MAY-JUNE 1966 T E
Official Publication of the AMERICAN CHORAL DIRECTORS ASSOCIATION unison &; 2-part (tor adult singing) BREYDERT Kyrie Eleison (Lord, Have Mercy) ...... SA (A-348) .25 DROSTE 0 Be Joyful In The Lord ...... SA (A-337) .20 ETLER Under The Cottonwood Tree ...... SA (A-342) .20 IVES Serenity ...... Unison (A-377) .20 PINKHAM A Litany ...... SA (A-483) .25 Ave Maria ...... SA (A-367) :20 Five Canzonets ...... : ...... ; ...... SA (A-329) .25 women's chorus BEADELL Blow Prairie Wind ...... SSAA (A-346) .25 BEN'fZ . ·-TheRoseFamily .... ; ... ;; ...... SSA- (A"386) .20··_····· ETLER Lord God, Hear Our Prayer ...... SSA (A-456) .20 Under Stars ...... SSAA (A-341 ) .20 GLASER Homeric Hymn ...... SSAA (A-355) .25 KANTOR Entreat Me Not To Leave Thee ...... SSA (A-366) .20 LONG>ON Five Haiku ...... SSAA (A-374) .35 PINCKARD Velvet Shoes ...... : .. SSA (A-475) .25 WALSH Spring, The Sweet Spring ...... SSA (A-484) .25 mixed chorus BINKERD Madrigal: Eyes of Clear Serenity ...... (A-477) .30 Scapulis Suis ...... (A-428) .20 BECKERATH Animal Songs (English only) 1. The Sparrow and the Kangaroo ...... (A-464) .25 2. The Three Sparrows ...... ; ...... (A-465) .25 3. The Big Elephant ...... (A-466) .25 BERGER 3 Hymns of Praise 1. Blessed Art Thou, 0 Lord (div.) ...... (A-459) .30 2. Thou Hast Given Abundance To Thy Servant (div.). (A-460) .35 3. In Thy Covenant Does My Heart Rejoice (div.) .... (A-461) .30 De Profundis Clamavi(div., sop. solo ad lib) ...... (A-416) .25 CALVIN The Half-Moon Westers Low ...... (A-467) .25 Words of Comfort ...... (A-468) .25 COLEMAN Sonnet of the Thrush ...... : ...... (A-384) .25 DAVID 3 Animal Songs 1. Blessing of the Bees (Bienensegen) (Ger. & Eng.). (A-397) .20 2. The Owlet (Das Kauzchen) (Ger. & Eng.) ...... (A-414) .20 3. The Tom Cat (Der Kater) (Ger. & Eng.) ...... (A-415) .40 HEIDEN In Memoriam (A tribute to the late Pres. Kennedy) .... (A-39B) .85 LlTTEL Black Suns (De Trilla) (Sp. & Eng.) ...... (A-474) .25 PINKHAM I Was Glad ...... (A-426) .20 RAFFMAN Farewell, Thou Art TOQ Dear ...... (A-429) .20 RATHAUS Lament, from "Iphigenia in Aulis" (SATB & Fr. Horn) (A-389) .40 TRUNK Brash and Gay ...... (A-380) .20 Peace At Night (A-383) .20 WIENHORST Hear, 0 Lord ...... (A-430) .20 Sample copies of any 10 of the above octavos available to Choral Directors On . request. Please state your position. Address Educational Dept. Associated Music Publishers, Inc. A SUBSIDiARY OF G. SCHIRMER. INC. 609 FIFTH AVENUE. NEWYORK. N.Y. 10017
C2 THE CHORAL JOqRNAL dJ/UUn the ------0 - -- Executive Secretary's PLEASE CHANGE OF DA Tf '--_____ ~e&Iz NOTE JULY 1st to 10th Space does not permit a long recital - .-. -- - - - of all ACDA friends we have had the ------pleasure of seeing and Visiting with at the National Convention, but it was good to see so many of you, to get acquainted with many new members and unfortun ately to miss many of those who.m we had hoped to see. With a briefcase full SIXTH of notes we are hoping to get to all we planned to do, but should any of you not hear soon of desired aJction, please re mind us so We can cover all commit ments. This spring has allowed us the chance to bring greetings from ACDA CHORAL ARTS to Alexandria, Va., Baltimore, Md., Hunt ington and Mt. Hope, W. Va., and before you receive this we will have visited friends in Alabama, Mississippi and from April 27 to May 8 will be in Hawaii to INSTITUTE greet our Hawaiian chapter during their Hugh Ross all-state festival. Weare especially grateful to Dorothea Waddell of New York, Robert Godwin of North Dakota and John Cooper of university of minnesota Tennessee for their superior help at the ACDA tables during the convention. They and the Kelly girls worked perfectly with JULY 1st to 10th your executive secretary in keeping things moving 'after the f,irst deluge and, should any of you have any problems concerning dues, etc., be sure to notify Hugh Ross, music director and con our office. Those jOining at the conven ductor of the Schola Cantorum of.New tion will soon receive their cards, back issues of The Choral Journal and ACDA York wiII direct the Sixth Annual Membership Certificates. Choral Arts Institute at the' University Having elected National Offieers at the convention, we are now in the process of of Minnesota this summer. Study di electing State Chairmen in those states rector, wiII be Julius Herford, Life w.hose membership is 20 or more as of March 1, 1966. Be sure to check The Professor, School of Music, Indiana Journal for the full 'page listing Nomin University. ees for each State eligible to vote for Chairman, tear out and fill in your Bal Planned for choral directors, the In lot and mail it back as quickly as pos Julius Herford sible to thi's offiice. The method, ap stitute wiII focus on study and analysis proved by the Board at Kansas City, al of the choral works of Mozart. Highlight of the lO-day Institute lows each State member to vote for his State Chairman and will have only him will be a public presentation of the C Minor Mass by Mozart self to blame if 'he doesn't get his vote and Tudor Portraits by Ralph Vaughan Williams, featuring those in by June 15. It is necessary to have at least 2 weeks in order to allow time enrolIed in the Institute, members of the Summer Session Chorus, for our auditing firm to sort, certify, the' Minneapolis Symphony Orchestra, and soloists. compile and announce the results by Ju ly 1, when the term of office begins. We hope each of you will take an active in terest in the election and get your bal Unique Summer Program - lot in early to help us. Remember, only PAID UP ACTIVE members are eligible The Choral Arts Institute is ,a part of to vote, so be certain your dues are' paid an exciting new program in music ed for 1965-66 when you vote. The ACDA fiscal year is from July 1 ucation at the University of Minneso to June 30 of each year, so new dues to - one that features the Minneapolis notice cards will be coming your way Symphony Orchestra in residence as a soon. To avoid forgetting about them dur ing the summer months, it might be well teaching instrument in the Summer to plan to send your 'Payment to this of Session. fice prior to the closing of this school year. Be sure to notify us of ANY change Stanislaw Skrowaczewski of address even for the summer months, Music Director since The Journal now is printed every Minneapolis Symphony 2 months including July and, August. It was good to 'See so many friends at the Convention and we hope that those of you who did not make it, will plan to )Je with us in the ,coming years. We Write lor details can only say, you missed onEl of the best ACDA conventions ever held. The next Dean of Summer Session few issues of The Journal will carry ac 6646 Johnston Hall, University ~f Minnesota counts, pictures, and materials from the Minneapolis. Minnesota 55455 convention to bring you as much of it as possible. •
MAY-JUNE 1968 1 sidered absolute and should be adjusted treat all parts as of equal i l1lportance. D{}nni~gl{}v{}n~ to the best advantage of the singers. It is often obvious that one part or an There were no dynamic markings in other should be heard somewhat above these original manuscripts, of course, but the others. For example: one voice must gpeak~ at in modern scores of these works every predominate slightly until at least a com thing tends to be spelled out too clearly. plete phrase has been clearly heard (prop Convention It is better to let the individual perform erly introduced) in each new section of er decide some things. This is not only the composition. possible with the small group that usual Stevens encouraged the modern con THERON KIRK and WALTER S. COLLINS ly p'erforms this music but also adds the ductor not necessarily to use only a single important quality of spontaniety to the voice to a part, citing the argument that performance. we want greater numbers to enjoy this Stevens quoted Thomas Morley (1557- music, a moot argument. He closed by Denis Stevens, one of England's most 1602) as having written about the per- pointing out that the acoustical situation active musicologists and no:w professor formance of this music that you must of the original performance should have of music at Columbia University, ad~ absolutely be able to understand the te.-rt an influence on our ideas of performance dressed the ACDA Convention Wednes- but that we tend in modern practice to as well,· stating that the 17th cenfury day afternoon. Assisted by two fine take the music so fast that the text is madrigal was meant for the drawing chamber choirs, the University of Colo- actually unintelligible. The speaker sug rooms of homes and the anthem for 'a rado Singers, directed by Charles A. By- gested that the practice of looking at the large cathedral. A recording of a madri ers, and the EI Camino (California) most complicated section of the piece and gal by John Wilbye made.in the same Chorale, with Jane S. Hardester, direct- working back in order to determine the home where the composer worked 300 or, Mr. Stevens spoke on the subject of correct tempo was not proper either since years ago was played for the audience at The Seventeenth Ce11Jtnry English An- a considerable fluctuation in tempo was the conclusion of the session. • -----tuh""'1?1.1LantL1l1.addg.al.-----'------d-es·intil-e-;-Ne-docum entec1-t11i~s-v~le~w-b'~ycc------Stevens is· no dry, musty musicologist quoting fro m Girolamo Frescobaldi but a very witty as well as informative (1583-1643)" ... a flexible beat as NORTHWOOD INSTITUTE, Midland, speaker who very much brings his his- in the performance of ~nadrigals." It was Michigan, will present a Choral Work tori cal subject to life. Beginning his talk suggested that variety of color (s01ne use shop for High School students from June 24 to July 1 with Don Craig as clinician. by showing color slides of illuminated of vibrato, etc.) is desirable in perform Emphasis will be on contemporary music manuscripts and other drawings from ance of this music. and teachers wbhing to audit sessions the 14th to the 17th Century, Stevens il" On the problem of overlapping of parts may do so by making special arrange lustra ted .the size of groups and perform- due to the contrapuntal texture, the ments. For further information. write Dr. ing practices of those times, implying speaker said it was incorrect to· always Theodore Vosburgh, Music Director, that choirs of this era were exceptional- Northwood Institute, Midland, Mitcfhigan. ly small compared to the present day. Commenting on the misconception that music was for everyone - sung by ev ery barmaid, tinker and baker of Eliza bethan times - Stevens stated that what lAO/III. LIGHTER these people sang were simply the "sing STRONGER ing commercials" of that age. Music, ltv'''' . really, was very centralized, supported • QUIETER by the Queen's court and by nobles. Had it not been for the enthusiatic support CHORAL of Elizabeth and her followers music might have, in fact, died out in England. As to problems in present day perform RISERS ance of music of the Elizabethan-Jacob -FULL 48"~--'" ean times, the speaker suggested that choral conductors should look upon the notation as being a skeleton and some times an inaccurate version of what the composer intended. Due to errors in mak ing the first copies and subsequent en gravings, today's performer must re-ex amine the scores with a view to correcting accumulated mistakes of repeated print ings. Both sectional and final endings frequently need "tidying up" when parts have notes of different values; most often it will be obvious that notes of the same value should occur in all parts on the final tone. CALL OR It was the singers themselves who ad WRITE justed the syllables of the texts to the notes in the 17th Century. Editors have not always done this in the best way in 24J WENGER BUILDING print. Improvement in this area needs to OWATONNA. MINN. 55060 be made. The pitch of the 17th Century 507·451·3010 Madrigal ancl Anthem need not be con-
2 THE CHORAL JOURNAL THE
~~ECOND -vicE PRESiD~NT: . HAROLD A. DECKER Urbai"i, Illinois· 61803 lSECRETARY-TREASURE~:'c/ . .l Official Publication of the American Choral Directors Association : HARVEY E. MAIEK .: ••: Affiliated Organization: TEXAS CHORAL DIRECTORS ASSOCIATION . Hattiesbur!iiMis.sissippi, 3940( ·1 Secretary-Treasurer - Miss Ann Anderson, 124 Resaca Blvd., Brownsvill~, Texas 78520 Copyright © 1966 by the American Choral Directors Association f ~ Ji:"(cCittiiiE: S~~r~;~·~Y·' . Editor, ·TUc CllOra! JOllrnal, R. WAYNE HUGOBOOM, Managing Editor VOL. VI, NO.5 R. WAYNE HUGOBO·OM ;rampa, . Flori~hi' 33612·· Eastern Divlsio,," MARY E:ENGLISH Fotsdani,New York 13676·'· North Cellt~alJ)ivisibli' DONALDG.FOLTi , MAY-JUNE 1966 , . Superior, . Wiscort.sin54882 -i North·wes/chi· Di'u;siol!' Procedures for Election of 1966-1968 State Chairmen ...... 7 ACDA Convention Sets New Goals ...... : ...... 8 SOlltlrJm Divi;i~l; Creative Programming for Women's Ensembles, Mar'y E. English ...... 10 PAULB.FRY . . .. ' ' .. i Drums and Dragons, Archie N. Jones ...... 12 Albemarle, North. Carolina 280011 I Elected Officers ...... 14 I Text and lVlusic, AUen Lannon~ ...... 15 Postscript on Dramatic Musical Productions, Wallace H. Nolin ...... 18 HI e'stern' Division' . ! Applied Physiology, Byron M. Merkel, M.D ...... 20 HOWARD S. SWAN .. I, Los Angeles, California 90041 Materials for Choral Practices and Techniques, B1'1tce D. Hoagla.l1d (Continued) .. 23 IlIdllstry As"oCjate~epreselltativel DON MALIN .•. '. ·,1 New York; N; Y .. 100l9 ,(' ""j Represelltative-al-Large . .'[ JANE SKINNER HARD ESTER 1 EI Camino; Californi"·'., ...... '....• ! short .,! subjects . . From the Executive Secretary, 1; Denis Stevens S'peaks at Convention, 2; Cn
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':oprrigllt l!lt\(j by The AmerIcan Choral DIrectors AssocIatIon, P. O. Box 17736, Tampa, FlorIda 33612. Issued 6 tImes yearly: Sept.-Oct., ;X"Y.-Der., Jan.-Feb., Mar.-Aprll, May-June,· July-Aug. SubscrIptIons to InstitutIons Only. Rates: $3.00 a year; Mexico and Canada, $3.50; For ,'lg-n. $4.00; Group Subscription (5 or more copies to ·one address) $1.50 each per year; Single Copy, 60c. Second Class postage paid at Port l\l(·!ley. florida. Publication Orrtce: (Do nQt return mall to, 01' communicate witJl this office) Route L Box 3u5A. Tarpon Spl'lngs, Fla. 33589
MAY-dUNE 1966 3 4260, B. Schott's Pub.; Ch'i Non T'ami COl' ody - Jean Sibelius, G. Schirmer, 5781; Mio - Claudio Monteverdi, Edition, Peters, Weep, 0 Mine Eyes - John Wilbye, As Mugi~ Uged at 3232a; Quando la Terzo Cielo - Giovanni sociated, N.Y. (Pro Musiea Series 1); da,Palestrina, Arno Volk Pub.; We Shep Now With One Accord - Alessandro Con herds Sing - 'Thomas Weelkes, Stainer & stantini, Mark Foster Co., Sacramento, Kangag City Bell; Sweet Suffolk Owl - Thomas Vau Calid'., MF-902; Ching-a-ring Chaw - Aaron tor, Stained & Bell; Of All the Birds That Copland, Boosey & HaWkes, 5518; The SESSION 1 I Do Know - John Bartlet,.Stainer & Bell; Little Horses - Aaron Copland, Boosey & Clinician: Dr. Charles, C. Hirt Jubilate Deo - Orlandus Las'sus, Mercury, Hawkes, 5510; Adoramus Te, Christe - Performing Ensembles: Ottumwa High MC-80; Quid, Quid Commisisti - Heinrich Corsi (Cain), Choral Art, R-180; Gloria School Choir, Pampa High School Choir. Schuetz, Presser, 312-40609; Why Art (Missa Mater Patris) - Josquin .Des Prez, Thou So Heavy, OMy Soul? - Orlando G. Schirmer, 11012; The Vagabond - R. Mass in G. Major - Franz Schubert, E. Gibbons, Broude Brothers; Brambles and Vaughan Williams, Boosey & HaWkes, Walter Ehret, ed., E. B. Marks; Sing We Thorns, Op. 112 Johannes Brahms, 5454. Merrily Unto ~d Our Strength - Martin Boosey and Hawkes; Dearest Swallow, SESSION V Shaw, Novello, 1181; FoUr Lamentations Till' y Swallow d'rom "Four Gypsy Songs" _ o f J eremla'h - CISar c h'lk a , C oncord' la, 9'8 - Johannes Brahms, Boosey & Hawkes; KennethClinicians: Gaburo Mr. Daniel Pinkham', Mr. 1578; A Jubilant Song - NOl'man DelIo Oft Have I Vowed _ John Wilbye, Stainer JOio, G. Schirmer, 9672; Choose Some- & Bell; Thou Knowest, Lord _ Henry Performing Ensemble with Mr. Pink thing Like a Star - Randall Thompson, Purcell, Novello; When David Heard _ ham: Wichita State University Concert E. C. Schirmer, 2487-7; 0 Music, Love- Thomas Tomkins, Stainer & Bell; Upon Choir. liest Art - Widmann, Carl Fischer CM- A Bank _ John Ward, Stainer & Bell. Cantata Misericordium - Britten, Boos- 7386; Weep 0 Mine Eyes - Bennett, Law- ey & Hawkes; Pater Noster (Latin ver- son-Gould, 51167; All of My Heart's De- SESSION ill 'sion) _ Stravinsky, Boosey & Hawkes; siring - Bra;hms (Barnard), Summy-Bir- Clinician: Miss Margaret Hillis Anthem _ The Dove Descending _ Stra- chard, 5406; Sing Unto God - Handel Performing Ensembles: Arkansas State vinsky, Boosey & Hawkes; The Doe (La (Condie), Carl Fischer, CM-4668; The College Concert Choir, University of Okla- Biche) _ Hindemith-Schott, AMP, '10454; Bells of Youth - Norman Fulton, Curwen, homa Concert Choir. Vinea Mea Electa _ Poulenc, Salabert. G. Schirmer, 11127; Three Madrigals - Alleluia _ Jacobus Gallus, Augsburg, PS- Performing Ensemble with Mr. Gaburo: Emma Lou Diemer, Boosey & Hawkes, 613' Motetto (Unsere TrubsaI) - Jahann University of Illinois Experimental Music 5417; Agnus Dei - Morley,Ohristiansen, Ludwig Bach, Moseler Verlag Wolfen- Ensemble. ' -----ed;;-Nei1-Kjos-Publ!shers,..21·;-Fa~ewell-,-butteI;Os Justi=--AntOIl13i'UClUier, G-.--IIaVenia"-o:'-,-'(A'-. 'M=a-=c"h-=a-:;dC:: o")-, -'f;-:o'-r:-:-s-=-o=p=ra~n"'o- My Love - Anon, Hlrt, ed., Carl FIscher Schirmer, 8121; I Will Go Look For Death solo and chorus of six sopranos _ Luigi Publishers, CM-7041; 0 Stay, Sweet Love _ Zoltan Kodaly, Boosey & Hawkes, 5351; Nono (1960), ARS Viva Verla,g, MaiIiz, - (Early Masters Chorl1ses), Farmer, Ger- Symphony of Psalms (in Latin) - Stra- Germany, AV-6 (American Agent: Asso- aId Knight, ed., Ca~l Fischer, CM-7389; vinsky, Boosey & Hawkes; Nanie (in Ger- ciated Musilc Publishers); Sara' Dolce Ta- Agnns Dei - PergoiesI, Goldman, ed., Mer- man) _ Brahms, G. Schirmer. cere, (C. Pavese), for eight soloists _ cury Music Publishers, MC-147; Hear the Luigi Nono (1960), ARS Viva Verlag, Joyful News This Day - J. S. BaCh:, Gal- Clinl'cl'an,s', SMi~Ss~I~rIVy English, Dr Mainz, Germany; AV-5 (American Agent: axy Music Publishers, 2175 (from Can- . AMP)' Psalm (Psalm 31 v. 1) SATB- tata No. 141"); Kyrie Eleison .- F. J, Howard Swan Kenneth Gaburo (1965),' World Library Haydn, Hirt, ed., Witmark MUSIC P~b- Performing Ensembles with Miss Eng- of Sacred Music, Cincinnati, Ohio, ESA Ushers, W-3543 (from "The ImperIal lish: Notre Dame de Sion High School 961-8. • Mass"); In Thee, 0 Lord - F. J. Haydn, Girls' Ensemble. Williams, ed., Sam Fox Publishers, PS- Tenebrae Factae Sunt (Darkness Was 103; Timete Dominum - Michael Haydn, Over All) - Michael Haydn, G. Schirmer, Pauly, ed., C. Schirmer, ED-2589; Regina 10532; Sunrise (from Four Sacred Songs Coeli - Mozart, Reprint by Associated for the Night) - Houston Bright, Shaw Publishers, 5222, (Edition Breitkoplf) ; nee Press, B-190; Come, Shepherd Swains Kyrie (SSATB) - Mendelssohn, Leavis, _ John Wilbye, Theodore Presser, 312- ed., Oxford University Press; Jaegerlied - 40625; The Lovers (from T,hree Songs) - R. Schumann, Jordan, ed., Marks Music Chopin-DelIo Joio, Marks Music, 4276; PUblishers, AJCS-39, No.3; Two Marian The Golden Cloud - P. Tchaikovsky, Compositions for Mixed Voices - Bruck- Omega Music Company, 00-1006a; The ner, Edition Peters, 6312, 1. Ave Maria, 2. Harp Resounds With Wild Refrain (from Tota pulchra es Maria; Gloria from "Mass Four Songs) - J. Brahms, C. F. Peters, in D" - Dvorak, lniig, ed., Carl Fischer, 6617;The Lass From the Low Countree of your finest CM-7415; Agnus Dei - Persichetti, Elkan- Arranged Sheppard and Niles, G. Schir Vogel Publishers, 1173 (from "Mass"); mer, 11206; n Court, Le Furet (The Fer performance .•• Because Your Voice - Avshalomov, High- ret of the Woods) - French Folk, Ar gate Press, HP-4; My True-Love Hath ranged Biggs, Theodore Presser, 312- RECORDS My Heart - Berger, Associated Music 40525; The Lourdes Hymn - Arranged C. Publishers, A-349 (from "Six Madrigals"); Alexander Peloquin, McLaughlin & Reil from YOUR TAPES The Tune from "Winds of May" - Me- ly Company, 2180; Ave Maria (from Dia chem, E. C. Schirmer, 2647; Song (Love logues of the Carmelites) - F. Poulenc, Incomparable reproduction qualltyl Me with Your Whole Heart) .- Mechem, Ricordi; Ave Maria - J. Brahms, Carl AII·the sparkle and the art of your performance is captured by RPC. E. C. Schirmer, 2650; Basl.et from "Four Fischer, 6277; Ave Maria - Z. Kodaly, You send your own tapes direct to Pastorales - Effinger, G. Schirmer, 11061; Boosey & Hawkes, Belwin, Inc., 1711. RPC. Then your records are manu· factured to the highest professional . Glory to God in the Highest - R. Thomp- Performing Ensemble with Dr. Swan: standards, with the same facilities. son, E. C. SChirmer, 2470; \Vhy Art Thou Kansas State University Men's Glee Club. used for famous symphonies and Ca,t Down? - Pinkham, C. F. Peters, Trosterin Musik - Anton Bruckner, concert artists! 6366; To Her I Shall be Faithful - Schoen- Doblinger; Beatus Vir (Dessaff Series) - Dls"ngul;;hed RPC Albumsl berg, E. B. Marks, AJCS-19. Orlandus Lassus, Mercury, MC-11 (from 21 exclusive, colorful RPC album Twelve Motets for Equal Voices); 0 Mag designs give you ~ wide selection,of SESSION II attractive packagong and personal· num Mysterium (Double Chorus) - Jacob ized imprinting for your RPC Clinician: rill'. Denis Stevens Handl, J. Fisc'her, 7539; Grief (Gram), records. Performing Ensembles: University of Opus 43, No. 1- An'tonin Dvorak, G. Schir Colorado Madrigal Singers, EI Camino Fast Service ••• Low Cos" mer, 9813; Secbs Lieder Fur Mannerchor, Your complete order shipped within College Chorale. Opus 33 - Robert Schumann, C. F. Pe 14 days and the surprisingly low Fyez y si Vous Voulez - Clement Jan ters, EP-2527a, No.1. Der traumende See, cost will please you as much as the nequin, Das Chorwerk, Vol. 73, Moseler No.2. Die Minnesanger; Here is Thy quality a'1d the service. Verlag; Ce Moys De May - Clement Jan Footstool, Opus 11 - Paul Creston, G. nequin, Europaische Madrigale, Pelikan Sohirmer, 9793; Hills of the North Re WrIte for details and new free booklet Pub.; Dieu! Qu'il la Fait Bon Regal'der! - joice - G. M. CassIeI', G. Schirmer, 10599; Claude Debussy, Durand and Co.; Audite Lieder Und Romanzen (Op. 93a) - Brahms IRECIOI , Nova - Orlando di Lasso, Antiqua C-hor (Forbes), G. Schirmer, 10711; 0 Sing Un buch, Ed. 4258, B. Schott's Pub.; llIr to the Lord - N. Dello Joio, Carl Fislcher, RECORDED PUBLICATIONSCO~ Bruder, Lieben Bruder Mein - Johann CM-7138; Miserere Mei - Antonio Lotti 1576 Pierce Ave., Camden, N,J. 08105. Hermann Schein, Antiqua ChorbU!ch, Ed. Boosey & Hawkes, 5521; The Broken Mel-
4 THE CHORAL JOURNAL ;: STX~~'c;J"i';~~~, ~:~~"':~~~-::-... ~---- 7:,/, .~J ~~~f~t~~;':: sl 'ARKANSAS ' ~;:, >j Ic.~i~f.~;~mIL~t;;~jlr~e«' ',J,) c Jq1m C;,/re~l1c~lt ~n!1\FYan~!~c{). 1 r~~t~~~r~6;;,i~~ul~'~;;;,·.··.':':· .. 1 r~i~~~~~~~~:~~{:~~l:t:~~;f!Y?~,!~" >.'.' .1' Presli:lent's t.; ~v~Il'Trusler;<~fe,~ark,::' :"':',,': LDIsTRrcTo~:cOLU,~~~~*: '+1 tft6R!~~~',':\:' >,,~,?""~';: ;';:;,> ','/',,:",/ :{" "I i>' ~eggy' J?~C~, ~,~~~~rt')·~t; 'L,~.~,d,~:;(!~l~t;l flf~t~~~o~int~~tlan~.:r;·<:,""'·j Messflge f· Ouioa ~aY:'Pal1k~onolu,u,--.·' ~,1
1~~fI~~IJIrH.r~is,,~bc~t~,uEY •. i~ .• '.i 5 ,: Y,,':a1., t~,;A:;_.R,Od.h"y.'.'.F. ,151 . s.'.. n~.~p•. l .. ' ~>-_ .'.' tINDIANA .' "'i",','" 'i" 'I.' : qe?r~e' F.'. ·.~,~.. ueg.e~,!' BJ~?il.~.~~.,_~o~_/ ,IOWA ",' '" " .. "". f, 'Do:~iel:Mo~<~~\~~ ,~itf '." ",'"'1 I am sure that the membership of ACDA can look back with pride IICANSAS,'. "".,', ... ' • ~ , Robert, S~, Hines,' W!ch,itn ,~ 1 and' satisfaction regarding the progress of the Association since the organiza IKEN~1JCICY i tional meeting at Kansas City, in 1959. Numerous fine conventions have been iLOUIsIANA. . I' I held' and many other activities on state, division, and national level are now [MAINE :lD,·,...... i purposes of the association will challenge us for years to come .. This is as it \ ,W.,Wa,rr~, SPflluse, ,Bcl:~lr ',' l 'IMASSACHUSETTSi' .. ' ." ."C 1 should be. We have "stars to shoot at." The tasks that lie before us are for i Gilbert r· yi~,~r~I,~~ri~~fit;!~ , :,' ':'1 iMfCHH}AN·:.:.:;J . . i.·.: ',1, midable but at the same time thrilling to anticipate. i, W~1t~r .~,., ~c:It~~SI,' ~~~~.c,~,t~(·: ,MINNESOTA. 'J" ,':";;;:"'" ,', f A~~oId,\ F.;, ~is~V~(I?~i,n,~e~'p~~f~,? " '\ The ACDA membership now stands at more than 2,600 members. IMisSISSIPPF,.·.·;: ):i;:.· .. ;1 I Lel.rid Byler, ·J.ckson· .;.'; ".' .; Size of membership is not a basic purpose of the Association but is a result i~!JsSOlJRr; ,': .<:' .;' I , Doyle 'A:· ~u_~~s~': Ca'pc' -Gir~rd~~~, of a professional program of activities that is fundamental in helping to meet ilIONTANA... ·.i.:.', '.' .':,} the needs of choral music and directors in this country. Our potentials, both iN~~~ASICA ••. : •.•• ;;'.... ; ..•• •';i.:': in program and membership, are tremendous. Many ideas were discussed at ~, Jac~ A:"Le~rned; ~ran'~ .I~hin~; , iNE'If>.DA ..'. ;; .••<;;i: I were considered. No new plans are ready for announcement at the present r :'Edgar 'I:-. ,Wn.p~ce·,~'·Gollirg$;,yo~d, I NEW MEXICO: . .,J .'.. " time, however. ~ '~oriald L. ·Wynn; _La~~V~gas'.:· '; .,1 ~NEW XORIC '. ..> i ,'Wntter·Ehret,~,Scarsdale,:.;-:', '",' "'~~ President-elect Harold Decker, the Executive Committee, and the [NORTH CAROLINA:.."····,: ;, Paul, W. P~~e~~q~,',~!~~~o~.:Sn.!e!U,~,~1 Board of Directors will embark on the program of the 1966-68 Biennium on iNORTHDAICOTA", ..' !- Hardy D. ~icberg;'Mi~~t' '>.:j July 1. In closing this message - my last as President of ACDA - I want 10HIO ' . to thank the officers, board, and membership at large for the cooperation 1 ,"~. Byro~, ,Gr~~str :~~a,s~il,l~ri :,'_. 5, ,', ,~ '; ,;;i I OKLAHOMA" .'. :;.:,'..... ;:.; .. ') given and the fine work done during the past two years. I also urge that the IO~~~,~"'.~· ,:~qtd~~/:~~Im~~,~./; -: '<:j entire membership now put shoulders to the wheel in support of the program !, Robert B.,\~ans,.~o;~~~~'~~~,' ! ! PENNSYLV ANik .', ,.:0.: under the fine leadership of President Decker. f RObcrtE ... P.geiPI)ila~clphia} ..... ~ : RHODE ISLAND,:.:.. :' l, WaI'd Abusarnr~/: ~i~gs~rin" :-; < iSQUTH CAROLINA'" ::: :'. i: joseph- G. He~ter" C,?nwny" _" . : SOUTH DAICOTA .. ',':! !' John L. Re~~ttoi'Bro?king5' . I i TENNESSEE '.. ,':. .: I I J. .s:, Lyle. I
MAY-JUNE 1966 5 Divisional Chairmen are urged to as- semble, compile and send us news of their . area to better inform all ACDA SPRING '66 !Fr~m the Edit~~ members of activities throughout the ·country. Each ACDA member can help enor- CHORAL If pictures, articles or writeups you ex- mously if he will make it a point to pected to appear in this issue are not to patronize our advertisers and suggest or be found, we ask your indulgence in as- request that those firms who are not SATB suring you that they will appear as soon taking advantage of the The Choral Jour as we can possibly get them in. In an- nal 'Space include our publication in their RELEASES other short article in this issue, you will present and future plans to reach the note that our area was visited by a tor- members of our organization Which as nado kpril 4th whioh fortunately did no of now numbers well over 2,600. With serious damage to ACDA.and Choral Jour- the increased number of Journals printed Winston Cassler nal records, but the ensuing two weeks each issue and the rapidly expanding size, Thy Truth Shall Triumph of cleaning up debris, cutting. down bro-we are des·perately in need of more ad- a cappella ...... Ed. #5426 22lt ken trees, repairing damage and reas- vertising to help absorb the mounting sembling our offices has left its ·mark. costs which must be met by ACDA. Your Arthur Frackenpohl Aside from being the busiest time for help in making publiS!hers, record, robe 'guest conducting and the storm, we are and other accessory companies aware of Goq of the Earth, the Sky, the Se·a enroute t.o Hawaii April 27 so all work the availability of advertising in our Jour- accomop. opt ...... Ed. #6301 25¢ must be done prior to that date, leavj.ng nal will help us to maintain standards While Stro'llin' Thr'o' the Park many loose ends whi'ch we hope to tie already set and to enlarge and make the UIP with the following issue in July- magazine better appearing with more accomp...... Ed. # 5423 25¢. August. worthwhile inforcrnation for all areas of We IShould like to extend our personal choral activity. We ask you to do your Stanley GJarum thanks to members of the Reviewing staff part. • Blessed Is He and the Publications Committee who so a cappella ...... Ed. #5416 22¢ -----geneI:O.usly_gay_e_~Lth.eir-tim.e-anJLe.n-eJ:gy___THE-SMI'FH-WESLE¥AN-GONGERT,;,.--I • ...----.... -.------I--. to cover all seS'SIons of thE) ACDA con- CHOIR under the direction of Professors Maynard Klein venti on for us. With our duties at the Ica De~ Hiatt and Richard K. Winslow I ( h registration desk, we were unable to conducted their annual tour in March Ange's Greeting Bra ms) cover many of the s~ssions a~d s.o our when they sang at Duke University, a ca.ppella ...... Ed. #5421 22¢·' staff took . over and dId a ~err~fic Job. A University of North Carolina, Spelman Lord, In Thee Have I Trusted fi~e meetmg of tJ;e PubllCatlO~s com- College, Tuskegee Institute and with the lla' Ed #5422 22¢ IIXllttee was h~ld m Kan~as CI~y and JaCksonville, Florida University Symph- a cappe . ...•.... . future. plans dIscussed WhICh WIll help ony orchestra. The choir is composed of LeRoy Larson to brmg stature and growth both to 35 gIrls and 25 men from the Glee Clubs ACDA and t~ the ?hor~l Journal. ~l who have toured New England and twi'Ce Scandia Folk Dancers Skoog as ChaIrman IS domg a splendId in Mexico during the past few years. accom-p ...... Ed. #5415 25¢ job and his 'committee members are res- ponding wWh suggestions, ideas and mat- Sven Lekberg erials which should keep us on the road THE 1966 NEW MUSIC READING CLIN- to a stronger and better Journal in the IC annually sponsored by the Texas Chor- Song of Spring coming months. al Directors Association, state affiliated a cappella ...... Ed. #5418 25¢ Anyone wishing to submit copy to The chapter of ACDA, will be held at the Journal may do so. If the article is Gunter Hotel at ,San Antonio August 4, Haydn Morgan purely news, then a single copy will suf- 5 and 6 according. to TCDA Executive Draw N.ear and Hear My Prayer fice; if it is a discussion or research Secretary Pollard. All inquiries concern- Ed #5428 25' 'paper, we 'pred'er to have two copies ing the Clinic may be addressed to J. acc0111p. opt...... (I' to be forwarded to the Publi'cations com- Marvin Pollard, Exe'cutive Secretary, P. Kent Newbury mittee for consideration. All State and O. Box 75, Pharr, Texas 78577. The Lord Will Be Glorified a cappella ...... Ed. #5419 25¢ There Is No Other God a cappella ...... Ed. #5420 25¢
SATB Robert J. Powell Bach-Sing Praises, Ye Faithful ...... 98-1823 $ .50 Show Me Thy Ways Hassler-Christians, to the Paschal Victim and Christ Is Arisen 98-1812 .25 accom-p ...... Ed. #5425 25¢' Jennings-If Ye Then Be Risen Again with Christ ...... 98-1798 .:;)5 Ralph Williams Mudde-O Dearest Jesus, What Law Hast Thou Broken ...... 98-1799 .30 Rohlig-How Lovely 'shines the Morning Star ...... 98-1795 .30 Glory In Thy Perfect Love ~ (Choir copy of a chorale concertato. Score is No. 97·4687, $1.50) pa. ad lib ...... Ed. #5427 25¢ Sateren-Christ Is the World's True Light ...... 98-1800 .30 (Instr. parts in C & B flat available) Gordon Young Schalk-Jesus Shall Reign Where'er the Sun ...... 98-1797 .25 The Merry Month of May Wienhorst-We All Believe in One True God ...... 98-1807 .25 a cappella ...... Ed. # 5429 22¢ (with two trumpets) Sing Unto God TWO-PART aCC01np. opt ...... Ed. #5414 22¢ Lenel-With High Delight ...... 98-1830 .25 Mudde-At the Lamb's High Feast We Sing ...... 98-1829 .25 Schalk-Two-Part Canons on Classic Hymns and Chorales ...... 98-1764 .45 FOR COMPLIMENTARY REFERENCE COPIES UNISON Write To: Clarke-I Will Magnify Thee ...... 98-1796 .20 Hammerschmidt-Let the NEil A. KJOS MUSIC CO. People Praise Thee .... 98-1826 .35 PUBLISHER (with two violins or flutes) Concordia Publishing House .. St. Louis, Mo. 63118 525 Busse, Park Ridge, III. 60068
6 THE CHORAL JOURNAL Procedures For Election of 1966 -1968 State Chairmen
Following the election of National of Only those ~tates having 20 or more Second Vice Pre~ident Decker to fill un ficers at the ACDA Convention. it was memhers as of March I, 1966 are in expi red terms, have been designated on decided by the Executive Committee and cluded in the list with some variation in the list hy asterisks to show their desire Board that elections for State Chairmen number of nominees due to minor misin to continue serving in order to complete for the term July 1, 1966 to June 30,1968 terpretations of instructions which time or develop state programs already ini be acc.omplished through the use of The did not permit correcting. Two states tiated by them during their brief term in Choral J oumal to permit total member held elections prior to the convention, so office. They deserve your consideration ship voting in those states eligible (with their present Chairmen will continue in in selecting your Chairman. Be sure to 20 or more members), for .selecting their office for the 1966-68 term: Karl A. read the voting instructions and mail chairman for the new biennium. Accord Hickfang of Texas and Hardy D. Lie your ballot to your Executive Secretary's ingly, letters were forwarded from the berg, of North Dakota. Unlisted states office no later than June 15, 1966. All Executive Secretary's office requesting have less than 20 members. ballots will be authorized and counted by the present State Chairmen to appoint a In all cases nominees have been con our accounting firm to certify the results committee of 3 or more members who in tacted personally and have indicated their which will be published in the July-Aug turn ~ould choose two nominees for the willingness to serve if elected. Several ust and September-October issues of The position of State Chairman. This proce State Chairmen, recently appointed by Journal. dure permits all paid active ACDA mem bers within each eligible state to cast his v()te for the nominee of his choice and also completes the slate of officers for the entire organization, a necessary pro cedure before issuing new stationery and other needed forms for the new biennium.
for MIXED CHORUS· BS lOOlb I LOVE PARIS -(arr. Cacavas) Words and Music by COLE PORTER BS lO02c THEY CALL THE WIND MARIA (arr. Cacavas) Music by FREDERICK LOEWE/Lyrics by ALAN JAY LERNER BS lO03c YOU'D BE SO NICE TO COME·TO (arr. Cacavas) Words and Music by COLE PORTER BS l004w THE SWEETEST SOUNDS (arr. Cacavas) Words and Music by RICHARD RODGERS BS lO05g A FOGGY DAy (arr. Cassey) Music by GEORGE GERSHWIN/Lyrics by IRA GERSHWIN BS lO06c ON THE STREET WHERE YOU LIVE (arr. Cassey) Music by FREDERICK LOEWE/Lyrics by ALAN JAY LERNER The State Department of Education has appointed th.e first music consultant BS l007g LOVE IS HERE TO STAY (arr. Cassey) in the history of education in Oregon. Music by GEORGE GERSHWIN/Lyrics by IRA GERSHWIN He is Jerry Weseley Harris, who joined BS lO08c PEOPLE (arr. Cassey) the Department on February 1. Only one Music by JULE STYNE/Lyrics by BOB MERRILL other state, Montana, in the Northwest BS lO09w I WHISTLE A HAPPY TUNE (arr. Warnick) Division of the music educators' profes Music by RICHARD RODGERS/ Lyrics by OSCAR n",vllvr.. "" sional organization, Musi'c Educators Na BS 1010c EVERYTHING'S COMING UP ROSES (arr. Cacavas) tional Conference, has music education Music by JULE STYNE/Lyrics by STEPHEN SONDHEIM leadership at the state department level. BS 101lh ALL THE THiNGS YOU ARE (arr. Warnick) Harris enters the Oregon Department Music by JEROME KERN/Lyrics by OSCAR HAMMERSTEIN position ,from the University of Oregon BS 1012h YESTERDAYS (arr. Warnick) School of Music where he is completing Music by JEROME KERN/Lyrics by OTTO HARBACH his doctoral degree program in music ed ucation. He was at Franklin High School, OIRECTOR'S KIT, 1.50 Director's Kit for each song in this Series contains Conductor Portland, three years before moving to CHORUS PART, .25 Part, Piano Accompaniment,pptional String Bass, Guitar, the Beaverton 'School District where he Drums and performance notes. ~aught choral and orchestral music at Sunset High School for seven years; His as recorded on Gallery LPG·3200 "<'fire B~4! g~" choral groups have been heard several times at the Northwest Conventions of MONAURAL, 4.95 STEREO, 5.95 MENC and at the University of Oregon Wintr,r Conference on Music Education. He has taught instrumental and choral music at the elementary, junior high Hchool, and high school levels. He is a memher of ASCAP, MENC, Oregon MEA, NEA, Oregon EA, Amel'i tan Choral Directors AHHociaUon, th!' American Choral Foundation and waH r,ditor of Oregon Joumal [0/' 6 year:;. The Chappell Group 609 FIFTH AVENUE, NEW YORK, N. Y. 10017 MAV-JUNE 1966 7 ACDA Convention Sets New Goals
Opening with a full house at the first Following the business session con- Stravinsky Symphony of Psalms and the session, The American Choral DiI:ectors ducted with dispatch by President J. Brahms Nanie. Approaching the choral Association National Convention set new Clark Rhodes, on Wednesday afternoon works from the standpoint of orchestral standards in excellence of performance at 1 :30, MENC President Paul van Bod- sound and the use of orchestral instru and programming throughout the March graven welcomed ACDA's participation ments whose particular qualities and tim- 16-17 events at Kansas City which cul- in the Kansas City Convention and bres aid in the approach to the proper minated in a concert to standing room brought greetings from MENC to the at- choral sound desired by the composer was only with many ACDA and MENC mem- tending audience. At the close of the both enlightening and· highly valuable. bers turned away because of insufficient brief session, six young men escorted A dynamic and musical person, Miss Hil space. young ladies down the aisle singing We lis captured the audience .with her per- Your editor, concerned with his duties Shepherds Sing by Thomas Weelkes to ceptive depth and musical.grasp of her as Executive Secretary utilized the ser- usher in the concert by the University of subject. vices of members of The Choral J oUr'nal Colorado Singers. Dressed in modern Thursday, March 17 Reviewing Staff and the Publications and Renaissance styles, the group, pre- The opening session in the Contin- Committee to cover all ACDA sessions sided over but not conducted by assistant ental Hotel was delayed for a short while and bring a more accurate picture of the Dean Charles A. Byers, sang a fast paced, as the first performing group awaited sessions to all our readers who were un- varied program of a cappella chamber the arrival of a piano. When the antici able to attend. Wholehearted cooperation works. The delightful tipsy atmosphere pated instrument failed to put in appear from Don Bisdorf, Jack Boyd, Arnold of Schein's Ihr Brttder, Lieben Bruder ance both the director and clinician ad Caswell, WaIter Collins, Theron Kirk, Mein .was offset by a ~traigh~-faced pre- just~d to the poorer piano available with .---_Clar.ence-Gar.der,_AIfred_Skoog_and.. Rod_sentatlon .. of ... tw.o-Carne .. Nation-temper_--a-fine-show--orcooperation-and-the-49·--· Walker provided th~ materi~l and, in ance tunes, Sing Tonight and Sparkling charming girls of the Notre Dame de many .cases, the vano?s ~e~tlO.ns of .the Wa,te?".. . Sion. High School Ensemble, with Col followmg account. WhIle It )S ImpossIble The El Cammo College Chorale wIth ette Dennihan as their director, appeared to dwell on each selec.tion pe:f~rmed. and Jane Skinner Hardes~er also sang .n!usic in pink shirtwaist dresses. A large per- each group, these revIewers JOIn offlce:s for the. ~hamber chOIr. S,uch t~adltlOn~1 centage of younger girls in the choir con- of ACDA and The Choral Journal m c::Jmposltlons as Schuetz Qu,1d, QU1d tributed to a clear light tone in the group grateful appreciation. for the superi~r jo.b Conmlisisti and Gibbons Why Art ~hou and both the pe(formance 'and materials done by alI performmg groups, theIr dl- So Heavy, 0 My Soul were effectively used with Miss English showed hours rectors, the clinicians, and assisting per- varied with the Brahms ac~ompanied of preparation. Their simplicity of tone sonnel. Gypsy Songs, opus 12. The wIde range was combined with a live and lilting A full audience greeted Dr. Charles of choral styles enabled the Chorale to ease of singing that made their program Hirt, h.ead .of Choral Organizati?ns?f pro~i~e an exc:llent dem?~stration of an enjoyable one. Miss English built more the U11!verslt~ of Southern Cahfor~Ia rea~lZIng the umque sonontle~ of .styles body and intensity into the tone of the for the openmg. Le:ture-Demonstr~tlOn whIch Charles Hlrt had outlmed m an group and after working with the four at the Fourth Blen11!al ACDA NatIOnal earlier session. Ave Marias, discussed in a separate ar Convention. His lecture and demonstra- The evening concert at Pierson Hall tide by her in this issue, proceeded to tion with the Ottumwa, Iowa, and the at the University of Missouri at Kansas introduce a surprise conductor by calling Pampa, Texas, choirs was one of the Con- City featured superior performances by vention highlights. Both choirs presented Alfred Skoog and the Arkansas State interesting programs and Dr. Hirt's College Concert Choir and Russell Math ACDA Holds Choral Dez!elop111el1t Throllgh Choml Lit- is and the University of Oklahoma Con First Banquet to emtn1'e opened new avenues of thought cert Choir. The highlight of the evening for all attending. Excellent listings of was the session with Miss Margaret Hil Honor Seventh Year One of the highlights of the ACDA Con suggested choral materials suppl.emented lis, Music Director of the American vention was the fi·rst biennial banquet his lecture and demonstration which set Choral Foundation and Conductor of the held on Thursday evening with an over the tone for the entire convention. The Chicago Symphony Chorus. Her topic, flow attendance. Warner Imig First Vice lists wiII be presented in a future issue Prepamtiol1 and Rehearsal of Major Preeident acted as Master of Ceremon ies, Charter and Life Member Certificates of The Choral J ourna!. Choral Works, concerned itself with the were presented by President J. Clark Rhodes, and Honorary Life Memberships were bestowed on Archie N. Jones, Kan sas City, Missouri, and Olaf Christiansen, Northfield, Minnesota. Archie Jones' din ner 'S.peech is printed elsewhere in this issue. Seated at the 'head table from left to right are Secretary-Treasurer Harvey E. Maier, Mrs. Christiansen, Editor and Executive Secetary R. Wayne Hugoboom, Mrs. Decker, Archie N. Jones, Warner Imig, J. Clark Rhodes, Mrs. Jones, Pres ident-elect Harold A. Decker, Helen M. Hosmer, Ola,f C. Christiansen, and Mrs. J. Clark Rhodes. Those seated in front of the table from left to right are Walter Rodby, Illinois State Chairman, Helen Louise Graves, Elwood J. Keister, Past President, Gainesville, Florida, Mr. and Mrs. Herbert Pankratz, Chicago, Illinois where Herbert is District Chairman for ACDA, Second Vice-President elect Ther on Kirk, San Antonio, Texas and Don Razey, Philadelphia, Pennsylvania.
8 THE CHORAL JOURNAL Heritage Singers on the dynamic Dr. Helen Hosmer to asked by a group of choral conductors meet and direct the girls - a surprise to how h~ got his St. Olaf Choir to sing as Entertain at Banquet both the girls and the audience. 'it did. The great gentleman stood silent As dinner entertainment following the Later the same morning Dr. Howard ly for a moment, then simply stated to banquet, diners and early arrivals for the S. Swan, Chairman of the Department the waiting audience, "We just work evening con'cert were entertained in the of Music at Occidental College, Los An Continental Room by The Heritage Sing and work and work!" ers of the University of Missouri at Kan geles, presented a lecture-demonstration From the standpoint of the curious, the sas City when they presented a new and on Perfor11lamce of M11.sic for Men's pinnacle of the convention was the pro interesting work by their conductor, W. Choral Ensembles. He was assisted by gram by the University of Illinois Ex Everett Hendricks, written especially for one of the country's finest male glee clubs, perimental Music Ensemble with Ken the occasion. Titled Chanson Evolve, the work opened with a chanted theme w.hich the Kansas State University Glee Club neth Gabtiro as director. This obviously was developed through all the various , under the direction of Morris D. Hayes. dedicated and intensely interested group styles of choral writing up to the pres The points contained in Dr. Swan's re of super-performers presented a program ent day. EX!cellently done by the superior marks were well aimed at 'and well re of music aimed at breaking new paths for choir and instrumental group of the school, the work was a pel'J'ect climax ceived by the capacity audience. He posed the choral composer. to the first ACDA Banquet to be held, self-inquiring questions needed to be As Gaburo put it, "The composers are honoring both the seventh year of the answered by most of us and yet with concerned with sounds of a poem, not founding of the organization and the re 'Which we seldom bother to consider. necessarily in communicating the mean turn of our convention to the site of tl1e first ACDA meeting. Concerning the male ensemble, a basic ing of the poem." Almost all of the music question was "Why are there not more was developed by building a word from Male Glee Clubs in this country? Is it its component parts and sounds rather ic projection, musical sensitivity, and not our fault as choral conductors that than starting with a complete word and finesse. Outstanding was the soprano so we don't have them? Isn't it true that building a literate idea. The words "atom loist. the Glee Club is about, if not the niost ic structure," "neo-impressionistic," and Part II of the concert was presented difficult ensemble to train causing many "color-piece" were important t e r m s by Weston Noble and the Luther College to avoid them?" Would there not be throughout the lecture-demonstration. Choir. The audience was captivated by more men in public life interested in mu Strangely, one of the most conservative the musicianship, musical interpretation, sic now had they not been "given up" or pieces was Gaburo's Psalm. XXXI, a pub diction, and superb sonority achieved by ignored during those youthful years when lished piece within the capabilities of a this group of singers. Their thrilling per the most care and attention is needed to well-trained high school choir. formance of Singet frisch' und Wohlge- guide young boys' voices into proper The Anniversary Concert program, 11!tut by Hugo Distler will long be re singing habits and maintain musical in which climaxed the ACDA Fourth Bi membered as one of the highlights of terest and understanding into adult life? ennial National Convention, was most this Convention. With the assistance of the KSU Glee certainly an exemplification of the pur Daniel Pinkham, noted American com Club, Dr. Swan demonstrated, through poses of the American Choral Directors poser and recipient of the ACDA com the use of proper literature, basic types Association. A capacity audience with mission for the choral work, Lamrellta of choral tone employed by present day standing room only witnessed an electri tions of ] erem.iah, conducted the DePauw choirs, stressing the ability of it choir to fying evening of choral singing. The De University Choir and the Luther College change its tonal concept when the style Pauw University Choir, conducted by Choir in the premiere performance of of music demanded such a change. In Joseph Flummerfelt, gave a brilliant per this work. The combined choirs were as closing, he related a story told by the formance of Mozart's Vesperae Solennes sisted by the instrumental ensembles from late F. Melius Christiansen when he was de Confessore, which possessed empathet- -Continued on page 26
MAY-.JUNE 1966 9 A concert which includes both the wo men's and the men's groups can enjoy the fun in the cantata for women's voices, treativ{} Programming for The Natural Superiority of Men by Ar thur Frackenpohl, 24, and his recently composed counterpart for Men's Glee MARY E. ENGLISH WOMEN'S Club, The Natural Superiority of Women, Crane Department of Music with the text by Ogden Nash. State University College Potsdam, New York CHORAL Programming requires thoughtful con sideration and concern not only for the E.-rcerpts from remarks ENSEMBLES performers . but also for' the audience. made at Kansas City. Both should have a pleasurable and re warding niusical experience. In the Jan uary-February 1966 issue o! The Choral ~here is a unique place in the perform~ Lord." For many centuries composers Journal, a series of articles entitled "The ing world for women's choruses. The have created settings for the twelve vers Art of Programming" edited by Jack uniqueness is evident in many ways, but -es of this Vesper Hymn. For one pro Boyd was inaugurated. It is a stimulat to me the most important consideration gram I chose several Magnificats or ex ing addition to The J ourna!. In conclus is the' color in sound in women's en erpts from: Dufay (15th century); Pal ion, I agree that programming is an art sembles. estrina (16th century); Michael Haydn and as such is creative . In folk-lore many work songs, lulla .< 18th century) ,27. bies, love songs, wedding. songs and dir This' was composed in 1793 for the CHORAL SUGGESTIONS ges are created by· and about women. Ac boys' choir at the Cathedral in Salzburg BARTOK 1. Mocking of Youth, all SA and SSA, counts of women workers, lovers, brides, where Haydn was the organist. Unaccompanied, Boose:y: & Hawkes mothers, . and mourners have filled--uie Ralph Vaughan W Ilhams (20m cen 2. En'chanting ,Song pages of poetry for centuries. Composers tury), No. 55, depicts the Annunciation 3. Loafer such as Brahms, Schubert, Debussy, rather than being a translation of the 4. Bread Baking 5. WOOing of a Girl Ralph Vaughan Williams, Bartok, Ko Latin verses. 6. Spring daly, Poulenc and many, many others' Settings of Stabat Mater have also BRAHMS have combined this poetry and the dis been made by composers down through 7. Three Sacred Choruses, Op. 37, tinctive color in women's voices into the ages: SSAA. Organ or ·piano, Broude works of art that sung by any group oth Pergolesi, 40; Scarlatti; Dvorak (this 8. Psalm XIII, Op. 27 (with organ), SSAA, C. F. Peters er than women would be inappropriate. is written for mixed choruses, but one 9. Four Songs. Op. 17 (with barp and Think of examples of art where one chorus largely for women's voices and hor.ns) , ElSA, E. C. ,SchIrmer or two colors have been uSed effectively. baritone solo needs a small group of tep 10. Ave Maria (orchestral parts avail- Blue is predominant in the beautiful ors and basses); Poulenc (one chorus alble) , SS;AA; G. Schirmer stained glass windows at Saint Chapelle for SAT can be transcribed for women's 11. Marienlieder, SSAA, E. C. Schirmer BRITTEN in Paris. Pastels used by Degas and the voices); Dohnanyi, 21, for double chorus 12. Ceremony of Carols (with :hal'p'), little strokes of white and blue by Monet is a very exciting and impressive work. SSS, Boosey and Hawkes in his landscapes are two examples of Consider the music of the theatre. 13. Missa Brevis in D Major, Op. 63, delicate tone colors. In contemporary art There are many choruses of substantial (with organ), SSA, Boosey and Hawkes some artists paint in a "high key" such proportions in operas such as the open COOPER 14. Sancta Maria (solo for 2 high sop as Mondrian's "Composition with Red, ing scene in Act II of Aida; the famous ranos) S'SSAAA, Unaccompanied, Peer Blue and Yellow." Spinning Chorus in the second act of Int. Corp. Thus we can parallel the use of a The Flying Dutchman; The Cigarette 15. Poor Old Jonathan· Bing, SSA, Pi single color or one or two color tones girls chorus and the Habanera from Car ano, Carl Fischer, Inc. with the color in women's voices. How needs only a small group of men. 16. Lullaby, SSA, Piano, Carl Fischer, men Inc. ever, this color can propose problems The last portion of Ralph Vaughan 'Wil DIEMER because of lack of contrast or variety in liams' Riders to the Sea (57) is very ef 17. Fragments of the Mass, SSAA, Un the over-all sound produced. Thus this fective and dramatic. Music of the thea accompanied, E. B. Marks brings me to programming. tre can include excerpts from some of the 18. Alleluia, SSA, Unaccompanied, Sum- my-Birchard , In art, the Madonna is universal. When now classic Broadway shows such as 19. The Shepherd To His Lo:ve, (flute we reflect on this form of art expression, SOllnd of Music, So'nth Pacific and West and p:ano), SA, E. B. Marks -we realize that a single idea is portrayed. Side Story where the female chorus was DEBUSSY In music, a single text may be employed featured. 20. The Blessed Damozel (with orches by many composers. One such text is the David Diamond, Burrill Phillips, Peter tra) (soprano and mezzo-soprano solos), prayer, Ave MMia. Mennin. and Vincent Persichetti have SSAA, G. Schirmer DOHNANYI Brahms (piano or organ), 10; Kodaly done interesting settings for women's 21. Stabat Mater (orchestral parts a (unaccompanied), 31; Poulenc (unac choruses of the poetry of E. E. Cum vailable)·, SSSAAA, Assoc. Musi'c Pub companied), 49; Hovhannes (two oboes, mings. lishers two horns and harp), 29. Another means of contrast and variety FINE This group offers wonderful contrasts. in programming can be accomplished 22. Alice in Wonderland (three chorus The list has several other Ave Maria.'s through the accompanying instruments es), .sSA, Piano, M. Witmark FLOYD that could be grouped: particularly suited to women's voices: 23. The Jaybird Song from "Susannah", Holst (double chorus), 28; Pinkham strings, organ, harp and piano are ob Unisons, Boosey and Hawkes (only two part), 45; Cooper (employs a vious. Brahms realized the wonderful FRACKENPOHL portion of the text), 14 ; Verdi (while combination of horns and harp in his 24. The Natural 'Superiority of Men, not an Ave Maria, it honors the Virgin Four Songs Op. 17 (9). The flute is ef cantata, piano or small orchestra, SSA, Carl Fischer Mary), 61. fective in Emma Lou Diemer's The Shep 25. Irish Folk Songs (piano), Shule Ag M agl1ificat is a hymn of the Virgin herd To His Love (19) and in Robert ra, Johnny I Hardly Knew Ye, and The Mary - "My Soul doth magnify the Washburn's Scherzo For Spring (63). Drinaun Donn, SSA, Shawnee Press
10 THE CHORAL JOURNAL HANSON 26. Children's Dance fro m "Merry Twentieth Century Choral Idioms Mount" (;piano - 4 hands), SSAA, Harms, Inc. HAYDN (Michael) Discussed by Daniel Pinkham 27. Ma:gnificat, SSA, Ovgan or piano, G. Schirmer THERON KIRK HOLST 28. Ave Maria, SSSAAA, Unaccompan ied, H. W. Gray Daniel Pinkham in his lecture-demon out instruments were possibly performed HOVHANESS stration on The Twentieth Centlwy in Bach's day with doubling of one choir 29. Ave Maria (with two .oboes and two Choral Idioms approached the subject with a string group and the other with horns and harp), SSAA,' .A,ssoc. Music . Publishers largely through the comparison of sonori a woodwind group - he, in fact, indi ties and by tracing historically the chang cated the desirability of this practice for HUNTER 30. More Nursery Rhymes, SSAA, Law es in this aspect of music. present day performances .. Brahms was son-Gould Pinkham cited Josquin Des Pres (1445- noted as being very familiar with 16th KODALY 1521) as possibly one of the first com and 17th century choral sonorities. He 31. Ave Maria, SSAA, Unaccompanied, posers to consciously exploit choral son was also described as an excellent schol Boosey and Hawkes orities: for example, his use of alto and ar, having edited the complete works of 32. Angels and Shepherds, SSAA, Un tenor voices in duet contrasted with alto Couperin and having the works of accompanied, Assoc.. Music Publishers 33. Dan«~ing Song, SSSAAA, Unaccom and bass voices in combination. Schuetz in his personal library properly panied, Oxford Press In-tracing the historical development annotated for performance in his own 34. Christmas Dance od' the Shepherds of choral art, he also observed that the handwriting. (with 'piccolo), SA, T. Presser term a cappella was currently being re Pinkham more briefly but further dis 35. The Swallow's Wooing, SSA, Unac companied, Oxford University Press defined in the thinking of musical schol cussed Hindemith's study of Mediaeval 36. Gypsy Lament, SSA, Unaccompan ars to mean: not voices withot~t instru and Pre-Renai?sance music. He also ied, Oxford University Press . ments but rather voices without an in noted the contrast between the sonorities 37. God's Blacksmith, SSA, Unaccom dependent or obbligato instrumental part used by Hindemith and those employed panied, Oxford University Press 38. st. Gregory's Day, SSA, Unlllccom or accompaniment. Most major chapels by Poulenc. In addition he mentioned panied, Oxford University Press in the 15th and 16th century did have Hindemith's doubling of the bass and MOORE organs; pictures of that time consistent soprano at the octave in the Chanso·lts 39. Now May There .Be a Blessing from ly show vocalists and instrumentalists - a sonority which woufdn't have oc "T,he Devil and· Daniel Webster", SSA together which tend to indicate that sing curred in music from an earlier period. and solo sopranos, Boosey and Hawkes ers and instrumentalists performed much Stravinsky's PMer Noster was dis PERGOLESI of the music of that period together. cussed, Pinkham being of the opinion 40.Stabat Mater (orchestra), SA, G. The speaker stated that he also felt that the composer brought to bear influ Schirmer that instruments at that age had an ef ence from the Byzantine-Greek tradition: PERSICHETTI fect on the vocal tone employed at that syllabic setting - somewhat chanting ef 41. Sam Wa:s A Man (piano), SA, G. Schirmer time: that it was of a slightly reedy qual fect, austere and without counterpoint. 42. Spring Cantata, SSA and Piano, El ity with no vibrato, similar to the wind The Wichita State University Choir kan Vogel Co. tone of the instruments. directed by Robert S. Hines performed 43. Winter Cantata (flute and marimba), Pinkham developed his opinion on the Britten's Cantata Misericordimn extreme SSAA, Elkan Vogel Co. use of voices and instruments in combin ly well as the performance segment of PINKHAM ation by remarking that the Bach mo this session on music of the 20th .century, 44. Angeles ad Pastores ait, Trombones 1, 11, 11 (Tuba), SA, Robert King Music tets which we ordinarily perform with- .. Co. 45. Ave Maria, SA, Unaccompanied, As Iilociated Music Publishers 59. Folk Songs of the Four Seasons Franco Colombo, Inc. (G. Ricordi, Inc.), 46. An Emily Dickinson Mosaic (piano (orchestra or piano), SSA, Oxford 16 West 61st Street, New York, NY 10021 or small orchestra), SSAA, C. F. Peters 60. Fain Would I Change That Note, H. W. Gray Co., Inc., 159 East 48th Corp. SSA, Unaccompanied, Novello Street, New York, NY 10017 47. Five Canzonets, SA, Unaccompan- VILLA LOBOS Harms Inc., c/o Music Publishers Hold ied, Associated 61. Mass in Honor of Saint Sebastian, ing Corp., 619 West 54th Street, New POULENC SSA, Unaccompanied, Associated Music York. NY 48. Petites Voix, SSAA, M. Witmark Publishers Robert King Music Co., North Easton, 49. Ave Maria, SSA, piano, Franco Col VERDI Mass. ombo 62. Laudi AlIa Vergine Maria, SSAA, Lawson-Gould, 609 Fifth Avenue, New STRAVINSKY Unaccompanied, C. F. Peters York. NY 10017 E. B. Marks Music Corp., 136 West 52nd 50. Four Russian Peasant Songs, SSAA, WAGNER Edward B. Marks Covp. Street, New York, NY 10019 63. S,pinning Chorus from "The Flying OXiford University Press, Inc., 417 Fifth THOMPSON Dutchman", SSAA, G. Schirmer Avenue, New York, NY 10016 51. Pueri Hebraeorum (for double chor WASHBURN Peer International Corp., 1619 Broad us), SSSAAA, E. C. Schirmer 64. Scherzo for Spring with flute and way, New York, NY 10019 52. Come In from "Frostiana", SAA, clarinet), SSA, Oxford C. F. Peters Corp., 373 Fourth Avenue, Piano, E. C. Schirmer New York, NY 10016 53. A Girl's Garden from "Frostiana", * * * Theodore Presser, Bryn Mawr, PA 19010 SAA, Piano, E. C. Schirmer DIRECTORY OF PUBLISHERS E. C. Schirmer Music Co., 600 Wash 54. God's Bottles ,from "Americana", Associated MusiIC Publishers, Inc., 609 ington Street, Boston 11, Mass. SSAA, Unaccompanied, E. C. Schirmer Fifth Avenue, New York, NY 10017 G Schirmer, Inc., 609 Fifth Avenue, VAUGHAN WILLIAMS Boosey & Hawkes, Inc., 30 West 57th New York, NY 10017 55. Sound Sleep (piano), SSA, H. W. Street, New York, NY 10019 Shawnee Press, Inc., Delaware Water Gray Broude Bros., 56 West 45th Street, New Gap. Penna. 56. Magnificat (orchestral parts avail- York, NY 10019 Summy-Birchard Publishing Co., 1834 able), (contralto solo), SSAA, Oxford \ Elkan-Vogel Co., 1712-16 Sansom Street, Ridge Avenue, Evanston, Ill. 57. Riders to the Sea (opera), Oxford Bhiladelphia, Penna. 19103 M. Wit-mark & Sons Co., 'c/o Music 58. Lullaby from "Hodie", SA and sop Carl Fischer, Inc., 56-62 Cooper Square, Publishers Holding Corp., 619 West 54th rano solo, piano, Oxford New York, NY 10003 Street, New York, N.Y. ..
MAY-JUNE 1966 11 was electronics versus live performance. Callas and Beecham voted for electronics DRUMS and DRAGONS because, they said, no mistakes are al lowed on records; Borge voted for live ARCHIE N. JONES performance, probably because of the Delivered at ACDA Ba.nquet $10,000.00 fee he was then receiving for personal appearances! For the person As one might suppose, the terms drums of the ivory tower. who likes to sing, electronics is not the "Drums and Dragons" do not really Now, what about' the dragons? First, answer, but for people who like only to constitute the subject matter of this talk, there is the dragon of non-attendance. listen, that experience is far more satis but serve merely as symbols of some Of course, we help this dragon in every factory with a good stereophonic set and thoughts that occur and' recur. way we can think of: We begin our con- some of the many fine recordings now An English divirie and poet of the 16th certs at 8 :30 p.m. too late for the kids, available. century is responsible for the "Drums." and allowing time for the old folks' nap Yet another dragon is the patron saint He wrote the following passage: after dinner, a nap from which they don't of choral materials, including so-called "Sometimes, when a man does not keep awaken until too late for the concert! contemporary music. Here is where the pace with his companions, it is because For those who do arrive, we hand them imitator finds his feast day in a wilder he hears a different drummer. Let him a program with program notes, and as ness of mediocrity, and harmony its Arm keep step with that music he hears, how- soon as they are comfortably seated, turn ageddon. In using this music, we are en ever measured or far awaYJ:!' .. ,.. . of.{ the lights so they can't read! Then couraging the publisher, not the com . In our generation, there may' be many there is the dragon of diction. Remem~ posers. I am by no means indicting all who hear different drums, but those who ber, the lights are off so we can't read of the choral materials; only that large listen are few. We have developed a gen- translations. Even in English, most choirs percentage which ought not to have been ----et:ation-of.....imitator:s,-ll1usic.ians,_ancLcon-__so_distnr.Lthc_wm:ds that only: music at published. We have been led to believe ductors wno are thoroughly competent a gravissimo tempo can be understood. we must use new music. I think we as technicians, and who can develop In contrapuntal music we might as well should, too, but only if the new is as good choirs and choruses which can do credit use nonsense syllables. I have never been as the old. Just because it's new is not to any college, cathedral, or audience in able to understand why singers seem enough. It must have other qualities as the land. The trademark of the present completely unable to use the rhythms of well. generation is excellence. the words and disregard the rhythms of Willi Apel in the Harvard Dictionary Now no one can have a quarrel with the notes. The poor composer has only writes of contemporary music as : "A "excellence" as a goal. In the light of eight rhythmic note combinations with general tendency to explore to the limit history; however, excellence, because of which to work, but words and syllables whatever was neglected in the 19th cen the fading psychology, becomes medio- have rhythms in the thousands! Most tury." Personally, I'm inclined to believe crity, and the mediocre of the present is choruses pay far too much attention to that whatever was neglected was neg forgotten, even within our time. Only the rhythmic values of the notes and far lected on purpose. Here again, I am not the superior survives. too little to the pitch values! decrying all contemporary music, but on In the present century, several names Another dragon is the dragon of criti- ly that which seems to have nothing to stand out above all others as typical of cism. F ea.r has taken all the fun out of say. Someone said long ago that it was this excellence, and have added "creativ- singing. Choral m::tsic has never had the better to have something to say than to ity," which is more lasting as a quality audience appeal enjoyed by instrumental have to say something. than excellence. Such names as Peter music. In the early days it had two func Now, back to the drums. We need, Lutkin, Hollis Dann, F. Melius Chris- tions: as an aid to worship, and as a first of all, a drummer who will bring tiansen, and John Finlay Williamson, to "fun" activity in the home. Benjamin the audience back to us. The only rear mention only a few, each left their mark Franklin once fired a maid because her audience we have left except for relatives on the practices of choral music, for cre- soprano wasn't high enough for the mad and friends of the singers, is found in ativity which has left its imprint on gen- rigals. In these times beca".lse of govern the church, a truly captive audience. erations to follow. In our own time, such mental and union restrictions against in Since this audience is captive, it has people as Robert Shaw, Roger Wagner, discriminate hirings and firings, we"ll tempted many a choral conductor to try Margaret Hillis, and Fred Waring have simply have to transpose the music! out innovations. Unfortunately this is an made creative contributions which have Because of the fear of criticism, our audience which wants imitations, not changed significantly the patterns of programs have become monuments of creations, and the innovator SOon finds choral performance. boredom, milestones of historic medio- himself without a job. Since the turn of the century, we have crity, and examples of contemporary imi Another drummer needed is one who experienced such movements as the a cap- tation. can make live music sound electronic. A pella choir, which swept the country The next dragon is the dragon of elec few choral directors have had some suc through its high schools and colleges in tronics. About ten years ago, Kurt Adler, cess in this direction, and perhaps they the twenties and thirties, remnants of musical director of the San Francisco will leave instructions in their wills. which still remain in portions of most Opera Company, several others, and I A third needed drummer is one who programs; we have experienced a resur~ were members of a panel at a Seminar will guide us out of the ivory tower. I gence of madrigals, of motets, and of on the West coast. Mr. Adler made the have little sympathy for the man who chorus with small ensemble accompani- statement 'that "within ten years there says, "Bach would turn over in his grave ment; we have tried glee clubs, oratorios, will be no more live music - all will be if he heard it done that W(iY." Certainly! cantatas, multiple choruses and antiphon- electronics." Mr. Adler's prediction has He would also turn over in his grave if al choirs; we have even tried, choral dra- not yet become a fact, but there are in he saw' an airplane or an automobile. matics, and choral speaking; all of these creasing evidences that some day it may. And what magnificent music he would in an attempt to eclipse our predecessors, Several years ago Edward R. Murrow have made if he had had the advantages and impress our peers. We need men was Master of Ceremonies on a televis of our modern instruments and tech and women who can hear, and more im- ion iriterview with Maria Callas in Paris, niques. Too many of us, both conductors portant, will listen to the drums, the Sir Thomas Beecham in London, and and composers, are catering to a small drums of humanity, rather than the small Victor Borge in New York. The topic elite, rather than the larger consumer
12 THE CHORAL JOURNAL U OF; S(iatHERN MISSISSIPPI body. Deems Taylor, in his book "Of SINGERS PERFORM WITH Men and Music" speaks of John Phillip NEW ORLEANS SYMPHONY Sousa, not as a gl'eat composer, but qS an The Univel'Sity' 'Singers of the Univer eminent composer, because of the out sity of Southern'Mississippi appeared for standing service he performed in the the third consecutive yea.r with the New Orleans Symphony and the brilliant young composition of his famous marches. conductor, Werner Torkanowsky. The "Wherever he has gone," said Taylor, "I Singers are conducted by David Foltz, am sure he has found an audience and ACDA, Chaivman of the Department of a welcome.'" Music, University of Southern MiSSissippi. 'rhe organization is made up from 100 The most important drummer needed to 125 highly selected musicians and is the genius who can develop a musical voices and they join with the orchestra texture and style which will make every in a professional concert, whIch was part one want to sing and listen. An exatilple ad' the regular subscrIption . concert and has been sold out for 'Some time previous. of what happens when this is tried, and This year the entire orchestra, three New which has come remarkably close to suc York Soloists and conductor came to cess, is the Barbershop movement. Un-, Hattiesburg the day after the New Or fortunately, the text has not kept pace leans Concert to present the same co no with the music, and, as a consequence, Helen M. Hosmer, one of the nation"s cert here in the new University Coliseum. most widely known music educators and This year's major work was the "War the music itself has not been of a quality choral 'conductors, will retire this sum Requiem" by Benjamin Britten. Three of excellence. Some aspects of jazz have mer 3Jfter 44 years as a member of the years ago they presented "L'Enfant et les also resulted in "cilmosts." The fact is faculty of The state University College Sortileges" by Ravel and the "Polovitsian at Potsdam. Director of the college's Dances" by Borodin, and a year ago that we have not yet found the success Beethoven's "Ninth Symphony" and Lucas formula: we must continue to try, and Crane department of music since 1930, Miss Hosmer is founder and director of Foss's "Parable of Death". continue to search for those undiscovered the Cran'e Chorus" a mixed choral group Critical reviews in the New Orleans drummers who believe that the drums of of nearly 400 voices that has performed papers place this aJIDong the top profes for more than 30 years under 'many dis sional concerts of the entire symphony's sincerity and integrity represent the notes history and count it as the season's mus of true art, and that the man (unknown) tinguished conductors. Dr. Frederick W. Crumb, president of ical accomplishment. ' who wrote, the following poem, wrote for The State University College at Pots artists, poets, composers, and conductors dam, who announced Miss Hosmer's re A MARKS MUSIC CORPORATION pub alike: tirement, said "she ,has exerted a wide lication, Rejoice, contemporary Mass, was influence on music education through iller selected for the Easter service at the' "Work then for pleasure, paint, 'or sing, creative genius and vigorous leadership. Cokesbury Methodist 'Church, San Anton or carve The college's Crane de'partment of music, io, Texas. It is also scheduled for broad long recognized as a leader in its field, cast over the Canadian Broadcasting net The thing thou lovest, though the body has enjoyed its greatest development un starve. work on May 15 on "The Horizon." Com der her guidan1ce and vision." Dr. Hos posed by students of the General Theo Who works for glory, misses oft the goal; mer, a 1\118 graduate of Potsdam, has ac logical Seminary of the Protestant Epis Who works for money, coins his very tively worked for the advancement of music and the fine arts most of her lid'e. copal church in New York, it was re soul. Work She is a former president of the eastern viewed as "one of the most realistic and for work's sake then, and it may be that division of The Music Educators Nation exciting attempts ... to utilize music al Conference and served as a member of 'of, for and by the people' to express the these things Gospel." shall be added unto thee." • the National Executive Committee and as national chairman of the Teacher Ed ucation Committee of that organization. THE WILLIAM JEWELL COLLEGE She has served as vice president of' the concert choir premiered a commissioned NOVELLO & CO. Ltd. have announced American Choral Directors Association, a work, The Gods Will Hear by Lewis Bal their entire Rental Catalog of Orchestral member of the Ford Foundation Com lard, March 25, in a pre-tour concert on Music and Choral Accompaniments is now mittee on Young Composers and the ad the coHege'scampus 1n Liberty, Mo. '!\he available exclusively in the United States ministrative faculty of the American In tour included 'stops' in Missouri, Ken through Mills MUSic, Inc., Rental Library, stitute of Vocal Pedagogy. For many tucky, Washington, D.C., Pennsylvania, 1619 Broadway, New York, N.Y. 10019. years the prominent Potsdam educator New York, Ohio and Illinois. The choir Information and Usts will be sent upon has been a consultant to' the .Bureau of is directed by Wesley L. Forbi's, chair request. Scores are available for exam Educational and Cultural Affairs of the man of the music department at William ination. United States Department of State. Jewell.
. MAY-JUNE 1966 18 ACDA 1966-1968
First Vice-President President Second Vice- President J. CLARK RHODES HAROLD A. DECKER THERON KIRK
At the biennial Convention of the American Choral Director" as Representative-at-Large. The new Industry Associate Rep Association held March 16-17 at Kansas City, Harold A. resentative on the Board of Directors is Karl Bradley, New Decker, Urbana, Illinois, was elected as the new President of York City, who was appointed by the Music Publishers As the organization for the 1966-1968 biennium. Theron Kirk, sociation to succeed Don Malin, who has served in that cap San Antonio, Texas, was elected as Second Vice President to acity for the past two years. Bradley is a native of Michigan replace Decker, and retiring President ]. Clark Rhodes of where he attended Kalamazoo College following high school Knoxville, Tennessee automaticallv became the new First graduation; He has been active in the music business for Vice President. oRe-elected Secreta~y-Treasurer of the organ many years, both with retail stores and with publishers. His ization was Harvey E. Maier, Hattiesburg, Mississippi, with specialty is the promotion and sale of choral music. He is the Miss Helen Louise Graves, St. Louis, Missouri, being elected Educational Director for G. Schirmer, Inc., of New York.
Representative-at-Large Secretary-Treasurer I ndustry Associate Representative HElEN LOUISE GRAVES HARVEY E. MAIER KARL BRADLEY
BE SURE TO VOTE FOR YOUR 1966-1968 STATE CHAIRMAN Nominees and Ballot are on page 32 ... Voting deadline is June 15~ 1966
14 THE CHORAL JOURNAL must be stron'g and recognizable symbols Thus, the listener, exercising his own to translate an exact meaning, so that critical judgment or reflecting the ex the mind which lacks qUi'ck and sensi pressed opinions of professional critics, Uve perception may be spared from un can come to the conclusion that he pre productive meanderings 8Jmong the subtle fers a particular approach to or inter and elusive 'Possibilities of inlerpretation. pretation of the music of a specific com Thus, that which is most real - or shall poser. Comparison is invited, and the we say that w.hich utilizes the most def public begins to d'orm a certain body of inite symbols, is the most popular. Real critical opinion, be it good or bad, which ism has ,been a genuine obsession with a exerts strong, though often subtle, influ large segment of the population for a ence on the nature of musical expression. long, long time. We believe that violent The absence of an intermediary and death on a movie screen should be veri the absence of a broad, non-professional fied by "real" blood, that a stage should audience 'causes the development of a represent a "genuine" house, that paint different direction of creative activity. and ing should confine itself to photographic In the case of contemporary poei!:s, representa.tion, and that music communi T,hompson explains that "they haven't cates best when i't announces unequivo any audience to s'peak of. For some time cally what it is communicating. they have been depending on one an This tendency toward definitive and other for applause. Hence the pretentious associative symbols has led us into the ness and· the high intellectual tone of all dubious 'province of program music and they write:"2 The poet seems to agree the popular musilc slogan, "tell your I with T~hompsqn, for W. H. Auden coI;l1- story." To cater to this mental lethargy ments in mU!ch the same manner: of 'the public, peNormers have exploited "The ideal audience the poet imagines ALLEN LANNOM all the story-telling possibilities of pro gram music and have been more than consists of the beautiful who go to bed willing to supply appro'priate narratives with him, the powerful who invite him to where they did not exis't. This weakness dinner and tell him secrets of state, and Now we face one o,f the most involved has made possible the development of a his fellow-poets. The actual audience he tasks of all, for there are, turns and popular music concept in which' a singer, gets consists of myopic school teachers, traps in the path we take. The basic without a vOice, can sell millions of phon pimply young men who eat in cafeterias, preliminary problem is that we are com ogra.ph records of a song, representin'g a and his fellow~poets. This means that, in pelled to use words in discussing a mat minimum of musilcal imagination, by de froc't, he writes for his fe110w-poets."3 ter about which words are deemed to be livering the lyrics in convincing style, The basic problem is, in all probability, at best, misleading, and, at worst, totally complete with vocalized tears. fundamental to the entire range of the ineffective. The dilemma is doubled by Opposing this point of view are the arts, irrespeCtive of their individual or the existence of the problem on two lev serious musicians who insist on the self collaborative na!tures, and centers about els: (1) Do words about music ever real suf.ficiency of the musical language and the relative immediacy and familiarity' of ly explain or describe the music around who claim. that it should be dependent the symbols selected for the communica which they are oIlganized? (2) When mu on nothing non·musi'cal for its commun tion of the artist's idea. The presence of sic, admittedly, relates to words by unit ication of meaning. The beauty of 'music an interpreter and of a broad non-pro ing with them to become a single com is observable in its craftsmanship and fessional audience simply serves as a municative entity, w.ha:t is the nature of the manifestations of tha!t craftsmanship modulating in the diredion of acceptance that relationship? in musical form. T,he manipulation of mu as a major factor in the quality of artis An illustration might serve as a point sic matter is directed at nothing beyond tic portrayal. The more select the au of departure. Two lovers walked by the the creation of beauty whioh is residual dience, the more selec't the symbols can sea at sunset, holding hands' as lovers in music itself. The pubUc is regarded be which convey the artist's message. do. Their talk had been of the day, of as an onlooker in the performance of And it must be recognized that many themselves, of the future. Suddenly, how t:1is kind of music - perh8!ps an inter musicians w.ho 'prodU!ce music for a large ever, the sky cried out in orange and the ested onlooker, but, not, necessarily, a audience may choose to direct their in clouds shrieked in purple as the greedy critically qualified one. ventiveness toward a relatively small sea embraced the golden red passion This divergence of opinion is traceable portion of the total. In other words, flame of the heavens. As the shore lov to varying interpretations of the nature '''their'' audience is not necessarily "the'.' ers gazed in silence 8Jt this brazen beau of the function of music as an art. Music audience. . ty, the young man slowly released his makes certain assumptions that other All of this arises out of the inadequacy grasp on his beloved's hand until the two arts do not. It assumes, first, that its of symbols in the' process of communica stood side by side, untouching but linked total communication is dependent upon tion. As Leon Barzun says, "We mistake by their common involvement in the an intermediary who translates symbols words for things and knowledge for in spectacle of the sun submitting to the into meanings. It assumes secondly, de formation."4 But, despite its limitations, jewelled seduction of the ocean. After sp:'te the protestations of some compos language represents the most specific the scene was concluded the young wo~ ers, the existence of and importance of symbols available to man in expressing man, for the first time, became aware an audience. T.hese assumptions it shares his ideas. The development of language that they, the closest of lovers, were sep with drama and dance but not with sculp is directly traceable to' the inadequacy arated by mighty inches of space. ture, pain'ting, poetry and literature. The of ot.her sets of symbols to relate with "Why," asked she, "did you let go of nature of the total expression changes sufficient particularity to impart definite my hand," to which, with great under when one or both of the above are pres mean:ng. If I point to an orange, it is standing he replied, "I released your ent. W,hen an intermediary is involved, not clear whether I am calling attention hand only to hold it tighter in my heart." the original meaning may be aFtered or to the object as a fruit, as a color, or as Is it, then, possible that intimacy of re obliterated by the quality of understand a shape. Or as Karl Britton comments in lationship is not necessarily in direct pro ing or skill inherent in the communicator Communication, ".so long as I use a sym portion to the observable closeness of or communication. The second assump bol - a 'picture, a note - it is open to people, symbols, or ideas? This is the tion leaves the path open to all the pos misunderstanding."5 However, even in nature of the word-music problem with sibilities of professional criticism (whi'Ch the careful use of language we are faced which we are now inextricably involved. is, itseU, a mediator between the per with the great gap which exists between Antithetical points of view predominate former and the public) and the pressures, definition and meaning. in this discus'sion, and, as usual, the of the public for what it desires. One has only to consult a di'ctionary truth may lie somewhere between the Virgil Thompson states it this way: to discover that words do not always two limits of belief. It will be important "Painting is prac'tically without criti designate single and explicit objects, to understand the extremes of hypothes cism today ·and poetry very nearly. Be ideas, actions, etc. One' word may be es in order to establish some basis on cause you cannot 'Criticize without stand used as a symbol for widely different ob which judgment can be predicted. ards, and there are no standards possible jects. The word "case" 'may 'mean a state One of these ,points of view is re'pre for evaluating one-man beauty. There is of 8!ffairs, a question or problem, a rela sen ted by the majority of the listening only voting, yes or no. Criticism of the tionship of words in grammar, a door or public. Unable to experience the beauty collective arts is very vigorous, however; window frame, a container, or a designa of music unaided, these persons seek an and it collaborates in their dissemination tion of capital and non-'capital letters. associative reference as a middle ground and absorption, even in their manufac There are countless words in this and in of comprehension and appreCiation. There ture." -Continued on next page
MAY-JUNE 1966 1& contentment and satisfaction to one per- provide his own context. The dualistic Text & Music son, yet it may conjure up images of dis- nature of music still must be reckoned other languages which serve a multitude gust and loathing in another whose with, for there jos inherent in the nature of representational purposes. It is a.p- ":whole situation, baekground, and en- of musical expression both a concern for parent that mea;ning, even in terms of vironment" have contributed only a neg- emotion and a concern for beauty. The identification, is not ,possible without the .ative emotional response. When Barzun problem continues to pyramid, for not assistance of other symbols. In English 'claims that "literature speaks to us by only is music non-specific in providing we are dependent on other words which virtue of not being literal" he is enun- meaning, but words themselves, are open fix the subject matter for our under- ciating the principle of connotive suprem- to considerable possibility of denotation standing of the intent. of the person us- acy over denotive, and when he follows and connotation. What, then, will be the ing a particular word. In some' Oriental by declaring that "music begins .to speak nature of their interaction in v()lcal mu languages the element of inflection may to us where words stop," he is under- sic? be a determining factor in the actual def- scoring the function of music, eVen more When the composer decides to write Al Inl. ·t· IOn 0 f th e word spoen. k 1 this is than of literature, to be free from boun- vocal music, (with a few minor excep- T. rt of .... a 0 f w.h a t we mean b'y con t ex t . Bu t if dariils literality and exact definition. tions in extended coloraturas, songs -definition is determined by context, how If we 'can seldom extract total meaning without words, and one-word pieces (Al- much more significant is context for the from language, what kind of communi- leluia, Amen, etc.), he accepts the res~ projection of meaning, since 'definition is cation can music offer, consisting, as it ponsibility and ditfficulty of making the such a minutepoition of this greater does, of far fewer symbols than that music develop according to a logic which realm. whic:h it must go beyond. Its power to is not its own. His particular genius will Just what is context? The word, liter- communicate lies not so much in its var- be demonstrated by the manner in which ally, means "to weave together," and is iety of possibilities so much as in its each retains indigenous forms yet inter used to designate "the whole situation, generality of possibility capable of con- ads with the other to produce an artistip background 0 r environment relevant taiiling infinite possibilities. Craig La unit, unique in itself. to some happening or personality." It Driere, in his essay, "Structure, Sound, In vocal music the poetry becomes the has its specific application, linguisti- and Meaning,'" states this in relation to context for the music and is, itself, con cally, as "the parts of a sentence, para- poetry: "Intersubjectivity of meaning is trolled by the context of the composition graph, discourse, etc., that occur just a kind of objectivity." In prose, he claims whic:h it inspired. The composer makes a -----before-and-after-a-spe'cified-word-or-pas--that,~o.und is very: distinctively. sU!b<;>~careful study: of the mood, or content, sage and detemnine its exact meaning."6 dinated in the service of meaning, ItS or ·both of a poem and accepts cei'trun-- In understanding the complexIties of our. function is simply to achieve meaning, limitati~ns of formal and emotional ex problem, both aspects of definition are an~ to be effac.ed in that aChievement:" pression which the poetry dictates. This important, for meaning is derived from ThIS, however, IS not true of the poeblc is not a simple .matter, as one composer aspects of words not explainable by the use of language where the sound is an tells us: linguistic definition alone. integral part of the communicative in- "I would rather undertake the com tent.8 One can carry this to its logical pOSition of a' .long overture for full or- Context is really a total frame of ref- conclusion and declare that in musiC, erence-se tt lng,· enVlronmen,. t a t mos·p· h ere, even more than in poetry, the sound is chestra than the. setting of great w.or. ds. and I·t can b e as varia . bi e as a 11 th; ose a very i,m""ortant part of the total com- in twice the time. Songs are easy to.com- ob VlOUS. or subtl' e f orces w h'IC h a ffec t" mUni'cation and that its power derives pose if you expeet fine music in'sym- an d 'con dI·t· IOn u It·Ima t e meaning. . It may from its ability to allow for the intersub- phonies, but think that music does 'i:rql- b e as d"'klnl-.c· ·t e as word s can ma k e I·t . A jectivity of meaning. ficient J'ustice to words itf it adds to their "man" can be an "old man", a "weary, atmosphere. without disarranging their old man," a "weary, old man bowed in Without attempting to detail the de- recitation." 10 grief" or what have you. Each new word velopment of either language or music, Interestingly enough, this is often what 'tJrings a new dimension to the word with it might be well to note a few significant the 'poet expects, for he is a firm believer Which we began. We have all had the facts. Primitive symbo1s for pain, pleas- in the supremacy 'of words over music. experience of opening a book to its mid- ure, fear, love, etc. were more akin to "Goethe preferred t'O see musie in a sec dIe portion, only to discover that a term music than to words, for they depended, ondary role and liked to think of the com such as "the hill" had no meaning for us in .large measure, on pitch, tempo, and poser as merely uncovering the melody until we thumbed back through the pages the quality of sound. With all the soph- already concealed in his own word rhy to discover what particular hill "the hill" isticat:on of sound into words, the ele- thms."!! Because of this typical "poetic" was. ments of pitch and time persisted and belief, Goethe preferred the ZeIter set- remained a 'part of the communi1cation, tings of his poems over those of Schu-, There are other aspe'cts of context assuming importance proportionate to .bert. Which have less to do with definition but the intensity of the emotional involve which are more definitive, for they im ment. By this time, languBlge and music In a letter to ZeIter he said: part a more specific aspect of meaning began to accumulate their separate rules "I feel that your compositions are, so to the word, sentence, or idea. One of for organization and use, but in thi·s stage to speak, identical with my songs; the t:?-ese is the element of pause or phrasing of evolution of music, one fact was prim musi'c like gas blown into a balloon, (m speeches) which manifests itself ary: it existed to en.hance the text. This mere.ly carries them into the heavens. through the weak substitute of punctua secondary role persisted well into tJhe With other composers, I must first ob tion in the written language. A pause ·period of the Renaissance - as a mat serve how they have conceived my song, can a:ctually invert the meaning of a ter' of fruct, until the development of in and what they have made of it."12 sentence. "Woman without her man is a strumental musical forms. The degree of It is significant that Schubert's settings savage" is easily understood - especial .subservience was never constant, for it of Goethe have SUrvived ZeIter's, and the .ly - by members of· the male sex, but is almost axiomatic that the greater the very reason for that survival is Schu the reading, "Woman - without her, man deVelopment, the greater the tendency to bert's concern for the dramatic and musi is a savage," indicates an opposite point ward independence. This is true in hu cal integrity od' the whole composition of view. The dash and the comma in the man atf'fairs just as surely as in the arts. above the concern for the wedded bliss second example become the context which Eventually, music developed forms of its of note and syllable, phrase and line, controls the a;ctual meaning. Of course own which no longer were controlled by section and stanza. ·Re.petition is a pow in speech, pauses would take the plac~ textual organization and stress. For the erful expression in music but can be used of punctuation. first time, the composer had to face the only sparingly in ·poetry; the stanza fomn problem of justifying the existence of that gives life to words may be too res In oral communication there are still both words and music in a single entity. trictive for the aChievement of musical more contextual factors, for volume, logic. The very finest od' composers "lave speed, and infection impart to speech a One other matter needs to be stressed. found it ne1cessary to rearrange forms power of 'communication far beyond the The very factor which, . initially, caused of poetry and to seek out their own range of the written word and in a much the separation of sound into (1) language meanings rather than to imitate slavish briefer interval. The written word is to and (2) music was the lack of power of ly, in music what the poet had done with tally dependent on written symbols for particularity in sound alone. Music, of words. An excellent recent example is communication of emotional intensity, itself, is inc!IJpable of any but broad sug found in the Hindemith, When Lilacs whereas a spoken phrase carries its gestions of meaning. And, thoug'h one Last in the Dooryard Bloom'd, where meaning within the words themselves by would never suspect an allegro as de Whitman's "stanzas on the death of Lin the emotional implications of their deliv picting grief, or a fortissimo of summon coln are organized into 11 major sections ery. The simple word, "home," may infer ing to contemplation, most music is sub by the composer. And, now that we have ject to a wide variety of interpretation 'specific by the person who must, of necessity, *18
16 THE CHORAL JOURNAL mentioned this work, should we expect sible in the contemplation of a single text. actuality, the problem is the same, so the melodies ,and harmonies'. of Hinde The "Sanctus" is also a multi-faceted long as both recognize performance as a mith to reflect the romantic quality in text. Bach in the B Minor Mass, Mozart recreative art. The choral conductor must herent in Whitman's style? .in' the Requiem, Verdi and others have simply accept the as'pect of meaning The 'composer does not necessarily vio seen it as a gigantic hymn of praise, which is central to the composer's un late the basic intent of the poet wl;len he whereas Beethoven, in both the C Major derstanding. To do otherwise is to step develops qualities uniquely his, through and Missa viewed it as an expression of outside the realm of pevformance into his musical setting. To assume that a awe, giving over to praise only at the the realm of composition. And should composer should adhere rigidly to an ob "pleni sunt coeli". the conductor encounter an interpretation vious or acce·pted meaning in a text is To go further is unnecessary for our of text with which he cannot agree, he 'to deny the very nature of artistic form memories can quickly supply additional has but two choi1ces: (1) not to perform in both poetry and music. Edward T. examples of texts which have been var it, or (2) represent the composer's point Cone, to whom we are indebted for an in iously 'set by composers. Were this not of view. cisive essay on this subject, gets to the so,, we should soon tire of the endless The representation of a point of view heart of the matter: repetition of emotional experience, each is no violation of basic integrity. The time the same text is encountered. actor must do this conSistently; so must "Form properly considered involves the the dancer. These, along wIth musicians organization of all the elements of a It is not only the right of the composer are compelled by the nature of their arts work of art and is by no means a mat to convey his meaning as elicited from to subjugate personal feeling and to em ter of pure surf8lce patterns. Defined in the text, but it is his re,sponsibility, as ploy their imagination and skills toward this way, form must, of necessity, be mul well. To do otherwise would be to invite communicating the intent of the creator. tiple - ambiguous if you like - for it musical and literary disaster, 'fbr music For the choral conductor (or the singer) is impossible for an observer to see a can never respond to the laws which the problem is this: the text is so readily work from all points of view at once. govern literature. Cone is extremely dis available to him, and comprehensible 'to Architecture and sculpture furnish im cerning at this point: him (from his point of view), that it is mediate examples."13 "In reading or listening to poetry, the far simpler to establish his own context mind can move baCkwards and for for the 'piece of music than to ascertain So it i,s that a composer, in examining the meaning of the 'composer. And, having a text, chooses a particular angle from wards through the work; it can sub consciously accept or reject many pos once established his context, he squeezes which to draw his musical inspiration. all the musical expression into his own "The 'composer delimits one sub set sibilities of meaning and interpretation. It is constantly trying to apprehend frame of reference. The result is, of within the complete set of all possible course, a falsification of artistical intent. forms. The one so chosen may previously the poem under its many possible forms. Not so in music, where the mind The conductor, in rehearsal, may lift out have been obvious to every reader, or it is, so to speak, chained to the vehicle words and phrases for special treatment may have been concealed to all except of the moving sound. If it tries to strug according to personal feelings about emo the composer . . . Since he is a man of gle free Qf the present moment, it finds tion, accent, and phrasing, thus compel music, hiscl10ice will be determined not that it has lost the music in so doing. ling the muSic to subfit to his will. The only by the conception of the poem but Hence, it must follow the piece throug.h highest artistry can scarcely result from also by his recognition of the potentiali from beginning to end, and it must per this procedure. ' ties of realizing the conception in a valid force be satisfied with those relation For the conductor Who is willing to musical structure."14 ships immediately perceptible during 8!ccept performance as a re-creative art, Once the delimitation is achieved, the the journey. But if poetry is more flex there is the never ending return to the composer's responsibility is no longer to ible in the regard, music is more vivid; musical score in the hope that each con the entire text but is to that aspect of by the very concentration it requires ta:ct may bring new revelation o>f' the meaning which he has wrested out of the it presents its single a:spect with great craft-concealed message of the composer. total from his own vanta:ge point. Having er immediacy and with the illUSIon of And i,f he, like Jacob wrestling with the decided on the particularity of meaning, dose personal contact. 15 angel, refuses to let go until he re'ceives he begins to work with his textual ma the ,blessing of the greater knowledge, he terial with singleness of purpose and uses The term "particularly of meaning''', may, occasionally, reap the reward of the elements of musical forms which which has appeared in this chapter, can performance, suddenly and ine:lCplica:bly will set forth, as unequivocally as pos be misleading. This does not imply a illuminated by meaning. sible a delimited text. selection of a particular detail which is Examples of this process are abundant. developed without regard for the whole, FOOTNOTES The text 'of the mass offers the most ob but rather indicates a special aspect of 1. Virgil Thomson, The State of MUSiC, vious field for supportive material. When meaning whi1ch may involve the entire William Morrow & Co., N.Y., 1939, p.32. Bach sets "benedictus qui venit in nomine imaginative process. A composer may ar Domini" in the Mass in B Minor he em r;ve at the kind of objectivity derived ,2. Ibid., P 32. phasizes the quality of contemplation. fro:n the inter-subjectivity of meaning, 3. Poets at Work, p. 170. Here there is no declamation, no pomp and this may cause him to exploit the 4. Leon Barzun, Music Into Words, Li and circumstance reminiscent of the tri possibilities of emotional implication in brary of Congress Publication, Wash umphal entry. Instead of a crowd, there the spirit of the text rather than the ington, 1953, p. 14. is one singer; instead of heralding trum details of the text. Schoenberg relates 5. Karl Britton, Co.m.munication, Har- pet, there is a flute; the quiet continuo certain personal experiences relative to court, Brace & Co., N. Y., 1939, p. 18. cradles, rather than proclaims. This, in this. Discovering that he was not really 6. Webster's New World Dictionary. the composer's hands, becomes a master familiar with the 'poems, on whi'ch certain piece of communjlcation - communica familiar Schubert songs were written, he 7. Leon Barzun, Music Into Words, p. 16. tion Which is predicated on Bach's parti studied the texts, only to discover that 8. Craig La Driere, "Structure, Sound, cular response to the text and not on the he had gained nothing to help him in and Meaning", from Words Into MUSic: text itself. Compare this with the rather his understanding of the songs which The Composer's Approach to the Text, explosive conclusion of Haydn's setting had gone beyond the surface of thoughts ed. Northrop Frye, Columbia Univer of the same text in the Mass in DMinor expressed in poetry. As a composer he sity Press, 1957, p. 97. where trumpet fanfares, in triplets, urge confessed to a tendency to set songs in 9. Frank Howes, The Borderland of Mus the voices and string.s to greater and the e'cstasy of composing without a know is and Psychology, Oxford UniverSity greater outcries, as if the peI1forming ledge of more than the textual beginnings, Press, N. Y., 1927, p. 48. for·ces would storm the' gates of heaven only to discover later that he had grasped 10. Arthur Hutchings, The Invention and to proclaim their praise to the One "who the real meaning of the poem through CompOSition of Music, NovellO & Co. cometh in the name ·of the Lord." Now the poetic sound of the beginning. 16 Ltd., London, 1853, p. 191. think of the Missa Solemnis in which a By any definition, the composer is es solemn "Praeludium" for the low instru tablishing a context which will restrict 11. Edward T. Cone, Words Into Music, ments of the orchestra ushers in a "Ben and order the total text until his meaning p. 6. edictus" of sheer spiritual and emotional is the meaning with Which the performer 12. Ibid., P 3. adoration in which the solo violin is al needs to concern :nimself. ,13. Ibid., p. 7. most like the descent of the heavenly The instrumental 'Conductor has, a;p dove. parently, a different problem from that 14. Ibid., p. 9-10. If I have exaggerated the emotional of the choral conductor, for he relates 15. Ibid., p. 9. implications in the above examples, it has -to the composer only, whereas the choral 16. Arnold Schoenberg, Style and Idea, been done deliberately to emphasize the conductor relates to the poem as well as Philosophical Library, Inc., N. Y., 1950, wide varieties of meaning which are pos- the composer, I say, apparently, for, in p.4.
MAY-JUNE 1966 17 POSTSCRIPT on Dramati~ Mu~i~al Produ~tion~
It has been with intense interest that the subtelties of that 19th century Brit I have been reading the account of what ish humor. And box-office appeal? Im could be an endless running feud between possible up against "My Fair Lady", those advocating Broadway musical pro "Brigadoon" or "Bye-Bye Birdie." Ours ductions in the high school, and those is a more unique situation, however, and Who favor other forms of dramatic musi one for which we found the Gilbert and cal fare as a supplement to the regular Sullivan climate quite nice. Ours is a choral-instrumental activities. (Russell new school, having been built for partial Mathis, "The Show Must Go On" - use the fall of 1962, for grades 9 and 10, Choral Journal, April-May, 1965; Cleave and the complete use of the entire build land-Loy-Robertson, "An Open Letter ing one year later. When we first met to Mr. Russell Mathis" - Choral J our with our students in September, 1962, nal, September-October, 1965.) we found ourselves in the enviable posi- Wallace H. Nolin is director of Choral Few will argue the value of dramatic tion of being able to establish musical Activities at the Harvey S. Firestone musical productions. History has created traditions from the ground floor up, a Senior High School, 333 Rampart Street, Akron, Ohio 44313, where he has been a healthy atmosphere for its development. position one doesn't come upon every day. since the school was built four years ago. ------H-can-easily-be-defended-:as-one-of-the-We-had-Gilbert-and-SuHivan--in-mind-a-ll-Priorto-that-time;-he-;held-a-similar-pcrst- highest art forms in existence because the time, largely because our personal at Akron Sout? Hil?h School. where he of its integral use of so many different feeling is that they are vehicles depend- also taught strmgs m the City grad.e . .. S'C'hool system. He has also served as Di- art-form areas, and the cooperatIve de- ent upon musical conceptIOns, rather rector of Music at the First Methodist pendency required for a successful pre- than a mixture of the dance and other Church at Akron, and the First Presby sentation. No other single activity in the production gimmicks. In order to give terian Chu.rch at Cuyahoga 1!'alls-, as well . d . I d' 1 d . 'd' as appearmg as tenor SOlOIst m many musIc ep.artment can 111~0 ve. ~o man! our stu ents a muslca pro uctlOn.1 10m oratorio productions. Future -plans include people domg so many diversified actI- on a smaller scale, we produced, 111 the entering the Ohio state University Grad vities pointing toward one specific goal. spring of 1964, a surprisingly mature :uate ~chool for work leading to a Doc The point of argument develops, how- production of Kurt Weill's "Down in the toral degree in Music Education. ever, when one goes to select the vehicle. Valley." Our orchestra accompanied the 1111111111111111111111111111111111111111111111111111111111111111111111111111111111111 Many will advance the argument that work, and we shared the program with the most important area of consideration the concert band. More than anything This plan proved extremely successful in the selection of a musical production else, its success established a precedent . . . so much, in fact, that Inany of the is the enjoyment the students will experi- that would bear results in later years. leads had developed two or three charac ence while preparing it. Others will re- In selecting "The Mikado" as our pro terizations for the same character, and gard it as a fund-raising project. Still duction for the next year, we felt we had their ultimate product was the actual others will think of it as a musical ex- something that ,an orchestra that did not fusion of all three styles. We mounted a perience for the students, and will select yet have seniors in it, could handle cred three night production just prior to the primarily upon intrinsic musical values. itably, something for which we had at Thanksgiving vacation period. ' One very important consideration in- least a 75 percent outstanding cast, a Realizing that we had experienced the volves realization of orchestra accompani- show with no royalty figure, something establishment of a sound tradition in our ments, if they are part of the plans, and of a necessity because of the fund-raising embryonic school, we set out to make further, the type of talent available for requirements of our department, and plans for a four night production of lead roles . . . certainly no small con- above all a wildly enthusiastic group of "H.M.S. Pinafore" in November, 1965. sideration at the high school level. students that we felt were prepared to It was cast during May, 1965 under simi The philosophy of the music depart- mount anything we selected. -Capitalizing lar circumstances. Althol1gh we had lost ment must be perpetuated, if sound phil- on this enthusiasm, we auditioned and our first senior class, we found much of osophy exists, and can be defended. It cast "The Mikado" during the last month the Mikado cast was still with us, be really isn't an argument as to whether of the school year, instructing all mem sides having a good chorus carry-over. Broadway musicals represent sound mu- bers to become familiar with their roles In both shows, we double-cast all parts sic education, or that one should look over the summer, know the lines and have where enough equal talent was available, further before staging the production, a working knowledge of the songs and single c~sting only parts where one per but rather that the ideas and principles ensembles. Moreover, they were instruct son was undeniably superior. The Pina inherent in the school's musical phil os- ed to assimilate a knowledge of the type' fore production proved even mor'e suc ophy should be served with whatever of character they were supposed to be, cessful, and paved the way to what could ~roduction is selected. and be prepared to present a sample of give our school the label of "A Gilbert The experience we have had at Fire- their work during the first week of the and Sullivan School." And even though stone High School in Akron, Ohio may new school year. This was in keeping we are surrounded by schools who peri he helpful to some and of interest to with our philosophy of allowing individ odically present dramatic productions, others. ualized character development, rather many of them the Broadway variety, our We have been producing Gilbert and than autocratic pressures from pre-deter- students do not very often even suggest Sullivan musicals. mined stereotypes out of the minds of that we do other than another Gilbert Certainly there are many who will be- directors. It would involve research and and Sullivan. come vociferously vocal in opposition to reading into the heritage of Gilbert and As time-consuming as these produc such a feat. After all, it should be im- Sullivan, which we felt would lend itself tions are, thev are not done at the ex possible for adolescents to comprehend in the ultimate production of the show. pense of a nO!:mal school music program.
18 THE CHORAL JOURNAL \ Our department annually participates in 1111111111111111111111111111111111111111111111111111111111111111111111111111111111111 spring quarters. This means, then, that state and district solo, ensemble, choir, the 63 persons in my Concert Choir and Collegium Musicum most really represent orchestra and band contests, in addition a junior :college (21 freshmen, 30 sopho to the production of at least five or six mores, 3 juniors, 7 seniors and 2 special school programs, many out-of-school pro Kalamazoo College stUdents). grams in the community, and the curricu Kalamazoo, Michigan In view of these facts my tour 'program, lum instruction of Music Theory and Mu March 15, 1966 which is first predicated on educational To the Editor: objectives (not entertainment), must be sic History. The article appearing in the January one most of which can be learned and What are some of the hazards of pro February Ohoral Journal entitled "The memorized during the winter quarter of ducing Gilbert and Sullivan? Art of Programming" 'Provokes me to res eleven weeks preceding the tour. I at pond, because I believe this area of our tempt to prepare at least one (prefer It was an untried medium, at least for educational responsibility has lacked open ably two) works of cantata length and our school and our area, and for a group discussion in the 'Past. The "esoteric" then fill out the program with short se whose primary concerns center around school on one hand holds the standard lections. Most of these short works are utilized in the program as "optional se fund-raising, it must have been looked high. for tha't music deserving the name of "best" versus the "'commercial" boys lections" depending upon' the nature of upon with concern. However, from a whose programs seek to entertain both our audience. Each 'Piece selected has 700 seat auditorium, we realized a net the participants and 'the listeners. Then. some pedagogical raison d'etre for the profit from The Mikado of nearly $900 there are those (possibly. the greatest singer whether it be technical or esthetic. Some of the more "'popular" selections and frOll1 H.M.S. Pinafore of over $1200. number) who attempt to follow the "mid dle of the road" pOSition, sometimes do stress rhythm~c discipline; other pieces Part of that profit was realized through ing fhe "s'plits" in their atte.mp't to be all tend to represent various musical 'Periods parental participation in the furnishing things to all people. Granting that the to acquaint the students with styles of of chorus costumes, either through bor choral director's circumstances may vary music from Renaissance to contemporary musical idioms. rowing or making them. In some cases according to his local situation, i.e., the techni'cal level of his group and the cus Enclosed are copies of previous tour a portion of the chorus costuming was toms of his locality, program planning programs to illustrate my point. Thank rented along with the entire lead outfits. in any school program should have defin you for the opportunity to present "an This gave the chorus members a chance ite educational objectives. These object other" point of view on programming. Sincerely to contribute financially in commensur ives should take into consideration the present level of achievement and aware RUSSELL A. HAMMAR, ate quantities with the time put in on ness of the particular group and then Chairman, Music Department extra rehearsals by the leads. Our profits specifi'cally seek to assist the 'Personnel· Editor's Note: A brief resume of the were realized on a 50 cent student, $1.25 to gain new insights into technical fa Kalamazoo College 1966 tour program adult ticket price, together with the sale cility and esthetic qualities. shows the 'caliber of works perfovmed by As I mentioned above, each situation Russell Hammar and his· groups. of patron tickets. We were concerned must be considered in view of its own about the criticism we might receive from unique characteristics. For instance, a't Program Gilbert and Sullivan purists after our Kalamazoo College, where the ensemble Prelude: Organ selection first production. We were relieved, how personnel changes radically each quarter Overture: "QUintet in E Flat" (selected (a situation caused by the staggered off ever, to discover upon viewing a D'Oyle movements), Beethoven; The Wood campus schedules of the students), my wind Quintet Carte production of The Mikado, that objectives for my various ensembles must, Magnificat, Vaughan Williams our liberties with the score and our bur of ne'cessity, have' a dtfferent orientation Canticle of Praise, G. F. Handel; The lesquing of the humorous situations was than in a school where there is continuity Collegium Musicum Company of student life on campus. During the far outdone by the parent company. In Woodwind Quintet: ';Five Dances for fall and winter quarters, most of the jun Woodwinds" (selected), Denes Agay; stead of criticisms we were amazed at iors are studying abroad for six months. "Two Madrigals and a Jig", Lawrence the large numbers of people who had At the same time half of the senior class R. Smith, Kalamazoo faculty been in Gilbert and Sullivan productions is off-campus during the fall and the Offertory: Ovgan sele>Ction other half during the winter working on when they were in h:gh school, which "Cantique de Jean Racine", Gabriel Faure their senior theses. The only time I can The Fiery Furnace, Jean Berger; The accounted for a large part of the com schedule a tour is during the one-week Concert Choir munity participation we encountered. vacation period between the winter and Nunc Dimittis, Williams; The Collegium \Vhat were some of the merits and Musicum Company Postlude: Organ selection satisfactions from Gilbert and Sullivan? faction that it was a real student pro Optional Selections Primarily, we were proud of the music duction. Choir: centered production, for, although we had We're not advocating a complete re Four Pastorales for Mixed Chorus and incidental dancing where called for, and turn to Gilbert and Sullivan, for certain Oboe: "No Mark", "Noon", "Basket", our lighting patterns played to the psy ly its not the type of dramatic production "Wood", Cecil Effinger Cantata 144 (excerpts) "Nimm, was dein chology of audience effect, the pattern that would suit everyone. Perhaps the ist, und gehe hin!", J. S. Bach constantly was concerned with musical Broadway variety would be much more Ye Watchers and Ye Holy Ones, Healey projection and effect. There was histori successful for a great many people. We Willan cal value in the interest aroused in this have already emphasized that ours was Hosanna to the Son of David, Samuel 8'cheidt 19th century period, yet it turned out to a unique situation, and certainly the cli Truly Was the Word Made Flesh, Johann be extraordinarily entertaining for the mate was right for what we did. We are Schein audience, to say nothing for the enjoy maintaining that if a music director does My Lord's A-Writin' All the Time, arr. ment which the participants experienced not want to be drawn into the Broadway DeCormier ~Iotet Choir: not only in the final productions, but idiom for one reason or another, he would Ecce Nunc Tempus, Francisco Guerreo during the many hours of rehearsing. do well to at least investigate the Gilbert Alouette, arr. DeCormier We had some mature singers and actors and Sullivan repertory. You have to look Dance, Gal, Gimmie the Banjo, DeCormier that could easily be adapted to the Gil a long way to find equalled the humor, Madrigal Singers: Now, Musicians, Come, Hassler-Payton bert and Sullivan singing-actor charac the hilarious situations or the tuneful at Chi-Chi, Pap-Pa, arr. Salli Terri teristics. There are no royalty figures in tractiveness of many of these 19th cen The Holly and the Ivy, Norman Demuth producing Gilbert and Sullivan, since they tury musical comedies. Spherical Madrigals, Ross Lee Finney are all public domain. The orchestrations We'd be happy to share, in more de Varsity Quartets: Liebeslieder Waltzes Op. 52, J. Brahms are reasonable, and although we had our tail, our experiences with anyone further Solo: occasional anxious moments in the pit, interested. Its hard for us to think of do Alleluia from Exultate Jubilate, W. A. we came away with the feeling of satis- ing anything but Gilbert and Sullivan.• Mozart •
MAY-JUNE 1966 19 cancer. These men- learn to talk with the proximal end of their esophagus, improvising vocal cords with the sphincter of the esophagus deep in the throat. This delivers to the res onating chambers a buzz which, when modified, comes out as a voice. Fortunately, we have had, in Des Moines, two men who are outstanding in the de,Telopment of the esophageal voice following laryngectomy. One of these men, Mr. Lorence, speaks so well that many observers find it difficult to be lieve that he does not have a larynx. Now, that's the extreme. That's what we would like to see in all patients. However, there are people who cannot learn to talk with their esopha gus after the larynx is removed. And, as a little sidelight, Address of Mr. Lorence was a patient of mine at the time. he developed BYRON M. MERKEL, M. D. cancer. When he came . back he was having trouble with the before the ACDA, Des Moines, Iowa, esophageal voice. He just couldn't make it work. And one on January 15, J 966 day he walked in the office ·and said, "Doctor, I can talk," and he wasn't fooling; he could talk. So I said, "Mr. Lorence, tell me about this. What happened? How did this happen?-" Members of the American Choral Directors Association, He said, "You know I had trouble trying to develop this • "1 f 1 l' t t b bl t t lk voice and I've tried conscientiously, but I just couldn't get it IS inde~d a pn:'1 ege or a .aryngo ogls . 0 e . a e 0 a it done. My wife bless her soul has been my most loyal sup- his nlormng There IS a gap which eXists between ~.' to you t '. porter. She's babied me along smce I had my larynx removed. the voice tea0~~~~~~~_I_ary~0Ii~g~\d~bal~ ~~~=i!~~:a~~~ __Shc __ haLdQue_eyerYJhjng_sbe_c.o.uld_to_hclp_mc_o.ut._Ju_fact, are awar~ of t]jIS slt?a lOn, :as ev e c yy . at times I got to suspect that she was doing too much to help to talk. With you . at this meetmg. . h' I wantbl you to d'know t' that thet me. It b egan t"t0 Irn a t e me JUs . t a l'ttlI e b't"I, an d h e saw, . 1 medical pt;0fesslOn r.ecogmzes t IS pro em an .IS rymg. 0 "About three davs ago I was having some sort of a minor do somethmg. -about. It, and I., am sure that,l' workmg. together. d probl em an d sh' e came over so I"tICI ous Iy as k'mg I'f sh e cou Id we can. reduce this -gap. This wIll . resu t m an . mcreaseId sat-'d h e1 p, cou Id. s h e d 0 thOIS, cou Id sh e d 0 th e 0 th er thOmg; an d, you isfactlOn to each. of us but, most Important, It . wou provi e k now, D oc, I't ma de me so d amn ma d I'JUS tite 1oose an d su- d increased benefit to your. student a~d our pah~nt. . denly I realized I was talking to her." We will-return to this Manv efforts are bema' made m the medical profeSSIOn :.. . , . . - '" h' b t th 1 1 phase later on when we diSCUSS a very Important functIOn of at .the present tI:ne. to narrow t IS gap e. ~~en : aryngo - the larynx _ emotional expression. oglst and the smgmg teacher. I was vIsIting With one of your members just before we started and he mentioned the The first function of the -Iarynx as we understand it is name of Dr. Brodnitz of New York. I'm sure that many of respiratory. This function is divided into two portions. First you are familiar with Dr. Brodnitz and some of the excellent of all, the glottis, the opening between the cords, is the nar work he has done and is doing in narrowing this gap between rowest portion of the normal airway. It is bounded on either the examiner and the teacher. There is a patron saint of mine side by two delicate structures which we call vocal cords by the name of Dr. Paul Moses at the University of Califor which, in fact, are not the cords, but are simply the fibrous nia who is doing a similar type of work and I think in a shelves of some little muscles that fan out much like your very excellent manner. fingers do, which are lined up and work like cords. Having These men both have the advantage of training in medi this arrangement at the top of this air column as far as the cine particularly in laryngology, and also in voice production. lungs are concerned, you can see that this provides a very, Both the men I have mentioned have been trained in the use delicate control of the amount of air passing in and out of of the singing voice and I'm sure you can well understand the lungs. that this colors their advice and eminently increases their There is also an interesting chemical function which is ability to help the singing teacher in handling the problems a part of the respiratory function of the larynx - the acid- of laryngeal disorders. - base balance of the blood, which is extremely important in When Mr. Kelly asked me to talk to you, I suggested life, is regulated to some extent by the larynx. Now, how on that ii we were going to talk about voice problems perhaps earth can the larynx change the acid-base ~alance of the we should know something about the mechanism which pro blood in the whole body? We normally breathe in oxygen, duces the voice and hence my title this morning of "Applied we utilize it, we breathe out carbon dioxide and other gases . Physiology." I am not going to bore you with the intrinsic in trace anl0unts. The carbon dioxide which we breathe out and extrinsic muscles of the larynx, their functions, disor is very important in regulating the acid-base balance of the d~rs and so forth, from the anatomic standpoint (\f view. I blood. So, if as we breathe in deeply our cords open wide am sure you are all aware of the fact that the larynx is used and let us get a full breath into the lungs; they stay relaxed in voice production. I suspect there are a few of you here, and we exhale completely and we wash out a lot of carbon and there are many men in the medical profession who, when diovide. On the other hand, if during the expiratory phase of asked "What is the function of the larynx," will look at you respiration these cords narrow down a little bit - and the as if you had said which way is up, and will say, "Anybody person who has pulmonary emphysema will vouch for this - knows that the function of the larynx is to produce the voice." it's easier for him to breathe. Why? Because he breathes Actually, the larynx has at least eleven physiological against a little resistance which he didn't have before and functions. Phylogenetically the last one added and the least this retains some of that carbon dioxide in the larynx, it's important from the standpoint of survival, is Voice produc picked up by t!le blood, and therefore does, in fact, regulate tion. Furthermore, the larynx is not - repeat, is not - es the acid-base balance of the blood. This is seen in persons sential in voice production. Now again I see occasional evi with diabetes, for example, who go into a condition of acid dence of disbelief. How on earth can one talk without a osis; their breathing is deep and rapid and hard breathing. larynx? Why? Because they are trying to overcome this acidosis by We see this most often in the field of medicine in people getting rid of some of this carbon dioxide so the larynx ha~ who have had their larynx completely removed, usually for a function from the chemical standpoint too.
20 THE CHORAL JOURNAL . -','
The second function we'll talk about is for one of two things: For fight or for tion in expectoration. circulatory. The larynx, does 'help in con flight; and it's embarrassing to do either The phonatory function of the larynx, trolling the circulation" again because one of them .if you have a mouthful of voice production, is a function in which the larynx regulates the amount of air hay, but you try to do your best. So the we are directly interested. You and I whieh comes in and out of the lungs and, epiglottis in the deer, for example, is four both are interested I'n this, primarily, therefore, on, inspiration regulates the times as long as it is in the human. In per-haps. Let's keep in mind that it is the amount of negative pressure whi MAY-JUNE 1966 21 respiratory center. Expiration, on the to find out what's wrong with that voice. Applied Physiology other hand, is a passive phase of respira- Rhythm is extremely important and dis ing things that are not easily exp.1ainable tion and it is much prolonged normally orders of rhythm alone may point to seri on a mechanical basis. Furthermore, our over the inspiratory phase. You can take ous mental disorder. I'm not going to hearing plays some tricks on us at times. in a breath quickly, you let it out at your tell you how to diagnose those because If I walk up to the piano and strike mid convenience and we just keep talking or to do that, to be perfectly frank, I'm not dle C without any dampening on the doing whatever we want to do while we sure myse1-f. strings, I know from the laws of 8!COUS let is out and finally we get to the point We also watlch, other than the il'ive tics that every C on th!J,t piano is work where we need another breath and so R's, for the speed, the accent, the pauses, ing for me and -every C is in resonance we take in another and away we go. emphasis, loudness, pathos, the method with middle C and gives me some help You have heard singers, and you have of attack. Is it a soft, easy attack, or in what I can quality of that tone. It heard on P A systems, on the radio and is it the glottal stroke? This is very im also can give me a mental sensation of television, singers who get so close to the ·portant and these are important attri a tone that I cannot actually hear. Range micro'phone and sing so softly that you butes of the human voice. is important and sometimel? we have peo could hardly hear their voilce but you Now, the ninth function of the larynx ple ,come into the office who are hi-fi could always hear that inspiratory phase, is, I think, an extremely important one addicts, as I am, and they say, "Doc. I so the analysis or the study of the res- and it is an emotional function of the 'can't get my 18 thousand cycle vibra piratory cycle in an individual contrib- larynx. This is very old phylogenetically tion coming through. I just can't do it." utes substantially to the voice analysis. and is probably one oil' the primary func- When I first heard this I, with a little The fourth R is resonance. The func- tions of the larynx. It exists not only in effort, kept myself from smiling out loud, tion of the paranasal sinuses ihas been an humans but in animals too. Those of you saying that you could not hear 18 thou interesting subject for speculation. Those who have dogs knoW that after you have 'sand anyway which is difficult with a who adopt the pure melchanical theory had that dog for a very short time and normal human ear if you wanted to, and tell us that from the engineering stand- he barks during the night you can tell if fortunately I did that because I learned point the sinuses are areas in -the facial he is silck, if he is in pain, is frightened later on that by studying this with an bones which are hollowed out to increase or is hungry. He's expressing ihis emo ossiliscope that you can put an 18 thou the tensile strength of these bones and tions by his bark and we express our sand cycle vibration in there and that to help them absorb blows and shocks. emotions by our voices. patient 'can tell exactly when that vibra The functions of the nose - one of the The actor has learned to do this some· tion comes in. W-hy? Because there are secondary_functiQns._to_be_.s.ur.e,_b.uL.n.e- wh8:!~t ~~?wn will, but note_Il.!irel~ other periodic vibrations which give him vertheless a function - is to absorb th;-a:na to tlie tramed vocal analyst, the emo a sense of hearing. Oh, we can prove force from a blow directed right at the tional state is. quite evident by careful that there are isolated vibrations that falce so that it is not transmitted to this study of the VOIce. Those of you who are you can't hear, so the problem of hearing delicate part we call the brain. Sometimes dealing. with choral groups will recall is intimately attached to this voice pro I wonder how delicate it is but never- many tImes when you could pick out duction business and I'm sure you're all theless this is a function df the facial some one person in your group if you aware of this and I take my hat off to bones, and this is borne out if you'll just wanted to and say, "What h8!ppened to all of you that you can take a group of go out and see a few automobile accident you before yo.u le~t home. today?". You voilces and blend these voices and come victims where they have hit the wind- know somethmg. IS :vrong emotIOnally out with the final sound you want. That's shield, the dashboard, and their face is and tha.t the pabent ~s upset. They are a marvelous thing to be able to do. literally crushed. But in that pressure n.ot crymg and showmg. ot?er outw?-rd The second R is register. I don't need their brain may have been saved from sIgns but you 'can sense It m the vOIce. to mention to you folks, I'm sure, the fatal damage by the 'colla:pse of the fa- An ~m?t!onal, expre~sion often. betrays difference between the 'head and chest cial bones. the mdlvldual s emotIonal state m spite and mixed register. I'm sure you're all Now I don't feel that that's the only of all :his attemI;>ts t? conceal it. well f8!miliar with it. However, in laryn function of the 'paranasal sinuses. I think Another functIon IS olfa~tory, or. t~e geal examinations, using the laryngeal it is a function to be sure; but a very sense of smell,. and I menboned ;thlS ~n mirror, we do like to see the patient important function of the paranasal si- the reIllarks I ~ad~ on ~h~ eplglotbs. phonate in all three registers if we can. nuses is that of resonating chambers. ;rhe path ~f the msplred aIr m the nose I'm sure you're all familiar with the prob Now a resonating chamber is no good if IS not straIght. It must come up a~d go lems the singer had who has a persistent it's closed, so we have to bring the nose over th~ top part of the. nasal cavIty or divergence of these registers. We'd Uke into that discussion of resonance because the 'p~tIent has a .se~ahon Of. nasal ob to see on looking at the larynx why the the nose is a most important phase of it. struchon. We see It m the offIce so fre singer had that trouble. We have been The nose is the air conditioner for the ~u~ntly that w~ almost come to look for aided in our study of the actual move lungs. It 'has as its f1.lnction the warm- ~t m every .patIent. Some~ne who comes ment of the vocal cords by the high-speed ing, moistening, cleaning of the air we mto the offllce a,nd says, . I?octor, I can'~ photography that Bell Telephone Labora breathe so that. the lungs do not get ir- breathe through my nose, It s stopped up, tories did of the motion of the vocal ritated by cold, dirt and dry air. If it's and I can observ.e that they ob.viously do cords. I'm sure most of you are familiar working perfectly it prevents much oil' breathe through It for a ~ew mmutes ~nd with that. You're familiar with the fad the irritation of the throat and lunlgs. ~hen I know what I WIll see .. Lookmg that the funda:mental method of voice Air conditioners have to have some mto the nose along the floor fIrst I see production is not like the strings on the way of filtering if they are going to clean a wide o.pen pathway throug>h which ;vou v!olin or any stringed instrument, but is the dust out of the air. They have to have ,?ould drIve. a tr';lck and :ret th~t pabent much more mechanically like the lips of some method of secreting moisture and IS. not fll:kmg, IS not slmt;latmg some the trumpet player or the player of any they have to have some way of dissipat- kmd of Illness. Th~t patrent. actually brass instrument. ing heat and moisture. The nose is no 13;cks th~ sens?ry s.trmulus whl<:h tells The next R is respiration. Res-piration exception and oddly enough it's fairly hIm he IS gettmg all' th;rough hIS nose. is a very important clue in vocal analy well designed Ifor the job it is called on Why? Because look up .m t'he top part sis. With the patient who comes in tired to perform. We have a middle partition and see that ~hese turbmates are clear and out of breath, you can suspect one we 'call the septum and on each side we over. and agamst the septum and are of two things - either he's been badly have three, or for those 00£ you who in- shuttm~ off the. upper part. This is a frightened or he's been running up the sist on being real highly technical, four paradOXIcal re8!cbon of ~h~ structures. in stairs to get in, but his voilce does, give turbinates whioh are little baffles which the nose because the all' IS not passmg you some clue about his condition; and hang down from the lateral walls of the over the right area. The e:x:pired air does then the patient who comes in with a nose. Those turbinates are capable of ex- come out more nearly ~tral'!5'ht al?ng the Wind waste quality to his voice. You know panding and actually 'shutting off the floor of the ~ose, but msplred all' .must that that patient has a respiratory func air on both sides of the nose and they go up and str.mulate ~he nerve endmgs. tion w,hich is not peI"fect and which is at do that sometimes under certain condi- The olfactory nerve IS at the top of the fault in- producing in part this so-caUed tions of irritation certain conditions of nasal vault, so this animal that has to wind waste quality of voice. -infection and cer~in conditions of emo- run from or fight his enemy must have Ins'piration normally is active, an ac tional stress so that these are the factors a well-developed sense of smell which tive effort on the part of the individual, that you Ioo'k for in the fourth R or res- he can use right along. So we see that not necessarily conscious, or we'd all be onance in the vocal analysis. the larynx ,plays a part in olfaction. dead. You can't sit around and think The fifth R of vocal analysis is rhythm Now a few remarks on speech and about breathing 18 times a minute all the and I'm sure that I need -spend very lit- then I'm going to stop and we'll see if, time, but it requires active muscle in tle time on this. rm sure you're all aware by keeping this information in mind, nervation and control and this is done of the importance of watChing the rhy- there is some inferences we can draw by automatic Icenters in the brain, the thm in a voice that you're going to study, -Continued on page 26 .22 THE CHORAL JOURNAL Early Medieval Music up to 1300, and Vol. III, AI'S Nova and the Renaissance. (c. 1300-1540) Wesley, Samuel S. A Few Words On Cathedral Music. Lon Materials for don: Hinri'chsen Edition Ltd., 1961. History: A re'print of a treatise written by Samuel Wesley in 1849 in which the state of music in the church is dis Choral Practices cussed. Two compositions by Wesley are contained at the end of the book. Wilson, Harry Robert. Artistic Choral Singing. New York: G. Schirmer, 1959. and Techniques Vocal Techniques: Diction as related to interpretation, pronunciation, style, tempo, phrasing, accent, attacks and releases. Diction BRUCE D. HOAGLAND and tone. Function of vowels, diphthongs, and conson ants. Pronunciation of languages, Latin.. Choral tone, approach, procedure with exercises and diagrams. Types of tone for various types of music. Vocal problems: SECTION I (Continued) unsteady voices, singing on pitch, extending range, de Sunderman, Lloyd F. Some Techniques For Choral Success. veloping various voices, and care of the voice. Diagrams New York: Belwin Inc., 1952. and exercises. Blend and balance, internal approach, Vocal Techniques: external approach. Singing and speaking, a discussion of diction and cor Rehearsal Techniques: rect pronunciation. Correct methods of tone production. Elements of expression, tempo, rhythm, melody and Rehearsal Techniques: harmony, form, phrasing, dynamics, accents, fermatas, The rehearsal, method of organization: choirs and sec pitch, attacks and releases, with examples. Rehearsal tion leaders, pre'paration for conductor and students. objectives, plans, preparation and procedure. Choral problems. Conducting Techniques: The make-up of a choral conductor, techniques, pat S1!ndermaI!-, Lloyd F." Choral Organization And Administra terns, terms and their meaning. Performance, attitude tion. New York: Belwin Inc., 1954. of conductor, values of performance, planning perform Organization and Administration: ance. A discussion of administrative problems, membership and attendance techniques, rehearsal room, robe and Interpretation: vestment equipment, choral library, finance, programs Styles of Singing, basic intevpretation terms defined and awards. with examples, accompaniment and a cappella singing, with examples. Styles of musi'c periods from chant to Swan, Alfred J. The Music Directors Guide To Musical modern music with examples. Vocal forms' explained. Literature. New York: Prentice-Hall" Inc., 1941. Organization and Administration: Literature: Orga~ization of a group, voice testing, choral programs, A listing of music Ifrom all periods that are performable selectlOn of music, examples. by high slchool and college choirs. Some helpful hints on interpretation are included. The composers are dis Wodell, Frederick W. Ohoir And Chorus Conducting. Phil cussed and at the end of t'he book there is a list of adelphia: Theodore Presser, 1901. compositions and the publishers. Vocal Techniques: Discussion of tone production, vowel pronunlCiation and Tkach, Peter. Vocal Technique. Chicago: Neil A Kjos Mu formation, breathing, diagrams and examples. sic Company, 1948. Conducting Techniques: " Vocal Techniques: How to conduct, diagrams and examples. The qualities A course outline designed to teaJch voice and sight sing necessary for the choral conductor. ing. Discusses breath, posture, vowels, consonants, and Interpretation: l'hythms. Examples and exercises. Study of a score and text, interpretation according to Van Bodegraven, Paul and Harry Robert Wilson. The tempo, accent, phrasing, breath taking, shading. School Music Conductor. Chicago: Hall and McCreary Organization and Administration: Company, 1942. Organization and planning of the performance anno- Rehearsal Techniques: tated list of choral .publishers. ' Score reading and 'preparation of the score, planning the rehearsal. Aims of the rehearsal, the choral rehearsal, Woodgate, Leslie. The Choral Conductor. New York: Chap rehearsal procedures. Bibliography. pell and Company Inc., Rockefeller Center, 1949. Conducting Techniques: Vocal Te'chniques : Technique of the baton. Bibliogaphy. Discussion of the necessity of correct articulation of Interpretation: words. Factors in interpretation, tempo, dynamics, terms and Rehearsal Techniques: definitions, and phrasing. Bibliography. How to prepare a score. Rehearsing the chorus alone Organization and Administration: and with orchestra and unaocompanied singing. Concert and planning, competition and ,festivals, other Conducting Techniques: duties of the conductor, creating interest. Latin pro Brief discussion of conducting. This phase is covered nunciation. Bibliography. mor«: e~tensively in The Chorus Master by Woodgate. OrgamzatIon and Administration: Van Hoesen, Karl D. Handbook Of Conducting. New York: V.arious seating plans MAV-JUNE 1966 23 Italian marks as used in Bach's time, quotations and Materials for Choral.- comments by people of Bach's time, dance forms, in terpretation in Bach's time, quotations and comments, fore 1750. New York: W. W. Norton & Company Inc., 1951. critical survey of the approach to Bach's works, stress History: and movement as indicated by Bach's markings. A collection of choral and instrumental compositions Rudolf, Max. Grammar Of Conducting. New York: G. dating from Gregorian Chant to Bach, with historical Schirmer Inc., 1950. notes on each composition 'and composer. Recordings Conducting Teohniques: are also available under the same name. A thorough discussion of all phases and properties of Peterson, Paul W._ Natw'lll Singing And Expressive Con beats with many examples and diagrams. ducting. Winston-,Salem, North Carolina: Jahn F. Blair, Schmid, Adolf. The language Of The Baton. New York: G. 1955. S'chirmer, Inc., 1937. Vocal Techniques: Conducting Techniques: .... Fundamental techniques of singing, beginning, muscu A thorough discussion of conductmg mcludmg hIstory lar aspects, diction, resonance, solo performance, care of the baton, the left hand, phrases, rehearsals, pictures of the voice, and advaIllCed techniques for soloists. and diagrams of conducting patterns with examples Conducting Techniques: of music. Fundamental techniques of conducting with diagrams. A brief discussion of 'choral blend. Organization and Administration: (To be continued in next Choral Journal) Planning church music, responses, anthems, concerts. Literature: ,selected list of anthems, graded. Reese, Gustave. .Music In The Middle Ages. New York: W. ACDA Announces The Annual W. Norton & Company Inc., 1940. History: A thorouglh discussion of all forms of music from an cient time to the beginnings of polyphony. thora! Program fxf!hange Reese Gustave. Music In The Renaissance. New York: W. ------~W;..,.:-NOrton &-Company ;lnc., 1959. - -AI I--AGDA-mem bers-are-invited-to-partic;ipate· in the- History: 1966 Choral Program Exchange. To receive the bene A comprehensive study of all forms of music of the fits of this national exchange of programs please Renaissance Period from 1350 to 1600. follow carefully the directions below: Rothschild, Fritz. The Lost Tradition In Music, Rhythm, and Tempo In J. S. Bach's Time. New York: Oxford Uni 1. All types of programs are desired high versityPress, 1953. school, college, church, community, etc. While Interpretation: Discussion of interpretation of the music of J. S. Bach. preferred, you need not use the name of the choir, Points applicable to music of Bach'·s time. The meaning institution or director. Indicate however the type ____of time signatures .. ___ as used- ... by______Bach, the meaning of 1IlIIIIII_ the group: highschool, college, etc. 2. Mimeograph 250 copies of your chosen program. THE K-STATE VARSITY MEN'S GLEE CLUB This is the limit this year. Contributors over the Proudly Announces 250 limit will be used the following year. Re member, if you do not contribute you cannot re lIThe Varsity Glee Club Goes International" ceive. featuring 3. USE ONLY 8Yzx14 (long sheet) MIMEO PAPER. Favorite Selections and Crowd Pleasers If more than one page, staple together. from Their Recent Mexican Tour 4. USE ONLY THE FOllOWING FORMAT FO'R INDI and VIDUAL CO'MPOSITIO'NS. Groupings may be re Their Appearance at the 1966 ACDA Convention tained. SIDE I SIDE 2 TITLE - COMPOSER - PUBLISHER - REMARKS o Magnum Mysterium-Jacob Handl K·State Fight Song-Harry Erickson '27 Beatus Vir-Orlandus Lassus Hello Dollyl-,Jerry Herman Example: Grief"":Antonin Dvorak The Flint Hills Trio: HOSANNA TO' THE SON Trosterin Musik-Anton Bruckner Dave Warner, banjo Der Traumende See-Robert Schumann Tom Sykes, guitar OF DAVID ...... O'RLANDO' GIBBO'NS La virgen lava panales-arr. Shaw· Richard Sanders, bass Carl Fischer·CM-6579 SATB Sustained, Latin Parker Didn't My Lord Deliver Daniel-arr. Jean Sloop, soprano Fenno Heath 16th Century. Motet. Difficult but exciting. Jacara (A Merry Song)-F. M. Torroba Ring Ring de Banjol-arr. Shaw·Parker Lorena-arr. Shaw·Parker Mlsty-Burke.Garner; Vernon Music 5. Wrap the programs carefully in heavy paper, tie Corp. Cecil Pearce, baritone securely and mail to: 0, You Beautiful Doll-Brown·Ayer Robert Steiger '67, conducting ACDA PROGRAM EXCHANGE Alma Mater c/o ELWOOD KEISTER MUSIC DEPT., UNIVERSITY OF FLORIDA ORDER BLANK GAINESVILLE, FLORIDA CHECK ONE: Stereo $5 () Monaural $4 () 25 cents mailing charge Note: A lower postal rate will be given if you mark "Printed Material" on wrapper. ··· .. ·· .. ·· .. ······ .. ··· .. ·· .. ·· .. ·· .. ·· .. ·iN;,;,;~y .. ·· .. ·· .. ······ ...... 6. Send $2.0'0 in cash or check to cover secretarial and postage costs. (Make check to ACDA Pro ...... '(St;~~t' ',f ·N·o:) .. ·· .. ·· .. ·· .. ························ gram Exchange.) ...... ·(CliVi .. ·· .. ·· .. ·· .. ·········· .. ·· .. ········ . (State . 8: 'zip 'c~(iei"" DEADLINE DATE: JULY 75, 7966 No. of records ordered...... Total Amount $...... Don't wait!! Send your program now! Only the first -.....;...---- 250 programs will be used this year. Make checks and money orders payable to: You will receive your programs at the earliest pos The KSU Varsity Glee Club, Department of Music sible time following the deadline date. , Kansas State University, Manhattan, Kansas 66502 24------THE CHORAL JOURNAL MINSTRELS: SCORE AND FOUR The Minstrels: Score and Four, a se lect group of 24 singers chosen [r'om the Sac Community COll!cert Choir, has al ready 'presented 12 programs this school year. Their name was selected and their blazer emblems designed by members of the ensemble. Since they perform for many community organizations, the group has a varied repertoire. Selections 'Performed' through t ih e Christmas season included Bouree, Bach Swingle; Wondrous Cool, Tthou Woodland Quiet, Brahms; Joshua, spiritual; , Five Canzonets, Berger; Break Forth, O. Beau teous Heavenly Light, Bach; Hodie Christ us Natus Est, Willan; To Us Is Born Em manuel, Praetorius; Ideo Gloria in Excel sis Deo, Kraehenbuehl; Singet Dem Herrn (Sing to The Lord), Hugo 'Distler; Deck 1111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111III 1II1111111111111illlllllll 1111 III II The Halls, a:rr. Shaw-Parker; Christmas Is A-Comin', Luther; Twelve Days of SOUTHEASTERN CHORAL WILLAMETTE ANNOUNCES Christmas, traditional; Riu, Riu, Chiu, arr. Greenberg; La Viene la Vieja, Shaw CONDUCTORS CONFERENCE AT COMPETITION WINNERS Parker; How Far Is It To Bethlehem, UNIVERSITY OF TENNESSEE The second annual Festival of Con arr. Christiansen; Angels We Have Heard temporary Arts was held at Willamette The fifth annual SoutJheastern Choral on ffigh, Shaw-Parker; What Can This University, Salem, Oregon, April 11-15 Meau, Staley, and Carol of The Drum, Conductors conference under the direc tion of Hugh Ross, conductor of the with performances including the Univer arr. Davis. sity Choir with Gordon Violes as conduc Repertoire for the second semester Schola' CantorUilXl in New York and an Honorary Life Member of ACDA, will tor, and guest choirs, Beaverton HS Con will include Surely He Hath Borne Our cert Choir, Stephen L. Stone, director and meet at The University of Tennessee on Griefs, Graun; Out of the Cradle, Sand Sunset HS A Cappella Choi'r, Gary Gad ers; Suddenly There Came a Sound From January 5-7, 1967. The fine new music building at the University will accommo wood, director, with composer Ce'cil Ef Heaven, Aichinger; Hallelujah!, Brown; finger, University of Colorado, as one of date most od' tJhe activities of the confer Everything's Comin' Up Roses, Styne the artists in residence. Winners of the Smith; P·salm 117, King; and Villanellas, ence. A very fine and eXlciting conference program is being planned by Mr. Ross, 'Choral composition contest: First: Rich Berger. ard Willis, composer-in-residence, Baylor Directed by Gordon H. Lamb, the group Arthur Fraser of the University of South Carolina, and the Conference Local Com University, Waco, Texas, Song of Praise; is one of several performing ensembles Second: David Walla1ce, band director, mittee at Tennessee under the chairman and .two choirs which comprise the chor Oregon College of Education, Monmout'h, ship of J. Clark Rhodes. Ambrose Hol al department at Sac City, Iowa, Com Oregon; Honora;ble Mention: Robert De munity high school, where thirty-ei,ght ford, Director of Choral Activities at the University, will serve as Host Conductor Mille, vocal director, Catholic Central percent of the 360-member student body High School, Marinette, Wisconsin, and participates in the choral program. A for the Conference. This Conference for 1967 is being sponsored by The Univer Harry Causey, graduate student, :fSU Survey of Music Literature course is also School 01' Music, Tallahassee, Florida. sity of Tennessee and the Ford Founda offered by the department. The Minstrels: First in orchestral composition was tion. This is the second in a series of five Score and Four are now serving as the Martin Mailman, composer-in-residence, conferences being sponsored under a ohorus for a community production of East Carolina College at Greenville, N.C., grant of the Ford Foundation - the first Brigadoon with the leading roles played in band was Robert W. Ricks, music fac was held at the University of South Caro by adults in the Sac Community area. ulty, Catholic University of America, lina in January 1966. Washington, D.C.; instrumental chamber T·he Executive Committee and Board of 1111111111111111111111111111111111111111111111111111111111111111111111111111111111111 music, Martin Mailman; and vacal cham Directors of ACDA voted unanimously at ber music, Karl Kroeger, com'poser-in the Convention in Kansas City to cooper WINNER of the 1963 NATS Singer-of residence, Eugene, Oregon, public schools, ate in publicizing and supporting this the-Year auditions, Sylvia Frederich re Sand-Drift. Director of the Festival was Conference and others of similar purpose cently sang the title role in Cinderella, Dean Charles Bestor of Willamette. presented by the Metropolitan National and character. Full program details will Opera company in Kansas City with ex be announced in The Choral Journal in cellent press notices. She concertized in the July-August and September-October the 1964 season under NATS sponsorship issues. SCHOLARSHIPS ARE AVAILABLE for ending with a "rave" recital for the NAT'S students planning to attend the Northern National Convention in December. 1965 Illinois University's tenth annual Music PIANIST Eugene Istomin, violinist Isaac for youth Camp June 19 to July 1 at ,SOTY winner, baritone Richard Allen, Stern, and cellist Leonard Rose, will join . Long Island, N. Y., was an undergraduate DeKalb, Illinois. Featuring daily classes performers including Sixten Ehrling, 20 and rehears8:lls, supervised recreation and at the University of Buffalo and later Detroit Symphony first-chair men, Rob studied in Paris on a Fullbright S':!holar ert Shaw, Clayton Krebiel, and How concerts by the camp band, orchestra and chorus, the camp will also have a ship. Presently teaching French in the ard Swan, to head Oakland Univer piano recital and solo and ensemble public schools, he will be heard in various sity's Meadow Brook School of Music events. Dr. Gordon Bird, NIU dire'ctor concerts this season. The 1966 NATS progr8:lms this summer. Walter S. Collins, of bands, is head of the camp and in auditions have recently been announced. dean of the school, revealed that Istomin, formation can be received by contacting Anyone, interested may receive complete Stern and Rose will conduct Ii piano trio information by writing NATS se1cretary institute July 18 through August 7 for him at the school. John Thut, Augsburg College, Minneap six highly talented pianists, violinists and, olis, Minn. 55404. cellists between the ages of 15 and ::0. The regular six week credit summer ses· phony. A new opera workshop has been THE ANNUAL PRESBYTERIAN CON sion opens July 11 with the orchestral added for this season as well as a FERENCE on Church Music will be held program open to superior instrumentalists special Institute 'for Medieval, Renais,· at Montreat, N. C., July 21-27 for all or and will duplicate the Detroit symphony sance and Early Baroque music, June ganists, ohoir directors, choir members, in size and balance. Shaw's choral and 25 to July 10, by.the ten member New Christian Education Leaders and Minis vocal institute has been expanded from York Pro Musica. Financial aid based ters. Complete information may be ob four to six weeks and the youth Chorus, on ability and need will be available for tained from Henry Bridges, organist and University Chorus, and Choral Conductors all ,progra;ms. Information is available choir director, First Presbyterian Church, Workshop directed by Shaw will perform from the Meadow Brook .school, Oakland Charlotte, N. C. at the Festival with the Detroit Sym- University, Roohester, Michigan. MAY-JUNE 1966 U of Minnesota Presents ACDA Convention ... -Continued from page 9 Sixth Choral Arts Institute the University of Missouri at Kansas The sixth Choral Arts Institute, musical City. This interesting and unusual addi offering of the University of MPlnesota tion to contemporary choral music ex Summer Session, will be presented July emplifies further the originality and mu 1-10 this year, directed by ·two outstand sical perception of this composer. The ing musiCians, .liccording to Willard L. Thompson, dean of the Summer Session. magnificent performance by these com The heart of the 1966 institute will be bined choirs was indeed a reflection upon the intensive study and analysis of the the fine choral singing which is so vital choral works of Mozart. The workshop to the stability of our choral profession. will be climaxed ,by a concert in Sunday, This was a superb finale culminating July 10 which will feature not only work shop participants but also the Summer two days of lectures, demonstrations, and Session chorus, for a total of 200 voices, performances within the· realm of the and the Minneapolis Symphony Orchestra. American Choral Directors Association, a Partiicipants in previous years have tribute to choral music in America. • come 'principally from the midwest, in~ cluding Iowa, the Dakotas, Wisconsin, Illinois, Michigan, Nebraska, Kansas and THE MURRAY (Ky) STATE COLLEGE Indiana; but also have come from as far eighth annual Contemporary Arts Festi- away as Caliifornia, Florida, New York, Donald E. Morrison, 34-year-old choral val opened March 24 with the MSC Texas, Wyoming, Idaho, Mississippi, Mas- 'conductor at Hanover College, Hanover, drama department's presentation o.f Ib sachusetts, and tpe Canadian provinces Ind., has been named successor to Henry sen's Hedda Gabler. Student members of of British Columbia, Ontario, Manitoba Veld, who retires this year, at Augustana Sigma Alpha Iota and Phi Mu Alpha and Saskatchewan. College, Rock Island, Ill., it was an- presented a contemporary concert Maroh ------'Hugh-Ross,conduictor-of-the-Schola-,-nounc~d-by-P-xesident,_nr:_C._W.~orensen._2Land_nayjd_W._¥ay.e_s,_1l".0.!'J:L.FPJl_ngation Cantorum of New York City and !founder Effectlve ,next fall, MorrIson WIll ibeco~e ?omposer at RaleIgh, N .. C. was .!featured of Tanglewood Music Festival's choral conductor of both the Augustana ChOIr In a lecture-demonstration AprIl 4 and department, and Julius Herford, Life an~ Handel Oratorio Society, positions informal studen~ lectures April 5. The Professor at Indiana University and dis- WhICh .have beenh:eld by. Veld !for ~e College SymphODlC Band pre:sented a con tinguished musicologist, will conduct the past 3~ ,Years. ~orrIson w~ll tealCh VOIce, temporary band concert Apn~ ~ and mem workshop, joined by faculty members of m addl.tlOn !o hlS con~ucb~g w.ork.. ber~ of the. B:rt faculty exhIbIted works the University music department Morrison IS completmg hlS mnth year AprIl 16-29. Fme arts faculty contempor- . . at Hanover where he is director of the ary chamber music recital was presented Accor~mg to .Professor Roy ~. SJchue~- 70-voice a cappella choir and the 17-voice May 2. The MSC a ca:ppella choir and the sler, acting c'halr.~an o! the mUSI? depll:r~- Hanover Chamber Singers. He also gives Oratorio Chorus, director by Professor ment, ~el'f~rd. w~ll ~lrect the mtens~ve 'private voice and organ lessons and does Robert Baar, will present their concert theo~etlCa: !~vesh~ahon ?f ~ozart,,, m- some classroom teaJching. May 22. Student art exhibits are from cl~dmg hIS "Mass m C Minor and Re- . The Hanover Choir has toured in the May 16 to June 3 with 'Chamber operas qUIe;? Ma~sa~d shorter works such as midwest and also in the east. Its 1964 being presented May 19 and 21. the Mass m F. Herford, who has taught tour was climaxed by a concert in Car such ;lOtables as Robert Sha':l" has. taken negie Hall New York City. A LARGE AND ENTHUSIASTIC group part m the Ohoral Arts Inshtute m sev- ' of directors, students and church choir eral previous years. His le'ctures will be 111111111111111111111111111111111111111111111111111111111111111111111111111111111111 conductors participated in a music clinic given in Nolte Center for Continuing Ed- and choral sing held Wednesday evening, ucation. A /. d Ph . / March 16, at the First Congregational Ross will do the actual condUcting of PP Ie "YSIO ogy Church at Mansfield, Ohio, aC'cording to the orchestra and chorus in theIr concert -Continued from page 22 Roderick Evans, Director of Vocal Music performance, Schuessler said, in addition from it and I'll be guided entirely by at Lexington, Ohio schools. Guest clini to some lE'cturing. The July 10 concert your questions. cian for the event was Noble Cain, North will 'feature Motzart's "Mass in C Minor" Voi'ce is a threefold function combin Hollywood, California, with arrangements and Ralph Vaughan-Wiilia:ms "Tudor ing respirrution, phonation and articula for the evening being handled by Hamer Portraits." tion. It has three Ifunctions: It represents Mitchell, 'Supervisor of Mansfield Bahools. Regular Summer Session credit is now facts, it expresses the speaker and no Earlier in the day, Dr. Cain conducted a available for qualified participants in the one else, it has either positive or nega rehearsal session with the Lexing'ton institute, which also may be taken for tive appeal. Those are the important High School Choir and area musicians non-credit. The fee in either ca:se remains functions. The analyst looks for these were delighted to ,have the privilege of the same as in 'previous years, $60. Last .functions and those are the ones that working with him during his stopover year 30 persons were enrolled. we should watc:h for. while on tour. Anyone interested in attending may If we keep in mind the functions of write to Choral Arts Institute, Dean of the voice mechanism it should help in MICHAEL SMOLANOFF and J. Theo- Summer Session, 6644 Johnston Hall, Uni- understanding and correction of deifects, dore Prochazka have been added as edi versity of Minnesota, Minneapolis, Minn. as well as 'to improve the quality and tor to the staff of Marks Music Corpora 55455. beauty of the properly trained voice. • tion recently. Smolanoff is a band and orchestral composer of note. Prior to join THE MIDLAND, TEXAS, Independent ing Marks, Prochazka, piano and c:ha:m DANIEL PINKHAM recently completed SIc:hool District staged its annual Junior ber composer, worked for several music the Mass of the Word of God, commis High School Music Festival on February firms and was a private editor, auto· sioned by the Church Association of 4 and 5. The final concert featured an 80 gra:pher and consultant. The need for .A:merica and to be given its premiere voice honor choir, ably directed by Ray additional editors was 'Created by the in August 2 at the St. John's Cathedral, Mil mond Rhea oif Panola College in Carth creased demand for Marks publications waukee, Wisconsin, at the Solemn or Pon age, Texas, as well as an 80 piece honor in the educational ifield, it was reported tifical Mass. The Mass is a setting of the band, directed by lOr. John Green of West by Don Malin, Educational Director. official American translation approved by Texas state University, Canyon, Texas, the National Council of Bishops in 1964 and a 50 piece string orchestra. Students THE 12th ANNUAL choral musi'c Read and is scored for congregation, mixed ohosen for the honor groups work under ing Olinic sponsored by Volkwein Broth chorus and organ. Pinkham's Lamenta well-known clinicians for a total of 11 or ers, Inc., 117 Sandusky St., Pittsburgh, tions of Jeremiah was performed March 12 hours on Friday and Saturday, and Pa., will be held June 29-30 at the Roose 17 at Kansas City at the .A:CDA Conven participate in the festival concert on Sat velt Hotel at Pittsburgh with ACDA tion on commission of the organization. urday night. Some 1200 persons were member Richard D. Hoffland, director of It received its second hearing in King's present in Lee High School Auditorium choral activities at Millikin University, Chapel in Boston .A:pril 8 and the work for the concert. Hugh M. Ellison is Co Decatur, Illinors as guest clinician. Res . is being published by C. F. Peters Corp., ordinator of Fine Arts in the Midland ervations may be obtained by writing of New York. Schools. Volkwein Bros., In'c. 26 THE CHORAL JOURNAL Ch()r-al l2eviewJ ly simple but beautiful anthem for SATB Ah, Jesus Lord, Thy Love to Me - arr. a cappella choir, Behold, the Lord Hath David N. Johnson, CS-517, SSA, oDgan Proclaimed (5398, 25c) with text from accomp., 6pp, 25c. Isaiah 62:11. ' A Southern folktune. The soprano solo Kent A. could be sung by the entire section. E. CRESCENDO MUSIC PUBLICATIONS The Lone, Wild Bird - arr. David N. P.O. Box 153, Dallas Tex. Johnson, CS-516, SSA, organ accomp., 3 Newbury Bob Burroug.hs has a very tasteful ar Alhambra pp., 22c. rangement of William Moore's hymn, There is a soprano solo in this selec High School Brethren, We Have Met to Worship (113, tion also. With the exception of four Phoen iz, Ariz. 20c) for'SATB and piano. The final verse measures, this piece is unison through is to be sung a cappella. out. E. CHAPPELL & CO. When Jesus Left His Father's Throne - The SATB choral selection from one arr. David N. Johnson, CS-518, SSA, ac- of the recent musical shows, On a Clear comp." 3 pp., 22c. , Day You Can See Forever, is now avail Another Southern folk tune arrange able. (2282, 75c). The music was written ment which, in its simplicity, would be MUSIC PUB. HOLDING CORP. by Burton Lane, the books and lyrics by an enjoyable musical experience. E. Haydn Morgan, using Christina Ros Alan Jay Lerner, and the arrangement Let Our Gladrness Know No End - arr. setti's ,beautiful text, .has a lovely setting by John Cacavas. .. Marie Pooler, 1442, SA or unison, organ for SSA of None Other Lamb (R 3462, or piano accomp., 3 pp., 22c. 25c with piano or organ accompaniment. An Advent anthem for youth choir The first part is in minor, the second, based on a Bohemian folktune. Range is in major. good as it does not tax either extreme A strong Easter anthem to consider of the youn~' voice. E. for an SABclloir next year is Mary E. o Sons and Daughters, Let Us Sing - Caldwell's Sing With Joy (R 3461, 25c) Rodney G. arr. Ron Nelson, 1459, SA, organ or in with accompaniment !for piano or organ. strumental accomp., flute or violin, two It inlcludes good dynamic changes, three Walker B flat 'Clarinets and cello, 10 pp., 30c. verses, each done quite differently, and Music Department This anthem is taken from the familiar some "Alleluias" to close each verse. State Univ,ersity "0 filii et !filiae" of the' 15th century. "G's" and "A's" in the soprano line. E-M. SCHMITT, HALL & McCREARY CO. of Iowa Wondrous Love - arr. Marie Pooler, Two Unison Anthems (218, 25c) by Rob Iowa City, Iowa 1445, SA, organ or piano accomp., 6 pp., ert Powell, with organ, feature two sim 25c. ple but effective melodies useful in al A nice arrangement of this familiar most any church service with any choir old Southern Folk Hymn. Good selection vo¥cing or age-group. AUGSBURG PUBLISHING HOUSE to use as a training piece and could also NEIL A. KJOS MUSIC CO. Deep Were His Wounds - Leland Sa be used in church or in a concert situa For consideration, possibly as an in teren, 1461, SATB, organ accomp" 6 pp., tion. E. troit or brief anthem, for next year's 25c. GALAXY MUSIC CORP. Easter service is An Easter Chant (5409, Anthem for Lent or Holy Week. A Sweet Freedom's Song - Cantata by 22c) for SATB a cappella choir, by the hymn arrangement employing all voices Robert Ward, for chorus and orchestra, fine composer Gordon Young. Mr. Young in unison, two part women, two part men with soprano and baritone solos. also gives us Sing Unto God (5414, 22c) and four part harmonization with option I. It Was a Great Design - SATB, 'di a moving anthem of praise for SATB of congregation to sing with the choir on visi, HP39-A, orch. or piano, 16 pp., 500. with optional accOOllpaniment. the third stanza. E-M. VI. Epitaphs - SATB, divisi and bari One of the final writings of Robert Rejoice, Ye People - Daniel Moe, 1458, tone solo, HP39-F, orch. or piano, 10 pp., McCowen before his very untimely and SATB, organ and brass accomp., instru 35c. sad death perhaps could adequately serve mental parts available 60c for a set, 14 VII. Sweet Freedom's Song - SATB, as a memorial to his love of music and pp., 35c. divisi, ol:'ch. or piano, HP39-G, 16 pp., 50c. his devotion to the choral art. AvailaJble This anthem melody is based on the I would like to see the entire cantata! now is his brief set entitled Introit-Res hymn of the same' tune. The setting is Nice contrasts of texture. The above three ponse Kyrie-Amen (5406, 22c) with inter in the contemporary idiom. An exciting cuttings are exciting pieces requiring a esting uses of major and minor sevenths number, bright in both mood and tempo. larger ensemble. Definitely, the entire creating rich chordal sounds. E-M. composition is worth looking into, as are Written in his beauti:ful, flowing, mel Who Shall Abide Walter L. Peltz, the above mentioned selections. M. odic style is Olaf C. Christiansen's Hope PS-617, SAB, flute and guitar a'Ccomp., in the Lord (79, 30c) for SATBB a cap 6pp., 25c. J. FISCHER AND BROTHER pella choir. T.he text is Psalm 130, and This unusual setting with flute and Christ Lag in Totesbanden (Chris,t Lay the 'Composition contains, musically, the guitar accompaniment would be a nice in Death's Strong Bonds) - German and deep religious conviction of the composer. addition to your library. It was written English text,. by Johann Kuhnau (1660- One of the leading American choral for youth choir,' but could be used by 1722), ed. by H. Fishback III, 9560, SATB, writers, Jean Berger, has a comparative- adult chOirs as well. E. ' chorus with soprano, alto, tenor.. bass 18 Years af IIAMERICA'S FASTEST SHEET MUSIC SERVICE II Proven Service ALL MUSIC OF ALL SHEET MUSIC PUBLISHERS Band, Choral, Organ, Cantatas, Operettas, Award Pins and Music Holders When Customer Furnishes Complete and Correct Description We GUARANTEE SHIPMENT-From 1 Day to 10 Day Maximum. We carry in excess of 60,000 Educators Music Supply Co., Inc. different choral items in stock SYLACAUGA, ALA. 35150 MAY-JU!llE 1966 27 BRODT MUSIC CO. Watch 0 Master, O'er Us, 98-1843, Choral Reviews Behold What Manner of Love _ Joseph George Brandon, 25c. solos, a:ccomp. by strings, cornetti and Roff. Two part women and men. Quietly organ. Parts avaiIable from pub.1isher. An anthem for SATB with organ ac- moving based on a plain-song melody. 31 pp., $1.25. companiment (two stave). Based on text Glory to God in The IDghest, 98-1811, .Johann Kuhnau was Bach's predeces- I John, 3:1-2. Tenor or soprano solo in Hammerschmidt-Aberdoerffer,50c. sor as cantor of the Thomaskirc'he in middle. Comfortable ranges. • For periformance by a TTB organiza- Lei'pzig. This cantata is in eight move- tion with an SSATB group I like the ments; the second and eighth use the full sound in both groups. It is suggested chorale text and melody. ,The work is not however that choir one (TTB) can be too difficult and would be enjoyable to soloists or small group; and it further present. E-M. suggests that the TTparts may be taken I. Patres Nostri peccauerunt (So Must by sopranos. Appropriate at Christmas We Bear Guilt) G. P., da Palestrina. or for that matter any time today. The II. Adoramus te, Ohristi ,(We Adore Alfred R. text, in English reiterates "Glory to God Thee) -, Orlandus Lassus, SSA, 9671, un- in the Highest, Peace on Earth and Good 3!ccomp. Blinde Will to All Men." Both selections are inclu(ied in the Chadron State Wake, Awake, For Night is Flying, same octavo. Both are 3 pp. in length. C II 97-4714, Dietrich Buxtehude, $2.25. Ranges are good. E-M. 0 ega, A cantata for two sopranos, bass, four SACRED MUSIO PRESS Chadron, Neb. violins (3 vI. and viola), bassoon (or vio- ,Come, Ye Sinners, Poor and Needy _ Ion cello) , and organ. This work may be Carlton R. Young, E53, 'SATB, accomp., performed by three soloists or in chorus. 7 pp., 30c. Because of the text and ,nature of the mu- This anthem is based on the early BOURNE CO. sic, it is possible to perform the cantata American tune "Beech Spring" from the with brass instruments in place of the "Sacred Harp" (1844). A low solo voice A Psalm for the Living, 825, Still-Avery, strings. If necessary, it could be per- is needed. The texture is homophonic. 40c, Mixed Voices. formed by two strings (or trumpets) and General use. E. The piano reduction with this publica- 'continuo. This is one of two cantatas by ------Lamb-of-ea,lvary-_-Wi1Iy--Reske--E52:~-"'ti"'0'-!;n'=_'an~d~~th"-e"--'o~r'-'c"'h"'e"''S'''t'''r~a'-,-.!!cm'''a~t~e.:!r~ia~ls':::,~..!:a~T~e'_,_-"BuxtehuJie.--m:LtPj!'LCll.pxate._'I'his" edition SATB, unaccomp., 8 'pp., 30c: ' 'available from the publisher. Opens with of the cantata is ba:sed on Vhe work as An effective setting of an aecount of a slow sustained mood supporting the it appears in Vol. VI of Buxtehude's' 'the crucifixion. It demands a flexible opening lines of the "Lord's Prayer." Werke edited by Harms and Gurlitt. choir. Ranges are good. E-M. Modern homophonic combinations in the Good Christian Men, With Joy Draw Make It Joyful Noise Unto God _ Ed- accompaniment. Requires precision typi- Near, 97-4724, Dietrich Buxtehude, $1.25. ward G. Mean, E54, SATB, unaccomp.; cal of the chant. Relates God's involve- For SSATB' and organ. Edited by Rich- 7 pp., 30c. ment in the efforts of man. ,ard Gore. The preface ,contains some pro- Shifting of meter adds to the spirit of CONCORDIA PUBLISHING HOUSE gra:m notes. Written in 8 parts. this selection. This is a real "rouser" Sinfonia - good rhythmic number for with a contrasting polyphonic middle On ChrIstmas Night, 98-1760, arr. Wer- organ section. Your church choir should enjoy ner P. Grams, 25c, Mixed Choir. Chorale ~ sopranos sustained line and singing this piece. M. A Sussex Carol, Traditional English. again rhythmic organ The Pmyers I Make _ Jane M. Mar- Opening section unison women. Second Chorus - 'majestic {full choral sound section two 'pa'rt for men and women. Fi- shall, E51, SATB, organ 8Jccomp., 5 pp., 1 t· f tAd 1 t Sinlfonie - organ definite ideas given 30c. a sec IOn our par. 'e igh ful carol for stops A simple setting of a prayer by Michel- in 6/8 and 9/8 meter, not dif'ficult. Bass-Arioso - good rhythmilc solo' angelo. Homophonic texture. A lyric mel- Where'er I Go, Whate'er My Task, 98- Semi-chorus - suggested string stop acc. ody and a quiet a c8!ppella section adds 1837, Richard Hillert, 25c, SATB. Duet -'sopranos one and two , to the effect of this anthem. E-M. • Flowing, but with strict meter but no Choral - homophonic with closing Amen time signature. Madrigal texture, good section set polyphonically. lines and range. Alccompaniment for re- hearsal. Some abrupt but interesting CANYON PRESS, INC. homophonic change. A '66 publication. Prayer of St. Patrick, 6509, Ross Hast- George l. Presser presents Gansz University of OUTSTANDING WORKS FOR CHORUS Pennsylvania Philadelphia, Pa. with Orchestra or Band Accqmpaniment Canticle af Praise ...... , ...... John Ness Beck .35 SA ·I'H. pinno or organ (orcheBtra' or band', A Christmas Fantasy ...... ; ••••••• ; ••••• arr. by John Verrall .30 MARKS MUSIC CORPORATION SA 1'/J or uniRon. piano (band accomp. lor .cUe) The Gettysburg Address ...... George Lynh .40 Rediscovered Madrigals - edited by Don SATII. baritone 8010. piano (orcheBt;'a') Malin. 4328, I am the Phoenix, Veochi, An Invocation ...... •". 110 ...... " .... 110 ...... Boris Koutzon .40 SATB, 25c; 4327, Come Now, Ye Maidens, SSA, piano (oreheBtra') - The Light of Man ••••••••••••••••••••••••••••••••••• Bernard Roqe" .60 Clement, SATB, 25c; 4326, Ah! Weary am SATI1, Boprano. alto and baritone Bolos. 1,iano (orcheBtra') I, Marenzio, SATB, 25c. Once to Every Man and Nation ••••••••••••••••••••• David Stanlov York .35 These 16th century compositions are SA7'B. organ (orcheBtra' or band') PilgrIm's Hymn •••.••••••••••••••••••••••••••••••••••• Otto Luenlng .25 carefully edited and make a worthwhile UniBon or two-part choruB. piano or organ (orche.tra') addition to the repertoire. All have Eng A Proverb af Solomon ...... Leo Kraft .40 lish words and some have original text SA7'H, piano (orchestra') as well. Piano is printed for rehearsal. A Psalm of David ••••••••••••••••••••••••••••••••• ; •• Robert Starer .40 SATB. 80prano Bolo, organ or l,iano (OTt,heBtra O) • THEODORE PRESSER CO. VIsIons of St. John ...... John NelS 'Beck .60 Motets of Pierre De La Rue - edited by SATB, piano or organ (l,andO ) Nigel Davison. G3!Ude Virgo, SATB, 45c; tAccompaniment available on rental Salve Mater Salvatori'S, 'SATB, 60c; Salve Send lor aur complote listIng of Choral 'Music with Instrumental AccompanIment Regina, SATB, 35c; Pater De Caelis, SAATTB, 60c. Excellent compositions, carefully edited. Theodore Presser Company All are a cappella. Latin text. Excellent SINCE 1883 BRYN MAWR, PENNSYLVANIA 19010 notes and list of sources. 28 THE CHORAL JOURNAL tenor occasionally goes a bit· high. Old 1111111111111111111111111111111111111111111111111111111111111111111111111111111111111 Adam, the Carrion Crow sounds like a thamher folk song but it is far from that. It oc caSionally goes into divisi and for this reason you should look at it first, but it's E()()I\ ehoir top drawer writing (20c). While You are at it, ask them for a ~I:VII:W catalog. They have several interesting Jack things for larger choir also. Donald l. Just- because you have a small school Boyd with a Choir that is only able to come Bisdorf University of up to SAB material does not mean you Clearwater Campus Dubuque have to slight the chamber singing of St. Petersburg Dubuque, Iowa the better musicians. J. Fischer & Bro., Glen Rock, N.J.; has two sets of Madri Junior College gals from the XVllth Century !ldited by Clearwa"her, Fla. A good way to start· almost any day Howard D. McKinney. Set II (9612, 35c) is to find a new publisher, particularly has four pieces in it and a bonnie lot of when that publisher has good material. fa-la-la it is. The Conductor's Art, edited 'by Carl Bam One has come to my attentioh(although Opera seldom scales down to chamber berger. (New York: McGraw-Hill it might be old hat with other conductors) choir size, but one ex,ception is Carlisle 1300k Company), 1965 .. $6.50. from Canada. This firm's catalog is ex Floyd's arrangement of an excer.pt from What qualities must a man have to cellent in almost every respect. It is the his opera "The 'Passion of Jonathan transform a group of musicians - each Waterloo Music Company, 3 Regina Street Wade." Down in Galilee is a spiritual type with his own musical ideas and artistic North, Waterloo, Ontario, Canada. First of' piece, accompaniEild, rhythmic, not too temperament - into a single unified class postage is the same as in the U.S. tough. Boosey & Hawkes, Oceanside, N.Y. voice? The Conductor's Art is a provoca Among other series they haye a group (5538, 25c). tive collection of reflections by conductors called the FOLK MUSIC LIBRARY. This Now, for the experimenter and non and composers writing about the back has easy to medium arrangements of to camp leader, General Music Publishing ground, experiences, problems and think tally unknown folk, songs, some in French Company, 53 East 54th st., New York, ing of the conductor. Bamberger brings with English translations, some in Eng N.Y., 10022, has a set of tliree pielces by together important writings from the lish only. For openers try Cape St. Mary's Gabriel Fontrier called THREE NEW nineteenth century to the presen't. Among (arr: Keith Bissell, 25c), The HurOill Carol DIRECT120NS IN MUSIC, namely 1. the names of fine conductors, whose (arr: Richard Johnston, who is also edi Method of Accounting, 2. A New System writings are brought into focus, are tor for the entire series, 25c) and J'En of Water Purification, and 3. Biting Hu found Hector Berlioz, Richard Wagner; tends Ie Moulin (arr: Godfrey Ridout, mans. (no price given) I mean. . Serge KoussevitskY,Bruno Walter, Leo 20c). These three pieces would make a really! With titles like that who needs pold Stokowski, Leonard Bernstein and good section of folk music for a concert. an explanation? Occasionally hairy. Eugene Ormandy. As one would expe'Ct In the non-folk area are three pieces Tlhe list of 50 works a'Pplicable to the to find it, the emphasis fails on orches which would work nicely with a small. high school chamber group and the ar tral conducting, bu't ~horal directors and group. Adam Lay Y'Bounden by P. W. tilcle "The High School Chamber Choir" band directors will find that musical in Sweetman has an optional accompani have been reprinted. For free copies send terpretation and personal opinions deal ment and is very simple (20c). The Face a self-addressed stamped envelop to me with projection in many ways basic to of the Night by Richard Johnston at the UniverSity of Dubuque, Dubuque, all of musical 'performance. History of (price?) has long, lyri1cal lines but the Iowa 52002. • music and history of conducting are in focus as classical treatises, previously un translated material and new essays are included in 'this volume. Ocker, 25c. Many ideas and approaches are inter Choral Reviews Light, with some syncopation. Unison esting to the reader, as ac'cord or dis ings, 30c, SSAATTBB. voice line over r,hyt'hllllic accompaniment. agreement are compared. B ern s t e in The opening chant (senza misura) by Voices at times divide to 8 parts. Re writes of "the mysteries that nci' conduct bass (optional solo), organ 3iCcompanl quires some careful tuning. or can learn or acquire." Stokowski feels ment. Slow sustained. Some antiphonal A Child is Born, 88685, Robert Elmore, that "conductors are born, not made/' On. type work as well as unison and homo 25. the other hand, more tangible aspects ot' phoniC. SAB accompanied. A fast, flowing the condU!ctor's art are found. His tech The Trumpet, 6501, W. M. Williams, 26c. Christmas carol. Easy yet interesting in niques and manner of working are also Piano or organ accompaniment in a the overall work. divulged. Berlioz delves into the subtleties style grandioso expected in brass choir. Blessed Are the Poor, 84864, Kenneth and complexities of beating time. Wagner Opening section voices in unison. Some' Walton, 25c. explains why he believed th!l' conductor's modulation between F and D majors. SATB with baritone or contralto solo. choice of tempo indicates whether or not Middle section the voices are in four parts Text taken from Scripture. The conduct he understands a piece. Other considera unaccompanied. In the last section a or can mould some beautiful choral tions expand on 'the art of interpretation, trumpet part is added. 'sounds under the soloist in this selection. including the 'conducting of contemporary Save Us, 0 Lord, D3-98, Joseph Roff, works. HAROLD FLAMMER, INC. 25c. Notice that this book is edited and com Three Poems, 82209, Emma Lou Diemer, First and last sEjction - slow, sustained, piled by Bamberger. The separate sec '30c, for mens voices. Based on poems by homophonic anthem. Middle se'ction - in ~ions represent the writings of· twenty Ogden Nash. another key - is contrapuntal. four conductor-composers; The editor's "The CenUpede" - a lively contempor Today is Ours, R3-85, Eugene Butler, introductory discussion of music history ary entertaining number in 3 parts TTB. 25c., , atccents developments out of which the Good range, piano accompaniment. A choral fanfare for SATB with piano need for the conductor grew. The Con "Celery" - unaccompanied 4 part. Tenor accompaniment. In the first section the ductor's Art is not tfor the musician alone. line to a high C. ' piano used very little, almost as a per Its broadened scope makes it reading of "Eels" - 3 part with piano accompani cussive s'pring board for each phrase. an engrossing and fascinating kind for ment, tempo indication is fairly fast and The middle section more legato with anyone who wishes to more fully under jazzy. men's voi'Ces. The last section fuller again stand 'the manifold aspects of a "magical Farewell to Winter, 81296, Marshall with all voice lines and more piano. e profession." e SINGING CITY annonnces FOR SCHOOL, TWO SUMMER WORKSHOPS IN THE CHORAL ART ELAINE BROWN and JULIUS HERFOR~, Co-directors COLLEGE & CHURCH CROZER SEMINARY, CHESTER, PENNSYLVANIA CHORAL GROUPS I. July 10-16: A Hindemith·Stravinsky Study 2. July 17-23: An integrated study of vocal and conducting techniques For further information, write: SINGING CITY, 35 S. 9th St., Philadelphia, Pa. 19107 MAY-JUNE 1966 29 VINCENT PERSICHETTI will be at ST. LOUIS CHORUS TO SING AT Wisconsin State University-River Falls on October 14 for the world premiere of his SCHUET~ FESTIVAL IN HOLLAND .commissioned work for hed by Shawnee Press and was good change of pace for your group. This is quite a change from the vener commissioned by Edwin .Franko Goldman IlIble Dett version, but we feel that you in 1954 for performance at the American 451-603 - Psalm 147, Ja 30 THE CHORAL JOURNAL A Little White Hen by Scandello; To Yon Fair Grove by Sermisy; DanCing and Record of the Month Springing by Hassler; Weep 0 Mine Eyes by Bennet; I Cannot Conceal It by Certon; Good-Day, My Dear by DiLasso; Lasciatemi Morire by Monteverdi and II tst Bel et Bon by. Passereau. Two ad ded features of this recording includes the performance time of e8lM work and Anthony C. very fine program notes by Jerry Brown. A Choral Tapestry must be considerl!d ALABAMA GappadoniCi one of the most important contributions Brown, Rex A., 402 2nd St., Cordova 35550 State University in the choral publishing fieid this year. Catanzariti, R. D., Florence State College, of New York Choral directors interested in pemorming Florence 35630 . high quality music and listening to top . Jones, Miss Merilyn, 619 Rankin st., An Alfred, N. Y. notch 'performers should ,purchase this dalusia 36420 recording with the octavos soon. Masterson, Benford, 2326 S,herrod, Flor ence • * • Wood, Roy L., 1655 Lakewood Dr., Birm . Sound Spectrum for Voices. Volume IV. ingiham 35216 A Ohoral Tapestry. Ambrosian Singers. John Cacavas, director. Mono and John McCarthy, director. Monaural: Stereo. Published by Murbo Records, ALASKA MLP 6001; Stereo SLP 6001. Murbo 136 West 52nd st., New York, N.Y. Laube, Mrs. Irene M., 1129 G Street, An Records, 136 West 52nd St., New 10019. Distributed by Bourne Co. ' chorage 99501 York, N.Y. 10019. Distributed by Once again Bourne Company has added ARIZONA Bourne COIDIpany. another album to its impressive list of Garrett, Harry S., 648 S. Oracle, Mesa Bourne Company is setting a new pace record-octavo publications. This ·record 85201 in the publishing field with a new trend fulfills the need for directors who are developing to help directors with mini searching for popular tunes arranged on ARKANSAS mum rehearsal time: offering octavos a professional level: Charles Cassey, John Hollingworth, Mrs. Virginia, 6715 Hinkson with a companicm recording of these com Cacavas and Clay Warnick are the best Rd., Cloverdale Jr. H.S.; Little Rock positions. Bourne must be considered one in the field and they understand the 72204 . of the leaders in the record-octavo com "pop" choral idiom. Their treatment of CALIFORNIA bination idea. Listening to a professional the selections on this record is unique Clark, Kenneth' A., 3210 Merrill Dr., No. performance of a composition that a busy and of the highest quality. A musical 23, Torrence 90503 choral dire'ctor is considering makes work does not have to be a couple of hun Fuller, Jeanne W., 5320 Crestwind Dr., :sense and saves much valuable time and dred years old to be good and tasty ar Rolling Hills 94572 money: choral libraries are filled with rangements of good standa,rd tunes have Lawrence, Douglas H., 622 Magnolia Ave., music that sounded acceptable via the a place, and an important position in the Inglewood keyboard aJPproach but does not sound choral program. Trying to get a profes Simmonds, K. Gene, 313-D Raymondale choralistic after the music is rehearsed sional performance of pop tunes with Dr., So. Pasadena 91030 by a ''Choral group. ninth chords with no root and with prop Skiles, Mrs. Olive F., 11687 Bellagia Rd., A Choral Tapestry includes an out er rhythmiC interpretation and intonation Los Angele 90049 standing Ust of 16th and 17th century is no easy task. Performing this type of motets and madrigals. The works on this musi1c is also excellent training in pitch COLORADO album have been edited by Norman Gray discrimination (sing major sevenths in Bridge, Neil W., 1686 S. Glencoe, Denver son from his choral library of Early Sac scramble formation). 80222 red and Early Secular Music, all pub With E:)ach arrangement a conductor's Carey, Donald A., Colorado U., Boulder lished by Bourne Company. The Ambro kit complete wi·th piano, drums and gui Dalton, James A., 1333 So Eliot St., Den sian Singers present these selections with tar parts is available· and provides addi ver 80219 excellent taste and the choral sound is tional coloristic effects. Graves, Ruth E., 3615 W. 24th Ave., Den unforced and freely produced. This chor Sound Spectrum is not to be regarded ver 80211 al group has won distinction throughout as a rigid pattern of performan'ce tech Wolfer, Dale, 3088 S. Zurirch .ct., Denver America and Europe for their faithful nique, but as a ,guide to help the singer. 80236 ness of interpretation of choral music of learn parts and 'get an idea. of the total FLORIDA the Medieval, Renaissance and Baroque sound o:f the work. The selections on this Cooklsey, John M., 920 West St., Apt. 3,. periods and serve as an excellent model recorif indude: "Sfde- One: 'Let's' Fall In Tampa 33602 of performance standards. Love;' 'Unforgettiibie ; Then -pii Be Happy; . Cunningham, Dave W., 5805 Pierce st., Side One includes: Ave Verum COI'lpUS Gone With the Wind; Back in Your Own Hollywood by Byrd; Resonet In La,udibus by Handl; Back Yard; That Old Gang of Mine. Day, Carolyn, 1011 Gilmore St., Jackson:' Plorate Filii Israel by 'Carissiini; Cantate Side Two: San Antonio Rose; These Fool ville Domino by Pitoni; Dies Sanctilficatus by ish Things; Love: When You Wish Upon Heft, Pauline W., Seabreeze H.S., 2700 N. Palestrina; Adoramus Te by Clement and A Star; Smile and Give a Little Wbistle. Oleander, Daytona Beach .32018 Call To Remembrance by Farrant. . Side All arrangements are published by Johanson, Harry M., Forest Hill H.S., TWo eonslSts of thefollowlng madd~alS: Bourne Company. ., 6901 Parker Ave., West Palm Beach 33406 Ryan, Gail Batty, 351 N,E. 105th St., Miami 33138 Storm, Paul A., 828 Corter, Coral Gables GEORGIA Hadaway, Jane S., Box 544, Thomson 30824 HAWAII Institutional-Kailua Intermediate School, YOUR BALLOT Mrs. Marilyn C. Lim, I.R., 145 S. Kai nalu Dr., Kailua 96734 Sonomura, Robert, 1517 Onipaa st., Ho- IS ON THE nolulu 96819 . IDAHO OTHER SIDE Bryan, Jeanne F., 1170 Mt. Putnam Dr., Blackfoot 83221 ILLINOIS Alexander, Elroy C., 2703 Dove St., Rol ling Meadows 60008 Bottom, William A., 9228 Oak Park Ave., Morton Grove 60053 -Continued on page C3 MAY-JUNE 1966 31 Instructions: Find your state Nominees listed on this page. Enter the name of your State, your choice for State Chair 1966·1968 man, and sign your. name· to the Ballot included on this page. Clip Ballot, plaKle in envelope and mail before June 15, 1966 to: R. Wayne Hugoboom Executive Secretary, ACDA IN STATES WITH TWENTY P. O. Box 17736 Tampa, Fla. 33612 OR MORE MEMBERS Remember your Ballot must be stamped no later than June 15 to be included in the final count. Only paid, active ACDA members are eligible to vote. New Chairmen will be notified by letter and complete results will appear in the July-August (,4s of March t 1966) and September-October issues of The Choral Journal. ILLINOIS .,--...-~_.... --;..-_.--_MISSISSII~J>I ... ___. ------NGMINEES·----- Ricliara-Hoffiana;-l¥IiTIi~an University, Decatur Leonard Metts, Central High School, Jackson • Asterisk before name indicates recent appoint Herbert Pankratz, Wright Jr. College, Chicago J. Leslie Reeves, Hinds Jr. College, Raymond ment to State Chairman position. To comply with MISSOURI ACDA Constitution and Bylaws governing elections INDIANA Jerry R. Hoover, North High School, Evansville R. Gene Bryant, Central H. S., Cape Girardeau' in States with 20 or more members, this appointee Wendell C. Kumlein, Indiana State U., Terre Haute Wes Forbis, William Jewell College, Liberty needs to be approved by a majority of his state members in order to continue in office for the 1966- NEBRASKA IOWA "Jack A. Learned, S~nior High School, Grand Island 1968 term. Jack Boyd, University of Dubuque, Dubuque Gordon H. Lamb, Sac Commu~ity H. S., Sac City. NEW JERSEY Channing F. Coppage, Piscatawy High School, ARKANSAS New Market "Alfred Skoog, Arkansas State College, State College KANSAS Louis Hooker, High School, Plainfield A. F. Thomas Jr., High School, Forrest City Vernon Nicholson, Southeast High School, Wichita John .Sample, Campus High School, Wichita NEW MEXICO CALIFORNIA Joe Carrol, Senior High School, Roswell Harry Carter, Chabot College, Hayward Arthur E. Loy, Highland High School, Albuquerque Lois Wells, EI Monte High School, Los Angeles KENTUCKY "Robert K. Baar, Murray State College, Murray Angelo Turano, High School, Farmington Loretta Stackhouse, Paducah-Tilghman H. S., Pa COLORADO ducah NEW YORK Alex B. Campbell, Supr., Jefferson Co. Schools, Richard N9wbert, SUDr.. School District, White Denver Plains Gordon De Broder, University of Denver, Denver MARYLAND Mrs. Dorothea Waddell, Sewanhaka High School, Mrs. Blanche F. Bowisbey, Baltimore Jr. College, Huntington Baltimore CONNECTICUT Lois M. Rogers, Anne Arundel Pub. Schools, An NORTH CAROLINA Charles H. Matz, High School, Norwalk napolis Paul' W. Peterson, Salem College, Winston-Salem John A. Poe lie in, Univ. of Connecticut, Storrs Charles E. Stevens, East Carolina College, Green . ville . FLORIDA MICHIGAN "Peggy Joyce Barber, Stranahan H. S., Ft. Lauderdale Thomas Hilbish, University of Michigan, Ann Arbor OHIO George H. Putnam, Supr., Bd. of Ed., Pontiac Bryan Lindsay, Okaloosa-Walton Jr. College, Val Hamefie~itchelli Head, City School Music,. Mans- paraiso Donald W. Simmons, Ohio State U., Worthington GEORGIA MINNESOTA Haskell L. Boyter, Druid Hills Presbylerian Church, Roger H. Tenney, High School, Owatonna OKLAHOMA Atlanta Gerhard Track, St. John's University, Collegeville Archie Brown, Oklahoma City University, Okla James E. Dooley, University of Georgia, Athens homa City Charles Robinson, Supr., City Schools, Edmond OREGON Stephen L. Stone, Beaverton H. S., Beaverton ------, 'Robert B. Walls, Oregon State University, Corvallis BALLOT . I PENNSYLVANIA William K. Decker, State College, Bloomsburg 1966-1968 Biennial Election - ACDA State Chairmen I J. Frank Kuykendall, Supr., Jenkintown District, Glenside YOUR STATE SOUTH CAROLINA (Fill in) I Mrs. Marie Brown, Crayton Jr. H. S" Columbia YOUR CHOICE FOR Martha E. Washington, High School, Myrtle' Beach STATE CHAIRMAN ...... _...... , ...... I TENNESSEE (Print name of your choice) John J. Cooper, Tennessee Tech. U., Cookeville Only Paid ACTIVE Members are eligible to vote. Robert W. LaPella, East Tenn. State U., Johnson I City To insure proper procedure and tabulation, it is imperative that you sign your I ballot. Results will becertilfied. Clip and fill out your Ballot, sign it and mail VIRGINIA in an envelope plainly marked BALLOT to: R. Wayne Hugaboom, P. O. Box I Clark Graves, Princess Anne H.' S., Virginia Beach 17736, Tampa, Fla. 33612. Alton Howell, T. Jefferson H. S., Richmond I WASHINGTON YOUR NAME ...... ".Coyne G. Burnett, P. S. District 401, Ellensburg Print or write legibly Mildred T. Forsling, Yakima Valley Academy, I Yakima DO NOT FILL IN unless you have an ~ I WISCONSIN Address Change or William B. Jones, Lincoln H. S.. Manitowoc Correction. Include ZIP...... I Bernhardt H. Westlund, Milton College, Milton NOTE: UNSIGNED BALLOTS WILl. NOT BE COUNTED I 32 THE CHORAL JOURNAL Heck, Mathilda, 1004 Portland Ave., st. GHIO ,New Members Paul 51104 li,ittman, Robert A., 237 Ironwood Dr., -Continued from page 31 LarsoJ;l, Rieterson, Glenn A., Doane College, Crete Circle, Chattanooga 37404 67208 68333 Johns, Ruth, 101 S. Tyler Rd., Wic!hita Litz, Mrs. Eloise, 1625 S. Clayton Ave., York, Mrs. J. Thomas, Box 291, Gothen Chattanooga 37412 67207 burg 69138 Kinsley, Margaret L., P.O. Box 442, Hess Long, J. William, 4031 Forest Plaza Dr., ton67062 NEW JERSEY Hixson 37343 McBurney, Mary Jane, 238 W. 63rd South, Robinson, Muriel P., Bloomfield College Luebkeman, Jo Ann, 754 Semme, Mem'phis Wichita 67217 Music Dept.; Bloomfield Simmons, Mrs. E. J., 1102 Queens Dr:, Pellett, Robert F., 1742 Hood, Wichita Chattanooga NEW YORK Wesberry, Mrs. J. M., 2934 Brandale, 67203 Cole, Earl S;, 204 S. Clinton, Albion 14411 Ralston, James S., 332 Murphy, Lawrence Memphis Congdon, J. Lyman, 8 Woodbridg.e Ave., Wilson, Ethel, 1426 Central, Apt. 108, Redfern, John R., 615 Mission, st. Marys Chatham 12037 66536 Memphis 38104 Scott, Esther C., 21 Bluff Point Rd., TEXAS Scriven, Nancy L., 500 N. Meridian, Val Northport 11768 ley Center 67147 Industry ASIS!}C.-American Educational Stanley, Charles R., Broome Tech. Com Music, Jack W. Harmon, Pres., P.O. Stump, Nelson E., 1919 Harrison, Great munity College, Binghamton 13902 Bend 67530 Box 126, Fort Worth· 76101 Tevririan, Robert S., 628 E. 20th St., New -Continued on next page Watkins, Merrily, 1429 Woodland, Wichita York 10009 67203 ' Whitesell, Alta, Box 301, Cimarron 67835 LOUISIANA Alton, Mrs. Louise M., P.O. Box 1158, Ruston 71270 CHORAL ARTS WORKSHOP MARYLAND with Tetz, Leland R., 8120 Carroll Ave., Ta koma Park 20012 GREGG SMITH MASSACHUSETTS GUEST CLINICIAN Norton, Mary Ann, 6 Commonwealth Ave., Hopkinton 01748 JUNE 20-24, 1966 MICHIGAN Valley, Don, Roosevelt Eastern Mich. U., MANKATO STATE COLLEGE, MANKATO, MINNESOTA Ypsilanti 48197 College, Credit 2 qtr. hrs. MINNESOTA Caswel1,-Au~tin. 'B., U. of Minn., 104A .. Fo~ complete information w.rite: .' Nic~91§oIiHall; Minneapolis 55455 FlemilliJ!Mry.~;P.c:>tpthy L., 994 W. Iowa 'DEPARTMENT OF MUSIC Ave;,St ,:J?:flul' 55117 Mankato State College -.:... Mankato, Minnesota Gunderson,.Dori,·'~.ustin State Junior Col 'lege, Austin '. MAY-JUNE 1966 C8 KANSAS Crain, C. Robert, 267 E. 7th St., Cooke- ~;G':Zjfi:££ New Members Fisher, Christa M., 708 Porter, Wichita ville 38501 (Chattanooga) t!Uy,~ -Continued from page C3 ::C';; ':~::67203 Eaton, M):s. Beverly M., 119 Crestview Artus, Mrs. March P., 310 Canterbury, ,Grif.fiths, Ri'chard L., 717 LaClede Court, Lane, Martin 38237 ~Zt9 Corpus Christi 78412 ""-:-~ichita 67213 ,!Ji!.~.Q.J;J. Mrs. Jane R., 2407 Shady Lane, ~ ~.JH Conley, David L., 5204 Garrick Ave., Fort ::Shahe~~; Kenneth D., 17.2-4 Odell, Great ~/l:&1a.ttanooga (Signal Mountain) Worth 76133 '" Bend .6753WPJ.l0t.i1 qoaaiIS~li'l0ll ualPU , Dr. J. Clark, Music Bldg., Rm. Gibson, Mrs. Bettye J., 4702 Sauer No. 13, LOUISIANA aoe A;;t.:le; Kno;xville 37916 . Houston 77004 ~::: ,L0't'~.pM~~t.. ."£:q,. !3.gx-311...,..A JIria h L.C~>rlne E., 9304 BrJarwood Blvd., Irving, Bobbie Joe, 2614 Heron La,ne 71S1i.f ~lfre"¢rH~,. l!a:.)UU1~ 1111. a.;aw ~ xVIlle 37921 LaMarque 77568 ~~··"-l{jng;'Mrs .. Betty J., Dillard Univ., New TE~S'::'" Roach, Mildred S., 2016 Main St., Apt ..ittQ5,'.' .... O,rleaD's 70122 (Chicago, Ill.) BOz.!l.lii;.¥r/? ... IVa S., 4702 Market st., Hous- Houston 77002 MICHIGAN ton 77020 (Midland) Shannon, Mrs. Ted S., 202 W. 5th, Deer Heiberg, Emmett A., 910 State Ave., AI· Carson, Patrick R., 2617 Roosevelt, No. Park 77536 pena 49707 87, San Antonio VIRGINIA Stevenson, C. Bruce, 1402 Ida Ave., Flint Ivey, Milvern K., 430 Hillside, Big Spring Pfohl, James C., 2912 N. Glebe Rr., Ar- 48503 (Elyria, 0.) 79720 lington 22207 Zipser, Burton A., 32164 Exeter, Warren Murphy, Hubert 0., 1500 Main Big Spring Winn, John W., Jr., 3919 Rusk Ave., 48092 (Roseville, Mich.) 79720 ' Richmond 23234 MINNESOTA Rodda, Mrs. Ram')na, 4702 Highland Ter- WEST VIRGINIA Hoyerp., Nell Marie, 524 N. Broad St., race, Austin 78731 Andrews, Ja,mes, Box 153, Hurricane 25526 Mankato (Minneapolis) Schober, Woody, 1307 N. Morris st., Mc- WISCONSIN Skilbred, Harold C., 426 6th Ave., S.E., Kinney. 75069 Klauslch, Larry, 114A W. Irving Ave., Glenwood 56334 Sellers, ReId J., 231 Abiso, San Antonio Oshkosh MASSACHUSETTS 78209 Sturgeleski, Mrs. Don, 363 2nd Ave., N., Aquino, Antone J., 16 Fernald Dr., Apt. Sha~620Tlho(m~, .807 W. Hickory, Denton Park Falls 54552 11 Caanbridge 02138 (Newburgh NY). WIchIta Falls) . WYOl.\'UNG MISSiSSIPPI' " TImberlake, Don, 4527 Emerson, Dallas 75205 (Ft. Worth) . ___--'Van::_!l,,_~aJ~J{,EastBigh-S-cho-ol,1816_F're_e"'_ __ .Harper, Talmadge D., 2534 Audubon Dr., mont Ave., Cheyenne Laurel 39440 -- V-I-RGINIA----·'--.. -~-~- CANADA MISSOURI Name changed from Diehl to Grove, Knagai, Mayumi, 991 St. Clair Ave., W., Peters, Norman J., c/o Stephens College, Crystal D., Robert E. Lee High School, Toronto, Ontario Columbia (Indianola, Ia.) Sta~nton 24401 NEW HAMPSHIRE Name changed from Alexander, Mary Lou " to Shaw, Mrs. David F., 3507 N. Ot- BaIley, Blanche C., 184-B High Street, tawa St. Arlington 22207 Exeter 03833 (Sunapee) , Address Changes NEW MEXICO . WASIDNGTON (Name Changed) Hoblit to Engelsman Kornmeyer, Melvin R., N. 7020 Wall, Spo- ~ ALABAMA Helen A.,' 1108 W. Main, Artesia 88210 . kane 99208 (Eugene, Ore.) Tedford, Charles G ., R andoJph SC':1001, MItchell Joh M 919 S Huntsville 35804 McClellan, Joe L., 1121 Palomas S.E. Apt. ,n.,. Ironwood Dr., P.O. Box 505, 24, Albuquerque 87110 EN:oses Lake 98837 ARKANSAS Wall, A. V., 1404 Claremont, Clovis 88101 LAND Howard, Mrs. Mary Helen, Route 1, De NEW YORK Ni'chols; Anna Mae, Silvertrees No. 1 Valls Bluff 72041 (San Antonio, Tex.) Woodside Way, Virginia Water Sur- Smith, Mrs. Marjorie S., 40 Buchwood Dr., rey (Kansas City, Mo.) , CALIFORNIA Gouverneur 13642 (Old Forge) Semple, Dean, 1561 W. Clare, Porterville OHIO @i,itiI,~~ri,li,i,i,i"'i,i'i'i,iI,i,i,i,i,',i,i,',i,i'~iI,i,i,i,i,i,"i,i'iiI'i,li'i,lifi,i,',rii,iI'i,iI'lifit:i,i,i,i,:,i,fi,i'i,fi'i,i,i'li,i,i,rli,i@lit 93257 Delinger, Larry R., 126 North "N" Street, Thurman, V. Leon, 9503 Pleasant Valley Lompoc 93436 Rd., Parma 44130 (North Royalton) Triplett, William M., 775 W. Bonita Ave., Wilson, George E., 411 Dana Ave., Wil- !i'i'iff;,;"""""""""""""",""""""":<"""""" "'"""""""""""",;"",;,;,;";,,;,;,;,,,;,";"",;""";,;,;';;'i"':",ji,i"'::"',,"':),,j,i,j,i,,,i,ii"i mington 45177 Claremont 91712 (Los Angles, Cal.) Associated Music Publishers ...... C2 COLORADO OKLAHOMA Day, Larry J., 433 Princeton Rd., Ft. Col· Morgan, Jan, 9604 Ridgeview, Okla,homa Chappell & Co., Inc...... 7 lin'S 80521 (Boulder) City 73120 (Moore) Concordia Publishing House ...... 6 FLORIDA OREGON Coffman, Wesley S., 323-2 Pennell Circle, McBride, Sally, 4783 Dakota Road, Salem Educators Music Supply, Inc ...... 27 Tallahassee 32304 (Houston, Tex.) 97302 (Alsea) Kansas State University ...... 24 ILLINOIS . PENNSYLVANIA Kjos Music Co...... 6 Crawford, Arlene, 2215 Melrose st., Rock Yolton, David W., 2250 Country Club Dr., ford 61103 (Pasadena, Cal.) Huntingdon Valley 19006 (Willow Mankato State College ...... C3 Erickson, Karle J., 1902 Vermont, Uur Grove) Oxford University Press , ...... 30 bana 61801 SOUTH CAROLINA Hawkins, Richard H., 910 Washington Wa'Shington, Martha E., 314 72nd Ave., Recorded Publications Co...... 4 Blvd., Maywood 60153 Myrtle Beach 29577 Singing City ...... 29 Tipton, Dr. Eleanor, 310 W. Alden Apt. 4, SOUTH DAKOTA DeKalb 60115 Rishoi, ·Stanley G., 604 9th St., N.E:, Wa Theodore presser Co...... 28 Yergler, Arthur W., 209 Sauk Trail, Park tertown 57201 University of Minnesota ...... 1 Forest 60466 TENNESSEE C. Berglund, George R., 910 S. 5th St., Cham Bell, Mrs. James S., 586 Freeman, Mem E. Warcl Co...... 29 paign phis 38122 Wenger Corporation ...... '. 2 IndlsnRocKsBeBch". Flori@ 33542