, Cambridge
is well suited to Ledger’s works. Indeed, Conductors will have the opportunity
to conduct instrumental as well
it is obvious that Ledger was writing with as choral ensembles
this type of choir in mind. Their intonation
is nearly impeccable and the blend, while An idyllic location on the grounds
of the Ellen Battell Stoeckel Estate
not as consistent as more prominent Eng-
in the Litchfield Hills of northwestern
lish choirs, is quite good, offering the vocal Connecticut
timbres you would expect from an English
church choir. The vocal soloists in the Requi-
em execute well, and the chamber orchestra " 1 1 - * $ "5 * 0 / 4  &
performs the work effectively, with the solo * / ' 0 3 . "5 * 0 /
cello deserving specific mention.
Requiem, A Thanksgiving for Life: Choral
Works by Sir Philip Ledger offers listeners a CALL 860.542.3000
collection that communicates effectively and
directly. Ledger enhances texts with pure and Photo: Peter Bagley
unencumbered emotion rather than depic- Photo: Peter Bagley

CHORAL JOURNAL Volume 51 Number 8 63

John Taverner Sacred Choral Music that may have been composed by Taverner, demonstrate outstanding ensemble through-
The Choir of St. Mary’s Cathedral, Christopher Tye, John Baldwin, or some com- out the recording. Their agility and precision
Edinburgh Duncan Ferguson, bination thereof! The piece is of historical are particularly noteworthy during the
Organist and Master of Music interest, both for its ambiguous authorship rhythmically intricate melismatic passages
Delphian 34023 (2009; 58’10’’) and its lengthy anonymous text. The music that abound in Taverner’s music—as in the
itself, however, is less splendid than that of ornate opening of the Credo of the Mass—
This album joins the ranks of acclaimed the rest of the disc, with long homophonic but also render unison chant lines a pleasure,
Taverner discs from the Tallis Scholars, The sections and few truly distinguished passages. rather than an exercise in liturgical necessity.
Sixteen, the Christ Church Catheral Choir, The Choir of St. Mary’s, a traditional ca- The only blemish on the unity and balance
and the St. John’s College Choir. Although the thedral choir of men and boys since the late of the choir results from the cathedral’s
pieces featured here have all been recorded nineteenth century, became, in 1978, the first acoustics. The lower voices, particularly
by others,The Choir of St. Mary’s Cathedral, in the U.K. to admit girls.Thirty years’ integra- basses, are almost always slightly muddied,
Edinburgh, distinguishes itself by its unique tion of boys and girls has paid dividends in while the sopranos and altos ring clear, giving
sound and the energized interpretations of the sound of the trebles, who maintain the them a prominence at times beyond what
Duncan Ferguson, its director. purity of a traditional boys-only section, but is warranted. Despite this, the contrapuntal
This disc includes what may be Taverner’s have more flexibility and power than some textures of the music come through with
best known work, his Dum transisset Sab- other cathedral choirs.The ten senior choris- clearly articulated entrances and contours.
batum (I), a five-part setting of the Gospel ters (six girls and four boys) are joined by the The performances never sacrifice vitality
of Mark’s recounting of Mary Mother of lay clerks: four altos (again mixed, with two in favor of virtuosity, but communicate a pal-
James and Mary Magdalene’s Easter morn- women and two men), four tenors, three pable sense of excitement. Without pressing
ing journey to the tomb of Jesus. The album baritones, and three basses. Ten soloists are or rushing tempos, Ferguson is nonetheless
also includes the so-called Leroy Kyrie, as identified, but the specific passages in which able to draw from the choir a remarkable
well as the complete Missa Corona spinea, they sing are not specified. The solo tenor, intensity and sense of forward momentum.
and the simpler Dum transisset Sabbatum (II). baritone, and bass of the Et incarnatus of the Climactic moments occasionally verge on
The single oddity on the album is the final Mass do particularly fine and sensitive work. the out-of-control, as at the end of Dum
piece, O splendor glorie, a five-voice antiphon The twenty-four singers of the choir transisset Sabbatum (II), but any raggedness
of tone is a small price to pay for such a
vibrant interpretation of Taverner’s music.

David Rentz
Claremont, California

Pardon our Error

The Gregory W. Brown's article "Politics
and Folk-Song arrangement" in the
Works of Fernando Lopes-Graca, which
appeared in the New Voices in Reasearch
section in the December 2010 issue
contained several omissions. The sidebar
on page 48 should have contained the
following Web site http://gregorywbrown.
com/music/pub/flg/. Gregory’s bio was
inavertantly omitted.Gregory W. Brown,
DMA, is assistant director of choral
activities and lecturer at Smith College in
Northampton, MA.

64 CHORAL JOURNAL Volume 51 Number 8

2 0 1 1


Editor’s note: The following is a companist on request. Request only, if preferred. Competition is
partial list of choral events tak- formances/performanceseries/ for the same must be made by arranged by type and level and is
ing place between May 1 and index.aspx#masterworks April 5, 2011. The Organizing scored using the Musica Mundi
September 1, 2011. Events are Committee will provide a piano evaluation system. Workshops
listed chronologically and include and the percussion instruments. and seminars will be featured at
festival listings, workshops, clinics, May 1 – 8 E-mail: associazione.melody@ the festival and are open to festi-
seminars, masterclasses, confer- European Music Competition val and competition participants.
ences, and summer courses. Cli- Sponsors: European Commis- Phone: 0968725804 335267070 Contact: Christina Prucha
nicians, where available, are listed. sion Representation in Italy, Web site: www.associazione- Phone: 405.232.8161
Contact information appears at Calabria, Patronage Province of Web site:
the end of each entry. Vibo Valentia, Patronage City of
Location: FiladelFia Vibo Valentia, May 4 – 8 May 12 – 16
May 1 Italy American International 2nd Festival
Rutter Requiem at Special Prize: Paul Serrao Choral Festival - Reno Musica Sacra in Venice
Carnegie Hall Info: Over $ 20,000 in Priz- Sponsor: Interkultur Sponsor: MRF MusicFestivals
Sponsor: es The competition is open Location: Reno, NV Location: Venice, Italy
Manhattan Concert Productions to young musicians of any Info:The American International Info: 2nd International festival of
Location: Stern Auditorium/ nationality. Opera Singing-Pi- Choral Festival will include many choirs and orchestras of sacred
Perelman Stage, Carnegie Hall, ano-Strings-Woodwind-Guitar- choral competitions in multiples music in Veneto (Italy)
New York, NY Accordion-Percussion-Chamber categories and a series of festival Venice – the city of canals and
Info: Perform John Rutter’s Re- Music-Low Secondary school in- concerts. Choirs of all levels and gondolas Venice and its lagoon
quiem with professional orchestra strument classes-Choirs- Bands/ types are welcome. The festival have been on the Unesco list
and soloists windbands. The rules are now portion includes a series of gala of heritage sites since 1987, and
James Bass, Conductor available. Closing date for all ap- concerts and encounter con- have long been one of Europe’s
Web site: http://manhattancon- plications is April 15, 2011.The certs and choirs are welcome most popular tourist destina-
Association will provide an ac- to participate in this portion tions. For many people, Venice

66 CHORAL JOURNAL Volume 51 Number 8

is the most beautiful city in the Contact: Joanna Stankowska May 27 – 30 numerous choirs all over the
world. An amazing city, consist- Phone: 00148-58- 555 84 58, National Memorial Day world. The choir competition will
ing of 118 islands connected to 555 84 40 Choral Festival take place at the Brucknerhaus,
one another by more than 400 Web site: http://www.munduscan- Location: Washington, D.C. with the Bruckner Hall and the
bridges. But the city fascinates Sponsor: Chamber Music Hall (1,400
above all through its numer-
Music Celebrations International and 350 seats, respectively) the
ous artistic treasures: churches,
Info: Pride. Sacrifice. Service. first address in the cultural and
palaces and museums. The heart May 26 – 30 Come sing in honor of America's concert life of the city of Linz,
of Venice – Piazza San Marco and Handel Massed Sing heroes from the American Revo- the Ursulinenkirche in the centre
its marvellous basilica – is one of Sponsor: lution through Operation Iraqi of town, Linz Cathedral and the
the world’s most beautiful places. Music Contact International Freedom, in the John F. Kennedy St. Florian Monastery. The Inter-
Contact: Gregor Laskowski Location: Halle, Germany Center for the Performing Arts national Anton Bruckner Choir
Phone: 0049-7221-967696 Info: The highlight of the festival over Memorial Day Weekend Competition is an international
Web site: http://www.mrf-music- is the massed performance of G. under the artistic direction choir competition with various F. Handel’s choral work Alexan- of Craig Jessop. Not merely categories of different levels
der’s Feast under the direction a festival for Washington, the of achievement for amateur
of acclaimed Irish conductor National Memorial Day Choral choirs and presents itself at
May 17 – 20, 2012 Proinnsías Ó Duinn, familiar to Festival is an event for the entire the same time as a Festival of
International Choral singers from around the world country—a major event which Choral Music in which choirs
Competition Ave Verum from the annual performance of seeks to draw the attention of from all over the world can give
Sponsor: Federal Government Handel’s Messiah. Americans to the real meaning concerts and make the most of
of Lower Austria, City of Baden, Contact: for the holiday. the atmosphere of this interna-
Ministry of Education, Choral Fed- Music Contact International Web site: tional event. The attraction of this
eration of Austria, Choral Federa- Phone: 1-800-624-0166 event consists of performing at
tion "Chorszene NOe", Backwerk E-mail: nmd_choral_festival.html a competition for a grand prix
Austria,Volksbank Austria, Buehne E-mail: info@musiccelebrations. as a basic artistic component on
Baden, Novomatic Phone: 1-800-395-2036 one hand, and the possibility of
Location: Baden / Austria May 26 – 30 participation in the encounter
(25km south of Vienna) Cantate Adriatica and gala concerts at St. Florian,
Info:, all compe- Sponsor: June 1 – 5 Linz Cathedral and the inner city
tition details will be posted soon Music Contact International 3rd Anton Bruckner Choir of Linz on the other hand. Of
E-mail: Location: Adriatic Coast of Italy Competition and Festival course, the city of Linz has the
Info: As the oldest republic in Sponsor: Interkultur attraction of its wide variety of
the world, San Marino thrills visi- Location: Linz, Austria event offerings and as the point
May 25 – 29 tors with its traditions, terraced Info: Anton Bruckner, one of of departure for tourist excur-
Mundus Cantat 2011 landscapes and breathtaking the greatest composers of the sions to interesting places in
Sponsor: City of Sopot/ panoramic views. Choirs meet late Romantic period, spent long Upper Austria and beyond.
Ministry of Culture et. al. for the first time at the opening years of his career as cathedral Contact: Hugh Ballou
Location: Sopot, Poland ceremony in a lovely vineyard organist and composer at the Phone: 888-398-8471
Info: We invite adult, chil- under ancient olive trees sur- St. Florian Monastery near Linz. Web site:
dren’s, and youth choirs to sing rounded by fields of grapevines. His works belong to the most
sacral,secular, gospel, jazz, and Contact: important produced during the
spiritual music. Auditions and Music Contact International Romantic period. In particular, his June 2 – 4
additional concerts take place in Phone:1-800-624-0166 motets and masses are towering Chattanooga Symposium on the
the beautiful churches of Sopot, E-mail: examples of Catholic Church History of Music Education
whereas the Final Concert will
music of the second half of the Sponsors: University of Tennessee
be celebrated in a unique one-
nineteenth century and belong at Chattanooga, University of Mis-
hundred-year-old amphitheatre
to the standard repertoire of sissippi, and the Music Educators
at the Forest Opera in Sopot.
National Conference

CHORAL JOURNAL Volume 51 Number 8 67

2 0 1 1 S U MM E R
Location: Chattanooga,Tennessee is considered as one of the most Location: Manhattan, Kansas June 8 –12
Information: Scholarly confer- outstanding music festivals in Info: For high school students. Swedish Summer Sing
ence concerning any historical the world. In 2005, more than Every student accepted receives Sponsor: Music Contact Inter-
aspect of music teaching and 230 choirs and folklore groups a full scholarship. national
learning, including choirs. For representing 46 countries came Web site: Location: Smaland, Sweden
details, see: to the fifth Harmonie Festival. Info: Revel in the endless daylight
<> Patron was the Chancellor of the of Scandinavian summer as you
Contact: William R. Lee, Federal Republic of Germany, June 6 – 9 visit Denmark’s capital, Copen-
E-mail: Gerhard Schröder. The Patron Music Explosion 2011 hagen, and the lush Southern
of the Harmonie Festival. 2011 Location: Hilton Oceanwalk Swedish province of Småland.
is the Chancellor of the Federal Sponsor: Kempke's Music Connect with other choirs from
June 2 – 6 Republic of Germany, Angela Service Scandinavia and around the
2nd Badenia Music Festival Merkel. Artistic director of the Presenter: Mary McDonald world to celebrate midsummer
Sponsor: MRF MusicFestivals Harmonie Festival. 2011 is Jan Contact: Kellie Rupert and share your love of music.
Location: Baden-Baden, Germany Schumacher. Honorary president Phone: 407-562-0333 Contact: Music Contact Inter-
Info: Baden-Baden—a charming is Jeroen Schrijner (former Presi- national
town in the heart of the Black dent of Europa Cantat). Phone: 1-800-624-0166
Forest. Ancient Romans were Choirs can take part in 14 dif- June 8 – 10 E-mail:
the first to value the hot springs ferent categories. Their perfor- ICDA State Conference
of Baden-Baden, and in the late mances will be assessed by an Location: Butler University,
nineteenth century the town international jury. Besides the Indianapolis, Indiana June 9 – 12
became the summer capital of Harmonie Festival Prize, awarded Headliners: Pearl Shangkuan Vermont
Europe. Whoever arrives in this to the choir with the highest (Calvin College) and Jeff Johnson International Choral Festival
place can immediately experience score in each category, and vari- (University of Kentucky) Sponsor: Music Contact Inter-
its sophisticated atmosphere and ous extra prizes for outstanding General info: Twelve reading/ national
enjoy the reassuring joie de vivre performances the Prize of the literature sessions; sessions on Location: Stowe and Burlington
it offers. Its unique surround- Federal President of the Federal matching rehearsal techniques to Vermont
ings—the Black Forest—numer- Republic of Germany and the style period, rehearsal techniques Info: Choirs have an opportunity
ous villas belonging to the rich Prize of the Federal Chancel- for different types of learners, to select from two great ways
and beautiful, hot baths, the lor of the Federal Republic using imagery in rehearsal, tech- to participate in the Vermont
largest opera theater in Germany of Germany will be awarded nology in the choral classroom, International Choral Festival, The
as well as the spa house and the in case. The international jury barbershop singing, vocal health, Massed Sing, under the direction
famous casino— they all exude consists amongst others of the tour planning, warm-ups for of Robert De Cormier or The
the atmosphere of an interna- following members: Robert middle school choirs, planning Concert Series.
tional resort. Sund (Sweden), Juergen Budday a worship service, takadimi Contact: Music Contact Inter-
Name: Gregor Laskowski (Germany), Josep Prats (Spain), method of teaching rhythm, national
Phone: 0049-7221-967696 Theodora Pavlovitch (Bulgaria), Dalcroze in the choral rehearsal, Phone: 1-800-624-0166
Web site: http://www.mrf-music- Maris Sirmais (Latvija), Reijo Kek- and more! E-mail: konen (Finland). Contact: Bill Niederer
Web site: http://www.harmonie- ICDA President-Elect Phone: 574/295-4743 June 10 – 12
June 2 – 6 E-mail: wniederer@elkhart.k12. American Baptist Music Confer-
Harmonie Festival ence
Sponsor: Federal Republic of June 5th – 11 Web site: Location: Parchment Valley Con-
Germany Summer Choral Institute ference Center
Info: The Harmonie Festival, Sponsor: Joshua Oppenheim and Sponsor: West Virginia Baptist
with its international choir and Julie Yu, Co-Directors of Choral Convention
folklore events and competitions, Studies. Presenter: Lloyd Larson

68 CHORAL JOURNAL Volume 51 Number 8

& WO R K S H O P
June 10 – 13 choirs may visit the nearby towns from Mecklenburg-Strelitz. I look Ministery of Culture and Educa-
Festival Singers of Florida of Florence, Pisa, or Lucca. forward to welcoming many tion, as well as the local tourism
and Friends Contact: choirs… to this unique cultural boards, ChorFreude2011 offers
Sponsor: Music Contact International event in the home of Sophie unique opportunities to connect
Music Celebrations International Phone:1-800-624-0166 Charlotte: Mecklenburg-Vorpom- through the universal language of
Location: New York City, E-mail: mern, Germany.” music. Venues which are normally
New York ChorFreude is a word play on closed to performing groups
Info: The Festival Singers of the German words for choir or only available to profes-
Florida Festival Chorus is a June 11 – 20 (chor), and joy (freude), with sional ensembles will become
program to provide singers with ChorFreude International the inspiration drawn from available, such as the former
an opportunity to study the art Music Festival another German term, Vor- residence of Queen Charlotte
of choral singing and to perform Sponsor: Incantato Tours; Char- freude which can be loosely in the beautiful village of Mirow.
in a beautiful professional venue: lotte International Cabinet; Min- translated as happy anticipation. Queen Charlotte of Mecklen-
Alice Tully Hall in New York City’s istery for Culture and Education ChorFreude is also the title for a burg, consort of King George III,
Lincoln Center. Participants will Location: German Baltic Coast; new international choral festival devoted much of her powers to
rehearse and perform prior to Mecklenburg-Vorpommern, Ger- that showcases an unknown the advancement of music in the
the festival with a professional- many gem of Germany—the state kingdom. As a connoisseur and
level mixed chorus and experi- Info: The Ministery of Culture of Mecklenburg-Vorpommern. enthusiast of the great George
ence the excitement of "Engaging and Education is rolling out the You may have heard of the rich Frideric Handel, Queen Char-
and Inspiring through Impas- red carpet on the beautiful, his- natural beauty and cultural, and lotte displayed an avid interest in
sioned Singing," which is the mis- toric, and musically rich German historical significance of the Baltic all German artists and compos-
sion of Festival Singers of Florida. Baltic Coast in celebration of Coast, but people rarely make ers. She often commissioned
The Festival Chorus, under the the 250th anniversary of Queen the connection that there is also a young Wolfgang Amadeus
direction of Kevin Fenton and Charlotte’s coronation. You are a German Baltic coast with a Mozart to perform for the royal
Craig Zamer, will perform several invited to join other outstand- very strong music-making tradi- court, and even employed the
wonderful pieces, new and old, ing vocal ensembles to perform tion. Mecklenburg-Vorpommern son of Johann Sebastian Bach as
that support the theme of "Love at this groundbreaking event. (MV) State boasts hundreds of her personal music master. The
and Romance." Invitation from the Ministery of choirs and choral organizations, ChorFreude International Music
Contact: Bill Bergeman Culture, Education, and Econom- with many of them celebrating Festival honors the 250th an-
Phone: 800.395.2036 ics, Mecklenburg-Vorpommern, Germany’s heritage and tradi- niversary of Queen Charlotte’s
Web site: www.musiccelebrations. Staatssekretär Udo Michallik: tions. coronation, celebrating the legacy
com/festivals “The German Baltic Coast is not In the summer of 2011, MV of one of Germany’s most dedi-
well known internationally, but a is looking forward to hosting cated musical advocates.
hidden treasure: Fairy-tale castles international choral groups ChorFreude features • Featured
June 11 – 15 with beautiful gardens, medieval for the very first time in quite performances at magnificent
Tuscany International cathedrals and churches, and unique settings. Venues range venues such as the Schwerin
Choir Festival spectacular ocean boardwalk from ancient churches and Cathedral, the Landestheater,
Sponsor: will not only impress you, but haunted castles, to elaborately and Konzertkirche. • Opportuni-
Music Contact International provide a stunning backdrop decorated palaces and stunning ties for exchanges with fellow
Location: Tuscany, Italy for unforgettable concerts. The cathedrals—all with wonderful musicians, German schools,
Info: Choirs perform three con- Ministery of Culture, Education, acoustics and appreciative audi- and performing ensembles. •
certs while participating in the and Economics Mecklenburg- ences that can’t wait to embrace Participation at the official grand
festival; first at the Tettuccio Spa, Vorpommern supports the 2011 singers from the new world. re-opening celebration of the
then in the town’s main plaza, International Choral Festival ChorFreude is an initiative that Castle Mirow where Queen
Piazza del Popolo, for a large celebrating the 250th anni- was born to reach out and start Charlotte was raised. • Per-
local audience, and finally for a versary of Queen Charlotte’s a friendship between musicians sonalized itinerary with various
church congregation on Sunday coronation, who was originally from both sides of the big pond. sightseeing options, such as a visit
morning. Between performances, Supported by the MV State to the historic Schwerin Castle,

CHORAL JOURNAL Volume 51 Number 8 69

2 0 1 1 S U MM E R
swimming in the Baltic Sea, and a June 13 – 16 Contact: Dorothy Kantor come together on stage for the
traditional Float Tour in the town Composer Symposium E-mail: so-called Grande Finale and
of Neustrelitz. Location: Pine Lake Music Con- Phone: 320-363-3154 perform Beethoven’s Ode to Joy.
Incantato Tours offers unique ference Center Fax: 320-363-3145 The festival ends with a recep-
travel packages to accommodate Sponsor: Pine Lake Web site: www.CatholicYouth- tion with drinks and snacks at the
the special needs of all festival at- Presenter: Lloyd Larson Ammergauer Haus. The festival
tendees. All packages include: Contact: Dawn Johnson will be led by a professional
E-mail: djohnson@pinelakemusic. guest director. No audition is
• International economy-class June 15 – 21 needed. Marching bands can per-
round-trip airfare Berlin with Z. Randall Stroope form prior to the festival during
• Participation in the Chor Sponsor: KIconcerts the opening parade through the
Freude Festival (rehearsals, June 14 – 20 village. Upon request workshops
Location: Berlin, Germany (with
concerts, receptions, party) Passion of Italy – and/or rehearsals take place on
extension opportunities to
• Professional concert manage- St. Peter’s Basilica Friday June 17.
Desden, Prague, and Vienna)
ment and marketing (Rome with extensions of Venice Contact: Wens Travel,
Info: Perform in a festival led
• Bi-lingual tour manager and and Florence) Janneke Hoeberigs.
by Z. Randall Stroope at the
transportation Sponsor: KIconcerts Phone: 011 31 54 29 333.
spectacular Berliner Dom (tbd)
•Educational and enter taining Location: Rome (or Venice, Flor- E-mail:
and immerse yourself in the
sightseeing with entrance ence, and Rome) Web site:
culture and music of the historic
fees to major sights Info: Sing Mass in the glorious
cities of Berlin and Leipzig. Enjoy
St. Peter’s Basilica led by Anna
individual concert opportunities
Contacts: Courtney Williams; Hamre and Hilary Apfelstadt and June 18
and the option to extend your
Sandra Weinacht perform individual concerts and Alfred School Choral Reading
tour to Prague, Dresden, and
Phone: 704.820.6223 in their combined gala con- Session
Web site: http://chorfreude2011. cert. Experience ancient Rome Location: Kidder Music, Peoria, IL
Contact: Oliver Scofield; http://www.incan- with marvels that include the Info: Join Sally Albrecht for an
Phone: 719-260-0200 monumental Colosseum and the Alfred School Choral Reading
breathtaking Sistine Chapel. Session
Web site: http://www.kiconcerts.
Consider extensions to the Contact: Kidder Music
June 13 Italian cities of Venice, “The City Phone: 888-322-2801
National Children’s Choir of Water,” and Florence, “The E-mail:
Series at Lincoln Center Cradle of the Renaissance.” Web site: http://kiddermusic.
June 18
Sponsor: Manhattan Concert Contact: Oliver Scofield com
Phone: 719-260-0200 Passion For Music
Productions Friendship Festival
Location: Alice Tully Hall, E-mail:
Web site: http://www.kiconcerts. Sponsor: Wens Travel,
Lincoln Center, New York, NY Netherlands June 19
Info:Rehearse and perform with com/choral/events/?id=123
Location: Oberammergau, National High School Festival
other children’s choirs from Bavaria. Germany Sponsor: American Federation
around the country Info: The Passion for Music Pueri Cantores
Emily Ellsworth, Conductor June 14 - 28
Friendship Festival is an inter- Location: Walt Disney Concert
Web site: http://manhattan- National Catholic Youth Choir –
national music festival in the Hall, Los Angeles, CA Summer Camp
Passion Play Theatre of Oberam- Info: Choirs participating in a
performances/performanceseries/ Location: Saint John’s University
mergau. It is a non-competitive regional festival will be given the
index.aspx#childrens Collegeville, MN
festival and is open to choral and first right of acceptance.
Info: A 2 week choir camp for
instrumental ensembles. Each Paul Salamunovich, Conductor
high school freshmen, sopho-
group gets the opportunity to Web site: www.puericantores.
mores and juniors. Includes one
perform for about 30 minutes. In com
week concert tour. Axel Theimer,
Conductor the late afternoon all ensembles

RN Volume 51 Number 8
& WO R K S H O P
June 19 – 24 Contact: Show Choir Camps of E-mail: Contact: Luke Wiscombe
Music Texas 2011 America Web site: Phone: 800.395.2036
Location: Smith Center for Lead- Phone: 630-663-4500 music/graduate Web site: www.musiccelebrations.
ership Development, Southwest- E-mail: com/festivals
ern Baptist Theological Seminary Web site:
Sponsor: Kempke's Music June 23 – 26
Service Serenade! June 23 – 27
Presenter: Mary McDonald Washington, DC Choral Festival Rome International
Contact: Kellie Rupert June 20 – 23 Sponsor: Classical Movements Choral Festival
Phone: 407-562-0333 Kempke’s Music Texas Location: Washington, DC Location: Rome, Italy
Sponsor: Kempke’s Music Service Info: Choirs will experience Sponsor: Music Celebrations
Location: Fort Worth, TX individual shared choir concerts International
June 19 – June 25 Info: Join Sheldon Curr y for in cathedrals, churches, schools, Info: Music Celebrations is
SFEMS Medieval & Renaissance Alfred’s Sacred Choral Reading halls and national monuments. pleased to produce the 3rd an-
Workshop: Sessions at Kempke’s Music Texas You will also get to take part in nual Rome International Choral
Music from the Edges of Europe 2011 a number of choral workshops Festival under the direction of
Sponsor: San Francisco Phone: (800) 753-6753 with leading choral conductors. Z. Randall Stroope. The Festival
Early Music Society Web site: Take part in the historic tradition Chorus will have the opportu-
Location: Sonoma State Univer- of Choral Evensong Services in nity to participate and sing in a
sity, Rohnert Park, CA prestigious cathedrals, churches Mass at St. Peter’s Basilica in the
Info: Karen Clark and Daniel June 20 – 24 and basilicas. Enjoy sightseeing Vatican. Festival rehearsals and an
Johnson, voice; Rebekah Ahrendt, Title: Appalachian State Univer- in Washington, DC, Alexandria, additional performance will take
viola da gamba; Annette Bauer, sity Silver Burdett 2011 Summer Baltimore, and surrounding areas, place in Rome’s historic S. Maria
recorder; Bruce Dickey, Music Institute possibly including the Smithson- Sopra Minerva, located near the
cornetto; Greg Ingles, sackbut; Location: Boone, NC ian Museums, the Capitol Build- Pantheon.
Tim Rayborn, medieval Info: Join Andy Beck for a School ing, the White House, and the Web site:
strings, percussion; Mehmet Choral Reading Session at the national monuments.
Sanlikol, ud, ney; Mary 2011 Silver Burdett Music Contact: Katie Hickey rome_choral_festival.html
Springfels, viola da gamba, medi- Institute Phone: (703) 403-0534 E-mail: info@musiccelebrations.
eval strings; Nina Stern, Contact: Appalachian State Uni- Web site: www.classicalmove- com
recorder; Dan Stillman, early versity Phone: 1-800-395-2036
reeds; Tom Zajac, early winds, Phone: 828-262-2921
all-workshop collegium. E-mail:
Contact: Tom Zajac Web site: http://www.confer- June 23 – 26 June 26 – July 1
Phone: 617-323-0617 Windy City University of Georgia Summer
E-mail: medrenworkshop@sfems. Youth Choral Festival Choral Conducting Institute
org Sponsor: Music Celebrations Sponsor: The Hugh Hodgson
Web site: International School of Music and Daniel Bara
June 20 – July 1 Location: Chicago, Illinois Location: The Hugh Hodgson
Kodály Institute at St. Thomas Info: Treble-voice choirs are School of Music at The University
June 19 – 25 Location: University of St.Thomas invited and selected based upon of Georgia in Athens, GA
Show Choir Camps of America St. Thomas, MN recommendation, and will join Info: The UGA Summer Choral
Sponsor: J.W. Pepper Intructors: Angela Broeker, Carol together to sing both individual- Conducting Institute is an
Location: Millikin University, De- Brown, Dan LeJeune, and Rita ly—as well as en masse in one of intensive, week-long series of
catur, IL Klinger. America’s great concert halls— seminars and master classes led
Info: Join Sally Albrecht for Alfred’s Info: See web for tuition and dates Orchestra Hall, home of the Chi- by Daniel Bara that is geared
School Choral Reading Sessions at for each program. Housing avail- cago Symphony Orchestra. The for music educators, graduate-
Show Choir Camps of able on a per night basis. festival will be under the artistic student conductors, church
America! Contact: 651-962-5870, direction of Lynne Gackle. musicians, and other aspiring

A Volume 51 Number 8 71
2 0 1 1 S U MM E R
Peter’s Basilica and the Vatican
conductors who wish to grow June 29 – July 3 Web Site: www.ClassicalMove-
as artists, teachers, musicians, and
Mozart International Contact: Hugh Ballou
leaders. Choral Festival Phone: 888-398-8471
Contact: Daniel Bara Location: Salzburg, Austria Web site:
Phone: (706) 542-2797 July 2011
Sponsor: Music Celebrations
Web site: International Survey of LCI Practice:
Info: This spectacular four-day Studying Works of Art,
July 2 – 6
choral festival will culminate in a Creating Curriculum,
Summa Cum Laude
June 26 – July 2 performance of Mozart's Mass Exploring Imaginative Learning
International Youth
SFEMS Baroque Music in C "Coronation,” K.317, with Sponsor: Lincoln Center Institute
Music Festival
Workshop: The Italian accompaniment by full orchestra Location: Online
Sponsor: Presented by Via Musica
Connection and European soloists in Salz- Info: A rigorous ten-week
Location: Vienna, Austria
Sponsor: San Francisco Early burg’s historic Dom, under the workshop that offers a com-
Info: The annual Summa Cum
Music Society artistic direction of Eph Ehly. In plete introduction to Imaginative
Laude International Youth
Location: Sonoma State addition to the Festival perfor- Learning: The Lincoln Center
Music Festival began in July 2007.
University, Rohnert Park, CA mance, participating singers will Institute practice. Also available,
Vienna’s global festival provides
Info: Rita Lilly and David New- also participate and sing in a is the Introduction to Lincoln
a platform for talented youth
man, voice; Frances Blaker, Mass in the Dom. Center Institute: Three Week
choirs, bands, and orchestras to
recorder; Sand Dalton, Baroque Web site: Workshop, if you’re interested
perform in Vienna’s magnificent
oboe; Kathleen Kraft, Baroque in learning about Lincoln Center
Musikverein. In 2008, the Summa
flute; Kati Kyme, Baroque violin mozart_choral_festival.html Institute in a brief format. Gradu-
Cum Laude Festival program
and orchestra; William Skeen, E-mail: info@musiccelebrations. ate credit available.
expanded to include a competi-
Baroque cello; Mary Springfels, com Contact:
tion and celebration, where
viola da gamba; Peter Sykes, Phone:1-800-395-2036 performing groups compete
harpsichord; Marion Verbruggen, with their peers as well as the
recorder. July 1 – 6
option to participate in the
Contact: Kathleen Kraft June 29 – July 11 4th Musica Sacra a Roma
non-competitive “SCL Celebra-
Phone: 707-799-2018 IHLOMBE South African Sponsor: Interkultur
tion.” The finalists perform in the
E-mail: baroqueworkshop@sfems. Choral Festival Location: Rome, Italy
Musikverein in Vienna, one of the
org Sponsor: Classical Movements Info: Lay choirs from all over
world’s three finest concert halls.
Web site: Location: Cape Town, Pretoria, the world focusing on sacred
The Summa Cum Laude Festival
Johannesburg, and Game Park music are invited again to come
offers all performing groups the
Info: The festival is in associa- to the eternal city in peace and
opportunity to participate in
June 27 – July 29 tion with the Choral Institute friendship. In the tried-and-true
workshops where the artists
Piano Pedagogy Course: Ad- of South Africa and CHORISA. tradition of competition perfor-
further develop their musical
vanced Piano Pedagogy Perform individual and shared mances and representative eve-
knowledge. Additional concerts
Location: University of St.Thomas concerts with top South African ning concerts in the magnificent
take place where performing
St. Thomas, MN Choirs. Enjoy workshops with fa- churches of Rome, together with
groups represent their home
Instructor: Katherine Faricy mous choral conductors, African official events such as a Mass in
country and share its respective
Info: See web for tuition and dates drumming, dancing, and singing. St. Peter’s Cathedral, for example,
music with the Austrian public.
for each program. Housing avail- Contact: Jayci Thomas a festival is being organised which
Contact: Bram Majtlis
able on a per night basis. Classical Movements, Inc. will further the comparison
Phone: 800-790-4682 -
Contact: 651-962-5870, 319 Cameron St. between choirs as well as making
E-mail: Alexandria, VA 22314 music together and spiritual en-
Web site: Phone: +1-703-683-6040 counters. And there’s the chance
Web site: http://www.sclfestival.
music/graduate Fax: +1-703-683-6045 to experience Rome and the
E-mail: jayci@classicalmovements. opportunity to witness the magic
Festival Impressions: http://www.
com of the architectural, sculptural
and painting master-pieces in St.

RN Volume 51 Number 8
& WO R K S H O P
July 3– 24 The festival will provide ample Phone:1-800-624-0166
July 7 –10
SingDownunder, the New opportunities for groups to E-mail:
29th International Choral
Zealand Schools Choral Festival perform their repertoires to an Festival of Preveza –
Location: New Zealand, Auckland, interested audience, whether
17th International Choral Com-
and the South Island they specialise in choral, orches- July 7 –11
petition of Sacred Music
Info: In Ackland 6 days including tral, or folk music. Wernigerode Cantus Salisburgensis
Sponsor: Choral Society
full day Maori and Polynesian is a town with a very special flair. Sponsor: Music Contact
“Armonia” of Preveza
Choral Workshops, and a two It is a gem of medieval architec- International
Location: Preveza – Greece
day competition in the Holy ture located on the foot of the Location: Salzburg, Austria
Info: Open to all kind choirs.
Trinity Cathedral with immedi- low mountain range of the Harz. Info: Musicians from around the
Competition for mixed, equal
ate live feedback, a massed choir There is hardly any other town world come to Salzburg each
voices, children’s, chamber, and
rehearsal and perfomance, a with so many magnificent semi- year to perform massed sing
youth choirs. The competitive
concert, and recordings. Subse- timbered houses—a feast for selections under the direction
programme must include: A
quently touring and perfomances your eyes. And it is an excellent of Salzburg Cathedral’s Music
piece of sacred music composed
with local and other international stage for the parade and opening Director, János Czifra. The festival
before 1800, a piece of sacred
choirs and groups in venues, ceremony and further open air takes place each year in March
music composed between 1800
some tiny, in the scenic South events. and July.
– 1950, a piece of sacred music
Island for 6 to 15 days. Contact: Hugh Ballou Phone: 1-800-624-0166
composed after 1950, a folk
Contact: Owen Sharpe Phone: 888-398-8471 E-mail:
song from the choir's country of
Phone: +64211127077 Web site:
origin, and a compulsory piece
Web site: www.singdownunder.
which have been sent by the
com July 9–15
artistic vommittee of the Festival.
E-mail: Owen@SingDownunder. July 7 Crossroads Children’s
Deadline for application:
com Choral Super Session Chorus Festival
April 1, 2011
Location: Norwalk, CA Host Choir: West Tennessee
Contact: Kosmas Koronaios,
Info: Join Sally Albrecht and Mary Youth Chorus
General Secretary
July 6 –10 Lynn Lightfoot for a School Choral Location: Nashville, Tennessee
Phone: 0030 2682 0 24915
7th International Johannes Reading Session, followed Info: Prestigious classical chil-
Fax: 0030 2682 0 29852
Brahms Choir Festival and by a Sacred Choral Reading Ses- dren’s choir festival with a con-
Cell: 0030 6973 0 50626
Competition sion in the evening (clinician TBA) cert performance at the Grand
Sponsor: Interkultur Contact: JW Pepper Ole Opry House. Stephen
Location: Wernigerode, Germany Phone: (800) 345-6296 Hatfield will conduct the mass
Web site:
Info: Since 1999 this Interkultur Web site: children’s choir and orchestra
event is a crowd-puller for choirs with a star-studded finale con-
and music groups from all over July 7–11 cert. The Crossroads Children’s
the world. Johannes Brahms, July 7 – 8 Chorus Festival will be held at
Celebrate Mozart In Vienna
and the German Romantics of Kempke’s Music Explosion the luxurious Gaylord Opryland
Sponsor: Music Contact Inter-
the nineteenth century, will be Sponsor: Kempke’s Music Service Resort. There is nothing like it!
a focal point. The event offers Location: Daytona Beach, FL Meet us at the Crossroads as
Location: Vienna, Austria
interested choirs excellent op- Info: Join Sheldon Curr y for we explore the common roots
Info: The “Celebrate Mozart”
portunities to learn together and Alfred’s Sacred Choral Reading of music!
Festival is intended not only to
refine their specialist skills with Sessions at Kempke’s Music Contact: Martha Wright
afford choirs an opportunity to
coaching concerts and rehears- Explosion 2011 Phone: 1-800-2-CROSSROADS
perform together in St. Stephen’s,
als with recognized international Phone: (800) 753-6753 E-mail: info@CrossroadsChildren-
but also to help preserve this
choral experts. We explicitly Web site:
magnificent edifice that to locals
invite choirs and ensembles of Web site: <www.crossroadschild-
and visitors alike signifies the
all kinds who prefer not to take>
“soul of the city.”
part in competition but like to
Contact: Music Contact Inter-
give concerts in Wernigerode
and other regional communities.

A Volume 51 Number 8 73
2 0 1 1 S U MM E R
July 7 – 14 July 10 –16 School Choral Reading Sessions July 10 –17
Bodymind and Voice Course - Rutter’s Mass of the Children – at Show Choir Camps of America! 1st World Choir
Lifespan Voice Education Sydney Opera House Contact: Show Choir Camps of Championships for Youth
VoiceCare Network Sponsor: KIconcerts America and Young Adults
Location: Saint John’s University Location: Sydney, Australia (with Phone: 630-663-4500 Sponsor: Interkultur
Collegeville, MN extensions to Melbourne, Gold E-mail: Location: Graz, Austria
Info: An 8 day creative, hands- Coast, Cairns, or New Zealand) Web site: Info: Interkultur organises the
on course for conductors, voice Info: Join the North American first World Choir Champion-
educators, singers, classroom Festival Chorus and Orchestra ships for Youth and Young Adults
teachers. Evidence based infor- led by Eric Dale Knapp and the in cooperation with the city of
mation on how the voice works, Festival Youth Chorus led by Ste- July 10 –17 Graz and the Province of Styria
on conducting and what we phen Roddy for a performance 2nd Grand Prix and makes your dreams come
need to do to experience free- on a grand scale in the mag- of Choral Music true. Celebrate the biggest party
dom and avoid interferences in nificent Sydney Opera House. Sponsor: Interkultur of the year for people under 30
movement and singing. 4 gradu- See koalas and kangaroos while Location: Graz, Austria at the international choir show
ate semester credits optional. 53 enjoying the landmarks of this Info: The best choirs of the “We are the world”! Many gen-
contact hours. beautiful harbor city. Possible ex- world of any age meet here to eral programmes will be offered:
Contact: Axel Theimer tension tours include Melbourne, determine the winners of the The parade of the choirs, open
E-mail: Gold Coast, Cairns, and New Grand Prix in eight categories. air concerts in city centre, daily
Phone: 320-363-3374 Zealand. The Grand Prix of Choral Music performances of prize winners,
Fax: 320-363-2504 Contact: Oliver Scofield is a highlight for choirs which and gala concerts in a great
Web site: www.voicecarenet- Phone: 719-260-0200 have been demonstrating a high atmosphere. E-mail: artistic level for a long time. Contact: Hugh Ballou
Web site: http://www.kiconcerts. Choirs which are singing on a Phone: 888-398-8471
com/choral/events/?id=134 high level but don’t have a long Web site:
July 9 –16 lasting experience in competi-
Le Chant des Oyseaux tions or haven’t taken part in
Summer Choral Workshop July 10 – July 16 international competitions for July 11–15
Sponsor: Le Chant des Oyseaux SFEMS Recorder Workshops a long time, get the chance to Somerset International
Location: Arradon (Brittany - Sponsor: San Francisco give a concert on the spot to Children’s Choir Festival
France) Early Music Society qualify for the Grand Prix. The Location: Sherborne & Wells,
Info: Le Chant des Oyseaux Location: St. Albert’s Priory, best choir of each category is England
offers a choral workshop with Oakland, CA the “Champion of the Grand Sponsor: Music Celebrations
Franck Pellé-Rolland, choral Info: Harmony of the Spheres Prix of Choral Music” and will International
conductor. The workshop is open Annette Bauer, Frances Feldon, be awarded with prize money. Info:The fourth-annual Somerset
to amateur choral singers aged Inga Funck, Includes a parade of the choirs, International Children's Choral
18 years and over with a good Contact: Rotem Gilbert open air concerts in the city cen- Festival will take place in the
choral background. Phone: 626-441-0635 tre, daily performances of prize quaint English town of Sher-
Repertoire: Treasures of Ger- E-mail: recorderwor kshop@ winners, gala concerts in a great borne, with the opportunity for
man music by Johann Kuhnau, atmosphere and the international individual choirs to be featured
Gottfried August Homilius, Felix Web site: choir show “We are the world” in the stunning Sherborne Abbey
Mendelssohn, and Josef Gabriel on Friday evening. in performances for the local
Rheinberger. Free brochure avail- Contact: Hugh Ballou residents, as well as in England’s
able. July 10 – 16 Phone: 888-398-8471 Historic Wells Cathedral—which
Contact: Franck Pellé-Rolland, Show Choir Camps of America Web site: has maintained a choral tradi-
artistic director Sponsor: J.W. Pepper tion virtually unbroken for over
Phone: +33 977 649 906 Location: Heidelberg College, 800 years. Children’s choirs will
Web site: http://choral-work- Tiffin, OH join together to make up an Info: Join Sally Albrecht for Alfred outstanding festival chorus of

74 CHORAL JOURNAL Volume 51 Number 8

& WO R K S H O P
225 singers. through quality music literature will offer a week-long workshop
July 14 – 25
Web site: http://www.musiccel- study, discussion, and presenta- focused on topics that choral
Rhapsody! Prague Childrens tion. Singing, performing, compos- directors and accompanists
address in the context of choral Music Festival
erset_youth_choral_festival.html ing, analyzing, and relating music
singing. This course will involve Sponsor: Classical Movements
Contact: info@musiccelebrations. to history and other arts will be
daily sessions in conduct- Location: Vienna, Salzburg, and
com; explored, reflecting the national
ing, singing, musicianship, class Prague
Phone:1-800-395-2036 standards in music categories.
performance, vocal peda- Info: Guest Conductor, Joan
Classes, workshops, projects,
gogy, repertory selection, and Gregoryk. Particpating choirs
and seminars focus on choral,
movement-oriented Dalcroze will perform at famous venues
July 11–15 chamber, instrumental, jazz, and
Eurhythmics. Each participating in three of Europe's most music
LCI InEW: World Class band works.
conductor will conduct Voices, and historical cities, highlighted by
Professional Development Technology, special work-
the professional chamber chorus the Grand concert in Praque's
Sponsor: Lincoln Center Institute shops on singing and percussion,
in residence at the Institute. Smetana hall with a professional
Location: various host sites and concert attendance com-
Enrollment is limited to 14 orchestra. Choirs will enjoy a
nation-wide plete the week-long experience.
conductors. workshop, musical exchanges,
Info: Professional artists and Three graduate credits are
Contact: Donna Mero and sightseeing tours.
educators offer high-quality awarded for successful comple-
Phone: 585-274-1403 Contact: Zhongjie Shi
instruction in the development tion of the institute requirements.
Web site: http://www.esm.roch- Classical Movements, Inc.
of skills of imagination, creativity, This institute is ideal for musi- 319 Cameron St.
and innovation as part of LCI’s cians, music educators, directors,
php#Choral_and_Vocal Alexandria, VA, 22314
rigorous approach, known as conductors, composers, and
Phone: +1-703-683-6040
imaginative learning. graduate students in music pro-
Fax: +1-703-683-6045
Any pre-K through 12th grade grams. An ability to read music is
July 13 E-mail: zs@classicalmovements.
teacher, school and/or arts required, and some knowledge
Pender’s Singabration com
administrator, teaching artist, of instruments and voices is
Location: Lewisville, TX Web Site: www.ClassicalMove-
curriculum developer, or college/ recommended.
Info: Join Sally Albrecht, Mary Lynn
university professor may attend; Registration: Begins April 11,
in-service and graduate credit 2011 - Seating Is Limited, Lightfoot, and Greg Gilpin for
available. Workshops will take Register By June 24 School Choral Reading Sessions at
Pender’s Singabration 2010! July 15 – 16
place July 11-15 and July 18-22, Web site: www.fitchburgstate.
Contact: Pender's Music Co. Alfred Summer Sing
2011, and on other dates at sites edu/gce/musicinstitute for more
Phone: (800) 772-5918 Location: West Chester, PA
around the country. Visit www. information.
Web site: Info: Join Sally Albrecht, Andy Beck, for a complete list- Contact: Michele Caniato,
and Michael Spresser for school
ing of host sites and workshops. E-mail: mcaniato@fitchburgstate.
choral reading sessions,
Contact: edu
choreography, and elementary
Phone: 978-665-3278 July 14 – 15
resources on July 15. Join Sheldon
Choral Sounds Conference
Curry and guest clinician on
July 11–15 Location: Decatur, GA
July 16 to discover Alfred’s newest
Teaching and Learning July 11–15 Sponsor: Pine Lake Music Com-
octavos and worship resources.
Eastman Choral Institute pany
Music Institute Contact: JW Pepper
Choral Conducting: Artistry, Info: Join Sheldon Curr y for
Sponsor: Fitchburg State Phone: (800) 345-6296
Vocal Pedagogy, Musicianship Alfred’s Sacred Choral Reading
University Web site:
Sponsor: Eastman School of Sessions at Pine Lake’s Choral
Music Sounds 2011
Fitchburg State University,
Location: Rochester, NY Contact: Pine Lake
160 Pearl Street July 16 – 23
Faculty: William Weinert, Phone: (800) 241-3667
Fitchburg, MA 01420 Fellowship of American Baptist
Info: This intensive, one-week Robert McIver, and Monica Dale Web site: www.pinelakemusic.
com Musicians Conference
residential graduate institute Info: This dynamic team of
Location: Green Lake Confer-
centers on skill development choral/vocal faculty members
ence Center
Sponsor: J.W. Pepper
Presenter: Mark Hayes

CHORAL JOURNALL Volume 51 Number 8 75

2 0 1 1 S U MM E R
July 16 – 24 Location: Alexandria,Virginia - the educators offer high-quality July 19
Alfred Street Baptist Church instruction in the development Church Choral Reading Session
Setmana Cantant de Tarragona
Info: This 5-day professional de- of skills of imagination, creativity, Location: Minneapolis, MN
2011 Sponsor: J.W. Pepper
velopment workshop, designed and innovation as part of LCI’s
Sponsor: Catalan Federation of Presenter: Lloyd Larson
for conductors of choirs at all rigorous approach, known as
Choral Associations and Euro- Contact: Michelle Gutoske
levels, gives special emphasis to imaginative learning.
pean Federation Europa Cantat E-mail:
the important role non-verbal Any pre-K through grade
Location: Tarragona, Spain
skills can play in rehearsal and 12 teacher, school and/or arts
Info: This festival takes place un-
performance. administrator, teaching artist,
der the direction of Josep Prats July 20
curriculum developer, or college/
and within the framework of the Summer Sound Sampler
• Explore movement activities university professor may attend;
festivals of the Catalan Federa- Location: Eden Prairie, MN
designed to improve intona- in-service and graduate credit
tion of Choral Associations and Sponsor: J.W. Pepper
tion, timbre, rhythmic accu- available. Workshops will take
the European Federation Europa Info: Read through Alfred’s newest
racy and to expand dynamic place July 11-15 and July 18-22,
Canat. The festival includes chorals with Andy Beck
range. 2011 and on other dates at sites
workshops by Johan Duijck Contact: J.W. Pepper
around the country.
(Belgium), Basilio Astulez (Basque Phone: (800) 345-6296
• Examine the effect of the Web site:
Country), Hugo de la Vega (Ar- Web site:
gentina) and Francisco Simaldoni conductor's posture and
(Uruguay), and communal singing gesture on vocal production
and choral tone. July 18 – 22
with Edmon Colomer (Catalo- July 20 – 25
Eastman Choral Institute
• Experience how effective pac- Advanced Conducting Work- Istanbul International Chorus
ing and affirmative instruc- shop: American Choral Land- Festival & Competition
Web site: www.setmanacantant.
tion improves both focus scapes Sponsor: Istandbul Chorus
and retention in the choral Sponsor: Eastman School of Location: Istanbul, Turkey
rehearsal. Music Info: We offer you an opportu-
Location: Rochester, NY nity for a week of a natural life in
July 17 – 23
• Enhance practical conduct- Faculty: Craig Hella Johnson, Wil- Istanbul. Our aim is for children,
SFEMS Recorder Workshops youth, and adult groups from all
ing skills during daily master liam Weinert
Sponsor: San Francisco over the world gather in Istanbul
classes. Info: Sessions will include practi-
Early Music Society for performance or competition.
cal approaches to rehearsal
Location: St. Albert’s Priory, Web site: www.istanbulchorus.
• Enjoy daily reading sessions technique,
Oakland, CA com
from a large packet of octa- performance issues, and score
Info: Gods and Monsters Tricia van
vos personally selected by analysis and preparation. Each
Oers and Hanneke van Proosdij,
Rod Eichenberger. participating
recorder; Katherine Heater, July 20 – August 1
conductor will work with both
harpsichord; Shirley Hunt, viola da
Contact: Debbie Hawblitzel, teachers, and will conduct Voices, Melodia! South American
gamba; Stacey Palinka,
managing director the Music Festival
Feldenkrais movement.
Phone: 503-554-2620 professional chamber chorus in Sponsor: Classical Movements
Contact: Rotem Gilbert
Web site: http://www.choralcon- residence at the Institute. Enroll- Location: Rio de Janeiro and
Phone: 626-441-0635 ment is Buenos Aires, Argentina
E-mail: recorderwor kshop@
limited to 14 conductors. Info: Guest Conductor, Francisco
Contact: Donna Mero Nuñez. Accepting applications
Web site:
July 18 – 22 Phone: 585-274-1403 from youth and children's choirs
LCI InEW: World Class Website: http://www.esm.roch- (treble and mixed voices), and
Professional Development youth orchestras. Outstand-
July 18 – July 22
Sponsor: Lincoln Center Institute php#Choral_and_Vocal ing artistic experiences are
Choral Conductors Workshop
Location: various host sites combined with once-in-a-lifetime
with Rod Eichenberger cultural and outreach opportu-
Sponsor: George Fox University nation-wide
Info: Professional artists and nites.

76 CHORAL JOURNAL Volume 51 Number 8

& WO R K S H O P
Contact: Alessandra D'Ovidio July 21 Sponsor: Amministrazione Pueri Cantores
Classical Movements, Inc. Alfred School Choral Reading Comunale di Sarteano Location: University of St. Mary
319 Cameron St. Session Location: Sarteano, Italy (Tuscany) of the Lake, Mundelein
Alexandria, VA 22314 Location: Greenville, SC Info: This intensive and sup- Chicago, IL
Phone: +1-703-683-6040 Sponsor: Pecknel Music Company portive conducting workshop Info: TBA
Fax: +1-703-683-6045 Info: Read through Alfred’s newest is geared for 26 –30 choral Web site: www.puericantores.
E-mail: alessandra@classicalmove- chorals and elementary materials conductors and music educators com with Sally Albrecht with strong vocal ability, who
Web Site: www.ClassicalMove- Contact: Pecknel Music Company are interested in rehearsing and Phone: (864) 244-7881 performing chamber choral mu- July 24 – 29
E-mail: sic. In addition, we also welcome Lifespan Voice Education –
Web site: www.pecknelonline. qualified singers who are inter- Continuing Course –
July 20 – August 1 com ested in attending the workshop Conducting Gestures and Voice
Umbrian Serenades: in a non-conducting capacity; VoiceCare Network
who love to sing in a chamber Location: Saint John’s University
Choral and Cultural Tastings
group environment and/or Collegeville, MN
in the Green Heart of Umbria July 21 – 25
are very specifically looking to Info: An 5 day course for every-
with Joseph Flummerfelt Belgian Summer Sing
learn rehearsal and conducting one who has attended a VCN
Sponsor: Umbrian Serenades, Sponsor: Music Contact Inter- techniques. Up to two graduate Impact Bodymind and Voice)
LLC. national credits are available through The Course. ‘Other than conscious
Location: Spoleto, Spello, Norcia, Location: Ghent, Belgium Boston Conservatory. There are communication’ has a most
Montefalco, and Umbria, Italy Info: Europe’s largest open air three possible tiers of participa- significant effect on your singers
Info: Umbrian Serenades is a cultural and artistic festival is tion: Full Conductor, Conduct- and their voices. How – and
life-transforming choral program over 150 years in the making, ing Auditor, and Singer. The what – do you, as the conductor,
that brings together passion- and brings together diverse afternoon sessions will consist communicate with your singers?
ate singers from all over the U. music, theater, and dance perfor- solely of daily conducting master 3 graduate semester credits
S. who seek opportunities to mance groups. classes with Simon Carrington. optional. 35 contact hours.
perform exquisite unaccompa- Contact: Music Contact Each Full Conductor will conduct Contact: Axel Theimer
nied repertoire within a small International in every master class. The two- E-mail:
vocal chamber ensemble. These Phone: 1-800-624-0166 part morning sessions will consist Phone: 320-363-3374
choral enthusiasts come together E-mail: of Vocal Pedagogy ensemble Fax: 320-363-2504
to enhance their vocal, musician-
work with Bronislawa Falinska Web site: www.voicecarenet-
ship, and ensemble skills, as well
utilizing the Rohmert Method of
as savor all that small medieval July 23 Functional Voicetraining, a vocal
hilltop towns in the heart of Italy Sacred Choral Showcase technique not commonly found
can offer. This select chamber Location: Indianapolis, IN in the USA, and clinics on devel- July 27 – August 8
ensemble performs sacred unac- Info: Join Sheldon Curry for a oping a vital chamber choir, with IHLOMBE South African
companied vocal works, spanning Sacred Choral Reading Session, Brian O'Connell. We also offer a Choral Festival
from Renaissance to Gospel, featuring the newest worship Q&A/Dialogue interest session Sponsor: Classical Movements
spiritual, and contemporary rep- resources and sacred octavos with Carrington. Location: Cape Town, Pretoria,
ertoire in unique spaces through- Contact: JW Pepper Contact: Gail Leicher Johannesburg, and Game Park
out the lush and breathtaking Phone: (800) 345-6296 Phone: + 1 781.652.0158 Info: Concerts, individual and
hills of Umbria. Web site: E-mail: shared with top South African
Graduate Credit: (1 unit) avail-
Web Site: www.sarteanochoral- Choirs, Workshops with famous
able through Westminster Choir Choral Conductors, African
College/Rider University. July 23 – 30
Application Deadline: January drumming, dancing, and singing.
Sarteano Chamber Choral
21, 2011 (postmarked) Contact: Jayci Thomas,
Conducting Workshop with July 24 – 27
Contact: Paulo Faustini Classical Movements, Inc.
Simon Carrington, Bronislawa Conductor's Seminar 319 Cameron St.,
Phone: (888) 664-2355
Falinska, and Brian O'Connell Sponsor: American Federation Alexandria, VA 22314
Web site: http://www.umbrian-

A Volume 51 Number 8 77
2 0 1 1 S U MM E R
July 31 – August 5
Phone: +1-703-683-6040 July 29 – August 3
SFEMS Music Discovery • Experience how effective pac-
Fax: +1-703-683-6045 IX International Festival
Workshop: multicultural day ing and affirmative instruc-
E-mail: jayci@classicalmovements. of Choral Art tion improves both focus
com “The Singing World” camp for children and youths
ages 7 to 15 and retention in the choral
Web Site: www.ClassicalMove- Location: St Petersburg, Russian rehearsal. Federation Sponsor: San Francisco Early
Info: St. Petersburg welcomes Music Society
Location: Crowden Center for • Enhance practical conduct-
the choirs from all over the ing skills during daily master
July 28 world to perform the best Music in the Community, Berke-
ley, CA, classes.
Church Choral Reading Session pieces of choral art, to share
Location: Billings, MT professional experience and to Info: Tish Berlin, recorder, dance;
Ron McKean, harpsichord; Carla • Enjoy daily reading sessions
Sponsor: J.W. Pepper sing together to the thankful
Moore, violin; Farley Pearce, cello, from a large packet of octa-
Presenter: Lloyd Larson audience. The Festival is held by
viola da gamba; Allison Rolls, vos personally selected by
Contact: Michelle Gutoske the Committee for Culture, St.
theater project director. Rod Eichenberger.
E-mail: Petersburg City Administration,
and “Inter Aspect” Art Associa- Contact: Tish Berlin
Phone: 510-559-4670 Contact: Debbie Hawblitzel,
tion, with support from the State managing director
July 28 – August 1 Capella of St. Petersburg. E-mail: discover yworkshop@ Phone: 503-554-2620
3rd Toscana Music Festival Application Deadline: Web site: www.choralconductor-
April 1, 2011 Web site:
Sponsor: MRF MusicFestivals
Location: Florence, Pisa, Siena, Web site: www.singingworld.spb.
and Tuscany, Italy ru,
E-mail: August 1 – 5
Info: The land of cypresses and August 1 – 12
rolling hills Italy's most popular Choral Conductors Workshop
Orff Certificate Program
holiday region is known for its with Rod Eichenberger
Location: University of St.Thomas
zest for life, its culinary delights July 30 – August 6 Sponsor: George Fox University
St. Thomas, MN
and its rich culture. Approxi- Le Chant des Oyseaux Location: Cannon Beach, Oregon,
Intructors: Jay Broeker, Michael
mately half of the world's artistic Summer Choral Workshop the Cannon Beach Elementary
Chandler, Cindy Hall, Jo Ella Hug,
treasures are found on Italian soil, Sponsor: Le Chant des Oyseaux School
Mona Mann, Beth Nelson, and
and Tuscany is certainly home to Location: Abbey of Info: This 5-day professional de-
Jacque Schrader.
a goodly part of these. Florence Caunes-Minervois (Languedoc- velopment workshop, designed
Info: See web for tuition and dates
is the region’s capital and, thanks Roussillon - France) for conductors of choirs at all
for each program. Housing avail-
to its strong concentration of Info: Le Chant des Oyseaux levels, gives special emphasis to
able on a per night basis.
cultural artifacts, counts as one offers a choral workshop with the important role non-verbal
Contact: 651-962-5870,
the world's most interesting Franck Pellé-Rolland, choral skills can play in rehearsal and
cities. Pisa, whose leaning tower conductor. The workshop is open performance.
Web site:
must be famous throughout the to amateur choral singers aged music/graduate
world, is also strongly popular 18 years and over with a good • Explore movement activities
amongst tourists. Other cities choral background. designed to improve intona-
of interest are Lucca - home of Repertoire: Sacred Spanish tion, timbre, rhythmic accu- August 4
Giacomo Puccini - and Siena, music of the sixteenth century racy and to expand dynamic Church Choral Reading Session
held by many to be Tuscany's by Tomas Luis de Victoria and range. Location: Fargo, ND
most beautiful city. Francisco Guerrero. Free bro- Sponsor: J.W. Pepper
Contact: Gregor Laskowski chure available. • Examine the effect of the Presenter: Lloyd Larson
Phone: 0049-7221-967696 Contact: Franck Pellé-Rolland, conductor's posture and Contact: Linda Schmidt
Web site: http://www.mrf-music- artistic director gesture on vocal production E-mail: Contact phone: +33 977 649 906 and choral tone.
Web site: http://choral-work-

78 CHORAL JOURNAL Volume 51 Number 8

& WO R K S H O P
August 8 – 12 August 11 – 12
August 5 • Examine the effect of the
Summer Workshops in Piano Church Music Leadership
Church Choral Reading Session conductor's posture and
Location: To be determined Pedagogy Conference
gesture on vocal production Location: Pine Lake Music Con-
Sponsor: Volkwein's Location: University of St.Thomas and choral tone.
Presenter: Lloyd Larson St. Thomas, MN ference Center
Contact: Cindy Pratt Presenters: Bruce Berr, Melody Sponsor: Pine Lake
• Experience how effective pac- Presenter: Lloyd Larson
Phone: 412-788-5900 Broger, Katherine Faricy, Andrew ing and affirmative instruc- Contact: Dawn Johnson
Hisey, Scott McBride Smith, and tion improves both focus
Michelle Sisler. E-mail: djohnson@pinelakemusic.
and retention in the choral com
August 6 Info: See web for tuition and dates rehearsal.
Kempke’s Allegro Conference for each program. Housing avail-
Sponsor: Kempke’s Music Service able on a per night basis. • Enhance practical conduct- August 11 – 13
Location: Sanford, FL Contact: 651-962-5870, ing skills during daily master Choral Music Celebration
Info: Join Sheldon Curry for E-mail: classes. Location: Canton, OH
Alfred’s Sacred Choral Reading Web site:
Sessions at Kempke’s Allegro music/graduate Sponsor: Berean Christian Stores
• Enjoy daily reading sessions Info: Join Sheldon Curr y for
Conference 2011
from a large packet of octa- Alfred’s Sacred Choral Reading
Phone: (800) 753-6753
vos personally selected by Sessions at Berean’s Choral Music
Web site: August 9
Rod Eichenberger. Celebration 2011
Church Choral Reading Session
Location: Bismark, ND Phone: 800-423-1232
Main Sponsors and Founda- E-mail:
August 7 – 13 Sponsor: J.W. Pepper
Presenter: Lloyd Larson tions: Andermatt Swiss Alps AG Web site:
Le Chant des Oyseaux | Artephila Foundation | Audi,
Contact: Linda Schmidt
Summer Choral Workshop Official Car Carrier | Clariden
Sponsor: Le Chant des Oyseaux Leu AG | Franke | KPMG | August 13
Location: Abbey of Caunes- Montres Breguet S.A. | Siemens Church Choral Reading Session
Minervois (Languedoc-Roussillon Building Technologies / Zuger
August 9 – 11 Location: Otterbein University,
- France) Kulturstiftung Landis & Gyr |
School Choral Reading Sessions Columbus, Ohio
Info: Le Chant des Oyseaux UBS; Partners: Casino Luzern |
Location: Ramada Inn and Suites, Sponsor: Stanton's Sheet Music
offers a choral workshop with DRS 2 | Interbrand, Partner in
Grand Forks, ND Presenter: Mark Hayes
Franck Pellé-Rolland, choral Communication | Palace Luzern
Info: Read through Alfred’s newest
conductor. The workshop is open | SBB, Official Rail Carrier | Swiss
chorals and elementary materials
to choral conductors, music stu- International Air Lines, Official Air
with Andy Beck August 23 – 24
dents or amateurs singers from Carrier | Top Events of Switzer-
Contact: Poppler’s Music, Inc. School Choral Reading Sessions
good chamber choirs. land; Friends and Supporters:
Phone: 800-437-1755 Location: Edmonton, AB, CA and
Repertoire: American music of American Friends of Lucerne
Web site: www.popplersmusic. Calgary, AB, CA
the twentieth century by Randall Festival | Dr. Dr. Herbert Batliner
com Info: Read through Alfred’s newest
Thompson. Free brochure avail- | Freunde Lucerne Festival Or- chorals and elementary materials
able. chestra | Freunde Lucerne Festi- with Andy Beck
Contact name: Franck Pellé- val in Summer | Freunde Lucerne
August 10 – September 18 Contact: Rideau Music
Rolland FestivalDeutschland | Japanese
Lucerne Festival in Summer Phone: 800-661-6874
Phone: +33 977 649 906 Friends of Lucerne Festival | UK E-mail:
Web site: http://choral-work- Friends of Lucerne Festival
• Explore movement activities Web site: www.rideaumusic. Location: Lucerne, Switzerland
designed to improve intona- com
Info: http://www.lucernefestival.
tion, timbre, rhythmic accu-
racy and to expand dynamic

A Volume 51 Number 8 79
Choral Reviews
ACDA Advocacy Resolution Advertizing Index
WHEREAS the human spirit is elevated to a broader understanding of
ACFEA Tour Consultants 36
itself through study and performance in the aesthetic arts, and Allaround stage/masterstage 58

WHEREAS serious cutbacks in funding and support have steadily eroded All Things Musical 52
Argentina Concert Tours 17
state institutions and their programs throughout our country,
Brigham Young University 51

BE IT RESOLVED that all citizens of the United States actively voice their Central Connecticut State Univ. 16

affirmative and collective support for necessary funding at the local, Chorus America 40, 41
Classical Movements 65
state, and national levels of education and government, to ensure the
Concept Tours 48
survival of arts programs for this and future generations.
Cultural Tour Consultants 61
Eastman School of Music 9

Submission Information Euro Arts Ltd. 18

Friendship Ambassadors Found. 23
Articles submitted for publication in the Choral Journal should meet estab- George Fox University 12
lished specifications. Although the length of articles varies considerably, Hal Leonard Publishing Corp. 39
submissions generally consist of ten to twenty typed, double-spaced Hampton, Keith 22
pages. Referenced material should be indicated by superscript and end- Hawaii Music Festivals 10

notes. Any artwork and a one- to two-sentence professional identifica- Herff Jones 32

tion of the author should also be included. Complete writer’s guidelines Interkultur Foundation 60

can be found on the ACDA Web site at < Intern'l Choral Kathaumixw 53
Ki Concerts 46, BC
writer%27s_guidelines>. Articles submitted via e-mail attachment should
Le Mondial Choral Loto - Quebec 35
be sent to <>.
Lyric Choir Gowns 14
Master Chorale of S. Florida 57
Book and music publishers and compact disc distributors send books,
Music Celebrations Intern'l 50
octavos, and discs for review to:
Music Contact International IFC
Norfolk Chamber Music Fest. 63
Choral Journal Book Reviewers Oregon Bach Festival 42
545 Couch Drive, Members wishing to review books Oregon CAtholic Press 62
Okla. City, Oklahoma 73101 about choral music should contact: Presbyterian Assn of Musicians 44

Telephone: 405/232-8161 Stephen Town

Rene Clausen Choral School 54
Small World 49
660/562-1795, 28
Choral Reviewers Sound Byte Studios 24
Members wishing to The interculture Tours 13

review choral music should contact: Compact Disc Reviewers Tour Resource Consultants 56
Trinity Lutheran Seminary 11
Paul Laprade Members wishing to review
University of Hartford 38
815/921-3347, compact discs should contact:
University of Kentucky 15 David Castleberry University of Michigan 55

304/696-2963 Utah State University IBC Witte Travel & Tours 8

Department of Music introduces mozart project
The Caine College of the Arts

the first of an annual series of Choral Music Workshops

serving professional-level singers and music educators

July 27–Aug 4, 2011

2011 Repertoire :

Grand Mass in C minor

Requiem (in conjunction with the Utah Festival Opera)

Soloists from The Metropolitan Opera

&RQFHUWVDFFRPSDQLHGE\The American Festival Orchestra
Singers nationwide are invited to audition for a place in The Mozart Project. 'U&UDLJ-HVVRS
C A 
of theARTS

For more info go to
American Choral Directors Association
545 Couch Drive
Oklahoma City, Oklahoma 73102

3260 E Woodmen Road
Colorado Springs

8 February 2011

Dear Oliver

Thank you for your interest in providing quality ensembles to perfr orm for the
London 2012 Olympic & Paralympic Games events. I would be interested to
know what ensembles you may be able to suggest and I look forw r ard to
orkking wiith yo
ou to sse
ee wh
hat opportuni
nities we
e might be able to off
er these

As we discussed, these groups would be voluntary perf

r ormers and would not
be remuneratted
d by LOCOG.

er the end of Marc
h 2011, I will be in a better pos
osiition to let you know where
groupsp can best be stag ged however it mayy be help pful to start
r assessingg
estt from ensembles to p
peerform for London throughout 2012.

We shoul
h ld b be gratteffull if you woulld keep conffidenttiall any infformattion ab
boutt the
staging of these ens
ense embles un unttil we finalilizze o
ouur programming decision making
and n
noot make these pubp blic at this stage.

I look for
rward to o
ouur further discu

Yours sincerely

Craig Hassall
Artistic Advisor