Choral Journal - March 2011

A 

in Ghana

Perform form under nder the d direction rection of 

Dr. André Thomas at the t  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

www.africachoralfestival.com Organized by the Government of Ghana,Ministry of Tourism Tourism and The Ghana Tourist Tourist Board.

1-800-624-0166

March 2011 Vol. 51 • no 8

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HOW CONDUCTORS CAN SHAPE MOTIVATION, CREATE MOMENTUM, AND REFRAME THE MUSICAL EXPERIENCE RAMONA WIS

by Tim Fredstrom

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INSIDE

6 Influence Changes Everything: How Conductors Can Shape Momentum, Momentum, Create Momentum, and Reframe the Musical Experience

2 4 5 25 45 59 80

by Ramona M. Wis

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A Picture is Worth a TThousand housand Words: Words: Promoting Choral Artistry Through Presentation Presentation Technology Technology

From the Assistant Director From the President From the Guest Editor Career Moves In Memoriam In Memoriam Advertisers’ Advertiser s’ Index

by Tim Fredstrom

26 Digital Natives and Immigrant Choral Directors: Catching Up and Reaching Out by Philip Copeland

C OLUMNS OLUMNS Standards edited by Nancy Cox 37 Repertoire & Standards A Conversation with Rollo Dilworth by Gretchen Harrison

43 Hallelujah! edited by Richard Stanislaw

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

47 Rehearsal Breaks From Super Bowl to Salty Snacks: Opportunities for Advocacy Presented by the Use of “Classical” Music on Television by Theodore Albrecht

51 Book Reviews

edited by Stephen Town

61 Recorded Sound Reviews

edited by David Castleberry

66 2011 Summer Workshop and Festival Listings Cover art by Efrain Guerrero, graphic artist, Austin, Texas. Interior art by Tammy Tammy Brummell.

The Choral Journal  is the official publication of The American Choral Directors Association Association (ACDA). ACDA is a nonprofit professional organization of choral directors from schools, colleges, and universities; community,, church, and professional choral ensembles; munity and industry and institutional organizations. Choral Journal circulation: 19,000. Annual dues (includes subscription to the Choral  Journal ): Active $85, Industry $135, Institutional $110, Retired $45, and Student $35. One-year membership begins on date of dues acceptance. Library annual subscription rates: U.S. $45; Canada $50; Foreign Surface $53; Foreign Air $85. Single Copy $3; Back Issues $4. Permission is granted to all ACDA members to reproduce articles from the Choral Journal  for noncommercial, educational pur poses only. only. Nonmembers wishing to reproduce articles may request permission by writing to ACDA. 545 Couch Drive, Oklahoma City, Oklahoma 73102. Telephone: 405/232-8161. All rights reserved. The Choral Journal  (US ISSN 0009-5028) is issued monthly except for July. Printed in the United States of America. Periodicals postage paid at Oklahoma City, Oklahoma, and additional mailing office. POSTMASTER: Send address changes to Choral Journal, 545 Couch Drive, Oklahoma City, Oklahoma 73102.

National Officers President Jerry McCoy  University of North Texas 940-369-8389 (voice) [email protected]

Vice-president Hilary Apfelstadt

FROM THE

ASSISTANT DIRECTOR

University of Toronto 416-978-0827 (voice) [email protected] 

President-elect Jo-Michael Scheibe University of Southern California  [email protected]

NATIONAL TREASURER  Jo Ann Miller  North Dakota State State University  Universi ty  [email protected]

Executive Director  Tim Sharp 405-232-8161(voice) [email protected]

Central Division President Mary Hopper  Wheaton College Wheaton 630-752-5828 (voice) [email protected]

Eastern Division President Bob Eaton [email protected]

North Central Division President Aimee Beckmann-Collier  Drake University  515-271-2841 (voice) [email protected]

Northwestern Division President Solveig Holmquist Western Oregon University  503-838-8437 (voice) [email protected]

Southern Division President Tom Shelton First Presbyterian Church 336-275-9398 (voice) [email protected]

Southwestern Division President Margie Camp Young Voices of Colorado 303-797-7464 (voice) [email protected]

Western Division President Cheryl Anderson Cabrillo College - VAP VAPA  A  832-479-6155 (voice) [email protected]

Industry Associate Ass ociate Representative Representative Alec Harris GIA Publications Inc. 708-496-3800 (voice)

Chair, Past Presidents’ Council Michele Holt Providence College 401-822-1030 (voice) [email protected]

National Past Presidents † Archie Jones † Elwood Keister  † Warner Imig † J. Clark Rhodes † Harold A. Decker † Theron Kirk † Charles C. Hirt † Morris D. Hayes

Check your pulse and professional desires if you left Chicago uninspired from a reunion with colleagues, discussions during round tables, one-on-one conversations with an admired peer during a button-hole session, a catch phrase during an interest session, or a magical moment during a concert. My hope for 2011 and choral music education is that each of you not only experience an inspirational moment, but also a life-changing moment may have presented itself; i tself; consider  these opportunities:

Craig Gregory 

• Helmuth Rilling and the Chicago Symphony; • ACDA’s Premier Shabbat service;

• seeing Kettering High School live during Jazz Night; • a cup of coffee or cocktail with an admired colleague; and • a memorable experience by a performance by a featured chorus. Flashback to the mid-1970s—Sunshine Singers from the Mexia State School came to First Methodist Church in Duncanville, Texas, for a public performance. perfor mance. My life would never be the same after that performance. The passion, inspiration, dedication, conviction, love love of singing, and achievement was wa s overwhelming. Was it musical excellence? I guess that depends dep ends on your definition of excellence. Fast-forward to ACDA National Conference Chicago 2011—Joyful Noise from New Jersey presents an interest session with Allison Fromm and Alice Parker on Saturday morning. As Sue Sylvester from Glee says, “they are ar e handicap handic ap capable.” Was it musical excellence? I guess that depends on your de finition of excellence. An educator understands understand s the importance impor tance of these life-changing events, and the daunting amount of work to take this journey to Chicago. A teacher may  think it’s “lovely.” Preparation, fund raising, auditions, rehearsals outside the daily school schedule, sleepless nights, and frayed nerves barely scratch the surface. Can you place your  finger on a life-changing moment securing your  love of choral music? Prioritize Priori tize your experiences with interest sessions, performances, and discussions that provide you with knowledge and understanding for the classroom and professional development. Did you stretch yourself and select one session outside your musical and intellectual intell ectual strengths? There’s always a lesson to learn. There’s always a new song to sing. You make a joyful noise in everything you do.

Maurice T. Casey  † Hugh Sanders

David O. Thorsen Diana J. Leland William B. Hatch Hatcher  er  John B. Haberlen † Lynn Whitten James A. Moore Russell Mathis Milburn Price † Walter S. Collins David Stutzenberger  H. Royce Saltzman Mitzi Groom † Colleen Kirk 

Craig Gregory 

National Na tional R&S Chairs National Chair  Nancy Cox  580/482-2364 (voice) [email protected]

Boychoirs Julian Ackerley  Tucson Arizona Boys Chorus 520/296-6277 (voice) [email protected]

Children and Youth Community Choirs Robyn Lana  Cincinnati Children’s Choir  513/556-0338 (voice) [email protected]

College and University Choirs William McConnell St. Andrews Presbyterian College St. 910/277-5262 (voice) [email protected]

Community Choirs Ron Sayer  Marshall Community Chorus 660/831-5197 (voice) [email protected]

Ethnic and Multicultural Perspectives Sharon Davis Gratto University of Dayton 973/229-3946 (voice) [email protected]

Junior High/Middle School Gretchen Harrison Frontier Trail Junior High 913/780-7210 (voice) [email protected]

Male Choirs Ethan Sperry  Portland State University  [email protected]

Music in Worship Terre Johnson Vestavia Hills Baptist Church [email protected]

Senior High Choirs Amy Johnston Blosser  Bexley High School 614/539-5262 (voice) [email protected]

Show Choirs

Robert Lawrence University Univers ity of Central Missouri [email protected]

Two-Year Colleges Dianna Campbell Seminole State College of Florida  407/708-2644 (voice) [email protected]

Vocal Jazz Kirk Marcy  Edmonds Community College 425/640-1651 (voice) [email protected]

Women’s Choirs Iris Levine Vox Femina Los Angeles [email protected]

FROM THE

The Sunset Suns et of An Age

Sunday, February 6, 2011, saw the passing of  PRESIDENT Morris J. Beachy, one of America’ s great university choral conductors, a founding member  of ACDA, and long-time director of choral studies at the University Univer sity of Texas at Austin. He was my teacher te acher and friend friend.. Morris was the third of the choral giants to pass on whom I thank for whatever artistic success I’ ve had as a conductor/teacher, the others being Hugh Sanders and Robert Shaw. Morris was one of the icons of American university  Jerry McCoy  choral singing in the mid- to late-twentieth century. Along with others of his generation generat ion who have passed on—such as Rober Robertt Shaw, Roger Wagner,, Rober t Fountain, Hugh Sanders, Ron Shirey—Morris ner Shirey—Morr is did not fear to t o incite, incite , to pique, to challenge, to inspire, to rattle our sense of comfort, and challenge our  commitment levels. This generation of standard bearers never equivocated with artistic mediocrity. As these men were, so should we become! 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 choral ar t in the American culture? Should it allow us a forum for looking deeply  at ourselves, gods, myths, and communal nobility? Should it enhance and pass on our concepts of greatness? Should it foster understanding among the tribes that constitute America and the world? Should it invigorate the spirits of the performer and listener? Should it entertain as well as inform? Their stances on these 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 student, singer, parent, principal, dean, or minister. 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 torc h to one’ s own generation. The truth is, no one knows how deep and long the stream of one's legacy runs. 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 am today. He taught me the expressive power of the sounds of words wedded to singing, and the core of how I build buil d tone in my choirs. choir s. He taught me the value val ue of persistence and perseverance in rehearsals, and the love of the moment in performance. In the past ten years, I have been fortunate to place a signi ficant number of graduates in university teaching and professional conducting positions across the USA, Mexico, and South Korea. All of them further the legacy  of Beachy's artistr y and his unswerving commitment to the deepest expressions expressions of the human heart. Our participatory par ticipatory ar t is the largest and, in many ways, ways, the the most influential in the world. In its myriad manifestations we have the opportunity to shape national character, enhance national work ethics, deepen worship experiences, and broaden our place in the world. As the sun begins to set on this generation of  American choral c horal titans, ti tans, the torch and mantle become our s to bear. It’ s time that each of us became involved. It’ s time to stand up for the place pla ce of art ar t in education, 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 —San Marcos [email protected]

Jerry McCoy 

Editorial Edito rial Board

FROM THE

Welcome to Part 2 of the Choral Journal High School Focus series. The high school choral conductor could be considered the ultimate multitasker. Musician, manager, motivator, mental health professional, mentor—and much much more! What could we address in this series that would be relevant, meaningful, and immediately applicable to this readership? Determining which topics to include was a major challenge, given the overwhelming number of possibilities. In addition, this is the first time the Choral Journal has devoted an entire series to high school choral programs. While considering the direction to take, I came upon a Cheryl Frazes Hill 2009 Roundtable Discussion on the ACDA Web site. I was struck by the comment of a contributing member suggesting suggesti ng that ACDA ACDA should provide more “nuts and bolts, more practical tools for elementary, middle, and high school (choral programs).” It was with this idea the authors set forth, providing informative, substantive, and practical articles relevant to the multifaceted demands of high school choral teaching. In the first issue of the t he series, attention was given to rehearsal planning and preparation, techniques for incorporating gesture and movement into the rehearsal, and selection of repertoire to ful fill curricular goals, including an extensive annotated annotated repertoire list. This month’s edition offers innovative ideas for the high school choral director to consider. Focusing on conductors’ in fluence on their ensembles, Ramona Wis explores the question “How can conductors create an environment where there is always a sense of momentum, where ensemble members take ownership owner ship of their experience, experience , and where success de fined as more than the final concert, concer t, can be achieved achieved without compromising the spirit of the ensemble?” Wis suggests practical pr actical advice ad vice to achieve these goals in her  article, ar ticle, “In “Influence Changes Every Everything.” thing.” Tim Fredstrom addresses learning styles in i n his ar ticle “A Picture is i s Wor orth th a Thousand Words.” Words.” Fredstrom posits the idea that by through presentation present ation technology technolog y, visual images can ca n increase the student’s perceptions and understandings beyond b eyond the conductor’s verbal descriptions. Utilizing technology to better manage those time-consuming tasks and to become more connected with the world in which our students excel is addressed in Philip Copeland’s article artic le “Digital Natives and Immigrant Choral Directors: Director s: Catching Up and Reaching Out." Copeland informs “digital immigrants” with extensive explanations and resources. It has been a great pleasure to work with the wonderful authors on this 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 series will refresh, inspire, and motivate readers to continue the work of this wonderful profession with renewed energy and spirit.

GUEST EDITOR

Cheryl Frazes Hill   Cheryl Frazes Hill is the head of music education and director director of choral activities at the Chicago College of Performing Arts, Roosevelt University, and the associate conductor  of the Chicago Symphony Chorus

Editor  Carroll Gonzo University of St.Thomas 651-962-5832 (voice) Managing Editor  Ron Granger  ACDA National Office 405-232-8161 (voice) Editorial Associate David Stocker  281-291-8194 (voice) Board Members Hilary Apfelstadt University of Toronto 416-978-0827 (voice) [email protected]  Terry Barham Emporia State University  620-341-5436 (voice) Richard J. Bloesch 319-351-3497 (voice) Kristina Boerger  Carroll Univers University  ity  262-524-7183 David Castleberry  Marshall Univers University  ity  4304-696-2963 [email protected] J. Michele Edwards 651-699-1077 (voice) [email protected] Lynne Gackle Baylor University  254-710-3654 (voice) [email protected] Sharon A. Hansen University of Wisconsin—Milwaukee 414-229-4595 (voice) [email protected] Paul Laprade Rock Valley College 815-921-3347 (voice) [email protected] Edward Lundergan SUNY-New Paltz 845/257-2715 (voice) Donald Oglesby  University Univers ity of Miami 305-284-4162 (voice) Ann R. Small Stetson University  386-822-8976 Magen Solomon University of Southern California  213-740-3225 Richard Stanislaw  Ocean City Tab Tabernacle ernacle 609-399-1915 (voice) [email protected] Stephen Town Northwest Missouri State University  660/562-1795 (voice)

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SHAPE MOTIVATION, CREATE MOMENTUM, AND REFRAME THE MUSICAL EXPERIENCE 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. ACDA. [email protected]

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.

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INFLUENCE CHANGES EVERYTHING This focus issue of the Choral Journal is written with an emphasis on the “real life” of choral conductors and teachers—professionals who come to rehearsal wanting to teach, to share their passion for music and for people, and to create an environment that says musical experience and the pursuit of artistry matters at every age and experience level. In this issue, tips, resources, lists, and suggestions abound, providing us with direction to improve our work with our  ensembles. But unless we take time to examine the broader framework within which our work takes place, we can get caught up in a “to-do list” of tasks that don’t seem to make a significant or lasting difference in our conducting lives or in the lives of those we lead. In this article , we will explore how how we can use our in fluence as conductors to create an experience that is characterized character ized by  motivated singers, ever-increasing momentum, and both a successful musical product and a meaningful musical process.

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A Starting Point: Understanding Understandin g Our Influence Conductors are leaders—and as leaders we can move to an entirely new level of effectiveness when we understand our  position to in fluence others for good by who we are, what we say, and what we do. John Maxwell’s definition is simple and powerful: “Leadership is influence—nothing more, nothing less” (Maxwell, 1998, p.17). If we are going to move our ensembles forward, forwa rd, if  we are going to lead singers and not simply  manage them, then we will do so by using our influence. Influence is defined as the power to affect the actions or thinking of others. Conductors are accustomed to thinking of ourselves as musicians and educators, but how often do we think of ourselves as agents of change? More than anyone or anything, we are in the position to in fluence the performance, thinking, and character of our ensembles. If  we want changes in the atmosphere or the energy of the rehearsal, the “image” of the

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ensemble or the overall program, the commitment level of the singers, the quality of  their artistry, the singers’ musical tastes, and certainly their skill and understanding—it all starts with us. This is a powerful realization, requiring us to examine our own thinking and the way in which we use our in fluence by the decisions we make and the way in which we interact with everyone ever yone involved in the organization, from singers to colleagues and from parents to administrators. It is easy to underestimate or misapply  the power of our in fluence. We underestimate it when we tell ourselves that we are not in control of our professional lives, and we misapply it when we use coercive tactics to get others to follow us. Neither is a realistic perspective on getting the most from our position of in fluence. There are always aspects of our program that we do not control, though given time and the power of our in fluence, we are usually able to effect some change, change , even dramatic change. We can choose to feel helpless 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,” be ,” by persuading pers uading other s without coercing them, and by educating rather  than criticizing. If we focus less on our feeling in fluenced by others and more on ways in which we can use our own in fluence 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 in fluence, we also accept the responsibility for shaping an environment where growth can happen and where the musical experience can be profound, rewarding, reward ing, and of the highest caliber calibe r. Bottom line: If change is not happening, we need to first look inward at ourselves before pointing the finger at everyone ever yone else. This is a sobering sob ering part of our job but it is also the catalyst for  meaningful and lasting change. How do we use our in fluence to shape motivation (isn’t that the singers’ problem?),

create momentum (ditto), and reframe the musical experience? What “Influence Steps” can we take to move our ensembles further  down the continuum toward a more successful and rewarding musical experience?

Who Are These People? The Role of Motivation in Creativity  Creating momentum starts with knowing our singers so that we can understand what motivates them. It is not suf ficient to think  of them as “freshman boys” or “community  members;” if we are going to be able to maximize our in fluence we need to think  from an others-centered point of view. This can be a challenge for conductors because our training and experience have been “me-focused”” for much of our lives. We “me-focused are expected to be excellent musicians and technicians, to know how to discipline (manage) a group of students, and to understand how to analyze scores and diagnose problems, and prescribe solutions in a rehearsal. But how much time have we spent learning how to connect with the individuals that make up our ensembles? How much have we thought about why singers don’t respond in the ways we wish they would, and about how we can in fluence their response using positive and long-lasting means? Our ensembles are composed primarily  of “volunteers”—students “volunteers”—students of various var ious ages or  community members—and as volunteers, they are choosing to give of their time for  reasons other than a paycheck. In almost every case, musicians will be motivated by  some combination of three factors: the music itself (the strongest motivator, we would hope); a sense of community (the social/ emotional/psychological aspect); and the experience of contributing to a bigger whole (the human desire for signi ficance). Understanding motivation helps conductors to shape a musical environment that connects the music, the musicians, and the conductor  in a deep and productive way. The music Although the impetus for  joining an ensemble is often social in nature, we want singers ultimately to regard the music and the creative experience as suf-

ficiently

powerful pow erful to be the primar y reason if the ensemble finds the music interesting, for singing. In Drive: The Surprising Truth About  rewarding, and challenging, they are more What Motivates Us (2009), Daniel H. Pink  likely to attend rehearsals and be deeply  presents compelling research about the relationship between intrinsic motivation and creativity: “For artists, scientists, inventors, schoolchildren, and the rest of us, intrinsic motivation—the drive do [sic] something because it is interesting, challenging, and absorbing—is essential for high levels of  creativity.” (p. 46) This means that grades, “Eastman Classic” Choral Institutes Each participating conductor will conduct awards, social activities, and tours, while part Voices, the professional chamber chorus in of the recipe for motivation, cannot be the residence at the Institute. driving force for creating an engaged and Choral Conducting Workshop: high-achieving ensemble. The music and the American Choral Landscapes experience of creating music must be our  JULY 18-22 strongest motivation motivations. s. WILLIAM WEINERT, DIRECTOR WITH GUEST CONDUCTOR CRAIG HELLA JOHNSON

Practical approaches to rehearsal technique, performance practice issues, conducting, score analysis and preparation. Each participating conductor will work with both teachers. Enrollment is limited to 14 conductors.

Influence: Choosing Choosin g Repertoire That T hat Is Sufficiently Challenging Step 1 Choosing a high-quality, balanced program of repertoire is nothing short of an Olympic event for conductors—it demands ongoing training (searching for repertoire), a refinement of one’s sense of foresight (to envision how effectively each piece can be learned and performed), as well as an aesthetic sense of balance and flow (to ensure that the rehearsals, and not just the performance, offer variety, challenge, and reward.) Excellent repertoire is not necessarily  technically demanding. Some of the most beautiful pieces are simple, well-constructed melodies that offer the opportunity to develop our expressive abilities rather than display our technical prowess. Technical challenges,, however challenges however,, are part of what wha t makes music interesting (read “motivating”) so creating variety within a concert program is essential. Aim for variety in musical styles, dif ficulty levels, tone colors, keys, tempi, accompaniment options, and language and cultural backgrounds. Remember: you will live with this music for weeks, maybe months, before you perform it. The atmosphere of  each rehearsal will be determined by the music you are studying and preparing, so choose wisely or you will de flate the singers’ motivation and make it much more dif ficult to create a sense of momentum. Put simply:

Professional Development Hours: 30 Tuition: $2,300/2 credits

$625/noncredit 

Choral Conducting: Artistry, Vocal Pedagogy, Musicianship JULY 11-15

WILLIAM WEINERT, DIRECTOR FACULTY FAC ULTY:: ROBERT MCIVER, MONICA DALE

Topics that choral directors and accompanists address in the context of choral singing: daily sessions in conducting, singing, musicianship, class performance, vocal pedagogy, repertory selection and movement-oriented Dalcroze Eurhythmics. Enrollment Enrollment is limited to 14 conductors.

Professional Development Hours: 30 Tuition: $2,300/2 credits $625/noncredit 

Also in Sumer 2011

Practical Vocal Pedagogy JULY 24-29

ROBERT MCIVER, KATHR KATHRYN YN COWDRICK

For school teachers, private teachers, church musicians, and singers.

$1,500/1 credit

$560/noncredit 

www.esm.rochester.edu/summer [email protected] 1-800-246-4706 in New York State: 585-274-1400

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INFLUENCE CHANGES EVERYTHING involved in the creative process. Using our  influence means choosing excellent music to provide this opportunity. A Sense of Community The social or community aspect of an ensemble is often what initially attracts singers and in the end, a lack of community can drive singers away. Musicians will be freely expressive only in an environment where they feel safe to make mistakes and where they are valued for  whatever talents they bring. Asking them to take artistic risks will be met with resistance if singers do not feel comfortable with us, as leaders of the experience, and with the other members of the ensemble.

Influence:

Create an Environment of Trust. Step 2 Creating a sense of community is deeply dependent upon the way in which we, as conductor/leaders, use our in fluence to construct an environment where singers are “known” in an important way. This means creating an environment where the singers can trust us, and where we, in turn, demonstrate that we trust them. For singers to trust us, we must be trustworthy. This means being competent, prepared, and consistent in who we are and what we do. If our skills are weak, the ensemble will be reluctant to trust our 

choices and our leadership. If we are unprepared, singers will follow suit and take a similarly casual approach to their own commitment to the ensemble. And if we are inconsistent—happy and outgoing one day, a tyrant the next—singers will have no confidence in their musical lives, which we, as their conductors, lead. If we have gaps in any of these areas, our ensembles will not trust us to lead and teach them. Trust must work both ways if we are going to maximize everyone’s potential and motivate singers to work at a high level to accomplish musical goals.The clearest way to show singers that we trust tr ust them is to involve them in the artistic decision making process, at whatever level appropriate for them; we need to do more than drill technique, or  “pound notes and rhythms.” rhythms .”We need to let l et singers enter into the artistic process and show them how to make musical decisions. Give them some artistic freedom so they  will learn to do more than simply following our directions on cue. “Living a satisfying life requires more than simply meeting the demands of those thos e in control. control . Yet, Yet, in our of fices and our classrooms, clas srooms, we have way too much compliance and way too little engagement.” (Pink, 2009, p. 112) Trusting the ensemble in this way is scary business for conductors, because we have been trained to be “THE” authority,

the solitary decision-mak decision-maker er and pedagogue on the podium. We must be strong leaders with great vision, and the ability to bring the ensemble to realize this vision—make no mistake about that. But a critical leap of  faith for conductors is to dialogue about the music in ways that not only enhance the singers’ understanding and their performance but also engage them in the rehearsal and commit them on a much deeper level to the goals of the ensemble. Using our in fluence means doing more than diagnosing problems and prescribing solutions: it means also asking questions, discussing musical intent, or  trying out multiple approaches to solving a technical challenge and choosing a solution with the input of the ensemble. If you think you “don’t have time” to engage the ensemble in this way, then consider the alternative: singers who are not motivated because they do not feel valued at a deep level; singer singerss who don’t take initiative because we don’t give them an opportunity  to do so; or singers who star t over at the beginning of every rehearsal rehears al cycle of new music because we have trained them to obediently  follow instructions without teaching them to think deeply about why their actions make sense within a musical context. Contribu ting To Contributing To the th e Larger Large r Whole Closely related to a sense of community  is the feeling that what we do matters beyond a successful concert or competition. When we can do something creative and contribute our talents in a meaningful way, motivation motivatio n is strengthen strengthened. ed.

Influence:

Inspire Singers With A Cause Larger Than Themselves. Step 3 Conductors must constantly reinforce 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. indi vidually. 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

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As conductors, it is our job regularly  to remind the ensemble of the power of  sharing our art with one another and with audiences. Making sure all musicians know they are a part of something bigger than themselves is an important use of our in fluence and makes a big difference to the drive behind the ensemble. They need to know, This is significant. I am signi ficant. What I do, matters. Contributing our music to events such as concerts for at-risk students or handicapped individuals is another way to help develop the ensemble’s sense of signi ficanc cance. e. Young Young people are increasingly interested in service projects, mission work, or social-justice initiatives; tapping into this interest is an important way to connect with our singers and to contribute our creative talents to a cause larger than all of us. When excellent music is at the core of  an environment of trust and a well-defined sense of significance, motivation will be consistently high and built on a lasting foundation. Positive or negative extrinsic rewards—pizza parties, trophies, grades, or  chair auditions—should be used sparingly, if  at all, since they can actually decrease motivation in the long r un and even negatively  impact our goals and the development of  the ensemble. Ultimately, making music together is the most powerful community  builder for our ensemble; social events and rewards aside, it is the act of creating sound with other committed musicians that most strongly unites a community of singers. Knowing what motivates our singers best allows us to understand how to use our influence—our skills, our position of  authority, and our foresight—to create the momentum needed to propel us toward our collective musical goals, and to do so in a way that demonstrates our character and cultivates character in those we lead. Momentum 101 (. . . 201, 301, 401 . . . !) Momentum is about planning and managing our time and energy toward an end goal. Among our greatest frustrations frustrati ons is the sense of “stalling:” of going nowhere, or of doing the same thing over and over while achieving the same, not-so-good results (which some say is the definition of “insanity”). Momen-

tum is characterized by an unmistakable sense of growth, forward motion, success, and anticipation anticipation..To create cre ate momentum, mome ntum, conductors need a keen sense of time and how to use it, whether throughout the concert season or in the 50-minute rehearsal happening today today.. The Concert Season Momentum, or lack of it, is first felt in the way conductors build the concert season. Finding the best balance between too few and too many performances is an important skill for conductors wanting to create a sense of momentum throughout the year.

Influence:

Build in Enough Time Between Performances to “Get Hungry” But Not So Much Time That The Ensemble’s Appetite Is Lost Altogether. Step 4 It is dif ficult to create and sustain momentum for a long period of time without a clear goal to work towards. The perception of “now” creates momentum; but if the next performance is so far into the future that the ensemble is thinking of it as “then,” there will be b e no momentum—and momentu m—and that can lead to attendance and attention problems, re-rehearsing music (because there was no investment investment on the par t of the singers the first time around), and general apathy. Without a healthy sense of urgency, urgen cy, we may be tempted to cancel rehearsals or  schedule mindless alternative activities (study  halls, movies, puzzle worksheets), all of which can be an interesting diversion if used sparingly but which can become all-too-regular  substitutions for real musical learning and experience. If your season is traditionally built around two major events, such as holiday and spring sprin g concerts, find other meaningful opportunities to perform throughout the year so that the ensemble always has something in the not-too-distant future. But, these must be worthwhile events. There will be no momentum unless singers view the upcoming performance as valid and achievable;

TRINITY LUTHE LUTHERAN RAN SEMINARY  Columbus, Ohio Summer Music Courses 2010 Courses are for graduate credit or audit. WEEK ONE June 7–11 Music & Liturgy, 1:00 – 4:30 p.m. May Schwarz, Professor of Church Music, Trinity, with Ronald Jenkins , Minister of   Music and Liturgy, First Community Church, Columbus, Ohio Playing the Text: Interpretive Hymn Playing, 5:00 – 7:15 p.m. Class at First Congregational Church, Columbus, Ohio (72 rank Beckerath organ) James Bobb, Minister of Music, First  Congregational Church Music Technology for Church Musicians, 4:45 – 7:00 p.m. Mark Lochstampfor, Professor of Music, Capital University, Columbus, Ohio. WEEK TWO June 14–18 Perspectives in Choral Conducting, 1:00 – 3:15 p.m. Robert Ward, Associate Director of Choral  Studies, The Ohio State University, Columbus, Ohio Master This! (Organ Literature Masterclass), 3:45 – 6:00 p.m. Paul Thornock, Cathedral Director of Music, St. Joseph Cathedral, Columbus, Ohio Handbells I, 5:00 – 7:15 p.m. Jane McFadden, Director of Handbells, Christ Lutheran Church, Bexley, Ohio; composer and arranger  WEEK THREE Ju June ne 21–25 Advanced Handbell Skills (Handbells 2) 1:00 – 3:15 p.m., Jane McFadden Music and Worship Worship in the African American Tradition, 3:30 – 7:00 p.m. Raymond Wise, Affiliated Professor of   Church Music, Trinity Trinity Lutheran Seminary  For further information contact: Professor May Schwarz Director, M.A. in Church Music 2199 East Main Street Columbus, Ohio 43209 614-235-4136 www.TrinityLutheranSeminary.edu [email protected]

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INFLUENCE CHANGES EVERYTHING more important, your program can quickly  become known as an entertainment or service program instead of a legitimate musical ensemble if too many events of this kind are scheduled. sched uled. Walking the line between the two is tricky, especially if your administrators exert pressure on your performance calendar. Even if they don’t, we acknowledge that th at outreach events are a part of what we do as musicians and they can ser ve both healthy  musical and non-musical purposes. Being able to clearly articulate what constitutes a respectable, balanced, and professional concert schedule is an important part of the conductor’s leadership skills and while there may be occasional compromises, aiming for  credibility and excellence at all costs should

be the goal. More common than having too few performances in the season is having too many—scheduling so many performances so close to one another that there is no time to get excited, much less adequately  prepared, for each one. Before scheduling a Wednesday night concert during tech week  of the spring musical, followed by an out-oftown tour and festival the next weekend (which is the weekend before prom), conductors need to think about the energy it takes for the ensemble not only to prepare the music in a meaningful way (that is, not just pounding notes and drilling the music under pressure) but also to have the physical and psychological energy to focus on each

Choral  

upcoming performanc performance. e. Each performanc performance e is unique, even even if the repertoire reper toire is the same. Singers need to be physically “in voice” and adequately rested. Just as impor tantly, they  need to want to perform. If the concer t feels like dr udger y, like the “same-old, sameold;” if the singers are exhausted or preoccupied, or if there is a deep anxiety about not being prepared, momentum will stall. Be careful not to mistake frenzy for productive activity; resist the urge to book more events than your ensemble can capably and enjoyably prepare. While a little pressure (a busy performance weekend with two or  three back-to-back concer ts) can add to the excitement and momentum, we need to use our sense of foresight and balance to deter-

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mine the right schedule for the ensemble at any point during the season. The Concert Cycle How often, on the day of a concert, do we wish we had “just one more week” (or day, or rehearsal) before the performance? Then we would be ready, we think. The bigger question is: How regularly do we find ourselves in this same predicament, wishing we had “just one more”? Do you accurately predict that every every concert week  will be “crazy” or that you will be rushing to get things ready for the performanc performance? e? If so, ask yourself: “Why am I planning, in advance, to be out of time and unprepared?” One of the most important skills conductors must acquire is the ability to design the concert cycle, the period of weeks leading up to a performance, in a way that allows for the needed technical learning, the ongoing development of musical skill and understanding, and a meaningful musical experience. Until we master this skill, we will always be in danger of reliving the same chaotic and stressful process over and over  and shortchanging what the music and the musicians can offer. Instead of momentum, ensembles will experience a series of slow or perhaps mildly productive rehearsals followed by pressured “cram sessions.” Seeing S eeing the concert cycle as a whole and making smart decisions in advance can prevent this drama.

and a polishing polis hing or performance perfor mance phase. phase .These phases take different kinds of energy and rehearsal time, with more time spent in the middle stage than the others. If the goal is to teach and not just train, we will want to allow time to talk about the music, explore artistic options and musical challenges, work  work  with balance and blend, and ask questions about everything from the meaning of the text to the cultural and social implications of the pieces we collaboratively bring to a polished stage. Scheduling too tightly during the concert cycle will make this kind of  teaching and learning impossible. Devote the early rehearsals to introducing new repertoire but be sure to include one or two pieces in the program that the ensemble can learn relatively  quickly. This will create an immediate sense of accomplishment and set momentum on its feet. Program other pieces that will take more of an investment of time and energy and at least one piece that may need most of the rehearsal cycle to prepare because it pushes the ensemble to its limits of technical and artistic ability ability.. This balance of dif ficulty levels within a concert program ensures that rehearsals will have momentum because there will be a variety  in the way time is used and in the level of challenge presented throughout each rehearsal.

Influence: Set Goals To Be Met

Throughout The Concert Cycle Instead Of Wai Waiting ting Until The Final Performance. Step 6 Learn at least one piece relatively  quickly and use it as a “success piece” that can be sung at the beginning or end of  subsequent rehearsals or at any time the ensemble needs to “just sing.” Rotate the other pieces of medium or high dif ficulty  in and out of rehearsal, and set goals for  when these pieces should be “learned” (capable of being performed with the score in hand and few, if any, technical errors) and when they should be “performance ready” (memorized, fully expressive performances). Establish these goal dates with the input of the ensemble: ask them, “Which piece should we have learned for Friday?” Spread these finishing goals throughout throughout the concert concer t cycle so the ensemble feels a growing sense of accomplishment and so your conductor  “checklist” can account for the ensemble’s readiness as the concert date approaches. Trying to peak all the pieces simultaneously  in the few days leading up to a performance creates unnecessary stress and compromises the quality of the work you can do in those final rehearsals.

Influence:

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, rehear sals, we are scheduling too tightly. Allowing no room for the unexpected (snow days, a flu epidemic, surprise fire drills, or  music that takes longer to learn than we anticipated) means boxing the ensemble into a corner where singers are being force-fed the music—hardly an enjoyable or educational experience. Learning music may be thought of in three phases: a reading or introductory  phase, a learning and exploration phase, CHORAL JOURNAL

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INFLUENCE CHANGES EVERYTHING Influence: Plan The Final Two Rehearsals To Focus On Logistics And On Performing, Not Just “Running,” The Concert. Step 7 The final rehearsals always present new challenges. Bringing in an accompanist or guest musicians, working with entrances, exits, and riser arrangements, and adjusting to the new acoustic of the performance space take time—we need to plan for that time. Continuing to build momentum in those final rehearsals requires req uires that the music is performance ready and that conductors use their foresight by preparing the ensemble for what will be needed as they bring all the pieces together for the performance. Set a new and higher bar for concentration and focus for these rehear rehearsals. sals. Let the ensemble know they need to trust you; that adjustments will be needed in this new environment and they need to respond quickly  and quietly. The stakes are higher during these final stages and while conductors must continue to lead with dignity, di gnity, singer singerss need to understand that ef ficiency and focus are a re key. key. Save time and prevent undue stress in

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these final rehearsals by planning the singers’ standing arrangements and entrances/exits in advance. Develop a written lineup or  chart so they know where to go when they  arrive at rehearsal; better yet, rehearse in concert arrangement during the rehearsal(s) prior to concer t week so that this is one less thing to spend time on. Give the ensemble a running order of the concert with details about entrances and exits, if/when there are announcements, where they will be seated before and after their performance, and any  other logistics that they will wil l need to know in order to be comfortable comfor table and professional in their presentation. To be even more ef ficient, find a way to provide this information by  using an ensemble Web site or Facebook  page devoted to communicating with the ensemble. Referring the singers to these resources can save valuable time in the final rehearsals.

Influence:

Have A Plan B And Use It, If Necessary Necessary,, Early Enough In The Process To Make A Difference And To Preserve Momentum And Morale. Step 8 Sometimes things just don’t work  the way we planned; the music doesn’t seem to be coming together in a timely way. This happens to even the best ensembles and while we should spend some time re flecting on what led us to that predicament, we need to use our in fluence, our leadership, to put a Plan B into action early enough in the process for it to preserve the final product as well as the morale and energy  of the ensemble. Whether the Plan B means pulling a piece from the program, using a small group or soloist in a particularly challenging passage or movement, postponing a piece pi ece for a later  performance, or singing in English instead of  the native language—the key is to make this decision before the final days of rehearsal or  it is likely to leave singers feeling that they  wasted their time and efforts. This will most certainly cer tainly lead to low morale, mor ale, even anger, anger, and a lack of con fidence in our leadership and

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the ensemble’s ability. Waiting too long to enact a Plan B can also obscure any benefits that might have cascaded to the other repertoire (such as extra rehearsal time on those pieces), had we put it into place sooner. A conductor’s reluctance to use a Plan B is sometimes the result of a per sonal ego struggle rather than an inability to see that it is the best decision for everyone involved. Keep in mind that Plan B does not have to be presented to the ensemble in a defeatist way (“we failed”). If we are regularly dialoguing with the ensemble about their progress, assessing where we are and still need to go, then it should become apparent when a Plan B is needed. Involve the ensemble in making this decision. Lead a discussion about a Plan B in a way that continues to develop the musicians, helping them to see reality and to use temporary setbacks as fuel for the next goal. What one learns by being par t of  an ensemble is not only musical in nature; so much of the learning is about understanding the creative process, the wise use of time and energy, and the way in which individual and group goals depend on each other. The concept of “peaking for performance” is one that athletes know well but that often eludes conductors and ensembles. Using these Influence Steps to create momentum during the concert cycle cyc le will greatly  enhance not only the performance, but also just as importantly, the experience of  learning and preparing the music. Even with a well-strategized concert cycle, ensembles ensembles and conductors are likely to encounter  surprises; but if the groundwork has been laid and we have developed a conscious approach to creating momentum in our rehearsals, hearsal s, conductors will be able to re-assess and re-direct efforts when these surprises happen ensuring, in the end, a successful performance and positive experience. The Rehearsal Planning and managing our time well throughout the year and within each concert cycle will go a long way toward creating momentum and energizing ensembles for  success. The final piece of the momentum puzzle is to plan and manage time within each individual rehearsal. This depends on

creating a context for the musical learning, layering the learning as a series of everincreasing and interesting interesti ng goals, and involving singers in the decision-making, assessment, and goal-setting process.

Influence:

Create A Context For Musical Learning And Experience By  Using A Whole/Part/Whole (WPW) Approach. Step 9This 9 This is the simplest simples t yet most effective strategy conductors can call upon when planning and leading a rehear rehearsal. sal. Put simply, simply, “Whole/Part/Whole” “Whole/P art/Whole” means starting with a context for the learning (Whole), working on the details (Part), and then putting the learning back bac k into a newer newer,, more enlightened context (Whole). While this strategy seems evident, many conductors are so concerned about the details that they launch into working the minutiae of each piece because it 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 ever y 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 start by singing through this section, playing a recording, or leading a brief discussion about the music and the goals you have set.This is the first Whole, the beginning context. Remind the singers what they worked on the last time they encountered this passage, or, if it is new material, 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 lose time while they try to get mentally and vocally connected to the piece (“How did this go? Is this new stuff? I don’t remember 

what we did last time . . . ”) and conductors will become frustrated (“This is just like the partt we worked par worked on last time! Why can’t you

remember what we did?!”). After establishing a context (the first “Whole”), move move to the details (the “Part”)— 

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INFLUENCE CHANGES EVERYTHING tricky rhythms, new melodic material, dissonant chords, matched vowels, pronunciation of a foreign language—and layer the learning so that with each repeat something has been mastered and a new goal has been set. Once the ensemble masters a goal (the awkward leap in measure meas ure 20, for example), put it back  into context, starting with most immediate context and expanding it into broader  contexts in order to reinforce the learning and help singers understand how this detail relates to the larger whole. Rehearse the now-corrected awkward leap in measure 20 by singing measures 19–21. Successful? Then widen the context to include the entire phrase, perhaps 17– 24. Still Still successful? Consider this goal g oal met and move to another,

all the while connecting the known to the unknown, the already learned music to the challenges that still exist. Before leaving one piece and moving to another, put everything you have done on that piece back into context for the final “Whole.” Besides providing a musical and psychological payoff for the work, this final Whole will help focus the singers, singers , who might still be reeling from counting a complex rhythmic passage or learning a foreign text, and it will allow everyone ever yone to step back and take a broader, more musical view of the piece. Knowing it is the last time they will sing this piece for the day also creates momentum because everyone knows they are soon moving on to something else.

Before you run the final Whole take a minute to articulate the goals you set for  this piece at the beginning of the rehearsal. Then, perform the section you worked on or, if time and energy allow, sing the entire piece. When you are finished, assess how it went, drawing input from the ensemble. How did we do? What goals still lie ahead? What can we do before the next rehearsal to be sure we continue to move forward? Even if the singers are still struggling str uggling and the final Whole was less than confident, assessing progress collaboratively is important so that everyone has a keen sense of time and direction, and so singers can take responsibility for their  part of the learning process. This is not the time to be negative but it is the time to

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Ron Burrichter

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be honest. Unless everyone knows where things stand, it will be challenging to move together to the next level of preparation and ultimately, to performance. An important impor tant point: unless there is a very  good reason for doing so, do not run the piece or section again after the final Whole. Let it be. Make notes about what to accomac complish next time and move on. Re-running the piece after the final Whole is likely to feel anticlimactic and rarely results in a better or  more inspired performance unless the s ingers unanimously view a rocky run-through as a personal challenge to do better. If they  clamor,“We can do it! i t! One more time, time , we’ll get it!” then by all means, go with their instinct and energy and perform it again. Thinking of the entire rehearsal as one big Whole/Part/Whole Whole/Part/Whole will also help create and sustain a feeling of momentum. Beginning and ending rehearsal with music ( first and last Whole), instead of announcements or other tasks, reminds everyone why they  are there—to sing. Keeping the most dif ficult or challenging work in the middle of the rehearsal (the Part) Par t) will ensure that singers will be physically and psychologically ready for  this level of detail—they have been prepared by warm-ups and that first success piece, but they are not yet restless or fatigued and checking the clock to see when rehearsal is going to end. Peaking the rehearsal toward a final sense of closure or success is an important step for conductors. Performing a piece from memor y, using soloists or student conductors, singing in a new arrangement, or  doing anything that creates a sense of interest 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.

Reframing Success and the Musical Experience Traditi raditionally, onally, success is de fined as an end product; for for conductors and their ensembles, the end product is a public performance. Performing a “clean” concert which is well attended, achieving a winning performance at a festival or contest, or garnering a standing ovation from the audience are all wonderful rewards for the work you did over  weeks or months of rehearsal. But if success is measured only by the quality of the end product, what does this mean for all the rehearsals leading up to the concert? If a piece does not go well in performance does that mean all of our work  wor k  in those rehearsals was wasted? What if we succeed in presenting a polished concert but the rehearsals leading up to that concert were tense, even antagonistic at times? Does the end justify the means, any means of getting to a “successful” performance? On the opposite end of the productprocess continuum are rehearsals colored by low expectations, enabling behaviors, and brain-numbing activities, all justi fied as necessary so that our singers will always be happy. So S o what if the end product is embarrassingly simplistic and does not even begin to tap into the capabilities of the ensemble? At least they “had fun” along the way. Intellectually, we know we can never sep-

arate process from product but depending on our viewpoint, we can wind up focusing on one to the exclusion of the other and unwittingly create an imbalanced musical experience for our ensembles. Using our  influence means making a conscious effort to balance the quality of both process and product with our ensembles.

Influence:

Define Success Both As An Engaged And Challenging Learning Process And A High High-Quality End Product And Be Sure You Demonstrate This Belief In Your Actions And Character. Step 10 An engaging, edifying rehearsal process and a technically clean, expressive performance do not have to be mutually exclusive. Understanding the process-product balance and putting it into action require us to reframe our vision for what the musical experience can be. be . This star ts with opening our eyes to signi ficant changes in the way  people view organizational leadership and applying this new understanding to our in fluence roles as conductors. At the heart of this perspective is knowing that to get the most from those thos e we lead,

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INFLUENCE CHANGES EVERYTHING we need to bring them into the decisionmaking process in a more meaningful way. Rather than the old model of top-down, hierarchical, autonomous leadership, a new model of leadership characterized by collaboration, questioning (rather than providing all the information), and intellectual as well as functional engagement is being applied to organizations of all kinds with remarkable results in both process and product. Conductors are skilled at directing the actions of  others and making quick, informed decisions about the music; what we need to do better  is learn to ask singers for information rather  than always giving them the answers and challenge their thinking by engaging them in richer ways in the rehears rehearsal al process. We

do this by allowing them to “weigh in” on issues of interpretation, approaches to solving technical problems, and even the managerial and goal-setting aspects of the ensemble. Acknowledging the ensemble’s ability to make musical judgments, even at the beginning of  their musical training traini ng or skill, means developing rehearsal strategies that require singers to think, conduct, analyze, and evaluate while learning their music. The conductor in Maestro: A Surprising  Story About Leading By Listening, shares his discovery about engaging musicians in order  to get the best performanc performance: e: “Eventually I realized that a great performance would happen only when the motivation sprang as much from them as from me. I learned

to see my job as simply creating an environment where that could happen. Once I learned to engage their artistry, everything felt so much easier.” (Nierenber (Nierenberg, g, 2009, p 19) As leaders leader s of our ensembles, we need to judge the best ways to engage the ensemble so that our time is still used ef ficiently toward accomplishing our group goals under  a unified vision. If we know what motivates our singers, manage our time well to create momentum, and continually take stock of the balance between process and product, we will maximize our opportunity to in fluence the learning and artistry of those we lead, becomingg an “agent of change” for the better becomin bette r.

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

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E ma i l : cj @ eu r o ar t s t ou r s . c om

Tel: 386-246-9660 w ww . e ur oa r t s t o ur s. c o m

RESOURCES Maxwell, J.C. (1998). The 21 Irrefutable Laws of Leadership. Nashville , TN: Thomas Nelson, Inc.

Nierenberg, Roger (2009). Maestro Maestro:: A Surprising Stor y About About Leading by Listening. New York ork,, NY: Por Portfoli tfolio. o.

Wis, Ramona M. (2007). The Conductor as Leader: Principles of Leadership Applied to Life on the Podium. Chicago, IL: GIA Publications, Inc.

Pink, Daniel H. (2009). (2 009). Drive: The Surprising  Truth About What Motivates Us. New York, NY: Riverhead Books.

Who and What is the American Choral Directors Association? Association?

We are a nonprofit organization whose goal is to promote excellence in choral music.

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

We strive strive to elevate the role of  choral music and the way it touches our society. We inspire and lead over a million singers nation-wide.

We are the American Choral Directors Directors Association. Association. Join us. Membership information is available on our website at . .acda.org>.

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Tim Fredstrom Tim Fredstrom is an associate professor of choral music education and assistant director of the Illinois State University vers ity School of M us usic, ic, where he also conducts the Men’s Glee. Prior to joining the Illinois State University faculty he taught choral mus mu sic in the Nebraska Nebraska Publ Public ic School chools s for 10 years years.. fredstrom@ f redstrom@ii ll in inoi ois ssta state.edu te.edu 20

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There would be little question among choral directors that their choir members have different learning preferences and perceive, learn, and remember information in different ways. Choral directors today direct ensembles of ever-increasing diversity, not just culturally, but also in the learni ng readiness readiness and and mus musii cal experiences that choir members bring to a rehearsal. For a myriad of reasons, a one-size-fi ts-all approach to rehearsal is becoming less and less effective. However, choral directors can help members of their ensembles learn more effectively, and thus achieve higher levels of artistry, by differentiating their rehearsal approaches proache s to accommodate students students’’ mul multi tipl ple e learning preferences. O ne way to accompl accomplish ish this i s to foll ow the advice of the old adage, “a picture is worth a thousand thousand words word s.” Chora Chorall di directors rectors who are able to include visual information—images or pictures—in their instruction can greatly

increase the likelihood that more of their students 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 mor e students students who wh o are able abl e to master master the th e skills and musical ideas taught in rehearsals, the faster the rehearsal process can progress. Imagii ne the artistic achieve Imag achi evement ment of a choir if if the key ideas and skills rehearsed on Monday w ere remembered rememb ered on o n Tues Tuesday day and i f Tues Tuesday’s day’s rehearsal could build on Monday rather than spending time reviewing and teaching the same ideas and skills again. No doubt, there i s alw always ays a refi nement process from day-to-day i n rehearsals rehearsals,, but bu t if i f the t he three-steps three-steps-forw -forward ard two tw o steps back pattern could be minimized, ensembl embles es’’ arti stitic c achievement could coul d be grea greatltly y increased. By communicating key rehearsal materi mate rial al verbal verbal ly and visual visual ly, choir membe members rs are more likely to master the rehearsal ideas and skills each day, internalize them, and apply them in their musical contribution to the ensemble. As a result, we can accelerate the artistic achievement of the ensemble. Presentation technology is an effective tool for including the power of pictures and visual images in a choral rehearsal. At a basic level, presentation technology consists of a computer softw software are appli application cation us u sed to manipul ate and display content on a screen in the form of a slideshow. The content is displayed on a screen, via projection or directly on a large LCD-type monitor. At this time, Microsoft Pow owerP erPoi oint nt for Wi W i ndow ndows s or Macintosh M acintosh (http://  (http://  store.microsoft.com/) and Apple Keynote for Macintosh (http://www.apple.com/) are the industry standard for presentation software applications. Beyond simple projection techCHOR CHO RAL JOU OUR RNAL Volume 51 Number 7

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A Pictu Picture re is is Worth Worth a Thousa housand nd Words Words

nology, interactive projection technologies are becoming increasingly commonplace. Examples of interactive technology at this time are Smar tboards (http://www.smartboards. (http://www.smartboards. com/), touch-sensitive screens that allow one to manipulate the computer using the projected computer image and classroom response devices “clickers” (http://www. turningtechnologies.com/), wireless devices that allow students to respond individually to projected words or images. As more choral classrooms are equipped with various forms of presentation technology, choral directors can consider incorporating this resource in their rehearsals. Consider this example—frequently, cho-

ral directors verbally describe metaphors of  sound. They might ask choirs to sing with a “warmer” tone. In this process, a choral director might describe an image of a glowing fireplace, using words that describe warm colors—reds, yellows, and oranges—warm temperatures and perhaps even how it feels to be near the glowing fireplace. In the process, many words may be used, but depending on how skillfully skillfully the story is told, the description might simply conjure up an image only in the director’s mind rather  than stirring the imaginations of the choir  members. Using presentation technology, choral directors could display di splay an image of a glowing fireplace and say to their choir s, “Look at this

Example 1

image.” (See Example 1.) “Please sing with a tone that sounds s ounds like this.” Rather than trying to describe her or his impression of a glowing fireplace to a choir, the

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director invites individual members of the choir to look at the projected image of the 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 ef ficiently, directors empower  and encourage choir members to contribute 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’ members ’ imaginations, initiative, and artistr y. Using projected visual images is applicable to many other situations in a choral rehearsal. When rehearsing a piece that is andante and sostenuto, like Duru fle’s Ubi caritas, perhaps an image of a canoe gliding along in a quiet lake could be a visual metaphor to depict the moderately slow tempo, legato quality, and the gentle gentl e 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 yesterday. 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’ member s’ minds and encourages them to apply their previous 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 experience through a projected image. This image effectively and memorably conveys meaning and transforms actions with very few words. Directors can promote artistic achievement in a timesaving and effective manner. The potential of this instructional process is limited only by a director’s imagination. Furthermore, this process can promote creative ways of thinking about a piece for directors

and singers alike. While using visual images to communi-

cate ideas has potential bene fit for many  situations and different types of choirs, con-

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A Pictur Picture e is is Worth Worth a Thousan housand d Words Words

sider its effectiveness especially with choirs 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 singer s 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 podium. However, However, in choirs of less experienced singers, this is often not the case. Adding a visual dimension to a rehearsal through presentation technology can be a valuable tool to encourage the artistic growth of the ensemble. For example, imagine the process of  teaching the concept of balance among parts to a choir. A choral director could explain the desired proportion of volume of the soprano as related to the alto and so on. Of course, this would require some description, and as many choral directors who have experienced this process first hand can attest, the results may have less than the desired effect. By using presentation technology, a choral director could take a

When only the best  will do...

diffe rent approac different ap proach. h. She or he may say,“Choir, the balance we need to have for this section is shown in this diagram.” (Example 2).

not just verbally—communicate the speci fic outcomes for a given rehearsal (Example 4).

Example 4 Example 2

By communicating the desired outcomes for a rehearsal, choral directors can increase their ensembles’ potential potential for ar tistic achievement.This is a par ticularly useful method for  “The balance I heard the last time we sang focusing singers’ attention on speci fic rewas like this diagram.” (Example 3). “Please hearsa hearsall tasks. The better that choir member s sing this section again and focus on singing understand what they are supposed to do with the balance described in this diagram. diagram.”” in a rehearsal, rehears al, the greater the likelihood they  (Example 2). will achieve the desired outcomes (Saphier, 2008). Further, choral directors can refer to an outcome from a previous rehearsal to remind singers of what they accomplished, which is a strategy to avoid having to relearn material. Choral directors can extend this idea by adding an assessment dimension to rehearsal rehears al objectives. For example, projecting a rubric or simple matrix to assess the stated outcomes promotes singers’ accountability, particularly when they are involved in the assessment of their individual performance and the performance of the ensemble (see Example 5).

Example 3

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One of the most powerful uses of presentation 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 as well as the speci fic outcomes they need to achieve. For example, rehearsal agendas can be projected and referenced throughout a rehearsal. Choral directors can visually— 

Volume 51 Number 8

Example 5

By using presentation technology, choral directors can effectively incorporate multimedia examples into rehearsals that will help choir members connect more intimately  with the repertoire. For example, if a choral director wanted to play an audio example to illustrate a musical idea or technique, the specific location of the recording can be selected and played for the choir with the click of a mouse. This allows a director to avoid searching for the excerpt while the choir waits. Further, a choral director can use presentation technology to show video examples in much the same way. Presentation technology is also an effective way  to cue examples taken from the Internet. Links to websites can be created within a presentation file and can be accessed again by a mouse click, clic k, avoiding avoiding the need to enter  en ter  the URL into a browser window while the ensemble waits. Choral directors have more technology  available to them than ever before. Using presentation technology to promote choral artistry can be a valuable tool for choral

Career Care er Moves Moves

directors ; however directors; however,, directors must always remember that the focus should be on using it to help choral musicians sing more ar tistically tistically.. Showing one slide after another of lengthy  or involved text is a common mistake. It is better to keep any text or notes brief—prebrief—pre sentation technology is not a substitute for  good instruction or effective communication. Students tune out slide-based presentation presentationss when they are over flowing with text. The term “Death by PowerPoint Syndrome” is used to describe this phenomenon, and it must be avoided (Clark, 2008). With presentations, choral directors should focus on promoting artistry by increasing choir  members’ connection with the art using varied media and instructional clarity. When used properly, presentation technology is an effective and ef ficient way to engage choir members’ imaginations and attention. It gives directors an opportunity  to increase their instructional variety and allows them to communicate abstract ideas in a way that is more inclusive of the diverse learning styles represented in the ensemble.

As more choral classrooms are equipped with presentation technology, choral directors can consider incorporating this resource into their rehearsals. In so doing, directors can promote artistic achievement by helping choir members connect more deeply with the music.

RESOURCES Clark, J. (2008). Powerpoint and Pedagogy. College Teaching (Winter), Teaching (Winter), 39– 45. Lynch, S. A. (2008). Creating Lesson Plans for All Learners. Kappa Delta Pi Record (Fall), (Fal l), 10 – 15. Saphier, J. (2008). The Skillful Teacher: Teacher: Building  Your Teaching Skills Skills.. Acton, MA: Research for  Better Teaching, Teaching, Inc.

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Philip Copeland is director of choral activities at Samford University in Brimingham, Alablama and chair of the ACDA Technology Committee [email protected].

They are called by many names: Generation Y1, Millenials 2, Generation Speed3. Mark Baurline describes them as a “diverted “diverted and distracted 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’ today’ss student is different from those of the past. In 2001, Mark Prensky invented invented an especially appropriate term to describe this generation: Digital Natives. Natives. He also supplied a companion 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.

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Prensky’s terms help explain the dysfunctional nature of today’s student-teacher  relationship when it comes to technology: the student knows more than the teacher. This backwards relationship causes frustration in many; they choose to “opt out” of  technology instead of embracing it as a tool for becoming more effective. A large percentage of choral directors missed out on the digital revolution and are resistant to change. Others find it dif ficult to keep up with the fast pace of technological development. Many own an iPhone but don’t know what to do with it. Some choose to plead ignorance, thinking that their students and the rest of the world will accommodate their inability to function with technology. It is a poor choice; resistance to change brings an ignorance of how the world wor ks today. today. This ignorance usually results in irrelevancy irrelevancy,, a condition that renders teachers ineffective in their communication with others and impairs the ability to effect positive change in the lives of students. The purpose of this article is to help Digital Immigrant choral directors catch up to their students. By mastering these tools and strategies, the digital immigrant high school conductors can become more pro ficient in critical aspects of their job:

WWW. IMMIGRANT CONDUCTOR.ORG Philip Copeland has created a companion Web site to this article located at www www.immigrantconductor.org. .immigrantconductor.org. Located on the Web site are videos, additional articles, and supplements to this article.

• communication with students, parents, and the local community; • organizat organization ion and management of the choral program; and • staying current in the profession.

Communication with Students, Parents, and Community In his book  Grown up Digital, Don Tapscott talks about the new “norms” for this Internet-based generation. The “norms” emanate from the way today’s students were raised with immediate access to pertinent information and rapid communication.

Digital natives have become accustomed to communication that takes place at an incredibly rapid pace. They spent their formative years communicating instantly with their  parents and friends. They have grown up getting the information they want quickly  and in a variety of electronic forms. Likewise, parents of digital natives are crying out for  ef ficient communication of the information they need to help organize the lives of their  children and themselves. These soaring expectations place a fresh challenge on the immigrant high school choral director. The reliable tools and strategies of yesterday don’t work anymore, especially when it comes to communication. After teaching our choirs choir s the music, communication becomes the most important skill we need in our interactions with students, parents, administration, and our local community. Paper, the primary communication medium 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 academic year; and • detrimental to the environment.

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Paper’s disadvantages, along with the pressure from the recent economic downturn, have forced forced many to transfer their anaana log paper communications to digital formats. 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  people without additional cost; • it is easy to correct mistakes and accommodate new developments or changing circumstances; • parents and students can always turn to the original source for the most reliable information; • much of the information can be recycled every year. Electronic communications enable choral directors to communicate quickly and ef ficiently with the group that is most interested in following all of the news associated with a choral program. That community that is composed of several different populations: populations:

(1)They are free and easily accessible from any Internet connection.

(3) They are owned and operated by wellestablished companies.

(2) They are familiar to a large segment of  the population.

(4) A number of different privacy settings are available for each tool.

CATCHING CA TCHING UP TO THE DIGITAL NATIVE: A STEP-BY STEP-BY-STEP -STEP GUIDE Open a Google Account (google.com) A Google e-mail account is optional but recommended, it is a powerful tool. With a Google account, you can easily: a. Set up a Blog. (www.blogger.com) It is easy to transform your blog into a Web site by purchasing a domain name for $10 b. Set up a Google calendar Consider using Google’s calendar for your personal calendar Set up a new Google calendar for your choir. Enable the new choir calendar to be listed publically and subscribed to by your students (see settings). c. Set up a “Form” for your choir to fill out online via e-mail, blog, or Web site. Use this form to create information.

• choir members;

d. Set up an online Google document that can be edited by others from their own internet connection. Consider Consider making your next “sign up” event or opportunity an online 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 leaders;

Open a Twitter Account: (www.twitter.com).

• music enthusiasts; and • friends and family of conductor. E-mail was once looked upon as the electronic communications solution, but it isn’t as ef ficient as it used to be. Although still effective for parents and administrators, e-mail is not the primary communication tool for students. Three well-known internet applications enable the choral director to facilitate easy  communication to their various audiences: Blogs, Twitter, and Facebook.

Create the first Twitter account for yourself. Use this account to follow people you are interested in and thus create a “personal learning network” Create a twitter account account for your choral program. program. Use this account to promote blog postings, concerts, fund-raising activities, etc. to your community of  parents, administrators, administrators, and community leaders. Create a Twitter account for each choir in choir program. Ask your students to open it Ask students to subscribe to the choir twitter account with their cell phones (warning: cell phone messaging costs do apply—this option is best for those with “unlimited” texting) texting) Students can subscribe to Twitter account by RSS is they do not want text messages. Some services will transform an RSS feed into an e-mail that is delivered to the students. Open a Facebook Account for yourself (www.facebook.com). Create a fan page for your choir program.

These tools share similar bene fits:

Encourage your students to join the fan page.

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These three applications (Blogs, Twitter, Facebook) allow choir directors to engage the world in new ways. Different uses of the tools enable choral directors to reach each population. Choir members are the first audience; they are most interested in the information that surrounds the proper execution of choir  membership. The director can use digital tools to communicate rehearsal feedback, directions, and information about the next rehearsal. The same tool can also be used to promote the achievement of individual members of the choir, point to recordings of your literature, or even produce aids in learning musical notes, pronunciations, or  translations.

Parents, administrators, friends, and music enthusiasts fall into a second, more general audience. This group doesn’t care as much about the daily workings of the choir, but they are very interested in hearing choir concerts or reading about choir achievements. This audience is more interested in concert times, ticket sales, and choir achievements like festival ratings, ratings , prestigious invitations, and new recordings. Blogging, Twitter, and Facebook can be used in different ways to reach both audiences. It isn’t as important to pick the right tool as it is to use it repeatedly. Communication comes from clear and consistent messages; each tool will be effective if used consistently consi stently..

BLOGGING FOR CHOIRS There are three general bene fits for using a blog for your choir: • It saves time: you don’t don’t have to talk about it in rehearsal. • It saves money: you don’t don’t need to duplicate everything for everyone. • It allows you to share your work work with the rest of the world. I recommend a blog for every organization that employs you, whether you work for a school, church, church, or community choir. choir. There are multiple ways you can use a blog to enhance your teaching: Provide feedback to your choir. Blogs can communicate praise or correction to your choir concerning events and performances. You can rehash rehearsals and even frame negative events 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 them to be used as an assessment tool; you can use choir member’s opinions to help shape your plans and decisions. Communicate the important as well as the mundane. A choir blog is a perfect place to provide the routine details of uniform ordering and syllabus sharing. Point your choir to recordings and part-learning help. The blog can link to recordings available online from iTunes iTunes or Amazon. In addition to commercial recordings, there are many sites that contain midi files for part-learning help for learning major works and other well-known pieces. Pronounce, translate, and discuss the text. The blog is a wonderful tool to 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 your choir members a forum to discuss the text of a work outside of class.

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Blogs Blogging is the easiest way to publish a wide array of information on the internet. Two sites are the most popular for beginning bloggers:: blogspot (www.blogger.com) bloggers (www.blogger.com) and wordpress (www.wordpress.com). (www.wordpress.com). It is easy  to set up a blog and create a first post; the process takes only a few minutes. Blogs are much easier to manage than traditional Web sites. No special software is needed; only an Internet connection is required. The blog is the place plac e to go into detail about announcements or events. It is an ideal spot to place any message, thought, picture, sound file, or video. Information placed on 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  to speak to a number of different audiences. It is an ideal way to stay in touch with wi th former, current, and future members of the choir. Over time, your blog will evolve into a digital record of your choir’s activities. There are definite advantages of blogging as a tool for digital communication. There The re is no size restriction on the amount of information in each post. Many people use a blog for their detailed communication and then “point” to it from other applications, including Twitter and Facebook. Fa cebook.

Twitter Twittering is similar to blogging and the Twitter system is a “micro-blogging” tool because it allows only a 140-character message to be transmitted to the world through the internet. “Tweets” can be communicated from cell phones as well as computers or  other internet devices. The power of Twitter is often underestimated. For many, Twitter is a repository  for minutia; they use the service to communicate only the mundane details of their  lives. However, Twitter is also an in fluential tool for sharing and gathering information. It provides provid es an opportunity for choral directors to build world-wide professional networks and establish strong bonds with students,

parents, and administrators. Twitter’s great advantage advant age is the brevity of  its message and the ease of communication. Messages are easy to create and post; followers can read the message from anywhere in the world. Many choir directors use Twitter to give feedback to their choirs following rehearsals. The Grimsby Bach Choir (BachChoir) tweets about a number of issues common to every choir: • reminders about rehearsals; • listening suggestions; s uggestions; • feedback from rehearsal; • openings for new members; and • ticket sales. One of the most powerful things about Twitter is its integration with the text messaging abilities of cell phones—yo phones—you u 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  to your followers. The significance of this cannot be missed. The overwhelming majority of Digital Natives use text messaging as their primary  means of communication. With this tool from Twitter, the Immigrant Conductor can easily reach rea ch students subscr s ubscribed ibed to the Twitter account. Twitter can easily be used to promote your choir program progr am to the community c ommunity.. Once you set up your choir’s twitter account, you can promote audition results, concerts, awards, reviews, and fund-raising events. Many use Twitter in combination with w ith a blog or Facebook; they send messages about new blog posts. The “tweet” directs the reader  to the longer article ar ticle contained on the blog. ACDA Executive Director Tim Sharp uses this technique often; of ten; he “tweets” about longer articles ar ticles that he writes on the ACDA ACDA Web site or ChoralNet blog and then refers to them with a hyperlink. The “tweet” might look like this: “Friends

High School gets straight superiors at state contest!! http://bit.ly/baBcJB” http://bit. ly/baBcJB” The subject of  the article or note is usually contained contained in the tweet; the link refers the reader to the longer  blog post if they want to read it.

of its location on one of the world’s most popular Web sites. It is attractive for a number of reasons: • it is free;

Facebook 

• you can promote events;

Facebook, the Internet’s top social networking Web site, needs little introduction. Many educators have resisted joining because they don’t like the idea of becoming “friends” with students. Others have found tremendous rewards in connecting online with old classmates and students. Facebook can also be used as a tool to promote groups and organizations. The popularity of Facebook and its pervasiveness with all ages makes it an ideal tool to promote your choir. Creating a “Facebook Fan Page” is an excellent way to communicate with your  target audience. It offers many of the same advantages as a blog with the added benefit

• it is a channel to your blog and Web Web site; and • you can add unlimited photos and videos and sound clips.

Organization and Management of the Choral Program One of the most dif ficult part of choir directing is the managing ma naging of events, people, and information. The creative brains of musicians are usually better at interpreting music than keeping up with all the details. Technology 

BEST PRACTICES FOR FACEBOOK 1. Create an additional pro file for professional use only. only. The pro file should contain contact information, an e-mail address, of fice address, and phone number. 2. Inform students of their Facebook pro file. 3. Teachers should not invite students to be their “friends.” Students may perceive this as an invasion of privacy privacy and subtle form of intimidation. 4. Keep your pro file “open” to the public rather than “private.” 5. List your Facebook pro file in course syllabus or email signature. 6. Invite students to designate their teacher on their “limited pro files.” Teachers should not view students pro files. 7. Teachers Teachers should demonstrate how to use Facebook privacy settings to their students and model proper online behavior for the student. Derived from “Opening Facebook: How to Use Facebook in the College Classroom” a paper presented at the 2009 Society for Information Technology and Teacher Education Conference in Charleston, SC by Caroline Lego Muñoz and Terri L. Towner. Towner.

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can help the creative people manage the organizational parts of the job. Google is one of the leading technology  companies in the world and it has created a number of free applications that can aid in management and organization. Two of  their applications can help the high school choral director manage people and events: Spreadsheets (Forms) and Calendars.

and then assimilate the information into a database or spreadsheet. The process has disadvantages: • if paper is used, producing choir rosters is a complicated exercise in time, energy, and money; • it takes time to create the form;

Google Forms for Choir Rosters

• it takes paper and money to duplicate the form;

One of the first tasks of any choir  director is to develop a roster of all the par ticipants ticipants.. We create an information informati on form, duplicate the form, distribute it to the choir,

• it is often dif ficult to read choir member’s handwriting, resulting in inaccurate information; and

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• it takes time to assimilate the information and get it into a usable format. Google Forms and Spreadsheets give you a way to replace this outdated process of  information gathering. Instead of using paper, paper, you use the internet. You create an online form containing all the normal questions (name, address, phone, e-mail, etc.) and have choir members fill it out online, either from a blog, Web site, or e-mail. Whatever your  choir members type into the form is transcribed immediately into the corresponding spreadsheet. Instantly, your spreadsheet is populated with their data; it is almost magic. Creating the form for m is a simple simpl e matter, and

Google gives you the code code to insert inser t into an e-mail, web page, or blog. The information populates the spreadsheet quickly and you have saved an incredible amount of time and effort.

Google Calendars for Choir Events Another common task of every choir  director is the communication of rehearsals and performances to every choir member. Most choir directors develop a calendar  at the beginning of the year and distribute it to their choir members. The calendar is usually a list of dates; the students and their  parents are expected to write wri te the dates into the master calendar of their life or perhaps program into their smart phones. Besides all of the previously-mentioned disadvantages of paper, there is one other  weakness of this approach: the expectation that the student or parent will actually place the event on a master calendar. Google calendars give the choir director  an answer to this weakness: students can digitally subscribe to the created calendar  on their Smart Phones or digital calendars. With the touch of a button or two, a student’s (or parent’s) calendar is immediately  updated with date, time, and place of a rehearsal, performance, or other event. These calendars can also communicate notes about 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 create through e-mail, facebook, or their blogs.

Google Documents for Of ficial Documents and File Storage Another powerful tool offered by  Google is Google Docs, an Internet-based word processor, spreadsheet, and presentation application service provided at no cost to the user. Although not as feature-rich as traditional word processors like Microsoft Word, Google Docs provides a cloud-based c loud-based system of computing. In Google Docs, traditional word documents become web pages;

they can be shared with other users by  means of a hyper-link or invitation. The real power of Google Docs comes in the collaborative aspect of the software. Multiple users can work in partnership on the same document. Google also allows users to store digital files online; users can place any type of digital file online in order  to share with others. There is a limit of one gigabyte for free accounts, but more storage can be purchased for a small cost. For the high school choral director, Google Docs can be used in a variety of  ways: • directors can use the file storage that Google offers for free instead of purchasing network storage from another  company; • choirs can replace their printed choir  handbook online in PDF form or  convert the file to a more manageable Google text document; and • the collaborative aspect of document management allows directors to delegate some information-based tasks to students or volunteers, like a choral library or uniform list.

Staying Current in the Profession: Networking Online One of the common problems among high school choral directors is professional isolation. Many directors serve as the only  choral music teacher in a high school with few peers; the situation is ampli fied if the teacher is geographically located far away  from cultural centers. The Internet can help keep an isolated teacher networked to the latest developments developments from experts in a wide variety of fields. For years, professionals have turned to books and journals as well as traveled to conferences to learn about the latest developments in their professions. In recent years, this activity has been supplemented or replaced by an Internet model where blogs, twitter, wiki’s and podcasts contribute significantly to professional learning. Recently, educators have become more intentional about the creation of this professional support system, and the term “Personal Learning Network” (PLNs) has evolved to fully describe this activity. PLNs are defined as “deliberately formed networks of people and resources capable of  guiding our independent learning goals and professional development needs.” One of the most highly valued aspects of a PLN is “crowdsourcing,” an activity  where one person asks questions of the

PERSONAL LEARNING NETWORK (PLN) THEN

NOW

Staff development workshops Graduate school courses Books Journals List Servs Face to Face Conferences

TedTalks,YouTube, Podcasts RSS feeds, online presentation sharing Twitter Twitter, social bookmarking Wikis Blogs

Cost: Fees, travel costs, purchases, tuition

Cost: Free

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broader community about an issue. Fortunately, choral directors have enjoyed that luxury for years with ChoralNet. Recent developments in ChoralNet have provided additional networking opportunities. In July  2010, ChoralNet released a new tool called “Communities” with the intent of allowing

“users to communicate regarding particular  sub-topics of choral music and self-identify  as a member of (sic ( sic)a )a subset of choral musicians.”With the recent merger of ChoralNet and ACDA, ACDA, these communities and the message boards will continue to ful fill many of  the professional needs of choral musicians

BUILDING YOUR YOUR PERSONAL LEARNING NETWORK (PLN) TWITTER @TimothySharp Executive Director Timothy Sharp frequently posts about his travels, developments in choral music and ACDA, and blog posts related to choral music. @madolu Marian Dolan is a choral conductor, music professor, and editor with strong ties to the International Federation of Choral Music. @olagjeilo Ola Gjeilo is an outstanding composer of choral music. He frequently tweets about his new music, performances, performances, and cute dog videos. @ericwhitacre Eric Whitacre frequently tweets about his music, upcoming performances, and new recordings. recordings. Eric also blogs at http://ericwhitacre.com/. BLOGS Richard Sparks blogs: Ricahrd Sparks is professor of music at the University of North Texas, where he conducts the Chamber Choir and Collegium Singers, and teaches a variety of  academic courses. courses. He is also Artistic Director and Conductor of Pro Coro Canada in Edmonton, Alberta. Find him at http://richa http://richardsparks1.bl rdsparks1.blogspot.com/. ogspot.com/. Liz Garnett is an outstanding choral blogger at “Helping You You Harmonise.” Her thoughtful posts can be found at http://www.helpingyouharmonise.com/. Don Tapscott is the author of thirteen widely read books about information technology in business and society, most recently Grown Up Digital: How the Net Generation Is Changtweets @dtapscott and blogs at http://dontapscott. ing Your Your World (October 2008). He tweets com/blog/. Scott McLeod is Associate Professor at Iowa State University and frequently writes about technology, leadership, and the future of schools. He was co-creator of the video “Did You Know (Shift (Shift Happens). He tweets @mcleod and blogs at http://dangerouslyirrelevant.org. Slideshare is the place to find presentations, documents, documents, and professional professional videos. Find compelling videos by searching the “Most Favored” presentrations. http://www.slideshare. net/. The TedTalks mantra is “ideas worth spreading” and the videos as “riveting talks by remarkable people, free to the world.” An incredible resource. http://www.ted.com/.

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CHORAL JOURNAL Volume 51 Number 8

for years to come. High school choral directors can emulate the practices of other education professionals for further customization of their  personal learning network by experimenting with a variety of online tools, including: vide o (Y video (YouTube, ouTube, TedTalks) TedTalks) microblogging (T (Twitter, witter, Plurk Plurk), ), social networking (Facebook, LinkedIn), social bookmarking (del.icio.u (del.icio.us, s, Diigo), RSS readers (bloglines, Google Reader) wiki’s (pbworks, wikispaces), and online presentation sharing (slideshare, sliderocket). All these tools ful fill the basic functions of  a PLN: connecting with like-minded professionals, collaborating on projects and questions, and providing a vehicle for our own contributions to the profession.

Conclusion High school choral directors have dif ficult jobs; they manage large numbers of students stude nts and teach classes in rapid succession with little downtime. Nevertheless, they live in a digital, globally-interconnected era, and they  owe it to themselves and their students to be current with the latest technology in communication, organization, and developments in their  field of specialization specialization.. Embracing technology doesn’t come naturally to some, but the dividends arrive quickly, and the ef ficiencies are long-lasting. Choral directors can use the advances in digital communication to remind their students of past successes, current issues, and future programs. They can use the internet and other digital communications to keep themselves better informed about the latest developments in pedagogy, literature, and other issues in music education. In a world where the students often know more than

The lett letter er to the Edit Editor or in the February February 2011 issue was written by John Weiss in Bismark, North Dakota, not South Dakota.

their teachers about current tools, choral directors have an opportunity to model the proper use of digital technology within this incredible discipline of study. NOTES 1

Ellen Neuborne, Generation Y, 1999 [online], available from http://www.businessweek. com/1999/99_07/b3616001.htm, September  4, 2010. 2 Scott Keeter and Paul Taylor, The Millennials, 2009, [online] available from http://pewresearch. org/pubs/1437/millennials-profile, August 1, 2010. 3 Generation Speed: Today’s Teens, September 

30, 2005 [online] available from http:// abcnews.go.com/GMA/AmericanFamily/ story?id=1172574&page=1, August August 1, 20 10. 4 Mark Bauerlein, The Dumbest Generation, 2007 [online] available from http://www. dumbestgeneration.com/about.html, August 1, 2010. 5 Don Tapscott, Grownup Digital: How the Net  Centeration Is Changing Your World, [online] available from http://www.grownupdigital. com/archive/index.php/about/, August 1,

press). “Social Media as a Professional Development Tool: Using Blogs, Microblogs and Social Bookmarks to Create Personal Learning Networks.” In C. Wankel (ed.) Teaching Arts & Science with Social Media. Bingley, U.K.: Emerald. [online] available from http://www.slideshare.net/corinnew/creatinga-personal-learning-network-5016387, September 1, 2010.

2010. Mark Prensky, “Digital Natives, Digital Immigrants” from On the Horizon (NBC University Press, Vol 9 No. 5, October 2001) 7 Corinne Weisgerber and Shannan Butler. (in 6

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Nancy Co Cox, x, Editor [email protected]

Junior High/Middle School Gretchen Harrison, National R&S Chair 

A Conversation with Rollo Dilworth

Noted composer, com poser, conduct conductor, or, clinic clinician, ian, and educator Rollo Dilworth has been working with middle school musicians for 20 years. As an in-demand clinician, Dilworth brings passion, excellence and artistr y to the honorchoir experience around the world. As the conductor of the 2011 ACDA National JH/ MS Honor Choir, he will inspire singers and directors with his musical integrity and passion for choral music.

ments continue to amaze you?

Harrison Your

Dilworth Over the years I have been fortunate to work with thousands of JH/MS musicians. I am always amazed at the level of artistry these young people are able to achieve. If you treat them as “young artists” artis ts” and set high goals, the artistic product will not only meet—but often exceed—your  expectations. Many middle school students, by their  veryy nature, are great risk-takers ver risk- takers..They are at a stage in their lives in which they are willing to accept the dare of pushing the boundaries.This concept transfers very well into the choral classroom, because you will find that many JH/MS singers are up for the challenge of experimenting with some of your ideas, and will often come up with a few ideas of  their own.

What changes are most evident to you regarding this age musician in terms of rehearsal preparation, participation, and performance? Harrison

Please share with us about your  passion for JH/MS singers. Harrison

I started my teaching career as a middle school teacher 20 years ago in my  hometown of St. Louis, MO. MO. JH/MS school students are challenged by so many transitions in their lives, including various stages of vocal range contraction and expansion. It seems that these vocal challenges can be a major cause for lack of interest in choral programs at the JH/MS level. My goal is to find creative ways of nurturing the JH/MS voice and spirit so that students will gain the confidence and desire to keep vocal music in in their lives throughout adulthood. Dilworth

As you travel across the world working with JH/MS musicians, what eleHarrison

Now that there have been so many advances in technology, students are better able to work independently or in small groups to rehearse their part. I think  that more middle school-age students are excited about performing in choral activities because of the popularity of television shows that focus on choral singing. In terms of performance, I have found that singers of  all age groups—especially this one—want to have a personal connection with the repertoire. Therefore, it is important to program quality, diverse repertoire so that students can experience a variety of genres and styles. Dilworth

work as composer, arranger, and clinician is widely suppor sup por ted. Your Your compositions and arrangements are favorites. You are in high demand as a clinician. cli nician. What is the secret to your success in these areas? For me, the art of writing and arranging choral music is a precious gift that comes with a wealth of responsibility. On one hand, it affords me the oppor tunity to express myself myse lf creatively, on the other hand, my compositions and arrangements become a tool for teaching my students about style, culture, performance practice, and how to be ar tistically expressive with choral music. I am committed to working hard to provide the highest quality experience to all students and clinic participants. par ticipants. I hope hope that my passion and commitment commitment for serving ser ving the choral art is exhibited in each and every ever y presentation. Dilworth

Harrison Many people who reach your level

of success have a strong mentor and support environment. Who, in your experiences, exper iences, has served as mentor and supporter for your  life’s work? What de fining characteristics were common in your mentor and support group? Many people have told me that you are lucky if there is one person or  teacher that signi ficantly impacts your life. I have been fortunate enough to have many  of such people in my life—perhaps l ife—perhaps too many  to enumerate for this interview. Ever since the early days of my music education, I can remember taking lessons (both formal and informal) from many people—all of whom were introduced to me by my elementary  music teacher. Although no one in my famDilworth

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ily was a musician, since the age of seven, I have always been surrounded by a plethora of musicians who have sel flessly shared their  knowledge and skills with me. One could say that it took an entire village to raise me, with each member of the village contributing their unique wisdom to my musical development.

write a short choral work for orchestra and chorus.. The piece is titled Freedom’s Plow, chorus which is based upon the last 14 lines from a Langston Hughes poem that bears the same title. The opportunity oppor tunity to write the work and hear it performed by a major performing organization has de finitely been one of my  career highlights.

Harrison Is

appl ause is over, what do Harrison After the applause

there one par particular ticular accomplishment you are most proud of in terms of your  conducting/clinician conducting/cl inician career? Last year I received a commission from the St. Louis Symphony Orchestra to

away a deeper understanding of and respect for the choral art. What final words of advice or  encouragement would you offer to JH/MS Choral Musicians/Educators? Harrison

Keep doing all that you can to use the power of music to inspire young singers. Dilworth

you hope the singers in the 2011 National JH/MS Honor Choir will remember most from their work with you?

Dilworth

Dilworth

I simply want each singer to take

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CHORAL JOURNAL

Volume 51 Number 8

HAL LEONARD PRESENTS

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halleonard.com/conductorscraft or call 1-800-322-1127 x6326 Follow us online: facebook.com/conductorscraft twitter.com/conductorscraft

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DOWNLOAD THE ADVOCACY GUIDE FOR GUIDE FOR FREE AT:

Making the Case for Now more than  ever, we all  must stand up  for school  choirs—  Chorus America  has a new tool  to help 

T

here is plenty of evidence that singing in a choir helps students succeed in school, work, and life. And yet, today choral programs are under siege—competition for school dollars, time in the school day, and a narrow focus on just a few subjects covered on standardized tests all pose significant challenges to the future of school choirs. Today, choir directors must actively and expertly advocate for their programs so that decisionmakers charged with cutting budgets look elsewhere for cost savings. To make it easier, Chorus America offers our newest publication, Making the Case 

for Your School Choir: An Advocacy  Guide . Access the complete toolkit online for free: www.chorusamerica.org/  choiradvocacyguide/free  HE CASE MAKING T FOR YOUR

SCHOOL CHOIR

Making the Case is Personal The desire to help make the case for your school choir is both professional and personal for me. My father was an

uide An Advocacy G

ica Chor us Amer ica y C © 2011 by  © 2

N A M L O H T T O C S N A I R B : O T O H P

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elementary school principal and my mother taught choral music in the public schools for 47 years. A celebrated educator and lifetime ACDA member, my mother loved teaching music and, perhaps even more, she loved children. Growing up, our dinnertime conversations were all about education and inevitably the relative merits of teachers (Dad) and administrators (Mom). So it was completely natural for me to get my degree in music education, become a middle school music teacher, and—after a stint singing in the Air Force Singing Sergeants and additional academic study—to work at MENC, the National School Boards Association, and now as President & CEO of Chorus America. For me, the fight to keep choral music in our schools is personal and part of my DNA. I bet it’s personal for you, too.

Making the Case is Urgent I grew up in the era when most public schools had thriving music programs that made a difference for kids each and every  day. This has not been the experience for my daughter’s generation because, over the years, music education began to be seen as an expendable luxury . As former NEA Chairman Dana Gioia has said and most 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 —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 children. > Of the educators who said that their school has no choir program today, 31% said their school used to have such a program.

www.chorusamerica.org/choiradvocacyguide/free 

Y our our School Choir Making the Case is Vital for the Choral Field Chorus America is devoted to sustaining and advancing the whole choral field and, given the situation today, we are especially  concerned about ensuring that generations of young people don’t miss out  on the advantages that singing in a school choral program is uniquely positioned to deliver to them. Multiple studies have shown that adults who are exposed to the arts at a young age are most likely to participate actively in the arts throughout their entire life. We know that one of the most meaningful ways to carry out Chorus America’s mission “to build a dynamic and inclusive choral community” is to support choral music education in our schools. According to the National Endowment for the Arts and our own Chorus America data,

choral singing is by far the most popular form of participation in the performing arts today and we need to act now if we are to keep it that way .

Making the Case Just Got Easier This guide is offered as a tool to make it easier for you to be an effective advocate so you can get back to your important work in the classroom. Every school presents a unique set of challenges—and not every  tool will fit your situation. Our hope is that from this compendium of resources, culled from the best practices of other successful advocates, you’ll find something that is valuable to you and your school choir. The guide includes: > Advice on understanding your impact and building a strong network > Ideas for working in partnership with your school administration > How to reach out to community  partners, especially independent choruses in your area

> Strategies for making every performance an advocacy opportunity  > Data from notable, quotable sources that illustrate the value of singing for children and support these facts: 

Choral singing is an integral part of arts education which is a necessary component ,

of a comprehensive and competitive education. Singing in choir promotes academic  achievement and develops success skills. 



What Is Advocacy?

Advocacy is speaking out  about issues that you feel are important to help inform decisionmakers. Advocacy takes place on a continuum and it can

Choruses build community 

take many forms and occur

Singing in choir provides a sense of real  belonging, offers new opportunities for  learning, encourages student engagement, and promotes civic engagement.

at many levels including

.

Choral singing has intrinsic value

.

The collective expression of a chorus  singing together has the power to lift  spirits and transform lives.

So while I know firsthand that you’re you’re already very busy running your choral program, I urge you to visit www.chorusamerica.org/  choiradvocacyguide/free to choiradvocacyguide/free  to find the tools and ideas that are most relevant to your situation, your school, and your community. Together we can make the compelling case locally, regionally, and nationally for keeping choral music where it belongs—in the lives of our young people. ■

personal advocacy, advocacy for others, and advocacy in the public interest. Advocacy includes the case, strategies, actions taken, and solutions proposed to influence decisionmaking and create positive change.

Ann Meier Baker is President & CEO  of Chorus America. Contact her at: [email protected] 

DOWNLOAD THE ADVOCACY  GUIDE FOR GUIDE  FOR FREE AT www.chorusamerica.org/  choiradvocacyguide/free 

Chorus America serves to strengthen choruses and  provide their leaders with information, research, professional development, and advocacy to help  them contribute to their communities and inspire  innovation and artistry in performance. CHORAL JOURNAL

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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 musicians for the past 80 years. Sixty years ago, he published popular arrangements of  hymns for the Moody Chorale—early examples of that now-common church choral literature. His organ playing for Billy Gr aham Crusades generated still-used organ-piano arrangements arr angements with Tedd Smith. He is a Fellow of the Royal College of Organists (London). He touched generations of church musicians through his teaching at Southern Baptist Seminar y in Louisville, where ACDA’s ACDA’s Tim Sharp was among his pupils. He is a Fellow of the Hymn Society and editor of  numerous hymnals. Don is the personi fication of church music. This Festschrift celebrates Hustad’s career and includes articles by 29 peers and former students. It draws its title, Jubilate, from Don’s own books and, indeed, provides an “Amen!” to what Don has taught us. In the tradition of a Festschrift, the book  includes scholarly articles intended to be cited in future research. But this is more than a collection of potential footnotes; it is a loving tribute on Don’s 90th birthday. Billy Graham’s description of Don’s Christian commitment begins a section of  personal recollections. recollections. Rhonda Furr Furr traces Hustad’s biography and list of works, a 40page bibliography; the late Hugh McElrath (Southern Baptist Theological Seminary) Seminar y) and George Shorney (Hope Publishing Company) add tributes; and Les Hollon prays. The list of contributors is a “Who’s Who” of church music. Ever Everyy essay adds to scholarship’s knowledge base— 

• Tom Bolton (Southern Baptist Theological Seminary, Louisville): a well-reasoned warning about the state of church music ministry and some prescriptions for the future. • William Clemmons (Point Loma Nazarene University): a fresh approach to writing hymn tunes. Clemmons also prepared the numerous musical examples throughout througho ut the Festschrift. • Carl Daw (Episcopal Priest and former  Hymn Society Director): a critique of  song theory in Robert Bridges.

• David Music (Baylor University): new insights into two books by nineteenthcentury Oliver Holden. • Bert Ber t Polman (Calvin College): an overview of settings and usages of the Magni ficat. • Milburn Price (Samford University): reflections on worship as intellect and emotion. • Michael Raley (Wake Forest University): a heavyweight and careful study of  German church music in the mid 16th century.

• Pam Davis (Library of Lambuth University): a remembrance of in fluential teacher  Frank Lincoln Eyer, a major contributor  to Etude.

• Paul Richardson (Samford University): a biographical survey of the in fluential Poteat Pote at family of leaders and musicians at Wake Forest College and Furman University.

• Michael Hawn (Southern Methodist University): a supplement to Hustad’s own scholarship on African music in missions.

• Carl Schalk (Concordia University): a jaunt through church music philosophy  and song.

• Christopher Idle (Church of England Priest):: three “footpaths” of hymnody. Priest)

• Tim Sharp (ACDA): a reminder of the in fluence of Moravian musicians in colonial America.

• Deborah Carlton Loftis (Baptist Theological Seminary, Richmond, and Hymn Society Director): cogent practical suggestions for approaching changes in church music.

• Paul Westermeyer (Luther Seminary): church music in church-relat church-related ed college: analysis and suggestions.

• Alan Luff (Church of England Priest): a personal travelogue of the Welsh Welsh hymn tune Cwm Rhondda.

• Mel Wilhoit (Bryan College): a fascinating review of popular and political music from the Scopes trial, including sheet music art.

CHORAL JOURNAL

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• Brian Wren (Columbia Theological Theological Seminary): surprisingly inclusive language in a 5th century hymn, “Of the Father’s [Parent’s] Love Begotten.” Also in the Festschrift are hymns and tunes by Timothy-Dudley Smith, Michael Saward, Carl Daw, Austin Lovelace, Ronald

Turner,William Bradley Br adley Rober Roberts, ts, and Donald Hustad, himself. I talked with Don about that large number of people his music ministry has touched and impacted. He graciously said that it was all of those fine musicians who have “enriched” his life. This is a book to read slowly and

thoughtfully; it will challenge the mind and touch the heart. It honors Don Hustad; it honors church music.

MONTREAT  WORSHIP  & MUSIC CONFERENCE 2011

M O- RA NCH NCH// PA M  

Worship & Music CONFERENCE 2011



                                            

JUNE 19-24, 2011

                                      

ww w.P w.Pres resby by Music.org 44

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Curtis E. Hansen  1921– 2011 

Curtis E. Hansen, age 90, of Edina, MN, passed away  peacefully on January Januar y 31, 2011. As one of seven original founders of the American Choral Directors Association (ACDA) in 1959, he was the only one remaining until his death. After graduation grad uation from Amery, WI, High School and St. Olaf College (where he studied and sang with F. Melius Christiansen), he earned a Masters degree from the Minneapolis College of Music. He began his teaching career  in Luck, WI, and went on to Brainerd, MN, where he developed an outstanding choral music program. His choirs performed at state and national music educator's conferences and conventions. In addition to being a founder  of ACDA, he also was a charter member and elected as ACDA ACD A National Vice-President Vice-President.. He also served as president and vice-president of the Minnesota Music Educators Association (MMEA). His honors included being the recipient of ACDA-MN's F. Melius Christiansen Lifetime

Achievement Award and being inducted into the MMEA Hall of Fame. He was a long-time member of the Bloomington Medalist Band, a member of Bethlehem Lutheran Church in Minneapolis since 1963, and held membership with the American Legion in Brainerd, MN. MN. He became the music editor of Schmitt Hall and McCreary (Minneapo (Minneapolis) lis) in 1963 after which he founded Curtis Cur tis Music Press in 1977 to provide provide new music for school and church choir choirs. s. He first served ser ved his country as a member of the United States Navy Band and was later commissioned as an of ficer in the amphibious forces that made a D-Day landing at Omaha Beach (France) and in Okinawa in the Paci fic. Curtis Hansen was interviewed by Diana Leland on May 5, 200 2008, 8, as one of ACDA's founders. founder s. To view that video, please visit: http://www.youtube.com/ watch?v=XVMuygADCYo.

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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 by  Theodore Albrecht

Red-blooded American football fans huddled in front of their televisions to watch Super Bowl XLV on Sunday, February 6, they might have re flected upon the musical implications implicati ons of the game and on the Classical music they heard and associated with it—and especially with its wildly popular  (and outlandishly-budgeted) commercials. An hour-long CBS television program on the Friday night before was devoted to these commercials, current and retrospective, and included the following uses of Classical music: • Verdi (1813–1901), Requiem, Dies irae—  irae—  Doritos. • Verdi, La traviata, Brindisi, “Libiamo”—  Doritos.

Theodore Albrecht, former Music Director of the Philharmonia of Greater Kansas City, is professor of musicology at Kent State University in Ohio. [email protected]

• Ponchielli (1834–86), La Gioconda, Dance of the Hours—Pepsi. Hours—Pepsi. • Boccherini Boccherini (1743– 1805), 1805),String String Quintet in E, Minuet —Pepsi. —Pepsi. • Prokofiev (1891–1953), Peter and the Wolf —what —what was that product?

from which to select for the products of  their clients. Among recent or current television commercials not necessarily associated with the Super Bowl, we find: • Beethoven (1770–1827), “Waldstein” Piano Sonata, opening bars—Honda.

• Bruckner (1824 –1896), Symphony No. 7, opening bars—Arby’ bar s—Arby’ss fish sandwich. • Williams, John (b. 1932), Star Wars (or  adaptations)—products fade from • Bach (1685–1750), “Little” Fugue in G  memory, but the music remains. minor  (orchestrated)—University of  Pittsburgh Medical Center (possibly  Of course, course , John Williams based his 1977 duplicated by an ad agency for use Star Wars movie score on the stylistic traits elsewhere in the country). of British composers Elgar (1857–1934), Holst (1874 – 1934), and Vaug Vaughan han Williams Williams (1872 – 1958). In 1984, he also composed a series of openers, interludes, and and closings to be used for the NBC Nightly News and morning Today Show, some of them reminiscent of his score to the 1978 movie Superman. As the dates cited here suggest, the producers of these commercials c ommercials would not have been able to select these pieces if they had not known historic musical literature very  thoroughly, although advertising agencies simply have banks of appropriate themes

• Beethoven, Beethoven, Symphony No. 9, Scherzo—  used in some recent national news program. The beginning of the Beethoven scherzo has been used frequently since it first provided the opening theme for  NBC’s Huntley-Brinkley Report  starting in 1968, but few Classical music lovers would ever  have associated the opening of Austrian Anton Bruckner’s Seventh Symphony with Symphony with the

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depths of the sea! Even so, it works! Other  older and repeated uses of classical music for TV commercials include: • Vaughan Williams (1872 –1958), Symphony  No. 6, opening bars— Suddenly Suddenly Susan (with Brooke Shields), Shield s), perhaps a dozen years ago, but recently resurrected briefly for NBC seasonal promotions. • Rossini (1792–1868), Barber of Seville, Overture and “Largo al factotum”—  numerous commercials, but especially  Italian foods and restaurants. • Handel (1685–1750),Water (1685–1750), Water Music—Delta Music—Delta water faucets. • Leoncavallo (1857–1919), I pagliacci, “Vesti la giubba”—Rice Krispies. • Brahms (1833–1897), Symphony No. 3, third movement—Lexus. • Tc Tchaik haikovsk ovskyy (1840– 1893), 1812 Overture—Coca-Cola, ture —Coca-Cola, among others.

• Richard Strauss Strauss (1864 –1949), Also sprach Zarathustra (or adaptations)—commonplace from automobiles to razor  blades since Kubrick’s 2001: A Space Odyssey, over four decades ago. • Orff (1895–1982), Carmina Burana, “O Fortuna” (or adaptations)—anything cataclysmic. • Handel, Messiah, “Hallelujah”—moments with a feeling of immediate joy or  triumph. • Joplin (1868-1917), Maple Leaf and  Entertainer rags—upbeat rags—upbeat or nostalgic background. • Beethoven, Symphony No. N o. 9, 9,“Joy” “Joy” theme—  moments with a feeling of universal warmth or brotherhood. Earlier on Super Bowl Sunday, a CBS Sunday Morning tribute Morning tribute to President Ronald Reagan on the 100th anniversary anniversary of his bir th

used the Appalachian Spring ballet Spring  ballet suite by  Copland (1900– 1990) to suggest his grassroots or “common-man” origins. ori gins. And, there is his celebrated Fanfare for the Common Man,, often used in commercials or patriotic Man programming in its original or adapted form. The list could go on seemingly forever. Most of us will have favorites (or un-favorites) among today’s and yesterday’s commercial uses of Classical Classi cal music, and they may  provide an opportune moment to impress upon our colleagues, administrations, legislators, and the public at large that without Classical music—and the kinds of instruction that it entails (from private lessons, to ensemble performances, to theory and history  classes, and to a broad general education), extending from elementary school to the college level—we might not have the music they otherwise take for granted as they  watch and enjoy their favorite shows on television, including past and future Super Bowls! And, with a little more advocacy on the part of all of us who might second MENC’s campaign, some nationally-televised Americans (especially those who can’t sing the melody) might even learn the words to The Star-Spangled Star-Spang led Banner ! Tune in to next year’s Super Bowl to find out!

Acknowledgements

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I would like to thank my colleagues at Kent State University who entered into the intended spirit of identifying, applauding, laughing at, and even groaning about some of  the commercials enumerated here: Dennis Nygren (clarinet), David DeBolt (bassoon), Theodore Rounds (percussion), Renée Illa (music history), and Patricia Grutzmacher  (music education) and our supportive Dean John Crawford. And—of course—my wife Carol Padgham Albrecht (oboe and musicology) at the distant University of Idaho.

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Stephen Town, Editor [email protected]

The Masses of Joseph Haydn Rober t W. W. Demaree and Don V Moses Mos es Rochester Hills, MI: Classical Heritage, 2008 853 pp. $95.00 www.haydnmasses.com Although the size (and price) of this volume may seem daunting, potential readers should bear in mind its value: within these pages, Don V Moses, arguably America’s most knowledgeable knowledgea ble and experienced conductor  of Haydn’s choral music, shares a lifetime of engagement with these cornerstones of  the reper toire. Who wouldn’t spend two or  three times that, just to sit for an hour or two and talk Haydn with someone who knows, really knows, this music? (In fact, from 1976 onward, plenty of musicians and teachers made the pilgrimage—and spent considerably more—to participate in the Classical Music Festival in Eisenstadt, which Moses 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 (PrenticeConductor (PrenticeHall, 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 description, 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

or Nelsonmesse will profit enormously from or Nelsonmesse seeing what these gentlemen have to say  about them. Consider the Nelsonmesse. Since the authors devote d evote 60 pages to it, we do expect a wealth of information, including some new insights. Once they get past an obligatory  discussion of the work’s nickname, Moses and Demaree do not disappoint. We learn that the shocking Kyrie combines elements of fugue, concerto form, and sonata-rondo; that the movement’s power derives largely  from “Haydn’s management of motion through constants,” a relentlessly driving basic pulse interrupted only for the two “great dramatic pauses” marked by fermatas and otherwise heightened by hemiola writing at other climactic climacti c moments; and that the many  high A-naturals A-naturals in the soprano line help set up a “glass ceiling” ceil ing” that will be shattered, first by the soloist and then (in m. 126) by the entire section. All of this directly bears on

how any performance will be shaped—and heard. There are references to the so-called “Haydn fanfare” that help us understand why the authors include a glossary—so that newcomers don’t have to go blundering through the rest of the book looking for a definition, and old-timers don’t have to skip over a definition here! I was particularly taken by the many  practical performance tips given at various points: wise words about the notorious Haydn “wedges,” for example, and a nice sidebar about the advent of the keyed trumpet, for which Haydn had written an extremely popular concerto only two years earlier. And then this sort of thing, regarding the tricky opening bars of the Sanctus and based on the authors’ experience in Haydn’s own venues: Each of the two fermate should be permitted no less than the value

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of an additional quarter-note in this tempo, and it requires at least two seconds in the Eisenstadt Bergkirche for the reverberation to clear each time. (The conductor  will need to recall that musicians are always willing to crescendo, but are not always quite so cognizant of  diminuendos.)) (p. 545) diminuendos.

Much more could be cited, but you should have the picture by now now.. Occasionally  one does encounter a copy-editing slip or a bit of musical detail over-emphasized; these are extremely insigni ficant matters compared to the richness, accuracy, and wisdom of the contents overall. The book’s weight

and price are further justi fied by its “extras”: “extras”: copious music examples, illustrations, a glossary, appendices including a chronology of  the Masses, the Mass text in Latin and English, a list of Esterházy music personnel (actually  four lists), and a brief narrative, “Haydn and the Italian-Austrian Inheritance,” citing Italian influences from Giovanni Priuli (1575–1629) (1575–1629 ) and Antonio Vivaldi (1678–1741) and Luigi Tomasini (1741–1808), Haydn’s concertmaster. This book is now essential reading for anyone preparing to conduct one of the Haydn Masses. Lawrence Schenbeck  Atlanta, Georgia

Fanny Hensel: The Other Mendelssohn

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R. Larry Lar ry Todd, Todd, New York: Oxford Univers University ity Press, Pr ess, 2010. 426 pp. $45.00 ISBN: 9781860962981 (Hardcover) [http://www.oup.com/us/catalog/general/subject/Music/MusicHistoryWestern/NineteenthCentury/?view=usa& ci=9780195180800] Mendelssohn scholar R. Larry Todd has already written the successful work, Mendelssohn: A Life in Music, about Fanny’s brother  Felix. It received the Best Biography award of the Association of American Publishers in 2003. Todd’s work work about Felix’s Feli x’s sister Fanny  is at least equally compelling, if not more so. In his Preface, Todd makes a convincing case for our reviewing Fanny Hensel is a great composer, especially given “Her story  is one of metamorphosis from ‘amateur’ to a professional composer with a distinct authorial profile and individual voice” (xvi). The work is divided into twelve detailed chapters, each covering approximately two to three years of her life, except for the first chapter, covering the years 1805–1818. The chapters have generally clever titles, such as “Fugal Fingers (1805 (1 805 –1818)” and “Engraver’s Ink and Heavenly Songs (1845–1847).” The latter refers to Hensel’s new-found success as being published in her own r ight without Felix’s name, which happened only just before her death of a stroke in 1847. There

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are also abbreviations, copious endnotes, a fourteen-page bibliography, a complete list of Fanny Hensel’s compositions, an index of Felix’s compositions, as well as a general index. Within the con fines of the nineteenth century’s attitudes toward women, Fanny  Hensel was on her ascent as a musical figure and composer at the time of her death. This ascent in stature has been gradually increasing during the latter part of the twentieth century and beyond. Many voice pedagogues know about the performing editions of Hensel’s own songs which have appeared gradually during the last fifteen years. Todd skillfully illustrates several of  these songs with musical examples, which most succinctly show Hensel’s developing style independent of her brother. And her  cycle for piano, Das Jahr, has become recognized as a pivotal work equal to such works as Carnaval by Robert Schumann and other  major multi-movement piano works of the first half of the nineteenth century, according to Todd. Todd painstakingly identi fies the major  musical and compositional in fluences that shaped Fanny Hensel, including her brother  Felix and the compositions that he wrote for her. He also discusses other major  composers of the nineteenth century and their influences, including including the artist Wilhelm Hensel, her husband; poets Heinrich Heine and J. W. von Goethe; and Berlin Singakademie director and composition teacher C. F. Zelter. Composer Composerss who receive more than casual mention include inc lude J. S. Bach and Mozar t as influences, as well as contemporaries Fréderic Chopin, Hector Berlioz, Charles Gounod, Clara and Robert Schumann, and Niccolo Paganini. Other artistic ar tistic personages include Hans Christian Anderson, William Sterndale Bennett, Giacomo Meyerbeer, and Ignaz Moscheles, all of whom had positive things to say about Fanny Hensel and her  music. In fact, Clara Schumann was going to dedicate a piano trio to Hensel but Hensel died before it was completed. Also legendary legendar y were the concer concerts ts in BerBerlin which she organized, or ganized, of other composer’s works, including those of Felix, Fel ix, as well as her  own. These were legendary, and served to further the music of Mendelssohn, Hensel,

and other composers. Of interest to choral conductors is Fanny’s role as a chorister, c horister, where she learned lear ned much of the choral craft, singing alto (along with Felix) in the Singakademie. This is coupled with more than casual mention of  choral works such as Nachtreigen and the Gartenlieder,which Gartenlieder, which are also coming into their  own as the twenty- first century begins. Appearing with the book is an online interactive resource including musical listening examples. This seems to function f unction reasonably  well and is a fine addition to the printed material. Musical examples, some ingeniously  comparative with Felix and other composers, are strategically placed and more than adequate. Family trees at the beginning of the book are clear and in a reasonable format. The Epilogue chapter is engaging, par particularly  ticularly  the discussion of Hensel’s son Sebastian, who lived from 1830-1 1830-1898. 898. He published Die Familie Mendelssohn 1729–1847 (three volumes) in 1879, and preserved many family records, diaries, Wilhelm’s art works and drawings, and other Mendelssohn/Hensel documents that are part of the Mendelssohn Archiv Archiv in Berlin and the basis of much of Todd’s original or iginal research. Fanny Mendelssohn Hensel has transcended the nineteenth century’s stigma about women, finally, at the beginning begi nning of the twenty- first, largely due to R. Larry Todd. 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).

Handbook for the Music Mentor  Colleen M. Conway, Michael V. Smith, and Thomas M. Hodgman Chicago, IL: GIA Publications, 2010 472 pp. $44.95 ISBN: 978-1-57999-786-1 (softcover). In recent years, many states and state music associations have instituted music mentor programs whereby new teachers are offered the opportunity to receive ongoing input and advice from seasoned teachers. Handbook for the Music Mentor is Mentor  is an extremely useful compendium of information that succeeds in addressing every  conceivable issue that might be encountered by mentors and mentees. In the preface the authors state: [The] Handbook for the Music Mentor  is designed for music educators working as mentors for: (a) undergraduate music majors in pre-student teaching; (b) student teachers; and (c) beginning music teachers in their  first year or two on the job.

The text is organized into three parts. Part One focuses on interactions that mentors might have with undergraduate

music education students observing extant classrooms. Part Two focuses on the roles of the mentor when working with a student teacher, and Par t Three provides suggestions for mentoring beginning teachers. One of the greatest strengths of this valuable volume is the many “vignettes” contributed by undergraduate students, co-op teachers, and university super visors. These stories are carefully correlated with the topics under  consideration and, for the most part, are engagingly written and quite compelling. Chapter One deals with the undergraduate music education student. Topics addressed include characteristics of music education students, curriculum, freshman/ sophomore/junior experiences, music identity development, and undergraduate perceptions of of in-service teachers. Among the many salient observations observ ations offered by the authors is their focus on the challenge for  the music education student to balance the development developme nt of personal musicianship skills with the development of the skills needed to teach these same concepts to children of  various ages and in various musical contexts. The authors suggest that more time spent out in the schools [early  field experience] and less time in coursework might be useful in this regard; in other words, ensuring that the linkage between college/university  college/university  coursework and real-world practice is estab-

Donald Callen Freed, Alpine, Alpi ne, Texas Texas

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lished early in the music education student’s preparation. Chapter Two is titled “Hosting Classroom Observers” and, thus it is addressed primarily to in-ser vice practitioners. pr actitioners. Various types of observations (single visit, multiple visits, individual/group visits, with or without professor visits); and the logistics of observaobser vations including suggestions from cooperating teachers are discussed. One of the most valuable aspects of this chapter is the inclusion of Sample Music Class Observation Forms.These forms come from another GIA publication, The Handbook for the Beginning 

Music Teacher. I have been using these forms in my music education methods class for  the past several years and have found them to be extraordinarily useful in structuring my student’s observations of various types of music classes. Each form is uniquely correlated to the speci fic type of class being observed and the questions posed to the observer are cogent and relevant. Chapter Three: “Fieldwork Experiences Including Teaching” concludes Part One. Topics covered in this chapter include: types of pre-student teaching fieldwork experiences, the Professional Development School

(PDS) Model, Service Learning, teaching a song in a general music class, working with uncertain singers, movement and listening activities, sectional rehearsals, warm-up activities, logistics, and confidence-building. The chapter concludes with a useful First Fieldwork Teaching Experiences Re flection Worksheet. Part Two is addressed to practitioners who serve as cooperating teachers for  student teachers, however, the information presented is also valuable for university supervisors and student teachers themselves. Chapter Four opens with a discussion

René Clausen

Janet Galván

Complete information online

Concordia College, Moorhead, Minn.

Ithaca College, New York 

Composer & Conductor

Conductor, Educator & Author

www.reneclausen.com

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

Join us July 23 - 27, 2011 Concordia College

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|

Moorhead, Minnesota

around student teachers: characteristics, to mentors of newly employed, beginning that only experienced teachers would asprocedures for placement, goals, matching music teachers. Although it seems obvious sume the mantle of mentor to a beginning student teachers with cooperating teachers, 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 F ive is titled “Preparing for Your  Student Teacher and Designing the Student Teaching Experience.” Experie nce.” 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 policies. It also presents valuable generic  suggestions as well as some that are specific  to the elementary general music classroom  and others that are speci fic to band. While  the ideas associated with band could easily   be extrapolated to the choir classroom, clas sroom, I be lieve a short section devoted speci fically to choir would have strengthened this chapter.   Chapter Six: “Rapport, Observation, Feedback, and Evaluation Eval uation of [Student] Teaching” serves as a potent reminder of the very  real human considerations that can result in a positive experience for all of the stakeholders or, conversely, result in a lose-lose situation. Four templates for observations conclude the chapter.  Chapter Seven: “Strategies to Diversify  the Experience and Instill Professionalism”  is an “outside the box” discussion of activi ties that can enhance the student teaching  experience. experien ce. Topics covered c overed include mock in  terviews,, the role of the cooperating teacher  terviews  in developing professionalism, teaching “out   of  field” (across curriculum), the role of   district music supervisors, and professional  networking. Teachers are always on the lookout for ideas and processes that will  improve the ef ficacy of the teaching/learning experience. experien ce. I found the idea advocated in “The Wristband Wristband Stor y” (vignette) (vignette) by Rachel Gladys to be especially creative and useful. Part Three of the Handbook  Handbook is is addressed





 

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teacher and that these individuals individual s really have little need of guidelines, guidelines , the reality is that the information included in Par t Three (chapters 8–14) is positively invaluable. It is perhaps also true that experienced teachers are precisely those individuals who will understand and appreciate the wealth of collected wisdom presented in these chapters. Chapter Eight: “The First Year Teacher” assesses the characteristics, dispositions, and needs of new teachers. The vignettes in this chapter are particularly relevant, even poignant. I believe new teachers would bene fit greatly from reading this chapter, especially  the vignettes. Chapter Nine: “Preparing to Be a Men-

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tor” presents both positive suggestions for  and pitfalls of mentoring. Mentee developmental needs are delineated in three rubrics—surviving, striving, and thriving. One might reasonably expect a topic such as this to be pedantic, but the presentation is thoughtful and engaging. The sidebar, “How a Mentee Can Continue to Grow as a Musician,” focuses on one of the most chalchal lenging issues for new teachers—achieving a balance between the demands of the job and the individual’s need for personal musical nourishment. Many newly-minted music teachers struggle mightily as they tr ansition from an identity of student/performer to one of teacher/leader. This matter deserves

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much more attention than has often been the case and the music mentor can provide valuable guidance in this realm. Chapter Ten addresses add resses the mentor-mentee relationship and mentoring principles. Mentoring is defined and the characteristics of successful mentors are speci fied. Each of  the following bullet points is discussed in useful detail: • be insightful • be suppor suppor tive and protective protective • listen • use eye contact

• express warmth • be honest • be a role model • be af firming • follow the mentee’s lead Mentoring styles are also enumerated (prescriptive, scripti ve, persua persuasive, sive, collaborative, confirmative, autonomous) and explained. Chapter Eleven deals with the mentoring practices of successful mentors. Several functions of mentoring are cited: • teaching • sponsoring • encouraging • offering counsel • offering friendship • giving political tips • giving challenging challenging assignments • helping with career moves • providing visibility  (for mentee achievements) • protecting In addition to these concepts, several other  considerations are offered as items “not “not to be overlooked,” including school site procedures and duties, dut ies, school site geography geogr aphy,, supplies, administrative forms and procedures, audio-visual and technology resources, and staff introductions. Each of these functions is explained and expanded upon in the ensuing discourse. Several pages of prescient discussion are devoted to the concept of  active listening. One can readily see that the authors are truly advocates of the mentoring process and, by extension, of mentees. Chapter Twelve: “Making Contact and Early Mentoring Interactions” presents a useful set of checklists and tips. There are checklistss for both mentor and mentee. The checklist organization of these checklists and tips into categories by specialization (instrumental, choral, elementary, general) is particularly  helpful. While Whil e one could easily turn to those lists and tips that are immediately relevant

to one’s particular situation, nearly all of the ideas in each of the lists could (and should) be extrapolated to the other categories. In addition to the checklists, the chapter  contains a section on professional development and another on mentee journaling. This chapter is one of the most valuable in a ver y  valuable book. Chapter Thirteen deals extensively with the process of classroom obser vations. Several templates are offered including “Survey  of Effective Teaching Traits and Behaviors” and a “Conducting Evaluation.” The process proc ess of structuring observations obser vations and conferencing are discussed as are observation strategies and techniques. The final chapter covers the topic of  facilitating ongoing interaction. The chapter  opens with a discussion of the two most obvious modalities of interaction—high-tech and traditional (one-on-one). The discussion of high-tech utilities should prove useful to traditionalists, just as the discussion of traditional interactions should prove useful to technology-oriented individuals. Classroom management is briefly addressed through a series of scenarios for discussion. The chapter also includes a section devoted to assessment and grading procedures. Lastly, but of tremendous value, the chapter contains several detailed, school-year specific calendars for elementary general music, secondary choral, and band programs. The last of these (band) could easily be adapted for  use in an orchestral program. The title, Handbook for the Music Mentor, simply does not do this volume justice. The Handbook is Handbook  is simply a fantastic resource on so many levels that it would be dif ficult to enumerate them all.Yes, mentors are the primaryy audience for this text, but experienced mar teachers, beginning teachers, administrators, undergraduate and graduate students will all find material of tremendous utility and value. The Handbook  Handbook represents represents the most successful synthesis of research and practice I have ever encountered. My only concern with the Handbook for the Music Mentor is Mentor is that many  (most?) co-op teachers and practitioners will be intimidated by its length and cost. I hope I am mistaken in this assessment because I believe everyone who cracks the cover of  the Handbook  Handbook will will find its value worth more

than that of the cover price and they will find themselves returning to it for its wealth of  insights again and again. Vance D. Wolverton, Highland Heights, Kentucky 

Atstc  Diretr 

Postn  Avalabe 

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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 univer sity choral programs pr ograms in the countr y, noted for its diversity diver sity and high standards. stand ards. 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 Californiaa in 1955. Californi 1 955. Before joining the faculty facult y of The University Univer sity of Texas at Austin, Beachy held teaching tea ching positions posit ions in Colorado, Colo rado, 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 conductor and soloist for the symphony. He held the position of chorus master for  the Austin Austin Lyric Opera for its first six seasons. Beachy was a baritone soloist in opera, oratorio, oratori o, and recital and was wa s also a prolific author, publishing many ar ticles about singing and choral performance.

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

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David Castleber Castleberry ry,, Editor castlebe@ [email protected] marshall.edu du

Barber: Samuel Barber’s Collected Choral  Works The Esoterics, Eric Banks, director  2010 Terpsichore Records – CD 1110, 53’28” This new disc surveys sur veys the choral music of  American composer Samuel Samuel Barber (1910–  (1910 –  81) and encompasses his choral oeuvre, save for two extended compositions for chorus and orchestra, Prayers of Kierkegaard  and The Lovers, and choruses from his operas. A few of the selections here are mainstays of  the choral repertoire, reper toire, such as Reincarnations and the composer’s choral transcription of  the famous Adagio for Strings, originally the slow movement of his String Quartet, Opus 11, set here as an Agnus Dei. Most of the other octavos remain little-known but, as the performances here remind us, deserve our attention. Listening to this disc, one is struck by  the utter lack of arti fice or gimmickry in Barber’s writing. The composer relies on craft, sensitivity to text, and a singer’s understanding 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  than following a particular stylistic dogma or  trend, Barber worked with each text on its own terms, responding to the opportunities and challenges challenge s that each presents. present s.The result 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 direction of Eric Banks, are appropriately appropriately straight forward, direct, and faithful to Barber’s indications. This disc provides a highly enjoyable, musically satisfying encounter with works

whose number may be small, but the mark  on the composer’s output is indelible. Barber demonstrated in his works for  voice, both in solo and ensemble writing, a rare sensitivity to the meanings and in flections of words. Combined with his idiomatic writing for the voice (Barber was himself a noted singer and pianist), is a level of compositional craftsmanship that responds to poetry with just the right lyrical impulse and textural development needed to convey and illuminate the material at hand. One need look no further than the first of his Reincarnations, Mary Hynes, with its kaleidoscoping vocal lines, restless rhythmic vitality, and quickly passing harmonies wedded to a text that, when spoken, follows almost exactly  the cadence the music puts forth. Thus, the performers must find simplicity, rather than complexity, if they are to penetrate this wonderful octavo. The ensemble is quite successful here, as they are also in Anthony  O’Daly, the second of the set. Eric Banks lays

I 

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bare the music’s relentless development, creating appropriate tension between the recurrent five-beat figure on the name Anthony O’Daly, and the three-four meter that guides the other voices. The music speaks for  itself, without need for mannerisms or fuss. Slightly less successful, suc cessful, perhaps, is this reading of  The Coolin, the best-known piece of the group. Its gentle siciliano feels a bit hurried and, though beautiful, leads to a somewhat abrupt conclusion. For those who might not be familiar  with Barber’s other choral works, A Stopwatch and an Ordnance Map is a powerful, arresting work for TTBB chorus. Stephen Spender’s poem, which was dedicated to Samuel Barber, evokes the heartbreak of  a young soldier’s death during the Spanish Civil War, “all under the olive trees.” Twelfth Night, on poetry of Laurie Lee, is equally  searing, musically and emotionally, and feels like a self-contained three-minute drama as it traces lines from death to rebirth.

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Although few of Barber’s works could be described as “light,” The Virgin Martyrs and Heaven-Haven do indeed demonstrate what the composer could do with headier, more esoteric texts. The former, set for SSAA women’s voices, is Barber’s first choral opus. The scene is heaven, and the brief octavo recounts the names of maidens “worthy  now of God’s company.” “To Be Sung on the Water,” on a text by Louise Bogan, is a model of transparency and gracefulness, and reinforces the poet’s view that rhythm forms the basis for all poetry. Each selection on the disc articulates on some level the composer’s view of what is essential within the texts and how this might be translated faithfully into musical setting. Performances are strong throughout, but are slightly diminished by microphone placements that sound a bit remote. Given the straightforward delivery delivery of the performances, one would like to hear the choir’s sound with a bit more presence. Nonetheless, this collection is a valuable addition to the Barber  discography and an excellent introduction to some of the composer’s lesser-known lesser-known works. David Castleberry  Huntington, West Virginia

Requiem, A Thanksgiving for Life: L ife: Choral Works by Sir Philip Ph ilip Ledger  The Choir of Christ’s College, Cambridge Directed by Sir Philip Ledger  and David Rowland 2009 REGCD305, 1’ 10” Sir Philip Ledger has secured a prominent place in English music for the past halfcentury through an array of activities and accomplishments. In 1962, at age twenty- five, he became the youngest cathedral organist in the United Kingdom as Master of Music at Chelmsford Cathedral. As an artistic director of the Aldeburgh Festival beginning in 1968, he worked closely with Benjamin Britten and continues to serve as a festival vice-president. He was appointed Director  of Music at King’s College, Cambridge, following Sir David Willcocks, and ser ved there from 1974– 1974 – 82. His His contributions to higher  higher  education include a variety of academic and administrative appointments, his last being Principal of the Royal Scottish Academy of  Music and Drama. As a conductor, he has led many of the most prominent orchestras in Great Britain, including the London Philharmonic Orchestra, Orchestr a, the Royal Philharmonic Orchestra, and the Academy of St. Mar Martin-intin-inthe-Fields. Ledger has performed as organist,

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pianist, harpsichordist, and conductor on a large number of recordings. Requiem, A Thanksgiving for Life: Choral Works by Sir Philip Ledger highlights Ledger highlights Ledger’s work as composer compos er and arranger, arra nger, and reveals yet another aspect of Ledger’s multifaceted musicianship. The recording highlights Ledger’s individual style in its emphasis on clarityy, balance, transparency, clarit transp arency, and immediacy. immed iacy. As described in the liner notes, “His music does not set out to challenge performers or listeners. Instead, it rests easy in a settled, confident manner. Above all else, it is crafted cr afted and elegant.” el egant.”With these elements e lements understood, Ledger’s music has much to offer listeners. He creates pleasant pieces that deliver text directly and through simple musical means. His tonal, highly consonant harmonic language, straightforward formal structures, and and thin textures all serve a ver y  natural effect. effec t.Through careful craftsmanship, cr aftsmanship, Ledger keeps music from sounding common or trite, despite its uncomplicate uncomplicated d materials. Ledger’ss choral writing culminates in his Ledger’ Requiem, A Thanksgiving for Life, composed in 2007. Like many others before him, he does not hold fast to the liturgical Requiem text, but draws from external sources—in this case, the mystical English poet Thomas 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, “when composing for choirs, you have to set the words word s sensitively s ensitively and reverently. r everently.” To help achieve this aim, ai m, he scores the work ini ntimately, writing for soprano sop rano and tenor solosol oists, mixed chorus, and a chamber ensemble that includes flute, harp, cello, double bass, timpani,, and organ.Those movements timpani moveme nts whose texts convey peace and rest are, not surprissurpri singly,, more convincing than those that pur sue ingly more dramatic themes. The Latin texts, interestingly, elicit more inventiveness and variety from Ledger than those in English. In particular, par ticular, the Kyrie contains a commendable balance of artful, ar tful, free- flowing polyphony and convincing homophony. The Sanctus opens with a beautiful, ethereal women’s section and closes with a playful, joy- filled Hosanna.

The Pie Jesu, with soprano solo and cello, ce llo, has moments of transcendence that become the highlight of the entire work. In addition to the Requiem, the disc includes fourteen 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. 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  repeating music literally in subsequent 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 inventiveness and natural balance within the melodic line, however, elevates them above the commonplace, to be both serviceable and highly effective for church choirs. choir s. Ledger  is particularly par ticularly successful in his arrangements. arrangements. The carol Good Christians All Rejoice is made jubilant through rhythmic variety in the voices and energetic organ interjections. This Joyful Eastertide, the strongest work on the disc, sparkles with textual interplay in the opening lines, antiphonal writing between voices and organ, and a full and glorious conclusion. Among his original compositions, composi tions, Adam Lay Ybounden, Advent Calendar, Loving  Shepherd of Thy Sheep, and Jesus Christ the Apple Tree are especially effective. The Choir of Christ’s College, College , Cambridge is well suited to Ledger’s works. Indeed, it is obvious that Ledger was writing with this type of choir in mind. Their intonation is nearly impeccable and the blend, while not as consistent as more prominent English choirs, is quite good, offering the vocal timbres you would expect from an English church choir cho ir.. The vocal soloists in the Requiem execute well, and the chamber orchestra orchestr a performs the work effectively, with the solo cello deserving specific mention. Requiem, A Thanksgiving for Life: Choral Works by Sir Philip Ledger offers Ledger  offers listeners a collection that communicates effectively and directly.. Ledger enhances texts with pure and directly unencumbered emotion rather than depic-

tions of the complexity of human nature. When looking for beautiful music that speaks easily to singers, singer s, audiences, or congregations, Sir Philip Ledger’s choral works are wor thy 

of consideration. Dirk Johnson, Charleston, Charles ton, West Virgi Virginia nia

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Music Among Friends A week-long workshop of coachings, masterclasses, rehearsals and seminars for advanced singers and choral directors Repertoire will range from the Renaissance to the 20th century Workshop sessions and final concert will be recorded on DVD Conductors will have the opportunity to conduct instrumental as well as choral ensembles An idyllic location on the grounds of the Ellen Battell Stoeckel Estate in the Litchfield Hills of northwestern Connecticut

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Photo: Peter Bagley

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John Taverner Sacred Choral Music  The Choir of St. Mary’s Cathedral, Edinburgh Duncan Ferguson, Organist and Master of Music Delphian 34023 (2009; 58’10’’) This album joins the ranks of acclaimed Taverner discs from the Tallis Scholars, The Sixteen, the Christ Church Catheral Choir, and the St. St . John’s College Choir. Although the pieces featured here have all been recorded by others, others ,The Choir of St. Mary’s Mary ’s Cathedral, Edinburgh, distinguishes itself by its unique sound and the energized interpretations interpretations of  Duncan Ferguson, its director. This disc dis c includes includ es what may be Taverner’s best known work, his Dum transisset Sabbatum (I), a five-part setting of the Gospel of Mark’s recounting of Mary Mother of  James and Mary Magdalene’s Easter morning journey to the tomb of Jesus. The album also includes the so-called Leroy Kyrie, as well as the complete Missa Corona spinea, and the simpler Dum simpler Dum transisset Sabbatum (II). The single oddity on the album is the final piece, O splendor glorie, a five-voice antiphon

that may have been composed by Taverner, Christopher Chris topher Tye, John Baldwin, Baldwin , or some combination thereof! The piece is of historical interest, both for its ambiguous authorship and its lengthy anonymous text. The music itself, however, is less splendid than that of  the rest of the disc, with long homophonic sections and few truly distinguished passages. The Choir of St. Mary’s, a traditional cathedral choir of men and boys since the late nineteenth century, became, in 1978, the first in the U.K. to admit girls. gir ls.Thir Thirty ty years’ years ’ integration of boys and girls has paid dividends in the sound of the trebles, who maintain the purity of a traditional boys-only section, but have more flexibility and power than some other cathedral choirs. c hoirs.The ten senior chorischor isters (six gir ls and four boys) are joined by the lay clerks: four altos (again mixed, with two women and two men), four tenors, three baritones, and three basses. Ten soloists are identified, but the specific passages in which they sing are not speci fied. The solo tenor, baritone, and bass of the Et incarnatus of the Mass do particularly fine and sensitive work. The twenty-four singers of the choir 

demonstrate outstanding ensemble throughout the recording. Their agility and precision are particularly noteworthy during the rhythmically intricate melismatic passages that abound in Taverner’s music—as in the ornate opening of the Credo of the Mass—  but also render unison chant lines a pleasure, rather than an exercise in liturgical necessity. The only blemish on the unity and balance of the choir results from the cathedral’s acoustics. The lower voices, particularly  basses, are almost always slightly muddied, while the sopranos and altos ring clear, giving them a prominence at times beyond what is warranted. Despite this, the contrapuntal textures of the music come through with clearly articulated ar ticulated entrances and contours. contours. The performances never sacri fice vitality  in favor of virtuosity, vir tuosity, but communicate a palpable sense of excitement. Without pressing pressi ng or rushing tempos, Ferguson Ferguson is nonethele nonetheless ss able to draw from the choir a remarkable intensity and sense of forward momentum. Climactic moments occasionally verge on the out-of-control, as at the end of  Dum 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  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  sidebar on page 48 should have contained 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.

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2 0 1 1 S U MM E R  F E S T I VA L

& 

WO R K S H O P L I S T I NG S

Editor’s note: The

following is a partial list of choral events taking place between May 1 and September 1, 2011. Events are listed chronologically and include festival listings, workshops, clinics, seminars, masterclasses, conferences, and summer courses. Clinicians, where available, are listed. Contact information appears at the end of each entr y.

May 1 Rutter Requiem at Carnegie Hall Sponsor:

Manhattan Concert Productions Location: Stern Auditorium/ Perelman Stage, Carnegie Hall, New Yor York, k, NY Info: Perform John Rutter’s Requiem with professional orchestra and soloists James Bass, Conductor  Web site: http://manhattancon-

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companist on request. Request for the same must be made by  April 5, 2011. The Organizing Committee will provide a piano and the percussion instruments. May 1 – 8 E-mail: associazione.melody@ European Music Competition libero.it Sponsors: European Commis- Phone: 0968725804 335267070 sion Representation in Italy, Web site: www.associazioneCalabria, Patronage Province of  melody.com Vibo Valentia, Patronage City of  FiladelFia Location: FiladelFia Vibo Valentia, May 4 – 8 Italy  American International Special Prize: Paul Serrao Choral Festival - Reno Info: Over $ 20,000 in PrizSponsor: Interkultur  es The competition is open Location: Reno, NV to young musicians of any  Info:The American International nationality. Opera Singing-Pi- Choral Festival will include many  ano-Strings-Woodwind-Guitar- choral competitions in multiples Accordion-Percussion-Chamber  categories and a series of festival Music-Low Secondary school in- concerts. Choirs of all levels and strument classes-Choirs- Bands/ types are welcome. The festival windbands. The rules are now portion includes a series of gala available. Closing date for all ap- concerts and encounter conplications is April 15, 2011.The certs and choirs are welcome Association will provide an ac- to participate in this portion certproductions.com/public/performances/performanceseries/ index.aspx#masterworks

Volume 51 Number 8

only, if preferred. Competition is arranged by type and level and is scored using the Musica Mundi evaluation system. Workshops and seminars will be featured at the festival and are open to festival and competition participants. Contact: Christina Prucha Phone: 405.232.8161 Web site: www.interkultur.com

May 12 – 16 2nd Festival Musica Sacra in Venice Sponsor: MRF MusicFestivals Location: Venice, Italy  Info: 2nd International festival of 

choirs and orchestras of sacred music in Veneto Veneto (Italy) Venice – the city of canals and gondolas Venice and its lagoon have been on the Unesco list of heritage sites since 1987, and have long been one of Europe’s most popular tourist destinations. For many ma ny people, peopl e, Venice

is the most beautiful city in the world. An amazing city, consisting of 118 islands connected to one another by more than 400 bridges. But the city fascinates above all through its numerous ar tistic treasures: churches, churches, palaces and museums.The heart hear t of Venice Venice – Piazza San Marco and its marvellous basilica – is one of  the world’s most beautiful places. Contact: Gregor Laskowski Phone: 0049-7221-967696 Web site: http://www.mrf-musicfestivals.com

May 17 – 20, 2012 International Choral Competition Ave Verum Verum Sponsor: Federal Government

of Lower Austria, City of Baden, Ministry of Education, Choral Federation of Austria, Choral Federation "Chorszene NOe", Backwerk  Backwerk  Austria, Austri a,Volksbank Austria, Austr ia, Buehne Baden, Novomatic Location: Baden / Austria (25km south of Vienna) Vienna) www.aveverum.at, everum.at, all compeInfo: www.av tition details will be posted soon E-mail: of fi[email protected]

May 25 – 29 Mundus Cantat 2011 Sponsor: City of Sopot/

Ministry of Culture et. al. Location: Sopot, Poland Info: We invite adult, children’s, and youth choirs to sing sacral,secular, gospel, jazz, and spiritual music. Auditions and additional concerts take place in the beautiful churches of Sopot, whereas the Final Concert will be celebrated in a unique onehundred-year-old amphitheatre at the Forest Opera in Sopot.

Contact: Joanna Stankowska Phone: 00148-58- 555 84

May 27 – 30

58, National Memorial Day

555 84 40 Choral Festival Web site: sit e: http://www.munduscan- Location: Washington, D.C. tat.sopot.pl Sponsor: Music Celebrations International Info: Pride. Sacrifice. Service. May 26 – 30 Come sing in honor of America's Handel Massed Sing heroes from the American RevoSponsor: lution through Operation Iraqi Music Contact International Freedom, in the John F. Kennedy  Location: Halle, Germany  Center for the Performing Arts Info: The highlight of the festival over Memorial Day Weekend is the massed performance of G. under the artistic direction F. Handel’s choral work  Alexanof Craig Jessop. Not merely  der’s Feast under the direction a festival for Washington, the of acclaimed Irish conductor  National Memorial Day Choral Proinnsías Ó Duinn, familiar to Festival is an event for the entire singers from around the world country—a major event which from the annual performance of  seeks to draw the attention of  Handel’s Messiah. Americans to the real meaning Contact: for the holiday. Music Contact International Web site: http://www.musicPhone: 1-800-624-0166 celebrations.com/festivals/2011/ E-mail: [email protected] nmd_choral_festival.html E-mail: info@musiccelebrations. Phone: 1-800-395-2036 May 26 – 30 Cantate Adriatica Sponsor:

Music Contact International Location: Adriatic Coast of Italy  Info: As the oldest republic in the world, San Marino thrills visitors with its traditions, tr aditions, terraced landscapes and breathtaking panoramic views. Choirs meet for the first time at the opening ceremony in a lovely vineyard under ancient olive trees surrounded by fields of grapevines. Contact:

Music Contact International Phone:1-800-624-0166 E-mail: [email protected]

June 1 – 5 3rd Anton Bruckner Choir Competition and Festival Sponsor: Interkultur  Location: Linz, Austria Info: Anton Bruckner, one of 

the greatest composers of the late Romantic period, spent long years of his career as cathedral organist and composer at the St. Florian Monastery near Linz. His works belong to the most important produced during the Romantic period. In particular, his motets and masses are towering examples of Catholic Church music of the second half of the nineteenth century and belong to the standard repertoire of 

numerous choirs all over the world. The choir competition will take place at the Brucknerhaus, with the Bruckner Hall and the Chamber Music Hall (1,400 and 350 seats, respectively) the first address in the cultural and concert life of the city of Linz, the Ursulinenkirche in the centre of town, Linz Cathedral and the St. Florian Floria n Monaster Mona steryy. The International Anton Bruckner Choir  Competition is an international choir competition with various categories of different levels of achievement for amateur  choirs and presents itself at the same time as a Festival of  Choral Music in which choirs from all over the world can give concerts and make the most of  the atmosphere of this international event. The attraction of this event consists of performing at a competition for a grand prix as a basic artistic component on one hand, and the possibility of  participation in the encounter  and gala concerts at St. Florian, Florian, Linz Cathedral and the inner city  of Linz on the other hand. Of  course, the city of Linz has the attraction of its wide variety of  event offerings and as the point of departure depar ture for tourist excursions to interesting places in Upper Austria and beyond. Contact: Hugh Ballou Phone: 888-398-8471 Web site: www.interkultur.com

June 2 – 4 Chattanooga Symposium on the History of Music Education University ty of o f Tennessee Sponsors: Universi

at Chattanooga, University University of Mississippi, and the Music Educators National Conference

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2 0 1 1 S U M M E R  F E S T I VA L Location: Chattano Chattanooga, oga, Tennessee Tennessee Information: Scholarly confer confer-ence concerning any historical aspect of music teaching and learning, including choirs. For  details, see: www.GCSU.edu/srig Contact: William R. Lee, E-mail: [email protected]

June 2 – 6 2nd Badenia Music Festival Sponsor: MRF MusicFestivals Location: Baden-Baden, Germany  Info: Baden-Baden—a charming town in the heart of the Black  Forest. Ancient Ancient Romans were the first to value the hot springs of Baden-Baden, and in the late nineteenth century the town became the summer capital of  Europe. Whoever arrives in this place can immediately experience its sophisticated atmosphere and enjoy the reassuring joie de vivre it offers. Its unique surroundings—the Black Forest—numer Forest—numer-ous villas belonging to the rich and beautiful, hot baths, the largest opera theater in Germany  as well as the spa house and the famous casino— they all exude the atmosphere of an international resort. Name: Gregor Laskowski Phone: 0049-7221-967696 Web site: http://www.mrf-musicfestivals.com

is considered as one of the most outstanding music festivals in the world. In 2005, more than 230 choirs and folklore groups representing 46 countries came to the fifth Harmonie Festival. Patron was the Chancellor of the Federal Republic of Germany Germany,, Gerhard Schröder. The Patron of the Harmonie Festival. 2011 is the Chancellor of the Federal Republic of Germany, Angela Merkel. Ar Artistic tistic director of the Harmonie Festival. 2011 is Jan Schumacher.. Honorary president Schumacher is Jeroen Schrijner (former President of Europa Cantat). Choirs can take part in 14 different categories. Their perfor perfor-mances will be assessed by an international jur y. Besides the Harmonie Festival Pr ize, awarded to the choir with the highest score in each categor y, and various extra prizes for outstanding performances the Prize of the Federal President of the Federal Republic of Germany and the Prize of the Federal Chancellor of the Federal R epublic of Germany will be awarded in case. The international jury  consists amongst others of the following members: Robert Sund (Sweden), Juergen Budday  (Germany), Josep Prats (Spain), Theodora Pavlovitch (Bulgaria), Maris Sirmais (Latvija), Reijo Kekkonen (Finland). Web site: http://www.harmoniefestival.de

June 2 – 6 Harmonie Festival Sponsor: Federal Republic of  Germany  Info: The Harmonie Festival, with its international choir and folklore events and competitions,

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June 5th – 11 Summer Choral Institute Sponsor: Joshua Oppenheim and Julie Yu, Co-Directors of Choral Studies.

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Location: Manhattan, Kansas Info: For high school students. Every student accepted receives a full scholarship. Web site: www.kstatechoirs.com

June 6 – 9 Music Explosion 2011 Location: Hilton Oceanwalk  Sponsor: Kempke's Music Service

Presenter: Mary McDonald Contact: Kellie Rupert Phone: 407-562-0333

June 8 – 10 ICDA State Conference Location: Butler University University,, Indianapolis, Indiana Headliners: Pearl Shangkuan (Calvin College) and Jeff Johnson (University of Kentucky) General info: Twelve reading/ literature sessions; sessions on matching rehearsal techniques to style period, rehearsal techniques for different types of learners, using imagery in rehearsal, technology in the choral classroom, barbershop singing, vocal health, tour planning, warm-ups for  middle school choir s, planning a worship service, takadimi method of teaching rhythm, Dalcroze in the choral rehearsal, and more! Contact: Bill Niederer  ICDA President-Elect Phone: 574/295-4743 E-mail: [email protected]. in.us Web site: www.in-acda.org

June 8 –12 Swedish Summer Sing Sponsor: Music Contact International Location: Smaland, Sweden Info: Revel in the endless daylight of Scandinavian summer as you visit Denmark’s capital, Copenhagen, and the lush Southern Swedish province of Småland. Connect with other choirs from Scandinavia and around the world to celebrate midsummer  and share your love of music. Contact: Music Contact International Phone: 1-800-624-0166 E-mail: [email protected]

June 9 – 12 Vermont International Choral Festival Sponsor: Music Contact International Location: Stowe and Burlington Vermont Info: Choirs have an opportunity  to select from two great ways to par ticipate in the Vermont Vermont International Chor al Festival, The Massed Sing, under the direction of Robert Rober t De Cormier or The Concert Series. Contact: Music Contact International Phone: 1-800-624-0166 E-mail: [email protected]

June 10 – 12 American Baptist Music Confer Confer-ence Location: Parchment Valley Valley Conference Center  Sponsor: We West st Virginia Baptist Convention Presenter: Lloyd Larson

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June 10 – 13 Festival Singers of Florida and Friends Sponsor: Music Celebrations International York City, Location: New York New York  Info: The Festival Singers of  Florida Festival Chorus is a program to provide singers with an opportunity to study the art of choral singing and to perform in a beautiful professional venue: Alice Tully Tully Hall in New York York City’s Lincoln Center. Par Participants ticipants will rehearse and perform prior to the festival with a professionallevel mixed chorus and experience the excitement of "Engaging and Inspiring through Impassioned Singing," which is the mission of Festival Singers of Florida. The Festival Chorus, under the direction of Kevin Fenton and Craig Zamer, will perform several wonderful pieces, new and old, that support the theme of "Love and Romance." Contact: Bill Bergeman Phone: 800.395.2036 Web site: site : www.musiccelebrations. com/festivals

June 11 – 15 Tuscany International Inter national Choir Festival Sponsor: Music Contact International Location: Tuscany, Italy  Info: Choirs perform three concerts while participating in the festival; first at the Tettuccio Spa, then in the town’s main plaza, Piazza del Popolo, for for a lar ge local audience, and finally for a church congregation on Sunday  morning. Between performances,

choirs may visit the nearby towns of Florence, Pisa, or Lucca. Contact: Music Contact International Phone:1-800-624-0166 E-mail: [email protected]

June 11 – 20 ChorFreude International Music Festival Sponsor: Incantato Tours; Charlotte International Cabinet; Ministery for Culture and Education Location: German Baltic Coast; Mecklenburg-Vorpommern, Germany  Info: The Ministery of Culture and Education is rolling out the red carpet on the beautiful, historic, and musically rich German Baltic Coast in celebration of  the 250th anniversary of Queen Charlotte’s coronation. You are invited to join other outstanding vocal ensembles to perform at this groundbreaking event. Invitation from the Ministery of  Culture, Education, and Economics, Mecklenburg-Vorpommern, Staatssekretär Udo Michallik: “The German Baltic Coast is not well known internationally, but a hidden treasure: Fairy-tale castles with beautiful gardens, medieval cathedrals and churches, and spectacular ocean boardwalk  will not only impress you, but provide a stunning backdrop for unforgettable concerts. The Ministery of Culture, Education, and Economics MecklenburgVorpommern supports the 2011 International Choral Festival celebrating the 250th anniversary of Queen Charlotte’s coronation, who was originally 

from Mecklenburg-Strelitz. I look  forward to welcoming many  choirs… to this unique cultural event in the home of Sophie Charlotte: Mecklenburg-Vorpommern, Ger many.” ChorFreude is a word play on the German words for choir  (chor), and joy (freude), with the inspiration drawn from another German term, Vorfreude which can be loosely  translated as happy anticipation. ChorFreude is also the title for a new international choral festival that showcases an unknown gem of Germany—the state of Mecklenburg-Vorpommern. You may have heard of the rich natural beauty and cultur al, and historical significance of the Baltic Coast, but but people rarely r arely make the connection that there is also a German Baltic coast with a very strong music-making tradition. Mecklenburg-Vorpommern (MV) State boasts hundreds of  choirs and choral organizations, with many of them celebrating Germany’s heritage and traditions. In the summer of 2011, MV is looking forward to hosting international choral groups for the very first time in quite unique settings. Venues range from ancient churches and haunted castles, to elaborately  decorated palaces and stunning cathedrals—all with wonderful acoustics and appreciative audiences that can’t wait to embrace singers from the new world. ChorFreude is an initiative that was born to reach out and start a friendship between musicians from both sides of the big pond. Supported by the MV State

Ministery of Culture and Education, as well well as the local tour ism boards, ChorFreude2011 offers unique opportunities to connect through the universal language of  music. Venues which are normally  closed to performing groups or only available to professional ensembles will become available, such such as the former  for mer  residence of Queen Charlotte in the beautiful village of Mirow. Queen Charlotte of Mecklenburg, consort of King George III, devoted much of her powers to the advancement of music in the kingdom. As a connoisseur and enthusiast of the great George Frideric Handel, Queen CharCharlotte displayed an avid interest in all German artists and composers. She often commissioned a young Wolfgang Amadeus Mozart to perform for the royal court, and even employed the son of Johann Sebastian Bach as her personal music master. The ChorFreude International Music Festival honors the 250th anniversary of Queen Charlotte’s coronation, celebrating the legacy  of one of Germany’s most dedicated musical advocates. ChorFreude features • Featured performances at magnificent venues such as the Schwerin Cathedral, the Landestheater, and Konzertkirche. • Opportunities for exchanges with fellow musicians, German schools, and performing ensembles. • Participation at the of ficial grand re-opening celebration of the Castle Mirow where Queen Charlotte Charl otte was rais raised. ed. • Per Per-sonalized itinerary with various sightseeing options, such such as a visit to the historic Schwerin Castle,

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2 0 1 1 S U M M E R  F E S T I VA L swimming in the Baltic Sea, and a traditional Float Tour in the town of Neustrelitz. Incantato Tours offers unique travel packages to accommodate the special needs of all festival attendees. All packages include: • International economy-class round-trip airfare • Participation in the Chor  Freude Festival (rehearsals, concerts, receptions, party) • Professional concert management and marketing • Bi-lingual tour manager and transportation •Educational and entertaining sightseeing with entrance fees to major sights

Contacts: Courtney Williams; Sandra Wein Weinacht acht Phone: 704.820.6223 Web site: http://chorfreude2011. blogspot.com/; http://www.incantatotours.com

June 13 National Children’s Choir Series at Lincoln Center Sponsor: Manhattan Concert Productions Tully Hall, Location: Alice Tully Lincoln Lincol n Center, Ce nter, New York ork,, NY Info:Rehearse and perform with other children’s choirs from around the country  Emily Ellsworth, Ellswor th, Conductor  Conductor  Web site: http://manhattanconcertproductions.com/public/ performances/performanceseries/ index.aspx#childrens

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June 13 – 16 Composer Symposium Location: Pine Lake Music Conference Center  Sponsor: Pine Lake Presenter: Lloyd Larson Contact: Dawn Johnson E-mail: djohnson@pinelakemusic. com

June 14 – 20 Passion of Italy –  St. Peter’s Peter’s Basilica Ba silica (Rome with extensions of Venice Venice and Florence) Sponsor: KIconcerts Venice,, FlorLocation: Rome (or Venice ence, and Rome) Info: Sing Mass in the glorious St. Peter’s Basilica led by Anna Hamre and Hilar y Apfelstadt and perform individual concerts and in their combined gala concert. Experience ancient Rome with marvels that include the monumental Colosseum and the breathtaking Sistine Chapel. Consider extensions to the Italian cities of Venice, “The City  of Water,” and Florenc Florence, e, “The Cradle of the Renaissance.” Contact: Oliver Scofield Phone: 719-260-0200 E-mail: [email protected] Web site: http://www.kiconcerts. com/choral/events/?id=123

June 14 - 28 National Catholic Youth Choir –  Summer Camp Location: Saint John’s University  Collegeville, MN Info: A 2 week choir camp for  high school freshmen, sophomores and junior s. Includes Includes one week concert tour. Axel Theimer, Conductor 

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Contact: Dorothy Kantor  E-mail: [email protected] Phone: 320-363-3154 Fax: 320-363-3145 Web site: www.CatholicYouthChoir.org

June 15 – 21 Berlin with Z. Randall Stroope Sponsor: KIconcerts Location: Berlin, Germany (with extension opportunities to Desden, Prague, and Vienna) Info: Perform in a festival led by Z. Randall Stroope at the spectacular Berliner Dom (tbd) and immerse yourself in the culture and music of the historic cities of Ber lin and Leipzig. Enjoy  individual concert opportunities and the option to extend your  tour to Prague, Dresden, and Vienna. Contact: Oliver Scofield Phone: 719-260-0200 E-mail: [email protected] Web site: http://www.kiconcerts. com/choral/events/?id=136

June 18 Passion For Music Friendship Festival Travel,l, Sponsor: Wens Trave Netherlands Location: Oberammergau, Bavaria. Germany  Info: The Passion for Music Friendship Festival is an international music festival in the Passion Play Theatre of Oberammergau. It is a non-competitive festival and is open to choral and instrumental ensembles. Each Each group gets the opportunity to perform for about 30 minutes. In the late afternoon all ensembles

come together on stage for the so-called Grande Finale and perform Beethoven’s Ode to Joy. The festival ends with a reception with drinks and snacks at the Ammergauer Haus. The festival will be led by a professional guest director. No audition is needed. Marching bands can perform prior to the festival during the opening parade through the village. Upon request workshops and/or rehearsals take place on Friday June 17. Travel,l, Contact: Wens Trave Janneke Hoeberigs. Phone: 011 31 54 29 333. E-mail: [email protected]. Web site: www.wens.nl

June 18 Alfred School Choral Reading Session Location: Kidder Music, Peoria, IL Info: Join Sally Albrecht for an Alfred School Choral Reading Session Contact: Kidder Music Phone: 888-322-2801 E-mail: [email protected]

Web site: http://kiddermusic. com

June 19 National High School Festival Sponsor: American Federation Pueri Cantores Location: Walt Disney Concert Hall, Los Angeles, CA Info: Choirs participating in a regional festival will be given the first right of acceptance. Paul Salamunovich, Conductor  Web site: www.puericantores. com

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June 19 – 24 Music Texas Texas 2011 Location: Smith Center for Leadership Development, SouthwestSouthwestern Baptist Theological Seminary  Sponsor: Kempke's Music Service Presenter: Mary McDonald Contact: Kellie Rupert Phone: 407-562-0333

June 19 – June 25 SFEMS Medieval & Renaissance Workshop: Music from the Edges of Europe Sponsor: San Francisco Early Music Society  Location: Sonoma State University, Rohnert Park, CA Info: Karen Clark and Daniel Johnson, voice; Rebekah Ahrendt, viola da gamba; Annette Bauer, recorder;; Bruce Dickey, recorder Dickey, cornetto; Greg Ingles, sackbut; Tim Rayborn, medieval strings, percussion; Mehmet Sanlikol, ud, ney; Mary  Springfels, viola da gamba, medieval strings; Nina Stern, recorder;; Dan Stillman, early  recorder reeds; Tom Zajac, early winds, all-workshop collegium. Z ajac Contact: Tom Zajac Phone: 617-323-0617 E-mail: medrenworkshop@sfems. org Web site: www.sfems.org

June 19 –  25 Show Choir Camps of America Sponsor: J.W. Pepper  Location: Millikin University, Decatur, IL Info: Join Sally Albrecht for Alfred’s School Choral Reading Sessions at Show Choir Camps of  America!

Contact: Show Choir Camps of  America Phone: 630-663-4500 E-mail: [email protected] Web site: http://www.showchoircamps.com

June 20 – 23 Kempke’s Music Mu sic Texas Texas Sponsor: Kempke’s Music Service orth, th, TX Location: Fort Wor Info: Join Sheldon Curry for  Alfred’s Sacred Choral Reading Sessions at Kempke’s Music Texas 2011 Phone: (800) 753-6753 Web site: sit e: www.kempke.com

June 20 – 24 Title: Appalachian State University Silver Burdett 2011 Summer  Music Institute Location: Boone, NC Info: Join Andy Beck for a School Choral Reading Session at the 2011 Silver Burdett Music Institute Contact: Appalachian State University  Phone: 828-262-2921 E-mail: [email protected] Web site: http://www.conferences-camps.appstate.edu/adult/ silver_music.php.com

June 20 – July 1 Kodály Institute at St. Thomas Location: University of St.Thomas St. Thomas, MN Intructors: Angela Broeker, Carol Brown, Dan LeJeune, and Rita Klinger. Info: See web for tuition and dates for each program. Housing available on a per night basis. Contact: 651-962-5870,

E-mail: [email protected]. Web site: www.stthomas.edu/ music/graduate

Contact: Luke Wiscombe Phone: 800.395.2036 Web site: site : www.musiccelebrations. com/festivals

June 23 – 26 Serenade! Washington, DC Choral Festival Sponsor: Classical Movements Location: Washington, DC Info: Choirs will experience individual shared choir concerts in cathedrals, churches, schools, halls and national monuments. You will also get to take part par t in a number of choral workshops with leading choral conductors. Take part in the historic tradition of Choral Evensong Services in prestigious cathedrals, churches and basilicas. Enjoy sightseeing in Washington, DC, Alexandria, Baltimore, and surrounding areas, possibly including the Smithsonian Museums, the Capitol Building, the White House, and the national monuments. Contact: Katie Hickey  Phone: (703) 403-0534 Web site: www.classicalmovements.com

June 23 – 27 Rome International Choral Festival Location: Rome, Italy  Sponsor: Music Celebrations International Info: Music Celebrations is pleased to produce the 3rd annual Rome International Choral Festival under the direction of  Z. Randall Stroope. The Festival Chorus will have the opportunity to participate and sing in a Mass at St. Peter’s Peter’s Basilica in the Vatican. Festival rehearsals and an additional performance will take place in Rome’s historic S. Maria Sopra Minerva, located near the Pantheon. Web site: http://www.musiccelebrations.com/festivals/2011/ rome_choral_festival.html E-mail: info@musiccelebrations. com Phone: 1-800-395-2036

June 23 – 26

June 26 – July 1

Windy City Youth Choral Festival Sponsor: Music Celebrations International Location: Chicago, Illinois Info: Treble-voice choirs are invited and selected based upon recommendation, and will join together to sing both individually—as well as en masse in one of  America’s great concert halls—  Orchestra Hall, home of the Chicago Symphony Orchestra. The festival will be under the artistic direction of Lynne Gackle.

University of Georgia Summer Choral Conducting Institute Sponsor: The Hugh Hodgson School of Music and Daniel Bara Location: The Hugh Hodgson School of Music at The University  of Georgia in Athens, GA GA Info: The UGA Summer Choral Conducting Institute is an intensive, week-long week-long series of  seminars and master classes led by Daniel Bara that is geared for music educators, graduatestudent conductors, church musicians, and other aspiring

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2 0 1 1 S U M M E R  F E S T I VA L June 29 – July 3

conductors who wish to grow as ar tists, teachers, musicians, and leaders. Contact: Daniel Bara Phone: (706) 542-2797 Web site: www.music.uga.edu

Mozart Internati International onal Choral Festival Location: Salzburg, Austria Sponsor: Music Celebrations International four-day  -day  Info: This spectacular four choral festival will culminate in a performance of Mozart's Mass in C "Coronation,” K.317, with accompaniment by full orchestra and European soloists in Salzburg’s historic Dom, under the artistic ar tistic direction of Eph Ehly. Ehly. In addition to the Festival perfor perfor-mance, participating singers will also participate and sing in a Mass in the Dom. Web site: http://www.musiccelebrations.com/festivals/2011/ mozart_choral_festival.html E-mail: info@musiccelebrations. com Phone:1-800-395-2036

June 26 – July 2 SFEMS Baroque Music Workshop: The Italian Ita lian Connection Sponsor: San Francisco Early  Music Society  Location: Sonoma State University, Rohnert Park, CA Info: Rita Lilly and David Newman, voice; Frances Blaker, recorder;; Sand Dalton, Baroque recorder Baroque oboe; Kathleen Kraft, Baroque flute; Kati Kyme, Baroque violin and orchestra; orchestr a; William Skeen, Baroque cello; Mary Springfels, viola da gamba; Peter Sykes, harpsichord; Mar ion Verbruggen, Verbruggen, recorder. Contact: Kathleen Kraft Phone: 707-799-2018 E-mail: baroqueworkshop@sfems. org Web site: www.sfems.org

June 29 – July 11

June 27 – July 29 Piano Pedagogy Course: Advanced Piano Pedagogy Location: University of St.Thomas St. Thomas Thomas,, MN Instructor: Katherine Faricy  Info: See web for tuition and dates for each program. Housing available on a per night basis. Contact: 651-962-5870, E-mail: [email protected]. Web site: www.stthomas.edu/ music/graduate

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IHLOMBE South African Choral Festival Sponsor: Classical Movements Location: Cape Town, Pretoria, Johannesburg, and and Game Park  Info: The festival is in association with the Choral Institute of South Africa and CHORISA. Perform individual and shared concerts with top South African Choirs. Enjoy workshops with famous choral conductors, African drumming, dancing, and singing. Contact: Jayci Thomas Classical Movements, Inc. 319 Cameron St. Alexandria, VA 22314 Phone: +1-703-683-6040 Fax: +1-703-683-6045 E-mail: jayci@classicalmovements. com

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July 2011 Survey of LCI Practice: Studying Works Works of Art, Creating Curriculum, Exploring Imaginative Learning Sponsor: Lincoln Center Institute Location: Online Info: A rigorous ten-week  workshop that offers a complete introduction to Imaginative Learning: The Lincoln Center  Institute practice. Also available, available, is the Introduction to Lincoln Center Institut Institute: e: Three Week  Workshop, if you’re interested in learning about Lincoln Center  Institute in a brief format. Graduate credit available. Contact: www.lcinstitute.org

July 1 – 6 4th Musica Sacra a Roma Sponsor: Interkultur  Location: Rome, Italy  Info: Lay choirs from all over  the world focusing on sacred music are invited again to come to the eternal city in peace and friendship. In In the tried-and-tr ue tradition of competition perforperformances and representative evening concerts in the magni ficent churches of Rome, together with of ficial events such as a Mass in St. Peter’s Cathedral, for example, a festival is being organised which will further the comparison between choirs as well as making music together and spiritual encounters. And there’s the chance to experience Rome and the opportunity to witness the magic of the architectural, sculptural and painting master-pieces in St.

Peter’s Basilica and the Vatican Museums. Contact: Hugh Ballou Phone: 888-398-8471 Web site: www.interkultur.com

July 2 – 6 Summa Cum Laude International Youth Music Festival Sponsor: Presented by Via Musica Location: Vienna, Austria Info: The annual Summa Cum Laude International Youth Music Festival began in July 2007. Vienna’s global festival provides a platform for talented youth choirs, bands, and orchestras to perform in Vienna’s Vienna’s magni ficent Musikverein. In 2008, the Summa Cum Laude Festival program expanded to include a competition and celebration, where performing groups compete with their peers as well as the option to participate in the non-competitive “SCL “SCL CelebraCelebr ation.” tio n.”The finalists perform in the Musikverein in Vienna, one of the world’s three finest concert halls. The Summa Cum Laude Festival offers all performing groups the opportunity to participate in workshops where the artists further develop their musical knowledge. Additional concer ts take place where performing groups represent their home country and share its respective music with the Austrian public. Contact: Bram Majtlis Phone: 800-790-4682 404-240-0949 E-mail: [email protected] Web site: http://www.sclfestival. org/ Festival Impressions: http://www. sclfestival.org/impressions.htm

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July Ju ly 3– 24 SingDownunder, the New Zealand Schools Choral Festival Location: New Zealand, Auckland, and the South Island Info: In Ackland 6 days including full day Maori and Polynesian Choral Workshops, Workshops, and a two day competition in the Holy  Trinity Cathedral with immediate live feedback, a massed choir  rehearsal and perfomance, a concert, concer t, and recordings. Subsequently touring and perfomances with local and other international choirs and groups in venues, some tiny, in the scenic South Island for 6 to 15 days. Contact: Owen Sharpe Phone: +64211127077 Web site: www.singdownunder. com E-mail: Owen@SingDownunder. com

July 6 –10 7th International Johannes Brahms Choir Festival and Competition Sponsor: Interkultur  Location: Wernigerode, Germany  Info: Since 1999 this Interkultur  event is a crowd-puller for choirs and music groups from all over  the world. Johannes Brahms, and the German Romantics of  the nineteenth century centur y, will be a focal point. The event offers offer s interested choirs excellent opportunities to learn together and refine their specialist skills with coaching concerts and rehearsals with recognized international choral experts. We We explicitly  invite choirs and ensembles of  all kinds who prefer not to take part in competition but like to give concer ts in Wernigerode Wernigerode and other regional communities.

The festival will provide ample opportunities for groups to perform their repertoires to an interested audience, whether  they specialise in chor al, orchestral, or folk music. Wernigerode is a town with a very special flair. It is a gem of medieval architecture located on the foot of the low mountain range of the Harz. There is hardly any other town with so many magni ficent semitimbered houses—a feast for  your eyes. And it is an excellent stage for the parade and opening ceremony and further open air  events. Contact: Hugh Ballou Phone: 888-398-8471 Web site: www.interkultur.com

July 7 Choral Super Session Location: Norwalk, CA Info: Join Sally Albrecht and Mary  Lynn Lightfoot for a School Choral Reading Session, followed by a Sacred Choral Reading Session in the evening (clinician TBA) Contact: JW Pepper  Phone: (800) 345-6296 Web site: sit e: www.jwpepper.com

July 7 – 8 Kempke’s Music Explosion Sponsor: Kempke’s Music Service Location: Daytona Beach, FL Info: Join Sheldon Curry for  Alfred’s Sacred Choral Reading Sessions at Kempke’s Music Explosion 2011 Phone: (800) 753-6753 Web site: sit e: www.kempke.com

July 7 –10 29th International Choral Festival of Preveza –  17th International Choral Competition of Sacred Music Sponsor: Choral Society  “Armonia” of Preveza Location: Preveza – Greece Info: Open to all kind choirs. Competition for mixed, equal voices, children’s, chamber, and youth choir s. The competitive programme must include: A piece of sacred music composed before 1800, a piece of sacred music composed between 1800 – 1950, a piece of sacred music composed after 1950, a folk  song from the choir's country of  origin, and a compulsory piece which have been sent by the artistic vommittee of the Festival. Deadline for application: April 1, 2011 Contact: Kosmas Koronaios, General Secretary  Phone: 0030 2682 0 24915 Fax: 0030 2682 0 29852 Cell: 0030 6973 0 50626 E-mail: [email protected], [email protected]  Web site: www.choralpreveza.gr 

July 7–11 Celebrate Mozart In Vienna Sponsor: Music Contact International Location: Vienna, Austria Mozar t” Info: The “Celebrate Mozart” Festival is intended not only to afford choirs an opportunity to perform together in St. Stephen’s, but also to help preserve this magnificent edifice that to locals and visitors alike signifies the “soul of the city.” Contact: Music Contact International

Phone:1-800-624-0166 E-mail: [email protected]

July 7 –11 July Cantus Salisburgensis Sponsor: Music Contact International Location: Salzburg, Austria Info: Musicians from around the world come to Salzburg each year to perform massed sing selections under the direction of Salzburg Cathedral’s Music Director, János Czifra. The festival takes place each year in March and July. Phone: 1-800-624-0166 E-mail: [email protected]

July 9–15 Crossroads Children’s Chorus Festival Host Choir: WestTennessee Youth Chorus Nashville, le, Tennessee Tennessee Location: Nashvil Info: Prestigious classical children’s choir festival with a concert performance at the Grand Ole Opry House. Stephen Stephen Hatfield will conduct the mass children’s choir and orchestra with a star-s star-studded tudded finale concert. The Crossroads Children’s Chorus Festival will be held at the luxurious Gaylord Opryland Resort. There is nothing like like it! Meet us at the Crossroads as we explore the common roots of music! Contact: Martha Wright Phone: 1-800-2-CROSSROADS E-mail: [email protected] Web site: site :

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2 0 1 1 S U M M E R  F E S T I VA L July 7 – 14 Bodymind and Voice Course Co urse Lifespan Voice Voice Education VoiceCare Network  Networ k  Location: Saint John’s University  Collegeville, MN Info: An 8 day creative, handson course for conductor s, voice educators, singers, classroom teachers. Evidence based information on how the voice works, on conducting and what we need to do to experience freedom and avoid interferences in movement and singing. 4 graduate semester credits optional. 53 contact hours. Contact: Axel Theimer  E-mail: [email protected] Phone: 320-363-3374 Fax: 320-363-2504 Web site: www.voicecarenetwork.org

July 10 –16 July Rutter’s Mass of the Children –  Sydney Opera House Sponsor: KIconcerts Location: Sydney, Australia (with extensions to Melbourne, Gold Coast, Cairns, or New Zealand) Info: Join the North American Festival Chorus and Orchestra led by Eric Dale Knapp and the Festival Youth Chorus Chor us led by Stephen Roddy for a performance on a grand scale in the magnificent Sydney Opera House. See koalas and kangaroos while enjoying the landmarks of this beautiful harbor city. Possible extension tours include Melbourne, Gold Coast, Cairns, and New Zealand. Contact: Oliver Scofield Phone: 719-260-0200 E-mail: [email protected] Web site: http://www.kiconcerts. com/choral/events/?id=134

July 9–16 Le Chant des Oyseaux Summer Choral Workshop Workshop Sponsor: Le Chant des Oyseaux Location: Arradon (Brittany France) Info: Le Chant des Oyseaux offers a choral workshop with Franck Pellé-Rolland Pellé-Rolland,, choral conductor. The workshop is open to amateur choral singers aged 18 years and over with a good choral background. Repertoire: Treasures of German music by Johann Kuhnau, Gottfried August Homilius, Felix Mendelssohn, and and Josef Gabriel Gabr iel Rheinberger. Free brochure available. Pellé-Rolland,, Contact: Franck Pellé-Rolland artistic director  Phone: +33 977 649 906 Web site: http://choral-workshops.monsite-orange.fr 

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July 10 – July 16 SFEMS Recorder Re corder Workshops Workshops Sponsor: San Francisco Early Music Society  Location: St. Albert’s Pr iory, Oakland, CA Info: Harmony of the Spheres Annette Bauer, Frances Feldon, Inga Funck, Contact: Rotem Gilbert Phone: 626-441-0635 E-mail: recorderworkshop@ sfems.org Web site: www.sfems.org

July 10 – 16 Show Choir Camps of America Sponsor: J.W. Pepper  Location: Heidelberg College, Tif fin, OH Info: Join Sally Albrecht for Alfred

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School Choral Reading Sessions at Show Choir Camps of America! Contact: Show Choir Camps of  America Phone: 630-663-4500 E-mail: [email protected]

Web site: http://www.showchoircamps.com

July 10–17 2nd Grand Prix of Choral Music Sponsor: Interkultur  Location: Graz, Austria Info: The best choirs of the world of any age meet here to determine the winners of the Grand Prix in eight categories. The Grand Prix of Choral Music is a highlight for choirs which have been demonstrating a high artistic level for a long time. Choirs which are singing on a high level but don’t have a long lasting experience in competitions or haven’t taken part in international competitions for  a long time, get the chance to give a concert on the spot to qualify for the Grand Prix. The best choir of each category is the “Champion “Champion of the Grand Prix of Choral Music” and will be awarded with prize money. Includes a parade of the choirs, open air concerts in the city centre, daily performances of prize winners, gala concerts in a great atmosphere and the international choir show “We “We are the world” on Friday evening. Contact: Hugh Ballou Phone: 888-398-8471 Web site: www.interkultur.com

July 10–17 1st World World Choir Championships for Youth Youth and Young Young Adults Sponsor: Interkultur  Location: Graz, Austria Info: Interkultur organises the World Choir Championfirst World ships for Youth Youth and Young Adults Ad ults in cooperation with the city of  Graz and the Province of Styria and makes your dreams come true. Celebrate the biggest party  of the year for people under 30 at the international choir show “We are the world”! Many general programmes will be offered: The parade of the choir s, open air concerts in city centre, daily  performances of prize winners, and gala concerts in a great atmosphere. Contact: Hugh Ballou Phone: 888-398-8471 Web site: www.interkultur.com

July 11–15 Somerset International Children’s Choir Festival Wells, Location: Sherborne & Wells, England Sponsor: Music Celebrations International Info:The fourth-annual Somerset International Children's Choral Festival will take place in the quaint English town of Sherborne, with the opportunity for  individual choirs to be featured in the stunning Sherborne Abbey  in performances for the local residents, as well as in England’s Historic Wells Cathedral—which has maintained a choral tradition vir tually unbroken for over  800 years. Children’s choirs will join together to make up an outstanding festival chorus of 

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225 singers. Web site: http://www.musiccelebrations.com/festivals/2011/somerset_youth_choral_festival.html Contact: info@musiccelebrations. com; Phone:1-800-395-2036

July 11–15 LCI InEW: World Class Professional Development Sponsor: Lincoln Center Institute Location: various host sites nation-wide Info: Professional artists and educators offer high-quality  instruction in the development of skills of imagination, creativity, creativity, and innovation as part of LCI’s rigorous approach, known as imaginative learning. Any pre-K through 12th grade teacher,, school and/or ar ts teacher administrator, teaching ar tist, curriculum developer developer,, or college/ university professor may attend; in-service and graduate credit available. Workshops will take place July 11-15 and July 18-22, 2011, and on other dates at sites around the country. Visit www. lcinstitute.org for a complete listing of host sites and workshops. Contact: www.lcinstitute.org

through quality music literature study, discussion, and presentation. Singing, performing, composing, analyzing, and relating music to history and other arts will be explored, reflecting the national standards in music categories. Classes, workshops, projects, and seminars focus on choral, chamber, instrumental, jazz, and band works. Technology, special workshops on singing and percussion, and concert attendance complete the week-long experience. Three graduate credits are awarded for successful completion of the institute requirements. This institute is ideal for musicians, music educators, directors, conductors, composers, and graduate students in music programs. An ability to read music is required, and some knowledge of instruments and voices is recommended. Registration: Begins April 11, 2011 - Seating Is Limited, Register By June 24 Web site: www.fitchburgstate. edu/gce/musicinstitute for more information. Contact: Michele Caniato, E-mail: mcaniato@fitchburgstate. edu Phone: 978-665-3278

July 11–15 Teaching and Learning Music Institute Sponsor: Fitchburg State University  Location: Fitchburg State University, 160 Pearl Street Fitchburg, MA 01420 Info: This intensive, one-week  residential graduate institute centers on skill development

July 11–15 Eastman Choral Institute Choral Conducting: Artistr Artistry, y, Vocal Pedagogy, Musicianship Sponsor: Eastman School of  Music Location: Rochester, NY Weiner t, Faculty: William Weiner Robertt McIver, Rober McIver, and Monica Dale Info: This dynamic team of  choral/vocal faculty members

will offer a week-long workshop focused on topics that choral directors and accompanists address in the context of choral singing. This cour se will involve daily sessions in conducting, singing, musicianship, class performance, vocal pedagogy,, repertor y selection, and gogy movement-oriented Dalcroze Eurhythmics. Each Each par ticipating conductor will conduct Voices, Voices, the professional chamber chorus in residence at the Institute. Enrollment is limited to 14 conductors. Contact: Donna Mero Phone: 585-274-1403 Web site: http://www.esm.rochester.edu/summer/institutes. php#Choral_and_Vocal

July 13 Pender’s Singabration Location: Lewisville, TX Info: Join Sally Albrecht, Mary Lynn Lightfoot, and Greg Gilpin for  School Choral Reading Sessions at Pender’s Singabration 2010! Contact: Pender's Music Co. Phone: (800) 772-5918 Web site: sit e: http://penders.com

July 14 – 15 Choral Sounds Conference Location: Decatur, GA Sponsor: Pine Lake Music Company  Info: Join Sheldon Curry for  Alfred’s Sacred Choral Reading Sessions at Pine Lake’s Choral Sounds 2011 Contact: Pine Lake Phone: (800) 241-3667 Web site: www.pinelakemusic. com

July 14 – 25 Rhapsody! Prague Childrens Music Festival Sponsor: Classical Movements Location: Vienna, Salzburg, and Prague Info: Guest Conductor, Joan Gregoryk. Particpating choirs will perform at famous venues in three of Europe's most music and historical cities, highlighted by  the Grand concert in Praque's Smetana hall with a professional orchestra. Choirs will enjoy a workshop, musical exchanges, and sightseeing tours. Contact: Zhongjie Shi Classical Movements, Inc. 319 Cameron St. Alexandr ia, VA, 22314 Phone: +1-703-683-6040 Fax: +1-703-683-6045 E-mail: zs@classicalmovements. com Web Site: www.ClassicalMovements.com

July 15 – 16 Alfred Summer Sing Location: West Chester, PA Info: Join Sally Albrecht, Andy Beck, and Michael Spresser for school choral reading sessions, choreography, and elementary  resources on July 15. Join Sheldon Curry and guest clinician on July 16 to discover Alfred’s newest octavos and worship resources. Contact: JW Pepper  Phone: (800) 345-6296 Web site: si te: www.jwpepper.com

July 16 – 23 Fellowship of American Baptist Musicians Conference Location: Green Lake Conference Center  Sponsor: J.W. Pepper  Presenter: Mark Hayes

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2 0 1 1 S U M M E R  F E S T I VA L Location: Alexandria,Virginia - the Alfred Street Baptist Church Info: This 5-day professional development workshop, designed for conductors of choirs at all levels, gives special emphasis to the important role non-verbal skills can play in rehearsal and performance.

July 16 – 24 Setmana Cantant de Tarragona Tarragona 2011 Sponsor: Catalan Federation of  Choral Associations and European Federation Europa Cantat Location: Tarragona, Spain Info: This festival takes place under the direction of Josep Prats and within the framework of the festivals of the Catalan Federation of Choral Associations and the European Federation Europa Canat. The festival includes workshops by Johan Duijck  (Belgium), Basilio Astulez (Basque Country), Hugo de la Vega (Argentina) and Francisco Simaldoni (Uruguay), and communal singing with Edmon Colomer (Catalonia). E-mail: [email protected] Web site: www.setmanacantant. org

• Explore movement activities designed to improve intonation, timbre, rhythmic accuracy and to expand dynamic range. • Examine the effect of the conductor's posture and gesture on vocal production and choral tone. • Experience how effective pacing and af firmative instruction improves both focus and retention in the choral rehearsal.

July 17 – 23 SFEMS Recorder Re corder Workshops Workshops Sponsor: San Francisco Early Music Society  Location: St. Albert’s Pr iory, Oakland, CA Info: Gods and Monsters Tricia van Oers and Hanneke van Proosdij, recorder;; Katherine Heater, recorder Heater, harpsichord; Shirley Hunt, viola da gamba; Stacey Palinka, Feldenkrais movement. Contact: Rotem Gilbert Phone: 626-441-0635 E-mail: recorderworkshop@ sfems.org Web site: www.sfems.org

July 18 – July 22 Choral Conductors Cond uctors Workshop Workshop with Rod Eichenberger Sponsor: George Fox University 

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• Enhance practical conducting skills during daily master  classes. • Enjoy daily reading sessions from a large packet of octavos personally selected by  Rod Eichenberger.

Contact: Debbie Hawblitzel, managing director  Phone: 503-554-2620 Web site: http://www.choralconductorsworkshop.com/

July 18 – 22 LCI InEW: World Class Professional Development Sponsor: Lincoln Center Institute Location: various host sites nation-wide Info: Professional artists and

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educators offer high-quality  instruction in the development of skills of imagination, creativity, creativity, and innovation as part of LCI’s rigorous approach, known as imaginative learning. Any pre-K through grade 12 teacher, school and/or ar ts administrator, teaching ar tist, curriculum developer developer,, or college/ university professor may attend; in-service and graduate credit available. Workshops will take place July 11-15 and July 18-22, 2011 and on other dates at sites around the countr y. Web site: www.lcinstitute.org

July 18 – 22 Eastman Choral Institute Advanced Conducting Workshop: American Choral Landscapes Sponsor: Eastman School of  Music Location: Rochester, NY WilFaculty: Craig Hella Johnson, William Weiner Weinertt Info: Sessions will include practical approaches to rehearsal technique, performance issues, and score analysis and preparation. Each participating conductor will work with both teachers, and will conduct Voices Voices,, the professional chamber chorus in residence at the Institute. Enrollment is limited to 14 conductors. Contact: Donna Mero Phone: 585-274-1403 Website: http://www.esm.rochester.edu/summer/institutes. php#Choral_and_Vocal

July 19 Church Choral Reading Session Location: Minneapolis, MN Sponsor: J.W. Pepper  Presenter: Lloyd Larson Contact: Michelle Gutoske E-mail: [email protected]

July 20 Summer Sound Sampler Location: Eden Prairie, MN Sponsor: J.W. Pepper  Info: Read through Alfred’s newest chorals with Andy Beck  Contact: J.W. Pepper  Phone: (800) 345-6296 Web site: si te: www.jwpepper.com

July 20 – 25 Istanbul International Chorus Festival & Competition Sponsor: Istandbul Chorus Location: Istanbul, Turkey  offer you an oppor tuInfo: We offer nity for a week of a natural life in Istanbul. Our aim is for children, youth, and adult groups from all over the world gather in Istanbul for performance or competition. Web site: www.istanbulchorus. com

July 20 – August 1 Melodia! South American Music Festival Sponsor: Classical Movements Location: Rio de Janeiro and Buenos Aires, Argentina Info: Guest Conductor, Francisco Nuñez. Accepting Accepting applications from youth and children's choirs (treble and mixed voices), and youth orchestras. Outstanding artistic experiences are combined with once-in-a-lifetime cultural and outreach opportunites.

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Contact: Alessandra D'Ovidio Classical Movements, Inc. 319 Cameron St. Alexandria, VA 22314 Phone: +1-703-683-6040 Fax: +1-703-683-6045 E-mail: [email protected] Web Site: www.ClassicalMovements.com

July 20 – August 1 Umbrian Serenades: Choral and Cultural Tastings in the Green Heart of Umbria with Joseph Flummerfelt Sponsor: Umbrian Serenades, LLC. Location: Spoleto, Spello, Norcia, Montefalco, and Umbria, Italy  Info: Umbrian Serenades is a life-transforming choral program that brings together passionate singers from all over the U. S. who seek opportunities to perform exquisite unaccompanied repertoire within a small vocal chamber ensemble. These These choral enthusiasts come together  to enhance their vocal, musicianship, and ensemble skills, as well as savor all that small medieval hilltop towns in the heart of Italy  can offer. This select chamber  ensemble performs sacred unaccompanied vocal wor ks, spanning from Renaissance to Gospel, spiritual, and contemporary repertoire in unique spaces throughout the lush and breathtaking hills of Umbria. Graduate Credit: (1 unit) available through Westminster Choir  College/Rider University University.. Application Deadline: January  21, 2011 (postmarked) Contact: Paulo Faustini Phone: (888) 664-2355 Web site: http://www.umbrianserenades.com/

July 21 Alfred School Choral Reading Session Location: Greenville, SC Sponsor: Pecknel Music Company  Info: Read through Alfred’s newest chorals and elementary materials with Sally Albrecht Contact: Pecknel Music Company  Phone: (864) 244-7881 E-mail: [email protected] Web site: www.pecknelonline. com

July 21 – 25 Belgian Summer Sing Sponsor: Music Contact International Location: Ghent, Belgium Info: Europe’s largest open air  cultural and artistic festival is over 150 years in the making, and brings together diverse music, theater, and dance performance groups. Contact: Music Contact International Phone: 1-800-624-0166 E-mail: [email protected]

July 23 Sacred Choral Showcase Location: Indianapolis, IN Info: Join Sheldon Curry for a Sacred Choral Reading Session, featuring the newest worship resources and sacred octavos Contact: JW Pepper  Phone: (800) 345-6296 Web site: www.jwpepper.com

July 23 – 30 Sarteano Chamber Choral Conducting Workshop with Simon Carrington, Bronislawa Falinska, and Brian O'Connell

Sponsor: Amministrazione Comunale di Sarteano Sarteano, teano, Italy (Tuscany) (Tuscany) Location: Sar Info: This intensive and supportive conducting workshop is geared for 26–30 choral conductors and music educators with strong vocal ability, who are interested in rehearsing and performing chamber choral music. In addition, we also welcome qualified singers who are interested in attending the workshop in a non-conducting capacity; who love to sing in a chamber  group environment and/or  are very specifically looking to learn rehearsal and conducting techniques. Up to two graduate credits are available through The Boston Conser vatory. There are three possible tiers of participation: Full Conductor, Conducting Auditor, Audi tor, and Singer. Sin ger.The afternoon sessions will consist solely of daily conducting master  classes with Simon Carrington. Each Full Conductor will conduct in every ever y master class. The twopart morning sessions will consist of Vocal Pedagogy ensemble work with Bronislawa Falinska utilizing the Rohmert Method of  Functional Voicetraining, Voicetraining, a vocal technique not commonly found in the USA, and clinics on developing a vital chamber choir choir,, with Brian O'Connell. We also offer a Q&A/Dialogue interest session with Carrington. Contact: Gail Leicher  Phone: + 1 781.652.0158 E-mail: [email protected] Web Site: www.sarteanochoralworkshop.com

July 24 – 27 Conductor's Seminar Sponsor: American Federation

Pueri Cantores Location: University of St. Mary  of the Lake, Mundelein Chicago, IL Info: TBA Web site: www.puericantores. com

July 24 – 29 Lifespan Voice Education –  Continuing Course –  Conducting Gestures and Voice VoiceCare Network  Location: Saint John’s University  Collegeville, MN Info: An 5 day course for everyone who has attended a VCN VCN Impact Bodymind and Voice) Voice) Course. ‘Other than conscious communication’ has a most significant effect on your singers and their voices. How – and what – do you, as the conductor, communicate with your singers? 3 graduate semester credits optional. 35 contact hours. Contact: Axel Theimer  E-mail: [email protected] Phone: 320-363-3374 Fax: 320-363-2504 Web site: www.voicecarenetwork.org

July 27 – August 8 IHLOMBE South African Choral Festival Sponsor: Classical Movements Location: Cape Town, Pretoria, Johannesburg, and Game Park  Info: Concerts, individual and shared with top South African Choirs, Workshops Workshops with famous Choral Conductor s, African drumming, dancing, and singing. Contact: Jayci Thomas, Classical Movements, Inc. 319 Cameron St., Alexandria, VA 22314

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2 0 1 1 S U M M E R  F E S T I VA L Phone: +1-703-683-6040 Fax: +1-703-683-6045 E-mail: jayci@classicalmovements. com Web Site: www.ClassicalMovements.com

July 28 Church Choral Reading Session Location: Billings, MT Sponsor: J.W. Pepper  Presenter: Lloyd Larson Contact: Michelle Gutoske E-mail: [email protected]

July 28 – August 1 3rd Toscana Music Festival Fest ival Sponsor: MRF MusicFestivals Location: Florence, Pisa, Siena, and Tuscany, Italy  Info: The land of cypresses and rolling hills Italy's most popular  holiday region is known for its zest for life, its culinary delights and its r ich culture. Approximately half of the world's artistic treasures are found on Italian soil, and Tuscany is cer certainly tainly home to a goodly part of these. Florence is the region’s r egion’s capital and, thanks to its strong concentration of  cultural artifacts, counts as one the world's most interesting cities. Pisa, whose leaning tower  must be famous throughout the world, is also strongly popular  amongst tourists. Other cities of interest are Lucca - home of  Giacomo Puccini - and Siena, held by many to be Tuscany's most beautiful city. Contact: Gregor Laskowski Phone: 0049-7221-967696 Web site: http://www.mrf-musicfestivals.com

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July 29 – August 3 IX International Festival of Choral Art “The Singing World” World” Location: St Petersburg, Russian Federation Petersburg welcomes Info: St. Petersburg the choirs from all over the world to perform the best pieces of choral art, to share professional experience and to sing together to the thankful audience. The Festival is held by  the Committee for Culture, St. Petersburg City Administration, and “Inter Aspect” Ar Ar t Association, with support from the State Capella of St. Petersburg. Petersburg. Application Deadline: April 1, 2011 Web site: www.singingworld.spb. ru, www.interfestplus.ru E-mail: [email protected]

July 30 – August 6 Le Chant des Oyseaux Summer Choral Workshop Workshop Sponsor: Le Chant des Oyseaux Location: Abbey of  Caunes-Minervois (LanguedocRoussillon - France) Info: Le Chant des Oyseaux offers a choral workshop with Franck Pellé-Rolland Pellé-Rolland,, choral conductor. The workshop is open to amateur choral singers aged 18 years and over with a good choral background. Repertoire: Sacred Spanish music of the sixteenth century  by Tomas Luis de Victor ia and Francisco Guerrero. Free brochure available. Contact: Franck Pellé-Rolland, artistic director  Contact phone: +33 977 649 906 Web site: http://choral-workshops.monsite-orange.fr 

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July 31 – August 5 SFEMS Music Discovery Workshop: multicultural day camp for children and youths ages 7 to 15 Sponsor: San Francisco Early  Music Society  Location: Crowden Center for  Music in the Community, Berkeley, CA, Info: Tish Berlin, recorder, dance; Ron McKean, harpsichord; Carla Moore, violin; Farley Pearce, cello, viola da gamba; Allison Rolls, theater project director director.. Contact: Tish Berlin Phone: 510-559-4670 E-mail: discoveryworkshop@ sfems.org Web site: www.sfems.org

August 1 – 5 Choral Conductors Workshop with Rod Eichenberger Sponsor: George Fox University  Location: Cannon Beach, Oregon, the Cannon Beach Elementary  School Info: This 5-day professional development workshop, designed for conductors of choirs at all levels, gives special emphasis to the important role non-verbal skills can play in rehearsal and performance. • Explore movement activities designed to improve intonation, timbre, rhythmic accuracy and to expand dynamic range. • Examine the effect of the conductor's posture and gesture on vocal production and choral tone.

• Experience how effective pacing and af firmative instruction improves both focus and retention in the choral rehearsal. • Enhance practical conducting skills during daily master  classes. • Enjoy daily reading sessions from a large packet of octavos personally selected by  Rod Eichenberger.

Contact: Debbie Hawblitzel, managing director  Phone: 503-554-2620 Web site: www.choralconductorsworkshop.com

August 1 – 12 Orff Certificate Program Location: University of St.Thomas St. Thomas, MN Intructors: Jay Broeker, Michael Chandler, Cindy Hall, Jo Ella Hug, Mona Mann, Beth Nelson, and Jacque Schrader Schr ader.. Info: See web for tuition and dates for each program. Housing available on a per night basis. Contact: 651-962-5870, E-mail: [email protected]. Web site: www.stthomas.edu/ music/graduate

August 4 Church Choral Reading Session Location: Fargo, ND Sponsor: J.W. Pepper  Presenter: Lloyd Larson Contact: Linda Schmidt E-mail: [email protected]

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August 5 Church Choral Reading Session Location: To be determined Sponsor: Volkwein's Presenter: Lloyd Larson Contact: Cindy Pratt Phone: 412-788-5900

August 6 Kempke’s Allegro Conference Sponsor: Kempke’s Music Service Location: Sanford, FL Info: Join Sheldon Curry for  Alfred’s Sacred Choral Reading Sessions at Kempke’s Allegro Conference 2011 Phone: (800) 753-6753

Web site: sit e: www.kempke.com

August 7 – 13 Le Chant des Oyseaux Summer Choral Workshop Workshop Sponsor: Le Chant des Oyseaux Location: Abbey of CaunesMinervois (Languedoc-Roussillon - France) Info: Le Chant des Oyseaux offers a choral workshop with Franck Pellé-Rolland Pellé-Rolland,, choral conductor. The workshop is open to choral conductor s, music music students or amateurs singers from good chamber choirs. Repertoire: American music of  the twentieth century by Randall Thompson. Free brochure available. Contact name: Franck PelléRolland Phone: +33 977 649 906 Web site: http://choral-workshops.monsite-orange.fr 

August 8 – 12 Summer Workshops in Piano Pedagogy Location: University of St.Thomas St. Thomas, MN Presenters: Bruce Berr, Melody  Broger, Katherine Faricy, Andrew Hisey, Scott McBride Smith, and Michelle Sisler. Info: See web for tuition and dates for each program. Housing available on a per night basis. Contact: 651-962-5870, E-mail: [email protected]. Web site: www.stthomas.edu/ music/graduate

August 9 Church Choral Reading Session Location: Bismark, ND Sponsor: J.W. Pepper  Presenter: Lloyd Larson Contact: Linda Schmidt E-mail: [email protected]

August 9 – 11 School Choral Reading Sessions Location: Ramada Inn and Suites, Grand Forks, ND Info: Read through Alfred’s newest chorals and elementary materials with Andy Beck  Contact: Poppler’s Music, Inc. Phone: 800-437-1755

Web site: www.popplersmusic. com

August 10 – September 18 Lucerne Festival in Summer • Explore movement activities designed to improve intonation, timbre, rhythmic accuracy and to expand dynamic range.

• Examine the effect of the conductor's posture and gesture on vocal production and choral tone. • Experience how effective pacing and af firmative instruction improves both focus and retention in the choral rehearsal. • Enhance practical conducting skills during daily master  classes. • Enjoy daily reading sessions from a large packet of octavos personally selected by  Rod Eichenberger. Main Sponsors and Foundations: Andermatt Swiss Alps AG | Artephila Foundation | Audi, Of ficial Car Carrier | Clariden Leu AG AG | Franke | KPMG | Montres Breguet S.A. | Siemens Building Technologies / Zuger  Kulturstiftung Landis & Gyr | UBS; Partners: Casino Luzern | DRS 2 | Interbrand, Partner in Communication | Palace Luzern | SBB, Of ficial Rail Carrier | Swiss International Air Lines, Of ficial Air  Carrier | Top Events of Switzerland; Friends and Supporters: American Friends of Lucerne Festival | Dr. Dr. Herbert Batliner  | Freunde Lucerne Festival Or Or-chestra | Freunde Lucerne Festival in Summer | Freunde Lucerne FestivalDeutschland | Japanese Friends of Lucerne Festival | UK  Friends of Lucerne Festival Location: Lucerne, Switzerland

Info: http://www.lucernefestival. ch/en/festivals/festival_in_summer_2011/

August 11 – 12 Church Music Leadership Conference Location: Pine Lake Music Conference Center  Sponsor: Pine Lake Presenter: Lloyd Larson Contact: Dawn Johnson E-mail: djohnson@pinelakemusic. com

August 11 – 13 Choral Music Celebration Location: Canton, OH Sponsor: Berean Christian Stores Info: Join Sheldon Curry for  Alfred’s Sacred Choral Reading Sessions at Berean’s Choral Music Celebration 2011 Phone: 800-423-1232 E-mail: [email protected]

Web site: si te: www.berean.com

August 13 Church Choral Reading Session Location: Otterbein University University,, Columbus, Ohio Sponsor: Stanton's Sheet Music Presenter: Mark Hayes

August 23 – 24 School Choral Reading Sessions Location: Edmonton, AB, CA and Calgary, AB, CA Info: Read through Alfred’s newest chorals and elementary materials with Andy Beck  Contact: Rideau Music Phone: 800-661-6874 E-mail: [email protected]

Web site: www.rideaumusic. com

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ChoralReviews Reviews Choral

A C DA DA

Advocacy Resolution

WHEREAS the human spirit is elevated to a broader understanding of  itself through study and performance performance in the aesthetic arts, and WHEREAS serious cutbacks in funding and support suppor t have steadily eroded state institutions and their programs throughout our country, BE IT RESOLVED that all citizens of the United States actively voice their affirmative and collective support for necessary funding at the local, state, and national national levels of education and government, government, to ensure the survival of arts programs for this and future generations.

Advertizing Index  ACFEA Tour Consult Consultants ants

36

Allaround stage/masterstage

58

All Things Musical

52

Argentina Concert Tours

17

Brigham Young University

51

Central Connecticut Sta State te Univ Univ.. 16 Chorus America

40, 41

Classical Movements

65

Concept Tours

48

Cultural Tour Consult Consultants ants

61

DCINY

64

Eastman School of Music

Submission Information Ar ticles submitted for publication Articles publication in the Choral Journal should meet established specifications. specifications. Although the length of ar articles ticles varies considerably, considerably, submissions generally consist of ten to twenty typed, double-spaced pages. Referenced material should be indicated by superscript and endnotes. Any artwork and a one- to two-sentence professional identification of the author should also be included. Complete writer’s guidelines can be found on the ACDA Web site at . Articles submitted via e-mail attachment should be sent to . rg>. Book and music publishers and compact disc distributors send books, octavos, and discs for review to: Choral Journal 545 Couch Drive, Okla. City, Oklahoma 73101 Telephone: 405/232-8161 Choral Reviewers Members wishing to review choral chor al music should contact: Paul Laprade 815/921-3347, [email protected]

9

Euro Arts Ltd.

18

Friendship Ambassadors Found.

23

George Fox University

12

Hal Leonard Publishing Corp Corp..

39

Hampton, Keith

22

Hawaii Music Festivals

10

Herff Jones

32

Interkultur Foundation

60

Intern'l Choral Kathaumixw

53

Ki Concerts

46, BC

Le Mondial Choral Loto - Quebec 35 Lyric Choir Gowns

14

Master Chorale of S. Florida

57

Music Celebratio Celebrations ns Intern'l

50

Music Contact International

IFC

Norfolk Chamber Music Fest.

63

Oregon Bach Festival

42

Oregon CAtholic Press

62

Presbyterian Assn of Musicians

44

Rene Clausen Choral School

54

Small World Musicfolder.com

49

SolidColorNeckties.com

28

Sound Byte Studios

24

The interculture Tours

13

Compact Disc Reviewers

Tour Resource Consult Consultants ants

56

Members wishing to review compact discs should contact:

Trinity Lutheran Seminary

11

University of Hartford

38

University of Kentucky

15

David Castleberry 304/696-2963 [email protected]

University of Michigan

55

Book Reviewers Members wishing to review books about choral music should contact: Stephen Town 660/562-1795, [email protected]

Utah Sta State te University

IBC

Witte Travel & Tours

8

se c u d o rt n i

s t r A c e is h t f  u o e M g f o e t l l n o e C m e t r n i a a p C e e D h T

m o za rt p ro je c t the first of an annual series of Choral Music Workshops  servi erving ng p rofe ssiona ll-level level singe singe rs a nd mus music ic ed uc a to rs 

July 27– 27–A u g 4, 201 2011 1 2011 20 11 Re Re p e rtoire : Grand Ma ss in C minor  Requiem  (in Requiem (i n c onjunction with the Uta h Fes Festiva tiva l Op era ) Soloists from The Me tropo li lita ta n Op era  Festiva tiva l Orc hestr hestra  a   The Am erica n Fes

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COLLEGE of the ARTS



                                                                                                                                        

A UDIT UDITIO IO N M A TERIA LS A RE DUE A PRIL 30 30, 20 2 011 11.. SELEC TED SIN SING G ERS WILL BE BE NO TIFIE IFIED D BY MA M A Y 15 15.

For m ore inf info o g o to a rt rts s.us .usu.edu/ u.edu/ sum m erm us usic ic ins instit titute ute