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Home , Holiday Inn (soundtrack), Indiana Jones, Irving Berlin, Mervyn Warren

Chattanooga Boys Choir 2015 Singing Christmas Tree Christmas at the Movies Prelude Sing Dem Herrn ...... Michael Praetorious, arr. Wallace DePue This song – an opening celebratory declaration by the Cantabile Choir – is sung (performed without instrumental ) in German. The piece begins in unison, with all of the singers singing the same musical line together. It soon begins to be sung in a canon, with different parts entering in a repetitive manner, imitating the part that came in before it. The singers all come together at the end to conclude this festive opening piece.

Born, Born in Bethlehem ...... African‐American Spiritual, arr. This of an African‐American Spiritual – songs popular among those brought to America to work as slaves in the American south and heavily influenced by African musical roots – is a lively and celebratory telling of the Christmas story. This piece includes the call‐and‐response style, where a soloist sings a line and the choir repeats the line or sings another part in response. This enjoyable piece will also feature percussion and handclaps to liven up the singers!

Program Christmastime is Here (A Charlie Brown Christmas ‐ 1965) ...... Vince Guaraldi, arr. Lojeski Snoopy’s iconic doghouse takes center stage in this presentation of “Christmastime Is Here” from the popular animated holiday special A Charlie Brown Christmas. Despite a meager tree and the holiday blues, Charlie Brown and the gang eventually find the “true reason” for the season and celebrate with friends and loved ones in a beloved Christmas play. Like much of the original soundtrack for this piece, “Christmastime is Here” borrows from both traditional holiday music and influences, with repeated melodic lines and unconventional harmonies. The song appears at both the beginning and the end of the movie, intimating both the melancholy mood of Charlie Brown while also conveying understated excitement for the joy of the season.

Who Would Imagine a King (The Preacher's Wife ‐ 1996) ...... Mervyn Warren & Hallerin Hill, arr. Hallquist The Preacher’s Wife featured celebrated entertainers and Denzel Washington in a story about love, community, and redemption during the holidays. “Who Would Imagine a King” was the most popular song from this film’s soundtrack, which was nominated for an Oscar for best soundtrack in 1997. Much of the music from this piece is influenced by the gospel music style, giving the viewer an exciting and unique experience for that time. “Who Would Imagine a King” is featured during a Christmas pageant presented by children who, admittedly, have not learned all of their lines for the play. Whitney Houston’s character – the title role – helps save the pageant by singing this gentle song which comes across as a gentle lullaby that focuses everyone on the importance of their production.

White Christmas (White Christmas‐ 1954) ...... , arr. Ringwald The song “White Christmas” was penned by the great Irving Berlin, who also gave us "Alexander's Band," "There's No Business Like Show Business," and "." Berlin has been credited with writing "the story and soundtrack of this country, capturing the best of who we are and the dreams that shape our lives" by journalist . During his 60‐year career he wrote an estimated 1,500 songs, including the scores for 19 Broadway shows and 18 films. First written in 1940, the song has been featured in many films, including (1942) White Christmas(1954), and even The Polar Express (2004). 's 1941 recording of the song has been credited with selling over 50 million copies, making it the biggest‐selling single worldwide of all time. “White Christmas” expresses a simple sentiment of one who dreams of a Christmas that is calm and peaceful, filled with snow, glistening treetops, and Christmas cards, as well as hopes for a peaceful holiday for others (“…and may all your Christmases be white”). The song cemented our understanding of the holidays as being “merry and bright,” and has been a popular expression for over seventy years.

Christmas, Don't Be Late (Alvin & the Chipmunks: A Chipmunk Christmas ‐ 1981) ... Ross Bagdasarian, arr. Funk Alvin, Simon, and Theodore are back to their usual tricks during the holidays in the animated Christmas television special A Chipmunk Christmas. This song from the 1980 program was part of a best‐selling soundtrack that won a gold record from the RIAA on the pop albums chart. “Christmas, Don’t Be Late” (also referred to as “The Chipmunk Song”) finds the chipmunks celebrating the joy of the holidays (“time for joy, and time for cheer”) while also anxiously wishing for the magical Christmas morning to arrive (“we’ve been good, but we can’t last…hurry, Christmas, hurry fast!”). In the song, the chipmunks also express their wishes for their favorite toys and presents. These are presented as solos representing individual chipmunks from the original movie.

Mele Kalikimaka (National Lampoon’s Christmas Vacation – 1989) ...... R.A. Anderson, arr. Althouse "Mele Kalikimaka" is a Hawaiian‐themed Christmas song written in 1949 by Robert Alex Anderson. The song takes its title from the Hawaiian phrase, "Mele Kalikimaka," meaning "Merry Christmas". One of the earliest recordings of this song was by Bing Crosby & in 1950. It has since been recorded numerous times by artists of many different genres. "Mele Kalikimaka" takes place in National Lampoon’s Christmas Vacation while embattled Clark Griswold dreams of a tropical escape from his holidays filled with snow blizzards, malfunctioning Christmas lights, and other holiday mishaps. This song is sung by the tenors and basses of the choir, who represent the two lowest voice parts in the Chattanooga Boys Choir.

You’re a Mean One, Mr. Grinch (How the Grinch Stole Christmas ‐ 2000) ...... Albert Hague The story of the Grinch is one of the most indelible representations of the holiday spirit, as we watch the surly Grinch with a heart "two sizes too small" experience a change of heart at Christmas. From the 1966 animated Christmas special to the modern feature film remake from 2000, “You’re a Mean One, Mr. Grinch” paints the Grinch as a foul, bad‐mannered fiend through the use of creative put‐downs and metaphors, helping the audience learn just how sinister the Grinch is. In the song, these epithets are accentuated through the use of a minor key which, through the use of lowered third and sixth scale degrees, is often used to depict scenes that are sad or somber in nature.

Somewhere in My Memory ( ‐ 1990) ...... Home Alone was a groundbreaking film when it premiered in 1990 with the ten‐year old Macaulay Culkin as its likeable star. In the film, Kevin (portrayed by Culkin) is mistakenly left behind when his family flies to Paris for their Christmas vacation. Kevin initially loves being home alone, but soon has to contend with two bumbling would‐be burglars. Though the escapades of being home alone and warding off the criminals takes center stage, the theme of being with family during the holidays is scene throughout the film, as Kevin goes from relishing his solitude to celebrating their reunion at the end of the film. “Somewhere in My Memory” serves as the movies primary theme song, and was composed by John Williams, the eminent film music who also scored Jaws, , E.T. the Extra‐Terrestrial, Superman, Harry Potter movie franchises.

Frosty the Snowman (Frosty the Snowman ‐ 1969) ...... W. Rollins and S. Nelson, arr. Leavitt The beloved Frosty the Snowman takes center stage in the 1969 animated television special of the same name. The popular song was written by Walter "Jack" Rollins and Steve Nelson, and first recorded by Gene Autry and the Cass County Boys in 1950. It was written after the success of Autry's recording of "Rudolph the Red‐Nosed Reindeer" the previous year. The song tells the delightful tale of Frosty, who leaps straight from the imaginations of children to a live, playful friend after finding magic in his old silk hat. Frosty and the kids have all sorts of playful adventures (including an encounter with a traffic cop!) before he has to hurry out of town before waving good‐bye and promising, “I’ll be back again someday!”

Blue Christmas (The Year Without a Santa Claus ‐ 1974) ...... B. Hayes and J.W. Johnson, arr. Christopher “Blue Christmas" is a Christmas song written by Billy Hayes and Jay W. Johnson and most famously performed by . The song was first recorded in 1948, and quickly found success in recordings by a diverse set of performers, including country artists, orchestras, and popular dance bands. “Blue Christmas” found its greatest success following Presley’s recording of the song in 1957. The song later found great commercial success when recorded by artists including Shakin’ Stevnes, Martina McBride, and . In the 1974 animated film The Year Without a Santa Claus, a weary and discouraged Santa Claus considers skipping his Christmas Eve run one year, while Mrs. Claus and his Elves set out to change his mind. The movie prominently features “Blue Christmas” in a poignant scene where a little girl pens a letter to Santa, letting him know just how empty her holiday would feel without Santa in it.

I'll Be Home for Christmas (I'll Be Home for Christmas – 1998) ...... K. Gannon, W. Kent "I'll Be Home for Christmas" was originally recorded in 1943 by Bing Crosby who scored a top ten hit with the song. Originally written to honor soldiers overseas who have longed to be home for Christmastime, "I'll Be Home for Christmas" has since gone on to become a Christmas standard. The song is sung from the point of view of an overseas soldier during WWII, writing a letter to his family. In the message, he tells the family that he will be coming home, and to prepare the holiday for him including requests for "snow", mistletoe, and "presents on the tree". The song ends on a melancholy note, with the soldier saying "I'll be home for Christmas, if only in my dreams." The song touched the hearts of Americans, both soldiers and civilians, who were in the midst of World War II, and it earned Crosby his fifth gold record. "I'll Be Home for Christmas" was the most requested song at Christmas U.S.O. shows. In December 1965, astronauts aboard Gemini 7 requested the song to be played for them by the NASA ground crew. The song was also included in a 1998 film of the same name about a college student experiences difficulty in getting home for Christmas after experiencing a stretch of bad luck and hijinks by his friends. While struggling to get home in time for Christmas, he learns quite a bit about himself and the true meaning of the holiday.

Believe (Polar Express ‐ 2004) ...... Ballard/Silvestri, arr. Chinn "Believe" is a 2004 song from the Christmas‐themed film The Polar Express. The words and music were written by Glen Ballard and Alan Silvestri (composer for such films as , Avengers, Captain America, and others), and the song found more fame when widely performed by the popular singer Josh Groban. “Believe” perfectly sums up the experience of the film’s hero who, after treacherous travels on the train to the North Pole, regains his spirit and has his faith in the holidays restored. “Believe” serves not only as a touching conclusion to the film’s story, but also as an anthem for believing in one’s self and the pursuit of dreams. The universality of this message helps to explain the song’s success apart from the movie soundtrack.

Chattanooga Boys Choir Singing Christmas Tree CURRICULUM STANDARDS

TENNESSEE DEPARTMENT OF EDUCATION STANDARDS, LEARNING EXPECTATIONS, AND PERFORMANCE INDICATORS: GENERAL MUSIC, GRADES 6‐8 (ELEMENTARY STANDARDS VARY BY GRADE LEVEL) http://www.tn.gov/assets/entities/education/attachments/std_art_mus_gr_6‐8_general.pdf TN ‐ 6.1 Demonstrate knowledge of the technical vocabulary of music. TN ‐ 6.2 Analyze aural examples of a varied repertoire of music representing diverse genres and cultures. TN ‐ 7.2 Evaluate the quality and effectiveness of music performances. TN ‐ 9.1 Distinguish characteristics of representative music genres and styles from a variety of historical periods and cultures. TN ‐ 8.1 Students will compare characteristics of two or more arts. TN ‐ 8.2 Demonstrate ways in which the principles and subject matter of other disciplines are interrelated with those of music.

NATIONAL STANDARDS FOR ARTS EDUCATION: MUSIC http://www.educationworld.com/standards/national/arts/music/k_4.shtml NA‐M.K‐4.6 Listening to, analyzing, and describing music. Students use appropriate terminology in explaining music, music notation, music instruments and voices, and music performances. Students identify the sounds of a variety of instruments, including many orchestra and band instruments, and instruments from various cultures, as well as children's voices and adult voices.

NA‐M.K‐4.7 Evaluating music and music performances. Students explain, using appropriate music terminology, their personal preferences for specific musical works and styles.

NA‐M.K‐4.8 Understanding relationships between music, the other arts, and disciplines outside the arts. Students identify ways in which the principles and subject matter of other disciplines taught in the school are interrelated with those of music (e.g., foreign languages: singing songs in various languages; geography: songs associated with various countries or regions, and dance).

NA‐M.K‐4.9 Understanding music in relation to history and culture. Students describe in simple terms how elements of music are used in music examples from various cultures of the world. Students demonstrate audience behavior appropriate for the context and style of music performed.

NATIONAL COUNCIL OF TEACHERS OF ENGLISH STANDARDS http://www.educationworld.com/standards/national/lang_arts/english/k_12.shtml#nl‐eng.k‐12.9 NL‐ENG.K‐12.9 Multicultural Understanding Students develop an understanding of and respect for diversity in language use, patterns, and dialects across cultures, ethnic groups, geographic regions, and social roles.

THE NATIONAL GEOGRAPHY STANDARDS http://www.educationworld.com/standards/national/soc_sci/geography/k_12.shtml NSS‐G.K‐12.2 Places and Regions Students should understand how culture and experience influence people's perceptions of places and regions

THE NATIONAL FOREIGN LANGUAGE STANDARDS http://www.educationworld.com/standards/national/lang_arts/f_lang/k_12.shtml NL‐FL.K‐12.3 Cultural Connections Students acquire information and recognize the distinctive viewpoints that are only available through the foreign language and its cultures.