2020 ACDA Eastern Region Conference Ooverview/Specialverview/Special Eventsevents

2020 ACDA Eastern Region Conference OOverview/Specialverview/Special EventsEvents

The Eastern Region conference committee is pleased The American Spiritual Ensemble to invite ACDA members to attend their region conference, to be held in Rochester, New York, from March 4 through March 7. The conference theme, “Open Ears, Open Hearts,” provides a welcoming space where everyone who comes should feel at home and be inspired by choral music presented as a force for good.

Bobby McFerrin and Gimme5 presented by the Kodak Hall Series of the Eastman School of Music

As a pre-conference treat, the Kodak Hall Series of Celebrating twenty-ﬁ ve years, The American Spiritu- the Eastman School of Music presents Bobby McFerrin al Ensemble is a critically acclaimed professional group and Gimme5 in a Circlesong Concert on Wednesday, composed of some of the ﬁ nest singers in the classical March 4, at 7:30 pm. Gimme5 is based on Circlesing- music world. The mission of the American Spiritual ing, a musical practice and philosophy that McFerrin Ensemble is to keep the American Negro spiritual alive. has been honing since he began as a solo a cappella per- Many of its members have performed in such venues as former, assigning vocal parts to his fans and transforming the Metropolitan Opera, New York City Opera, Hous- sold-out houses into impromptu choirs. They will invite ton Grand Opera, San Francisco Opera, and on Broad- you to sing along and join in on a spontaneous adven- way. The vocalists have thrilled audiences with their ture fueled by jazz, pop, R&B, classical, and world music. dynamic renditions of classic spirituals and Broadway ACDA East attendees have the opportunity to purchase numbers highlighting the black experience. The group tickets for this event held in Kodak Hall at Eastman The- has presented over 400 concerts, including twenty-four atre at a reduced rate. A link with a code is provided on tours of the United States and sixteen tours of Spain. the website at acdaeast.org. Everett McCorvey founded the American Spiritual Ensemble in 1995. He received his degrees from the University of Ala- Every Time I Feel The Spirit! bama, including a doctorate. McCor- vey has led concerts, master classes, and The critically acclaimed professional group, The workshops throughout the United States, American Spiritual Ensemble, will thrill the conference Europe, South America, and Asia. McCorvey is also the audience with their dynamic renditions of classic spiri- artistic director of the National Chorale in New York tuals and Broadway selections highlighting the black ex- City, and he holds the OperaLex Endowed Chair in Op- perience presented in their concert titled, “Every Time I era at the University of Kentucky, where he is professor Feel the Spirit.” of voice. In the summers he is on the faculty of the Bay View Music Festival in Bay View, Michigan, where he conducts the American Negro Spirituals Intensive Pro- gram.

CHORAL JOURNAL January 2020 Volume 60 Number 6 61 2020 ACDA Eastern Region Conference OOverview/Specialverview/Special EventsEvents

We Who Believe in Freedom Cannot Rest li-Palestinian/international choir), Common Ground Voices (US-Mexico), and the Muslim Choral Ensemble The Boston-based chamber choir, Voices 21C, under (Sri Lanka). de Quadros is author of Focus: Choral Music the artistic leadership of André de Quadros, will per- in Global Perspective (Routledge), editor of The Cambridge form a concert titled “We Who Believe in Freedom Can- Companion to Choral Music, editor of the following series: not Rest,” connecting their musical message to peace Songs of the World (Hinshaw), Music of Asia and the Paciﬁ c, and justice issues around the world. Cantemus, Salamu Aleikum-Choral Music of the Muslim World (earthsongs). He also leads projects in Massachusetts prisons and in the Arab world and Israel. VOICES 21C

War Requiem, Op. 66 by Benjamin Britten

We are fortunate that Rochester, New York, is the home of the great Eastman School of Music. They will feature their musical forces in a powerful performance of Benjamin Britten’s War Requiem.

University of Rochester Eastman-Rochester Chorus and VOICES 21C is a Boston-based chamber choir and Eastman Chorale artists’ collective dedicated to a mission of global understanding through music. VOICES 21C aligns itself with the great American voices of compassion, love, and non-violence. The ensemble creates personal meaning in performance by connecting its musical messages to social justice issues, representing the voices of the silenced, the forgotten, and the marginalized. VOICES 21C is a welcoming space for LGBTQ, committed to contemporary composers, and improvisational, interdisciplinary modes of performance through a co-creating, egalitari- an consensus model. Most recently, the choir performed a program on women’s issues for an audience of over 7,000 people in the south of France. Now in its thirty-ﬁ fth anniversary season, the East- André de Quadros is a professor of mu- man-Rochester Chorus is a select symphonic chorus sic at Boston University. He leads ﬁ ve consisting of singers from the Western New York region choirs: VOICES 21C (Boston-based), the and students from the Eastman School of Music. The Manado State University Choir (Indone- chorus performs with the orchestras of the Eastman sia), Common Ground Voices (an Israe- School and the Rochester Philharmonic. Their reper-

62 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Rochester, New York Overview/Special Events toire ranges from masterworks of Bach, Beethoven, The Bach Children’s Chorus Haydn, and Brahms to Rochester premieres of major works by Christopher Rouse, Dominick Argento, and of Nazareth College Leonard Bernstein. The chorus has appeared with numerous distinguished conductors, including Robert Shaw, David Zinman, Gerard Schwarz, and Jerzy Sem- kow. The chorus is a founding member of the Greater Rochester Choral Consortium.

The Eastman Chorale is a select ensemble of sixty voices from the Eastman School of Music of the Univer- sity of Rochester. The Chorale performs a wide variety of repertoire from the sixteenth through twenty-fi rst centuries and has toured extensively throughout the northeast. Recent performances have included premieres of works by Dominick Argento, Samuel Adler, Robert Morris, and Jacob Avshalomov, as well as music of Pen- Founded by Karla Krogstad in 1988, the Bach Chil- derecki, Ligeti, and Lidholm. The Chorale has also pre- dren’s Chorus has been acclaimed for its outstanding sented both Passions of J.S. Bach and the B-minor Mass. performances, clear diction, and pure tone. The BCC They also annually combine with the Eastman-Roches- appears regularly with the Rochester Philharmonic Or- ter Chorus to present major choral-orchestral repertoire. chestra and other area ensembles. The BCC specializes in the performance of signifi cant repertoire of the eigh- William Weinert is the director of cho- teenth through twenty-fi rst centuries, sung in a variety ral activities at the Eastman School of of languages. This season includes performances with Music of the University of Rochester, the Rochester Philharmonic Orchestra, the esteemed where he conducts the Eastman Chorale vocal ensemble Madrigalia, and the Rochester Oratorio and the Eastman-Rochester Chorus and Society. supervises graduate programs in choral conducting. He has conducted throughout Europe, the Karla Krogstad is director of the Bach United States, and in the Far East. Ensembles under Children’s Chorus, which she founded his direction have performed at conferences of ACDA, in 1988. It is affi liated with the distin- NCCO, and MENC. He is also music director of Voices, guished Community Music Program of Rochester’s professional chamber chorus. Weinert holds Nazareth College (CMP). Drawing from degrees from Oberlin College and Conservatory of Mu- the Nazareth School of Music’s collegiate sic, and the master’s and doctorate in conducting from faculty, the CMP provides the community with a variety the University of Wisconsin. of musical explorations of the highest quality to serve the needs and interests of all ages and backgrounds. Krogstad earned a bachelor’s from the New England Conservatory of Music and master’s degrees from the University of Connecticut and the Eastman School of Music. She was previously organist and choir director at the Genesee Baptist Church in Rochester.

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Genesee Valley Tami Petty, soprano, is an award winner Children’s Choir of Joy in Singing, having made her New York City solo recital debut in 2015. She has performed with the American Sym- phony Orchestra at Carnegie Hall, with New York Philharmonic at Avery Fisher Hall, and with Voices of Ascension at Alice Tully Hall, for which The New York Times hailed her “powerful soprano.” She is the recipient of the Emerging Artist Award from the Sorel Organization honoring women in music, and she was awarded the Jessie Kneisel Prize in German Lieder while a student at the Eastman School of Music.

Genesee Valley Children’s Choir of Livingston Coun- Anthony Dean Griff ey, tenor, is noted ty sings a variety of classical, folk, secular, and sacred lit- for his portrayal of Peter Grimes, a role erature. We are proud of our performances with Roch- he has performed all over the world. A ester Oratorio Society of Jenkins’ The Peacemakers and four-time Grammy winner, Griff ey’s au- other notable concerts with the RPO of The Snowman, dio and video discography includes the Finger Lakes Opera’s La Boheme, Carmen and Tosca, Roch- Metropolitan Opera’s Peter Grimes, the ester Lyric Opera’s children’s opera productions, pre- Los Angeles Opera’s The Rise and Fall of the City of Ma- mieres of works by McClure and others, John Rutter’s hagonny, Mahler’s Symphony No. 8 with the San Francisco Mass of the Children, Carmina Burana, and Faure’s Requiem Symphony, Tonhalle Orchestra Zurich and Orquesta with Geneseo’s Festival Chorus. Nacional de Espana, and Britten’s War Requiem with the London Philharmonic Orchestra and Netherlands Ra- Amy Cochrane directs the SUNY Gen- dio Philharmonic. Griff ey holds degrees from Wingate eseo’s Spectrum Singers and established University, the Eastman School of Music, and the Juil- the Genesee Valley Children’s Choir in liard School. 2010. She teaches voice for the Roches- ter Institute of Technology and main- tains an active private studio. She has es- Malcolm J. Merriweather, baritone, is tablished herself in the worlds of opera, light opera, and music director of New York City’s The oratorio. Carnegie Hall performances include: soloist for Dessoff Choirs. He is an assistant profes- Haydn’s Creation twice with John Rutter and the NYC sor at Brooklyn College and the artistic premiere of Britten’s The World of the Spirit. Cochrane director of “Voices of Haiti,” a children’s received degrees from Oberlin College and the New choir operated by the Andrea Bocelli England Conservatory. Her hobby is running sled dogs, Foundation. He has conducted ensembles in Carnegie in 2019 fi nishing third place in the four-dog sportsmen Hall, Lincoln Center, Madison Square Garden, West- class at Tug Hill. minster Abbey, and at the Vatican before Pope Fran- cis. His repertoire covers everything from Bach to the world premiere recording of The Ballad of the Brown King by Margaret Bonds (AVIE Records). Merriweather has earned degrees from Eastman, Manhattan School of Music, and Syracuse University.

64 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Rochester, New York Overview/Special Events

Undergraduate and Graduate hour per week, and is the featured ensemble at week- Conducting Master Class ly Music and Message at Hendricks Chapel. The Hen- dricks Chapel Choir has traveled to Germany, Poland, Six conductors—three undergraduate and three Argentina, Chile, Uruguay, China, and most recently to graduate—will have the opportunity to conduct a cho- Mexico. rus in a master class led by renowned conductor/teacher Marguerite Brooks of the Yale School of Music. José “Peppie” Calvar is associate professor and assistant director of choral Marguerite L. Brooks joined the Yale activities at the Setnor School of Music faculty in 1985 as chair of the choral at Syracuse University, serving for seven conducting program at the School of years as director of the Hendricks Chap- Music and director of choral music at el Choir and artistic director of Holidays the Institute of Sacred Music. Active as at Hendricks. Calvar also directs the University Ten- a guest conductor, teacher, and clinician, or-Bass Ensemble called Setnor Sonority and teaches she has been a juror for the Eric Ericson conducting conducting, graduate, and upper-class choral literature competition; she has conducted, taught, and adjudi- and choral arranging. Calvar was an International Cho- cated in North and South America, Europe, and Asia. ral Exchange Program fellow through ACDA interfacing Brooks was cited by the Yale School of Music for cultur- with Guatemala and Costa Rica, and serves as a clini- al leadership in music and has received alumni awards cian and guest conductor throughout North and Central for distinguished work in her ﬁ eld from Mount Holyoke America. College and Temple University. Brooks was honored recently as a Woman in History by the Barnard School. Connetquot High School Concert Choir Syracuse University Hendricks Chapel Choir

The Connetquot High School Concert Choir is an eight-part choral ensemble comprising tenth- through twelfth-grade students from our large, suburban school The Hendricks Chapel Choir is an auditioned ensem- in Suﬀ olk County, NY. The choir and its director, as ble representing many of the academic units at Syracuse well as their community, are proud of its reputation University and the SUNY College of Environmental for quality performances of sophisticated choral mu- Science and Forestry. One of eight choirs within the sic, particularly newer works by American composers. Setnor School of Music, The HCC rehearses weekly on The choir regularly tours the United States with direc- Thursday evenings, meets for sectional rehearsals for an tor Brad Drinkwater, often collaborating with collegiate

CHORAL JOURNAL January 2020 Volume 60 Number 6 65 2020 ACDA Eastern Region Conference OOverview/Specialverview/Special EventsEvents and other high school choirs, and recently performed Singing with the Spirit at the NYSSMA Winter Conference. Most importantly, (Worship Service) the Concert Choir serves as a means for K-12 students, alumni, and their community to engage with each other The worship event of the conference will focus on through the arts. integrating spirituals into an interfaith service. Eileen Guenther, author of the acclaimed book on spirituals, In Brad Drinkwater has been teaching mu- Their Own Words, will refl ect and the American Spiritual sic for fi fteen years and presently directs Ensemble will participate. the Concert Choir and Vocal Jazz ensemble while also teaching AP Music Theory Eileen Guenther is professor of church at Connetquot High School. Drinkwater music at Wesley Theological Seminary received his bachelor’s in voice and piano and lecturer in music at George Wash- from New York University and later earned a master’s ington University. After a long tenure in music and music education from Teachers College, as Minister of Music and Liturgy at Columbia University. He is also the director of the Met- Foundry United Methodist Church in ropolitan Youth Orchestra of New York’s Suff olk Wom- Washington, DC., Guenther served three terms as pres- en’s Choir and sings with the eVoco Voice Collective. He ident of the American Guild of Organists. In addition shares his love of music with his wife, Lauren, and their to performing over 250 organ recitals in Europe, South two sons. America, and the United States, she has also taught at Africa University (Zimbabwe), in Uganda, and Cȏte d’Ivoire. Her book, In Their Own Words: Slave Life and the Power of Spirituals (2016), is published by MorningStar Music Publishers.

The American Spiritual Ensemble conducted by Everett Mccorvey will be a part of the service. Their photos and bios are on page 61.

Eastern Region Conference Exhibits and App Advertising

Reserve online at acda.org/ACDA/About/Advertising___Exhibiting

8ft x 10ft booth . . . . $495 Extra Badges ...... $50 each (2 with booth purchase - limit 4 extra)

App Advertising (1 Ad runs at every conference) Rotating Banner for 30 days...... $400

Deadline January 31, 2020

Email [email protected] with questions

66 CHORAL JOURNAL January 2020 Volume 60 Number 6 2020 ACDA Eastern Region Conference AAuditioneduditioned ChoirsChoirs

Accord Treble Choir Bridgewater-Raritan High School Symphonic Choir

Accord was founded in 2009 by Akiko Fuchisawa and The Symphonic Choir is the premiere curricular Liz Geisewite and built on a shared love of music written ensemble at BRHS. Its ﬁ fty members were selected by for treble (equal) voices. Initially drawing heavily from audition during the spring of 2018. The Symphonic the repertoire and practice of Hungarian treble choirs, Choir meets every day, where they rehearse challenging Accord’s repertoire has expanded to include a wide repertoire for performance at festivals and competitions. range of styles and composers, medieval to contempo- Its members earn honors credit for their participation. rary. Accord strives to be non-hierarchical, working col- Recent performance highlights for the Bridgewater-Rar- laboratively to interpret pieces in the spirit of consensus. itan High School Symphonic Choir include a 2018 per- To this end, members are valued equally as leaders and formance of Monteverdi’s Vespers of 1610 with Princeton contributors in the music-making process. Accord’s pas- Pro Musica and the NYC premiere of Eric Banks’s I Am sion for the music they perform and love for each other Among Them with Schola Cantorum on Hudson. is undeniably palpable. John Wilson has served as the choral Liz Geisewite is a lifelong lover of choral director at Bridgewater-Raritan High music and a teacher at Edward R. Mur- School for fourteen years. Wilson’s en- row High School in Brooklyn, NY, where sembles have performed at major venues she teaches a variety of music classes and in the New York and New Jersey area un- conducts several choirs. A student of der the baton of Ryan Brandau, Andrew the Kodály method of music education, Megill, Amanda Quist, and others. Since 2014, Wilson Geisewite has taught Kodály musicianship classes for the has served on the High School Vocal Institute faculty at National Children’s Chorus (NYC) and studied Kodály Westminster Choir College. From 2015 to 2018, he was methodology in NYC, the UK, and Hungary. In addi- an associate director at the prestigious Princeton Girl- tion to directing Accord, she is a conductor for the train- choir organization. Wilson has taught courses in music ing division of the Brooklyn Youth Chorus. Geisewite education at Rutgers University, where he is currently earned a master’s in vocal performance and studied con- pursuing his doctorate in choral conducting. ducting with Mark Jennings at Truman State University.

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Central Bucks High School-West The Choir School of Delaware Women's Choir

The Central Bucks High School-West Women’s Choir is one of the most respected high school music ensembles in the nation. Choirs at the school have presented fi ve hundred world premieres by renowned composers. They have The Choir School of Delaware is a comprehensive, performed in some multifaceted, after-school program that has a strong of the world’s great- legacy of serving and engaging Wilmington’s youth est venues, including and families through music and mentoring. Historical- eleven times in The ly known as the Cathedral Choir School of Delaware, White House and the Choir School provides professional musical training, over twenty times at Carnegie Hall, as well as for many leadership, language skills, academic support, and col- world leaders, including President Obama, President lege and career-bound mentoring in an intergeneration- Clinton, Presidents DeKlerk and Mandela of South Af- al environment for youth in Wilmington, Delaware, and rica, President Havel of the Czech Republic, and Prime surrounding regions. We harmonize life and learning Minister Peres of Israel. They have performed at numer- with the belief that a rich off ering of academic support ous ACDA, MENC, and IMC conventions. and mentoring is amplifi ed by the power of music.

Joseph Ohrt is director of choral ac- Arreon Harley-Emerson was appointed tivities at Central Bucks High School- director of music and operations at the West in Doylestown, Pennsylvania. He Choir School of Delaware in 2013. He holds bachelor’s and master’s degrees earned his bachelor’s degrees in music from Westminster Choir College and a theory and composition and voice from doctorate from the University of South Goucher College and master’s degrees Carolina. He is on the National Board of Directors in choral conducting and voice from the University of of the American Composers Forum and served on the Delaware. Harley-Emerson is in high demand as an ad- ACDA-Pennsylvania Board for twenty years. He is an judicator, clinician, lecturer, and recitalist throughout author of several textbook articles and contributing the Mid-Atlantic. He is also a contributor to The Oxford composer for the Broadway musical Amazing Grace. The Handbook for Choral Pedagogy, with a chapter titled, “The Joseph Ohrt Choral Series is published with Santa Barbara Gang Mentality of Choirs: How Choirs Have the Ca- Music Publishing, and the Joseph Ohrt ICON Series is with pacity to Change Lives.” MusicSpoke.

68 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Rochester, New York Auditioned Choirs Brittney Pascoe is a music teacher who mont ACDA High School Madrigal Festival. She cur- works with students of varying ages and rently serves as president for the Connecticut Chapter of abilities to help them develop strong mu- ACDA and is also co‐chair of the CMEA Connecticut sic literacy skills and grow a love for the All‐State Choir. Hanzlik is a graduate of the University arts that is life-long. Having taught mu- of Iowa and Teachers College, Columbia University. sic in both suburban and urban settings, Pascoe is a dedicated and veteraned pedagogue. Pascoe studied music education at McDaniel College in West- minster, MD, with a focus in choral arts. She holds a master’s in teaching, also from McDaniel College. Eastern Region Registration Information The Edwin O. Smith High School Chamber Singers Register at acda.org

Early Registration prior to midnight January 29, 2020

• Attendee $265 • Retired $215 • Student $100

The EO Smith Chamber Singers are the premiere Registration after midnight January 29, 2020* choral ensemble of Edwin O. Smith High School, Re- gion 19 School District, in Storrs, Connecticut. EO • Attendee $335 • Retired $295 • Student $150 Smith is a rural, regional high school, and members of the ensemble hail from the towns of Mansﬁ eld, Willing- ton, Columbia, and Ashford, Connecticut. The Cham- On-site registration begins March 4, 2020 ber Singers are an auditioned ensemble and actively participate in regional, state, and national CMEA and • Attendee $400 • Retired $350 • Student $200 ACDA ensembles and festivals. The Chamber Singers were chosen as the Connecticut CMEA showcase cho- One Day registration (Friday or Saturday) ral ensemble in both 2015 and 2019. In 2019 they presented the world-premiere of Veni Sancte Spiritus by Jacob $150 Narverud, which was commissioned speciﬁ cally for the performance. *NO READING PACKET SELECTION Amanda Sprague Hanzlik is the director AFTER MIDNIGHT JANUARY 29, 2020 of choral activities at Edwin O. Smith High School in Storrs, Connecticut. You must be a current ACDA member to register. Hanzlik frequently appears as a guest clinician and honor choir director, most re- You will need your membership number to register. cently with the 2019 Rhode Island Junior All‐State Mixed Choir, and will conduct the 2019 Ver-

CHORAL JOURNAL January 2020 Volume 60 Number 6 69 2020 ACDA Eastern Region Conference AAuditioneduditioned ChoirsChoirs

Handel and Haydn Society Mansfi eld University Concert Choir The Mansfi eldians

The Concert Choir, one of seven ensembles of the The Mansﬁ eldians are a select ensemble of eight Handel and Haydn Youth Choruses, is a select treble en- singers who specialize in vocal jazz repertoire. This ex- semble comprising children ages 11-14. Membership in ceptional ensemble was invited to perform at the Tenth Concert Choir is based on musical ability, maturity, and Annual Vocal Jazz Festival at Carnegie Hall with Phil work ethic. In addition to Saturday morning rehearsals, Mattson in 2006; were named World Champions at students participate in musicianship classes that focus on the World Choir Games in Graz, Austria, in 2008; and the development of sight-singing, aural skills, and music in 2012 they performed at the Eastern ACDA Region literacy. Founded in Boston, Massachusetts, in 1815, the Conference in Philadelphia, Pennsylvania. In 2013 they Handel and Haydn Society is acclaimed for its perfor- performed at the ACDA National Conference in Dallas, mances of Baroque and Classical music and is one of Texas, and in both 2015 and 2018 they performed at the the oldest continuously performing classical musical en- New York City Jazz Festival at the Apollo Theatre. sembles in the country. Sheryl Monkelien is professor of music Jennifer Kane is in her sixth year as a education and director of vocal jazz at conductor with the Handel and Haydn Mansﬁ eld University. She is a sought-af- Society in Boston, Massachusetts, where ter vocal jazz clinician and conductor, she conducts three ensembles for chil- and her groups have performed at nu- dren and youth. Kane holds a bachelor’s merous state, regional, national, and in- from Furman University, a master’s from ternational conferences. She has presented at PMEA, Georgia State University, and a doctorate from Boston NYSSMA, ACDA, and IAJE conferences, guest con- University. In addition to her work with H+H, Kane is ducted vocal jazz ensembles in four states, including the also the music director of Cantilena Women’s Chorale, 2007 and 2018 Pennsylvania All-State Vocal Jazz En- an auditioned women’s chorus in Arlington, Massachu- sembles and 2010 ACDA Eastern Region Jazz Honor setts, and a frequent clinician and adjudicator. Choir. Monkelien spent summers 2016-2017 in Scotland presenting vocal improvisation clinics and working with choral educators in Edinburgh and Glasgow.

70 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Rochester, New York Auditioned Choirs Poquessing Middle School Rowan University Select Choir Concert Choir

The Poquessing Middle School Select Choir, from Feasterville, PA, is an auditioned group of forty mixed voices drawn from the building’s thriving choral program. The Select Choir engages with a variety of musical styles to challenge themselves and to promote growth. The Concert Choir is Rowan University’s fl agship They performed at the NAfME All-Eastern Conferences choral ensemble dedicated to performing the pillars of in Baltimore in 2011 and Pittsburgh in 2019. The Select historical repertoire in addition to programs that seek to Choir has been chosen to perform at three consecutive broaden awareness of music’s ability to evoke response ACDA-PA Fall Conferences at Susquehanna University to an issue, concept, culture, or event. Recent perfor- from 2015-2017, and the 2016 PMEA Annual In-Ser- mances have included Requiems by Verdi, Mozart, vice Conference in Hershey, PA. Howells, and Durufl é; contemporary works such as To the Hands by Caroline Shaw; The Here and Now by Christo- Jason Leigh earned his bachelor of mu- pher Theofanidis; and the world premiere of Open Minds sic degree in music education from Tem- by Rob Redei. ple University in Philadelphia, PA, where he studied piano with Alexander Fiorillo. Christopher Thomas is associate profes- Leigh has been a middle and high school sor and director of choral activities at choral director at both Poquessing Mid- Rowan University, artistic director of the dle School and Neshaminy High School in Bucks Coun- Greater South Jersey Chorus, and past ty, PA. He has had the pleasure of conducting a wide president of NJACDA. He studied mu- variety of students in his twenty years of secondary edu- sic education at Millikin University with cation and enjoys working with fi fth-grade treble voices Brad Holmes and received his master’s and doctorate as much as elite high school groups. in choral conducting from the University of Arizona, where he studied with Bruce Chamberlain.

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Rutgers University Rutgers University Glee Club Voorhees Choir

The Rutgers University Glee Club is one of the oldest and most distinguished men’s choruses in the Unit- The Rutgers Voorhees Choir has maintained a long ed States. Since 2001 the Glee Club has performed at tradition of representing Rutgers University from its ACDA national conferences in San Antonio (2001) and beginnings as the choir for the New Jersey College for Minneapolis (2017), and ACDA region conferences in Women, to its years as the oﬃ cial Douglass College NYC (2006), Philadelphia (2010), and Baltimore (2014). choir, and to its role as a Mason Gross School of the Arts They have performed Shostakovich’s 13th Symphony (Babi ensemble and a Douglass Residential College institution Yar) with Valery Gergiev at Avery Fisher Hall, Stravin- of pride. The Rutgers Voorhees Choir is an auditioned sky’s Oedipus Rex under Patrick Gardner, and commis- treble ensemble, mostly comprising non-music majors, sions by Pulitzer Prize winners William Bolcom, Jennifer which recently made its Carnegie Hall debut. The choir Higdon, and Lewis Spratlan. The Glee Club, founded in is also an oﬃ cial student organization that champions 1872, is the oldest student organization at Rutgers Uni- music composed by women. versity. Brandon Williams is an assistant profes- Patrick Gardner is distinguished professor of choral music and choral music ed- sor of music and DCA at Rutgers Uni- ucation at Rutgers, The State University versity, where he conducts the Rutgers of New Jersey. He appears frequently as University Glee Club and the Kirkpat- a guest conductor, clinician, and pre- rick Choir. He has won the praise of senter throughout the country. Williams notable composers including William has also held positions with the St. Louis Symphony Bolcom, John Harbison, Lou Harrison, Jennifer Hig- IN UNISON Chorus, the St. Louis Children’s Choirs, don, Tarik O’Regan, and Lukas Foss. He is the director and Maryville University. He holds degrees from West- of the Riverside Choral Society of NYC, which he has ern Illinois University, the University of Illinois Urba- prepared for performances with the London Symphony, na-Champaign, and Michigan State University. Wil- at the Mostly Mozart Festival, and for the Mark Morris liams also earned an Artist Teacher Diploma from the Dance Group. He has conducted over 100 major cho- Choral Music Experience- Institute for Choral Teacher ral orchestral works for performances at Carnegie Hall, Education. Lincoln Center, and Rutgers University.

72 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Rochester, New York Auditioned Choirs Syracuse University Young People’s Chorus of New York City Syracuse University Singers

The world-renowned Young People’s Chorus of New York City serves more than 2,000 children ages eight to eighteen annually in its after-school and in-school programs. Founded over thirty years ago by MacArthur Fel- low Francisco J. Núñez, YPC’s mission of diversity and artistic excellence has created an awareness of the ability In the last four years the Syracuse University Singers of young people to rise to unforeseen heights of artistry. have won an international choir competition in France, Each year, YPC performs in over 100 concerts in New competed in the European Grand Prix for Choral Sing- York City and abroad, and through its ground-breaking ing in Bulgaria, were hailed for one of the most outstand- commissioning programs, YPC has extended and invig- ing performances at the NCCO National Conference orated the repertoire for young voices by commissioning in Baton Rouge, Louisiana, and released their ﬁ rst CD. over 200 new works by today’s leading composers. The choir comprises 32-38 students, ﬁ rst-year through masters, from a variety of disciplines and is open by au- Elizabeth Núñez is associate artistic di- dition to any student at Syracuse University. rector of the Young People’s Chorus of New York City. In 2018 she directed YPC John F. Warren is professor of music and in Lincoln Center’s production of Bern- director of choral activities at Syracuse stein’s Mass and led YPC to be awarded University. His Syracuse choirs have per- top-prize Choir of the World at the In- formed at the NCCO National Confer- ternational Choral Kathaumixw. Beyond music, Núñez ence, two Eastern Regional ACDA con- created WIT: Women Inspiring Tomorrow, a mentoring ferences, the Florilegé Vocal de Tours in program connecting YPC’s high school girls, alumnae, France (Grand Prix winner), and the European Grand and accomplished women across varying professions. Prix in Varna, Bulgaria. Warren serves ACDA on the She is the founding artistic director of SoHarmoniums, Standing Committee for International Activities and an intergenerational women’s chorus based in the SoHo is NYACDA president-elect. Warren has lectured, ad- neighborhood of New York City. judicated, and conducted festival choirs throughout the Eastern United States, Brazil, Bulgaria, Cuba, and France, and has published research in the Choral Journal and the International Choral Bulletin.

CHORAL JOURNAL January 2020 Volume 60 Number 6 73 2020 ACDA Eastern Region Conference IInterestnterest SSessionsessions

Arranging for My A Capella Choir: a variety of social services organiza- music director of Second Gener- Can I Do That? tions in and around Rochester, NY, ation Manchester Choral Society during the week leading up to the (2GMCS), a NH youth chorus, What are the legal ramifi cations conference. de Quadros and a pan- serves as the assistant music director for arranging the latest pop tune on el of singers from the ensemble will for Manchester Choral Society, and the radio for your a capella choir at discuss their experiences working serves on the NH ACDA board. Pre- your school? Copyright lawyer Bryan with these nonprofi ts and share their viously, she taught music at ConVal Tuk leads a town hall discussion with methods for developing singing com- Regional High School, worked as an composers, arrangers, and conduc- munities that help empower voices assistant conductor for the Boston tors about the legal issues involved that may not otherwise be heard. Children’s Chorus, and served as the with arranging for choirs. Discussion chorus manager for the NH Music will involve topics of copyrights, per- VOICES 21C will be a presenter for Festival. Morin is pursuing her mas- missions to arrange, permissions to this session. Their photo and bio are ter’s at The Boston Conservatory at perform, and similar issues. on page 62. Berklee. She is an active singer with NH Master Chorale and VOICES Bryan Tuk’s legal André de Quadros will be a present- 21C. practice is focused on er for this session. His photo and bio business and bank- are on page 62. ing law, nonprofi t Building a Culture organizations, faith- Brad Dumont serves of Choral Improvisation based organizations, as the director of and arts and entertainment law. The choral activities at with the African American Firm provides a broad range of legal Assumption College Spiritual services to clients involved in the cre- and as associate con- ation, production, and management ductor of the Salis- This participatory session will of creative works. He has advised bury Singers, both in Worcester, MA. provide tools to develop a culture actors, record labels, recording art- He serves as the vice president of the of improvisation within choral en- ists, recording studios, songwriters, New Hampshire Master Chorale sembles, not only to explore the art producers, professional symphonic and on the artistic planning team for of communal improvisation, but to performers, and music industry en- VOICES 21C. He is an arts instruc- more deeply understand the roots of trepreneurs. Tuk is a voting member tor at the Suff olk County Men’s Pris- the American Negro Spiritual. While of The Recording Academy, which on, the operations and special proj- concert arrangements of spirituals is internationally known for the ects manager for Emmanuel Music have off ered windows into African Grammy Awards. in Boston, an orchestra contractor American culture by approximating for ensembles throughout New En- certain stylistic elements, it is impos- gland, and a board member for the sible for notation to fully communi- Greater Boston Choral Consortium. cate the culturally uninhibited ap- Breaking the Silence: proach to music making so integral Empowering Voices Seldom Heard Krystal Morin is a to the way this powerful music was New England-based conceived. When ensembles engage Voices 21C and André de Quad- conductor, singer, in the living art of folk music, they ros lead an interactive workshop and educator. Mo- are able to understand its cultural refl ecting on their experiences with rin is the founding signifi cance in a new light.

74 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Rochester, New York Interest Sessions Lee Wright has con- Choral Teaching for Community Rollo Dilworth is ducted honor choirs vice dean and profes- and given workshops Transformation: Purpose, sor of choral music on the American Exploration, and Agency education at Temple Negro Spiritual re- University’s Center gionally and nation- In this session, we will examine for the Performing ally. Since 2004, Wright has served change and transformation using and Cinematic Arts in Philadelphia, as director of music ministry and three interconnected anchors of PA. In addition to teaching under- organist at Downtown Presbyterian choral communities: purpose, explo- graduate and graduate courses in Church in Rochester, New York. In ration, and agency. We will describe choral music education, Dilworth 2014 he founded the vocal ensemble empowered choral spaces where stu- conducts the “Singing Owls” Cam- First Inversion, which brings togeth- dents and teachers exemplify these pus/Community Chorus. His cho- er both professional and avocational anchors in their daily work and ral publications can be found in singers from Greater Rochester with suggest possible directions for cho- the catalogs of Hal Leonard, Colla goals of personal and artistic growth ral educators. We will make music Voce, and Santa Barbara. His choral through a focus on selﬂ ess and fear- together to re-energize and inspire pedagogy books titled Choir Builders less musical expression. Lee com- our choral practice. Through em- have been widely circulated among pleted his doctorate in conducting at bracing a vision and mission of pur- elementary, secondary, community, the Eastman School of Music. pose, agency, and exploration, our and church choral directors. aim is for choral educators to fore- First Inversion ground equity, justice, and inclusion. We address issues of representation, ChoralWorks - access, and exclusion, and work to create open spaces for community Rehearsal Tracks on transformation. Your Smartphone for Free

Elizabeth Cassidy Many choirs spend money for re- Parker is associate hearsal tracks to help learn music. professor of mu- What if you could do this for free? sic education at the The ChoralWorks web app makes First Inversion will be the demon- Boyer College of interactive rehearsal tracks with stration choir for this session. Now Music and Dance high-quality piano sounds available in its sixth season, First Inversion at Temple University and interim on smartphones. Singers can isolate brings together professional and avo- music director of the Pennsylvania their own part or make their part cational singers from Greater Roch- Girlchoir. Prior to working at Tem- louder while the other parts play soft- ester with the goal of artistic and ple University, Parker taught at Co- er. Conductors can spend valuable personal growth for all through a lumbus State University in Georgia rehearsal time making music instead focus on fearless and selﬂ ess musical and held PreK-12 music positions in of learning notes.This presentation expression. First Inversion’s diverse New York, Nebraska, and Georgia. will show how to make interactive repertoire has ranged from works Her publications include peer review ChoralWorks ﬁ les for singers. Any- of Purcell and Hasse on Roches- original research studies, interest ar- one with an internet connection who ter’s Early Music Festival to works ticles, and a forthcoming book pub- can use notation software and pub- of Caroline Shaw and Peteris Vasks lished by Oxford University Press, lish webpages can use ChoralWorks on the Canandaigua Lake Chamber Adolescents on Music. to help singers learn their music for Music Festival. free.

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Robert Natter is as- in choral conducting from the Uni- tween composer and poet, and how sociate professor of versity of Cincinnati College-Con- it can aff ect the fi nal composition. music and director servatory of Music. of choral activities at Peter de Mets has Gettysburg College, been commissioned where he conducts Composer/Poet Collaboration: by universities, four choirs and teaches conducting. churches, and the- His choirs tour widely and have per- Living Composers aters over the last formed for state conferences of The with Living Poets twenty-fi ve years. Pennsylvania MEA and ACDA-PA. His music has been performed in Natter is active as a choral clinician This session is a panel discussion concert halls, theaters, and church- and guest conductor and serves on with composers Peter de Mets and es throughout the United States and the executive board for the Eastern Joseph Gregorio and poet Mark A. Canada. His choral fanfare, One ACDA Region. He earned degrees Boyle. The discussion will include World One Dream, was premiered in in music from the University of Cali- topics such as agreements, commis- Beijing, China, as a part of the cele- fornia at Santa Cruz and a doctorate sions, the collaboration process be- brations anticipating the 2008 Sum-

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76 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Rochester, New York Interest Sessions mer Olympics. He is currently work- Copyright Law: directed state honors choruses in ing on his next opera, Katherine, based A Primer for Choral Musicians Maryland, Virginia, New York, and on the life of King Henry VIII’s ﬁ rst New Jersey. He has presented in- wife, Katherine of Aragon. Copyright lawyer Bryan Tuk will terest sessions at national, regional, discuss with composers and conduc- and state ACDA and NAfME con- Mark A. Boyle is di- tors all of the basic, and not so ba- ventions. His writings appear in the rector of choral and sic, nuances of the Copyright Law. Journal of Research in Music Education, vocal activities at Topics may include fair use, photo- Music Educators Journal, and the Choral Seton Hill Univer- copying, performance rights, and ar- Journal. . sity in Greensburg, ranging rights. There will be a brief PA. Originally from introduction to the newest copyright Rollo Dilworth will be one of the Connecticut, he attended Susque- act, and a question-and-answer ses- clinicians for this session. His photo hanna University, majoring in music sion will follow. and bio are on page 75. education. He received his master’s in choral conducting from Ball State Bryan Tuk will be the clinician for Diana Sáez is direc- University and doctorate from the this session. His photo and bio are tor of choral activi- Mason Gross School of the Arts, on page 74. ties at Towson Uni- the arts conservatory of Rutgers, the versity, where she State University of New Jersey. He directs the TU Cho- is also a composer and poet. His sa- Culturally Responsive rale, Women’s Choir cred works are regularly performed and Choral Society. For twenty-ﬁ ve at Pittsburgh’s historic Shadyside Choral Arranging: years she served as artistic director Presbyterian Church. Considering the Source of Cantigas, a chamber choir she founded with the mission to bring Joseph Gregorio is a Three choral arrangers share attention to the many rich styles of native of Gettysburg, their process for creating arrange- Latin American and Spanish cho- Pennsylvania. His ments that honor the origins of the ral music. She has presented inter- compositions have melodies they choose. Attendees will est sessions at national and regional been commissioned learn valuable criteria for identifying ACDA conventions. She has served by numerous per- arrangements that carefully balance as guest conductor in Colombia formers, ensembles, and organiza- credibility, craftsmanship, and cre- and has directed honor choruses in tions including Cantus, ACDA, The ativity, all the while showing sen- numerous states. Her choral music Esoterics, and the Ives Collective. sitivity to the context of the source and arrangements are published by His music has been broadcast on material. Boosey and Hawkes and by the Rog- American Public Media’s Performance er Dean Publishing Company. Today and WQXR’s Choral Mix, and Philip Silvey is as- has been performed in the United sociate professor of States and abroad by numerous and music education at Culturally Responsive Teaching renowned soloists and ensembles at the Eastman School such venues as the Lincoln Center, of Music, where he in the Choral Classroom the Kennedy Center, Jordan Hall, teaches courses in the National Cathedral, and the Ba- music education and conducts the This session will explore strategies silica di San Marco in Venice. Women’s Chorus. He has served as that teachers can use to make their guest conductor, clinician, and ad- classrooms and rehearsals more cul- judicator in numerous states and turally sensitive, inclusive, and ex-

CHORAL JOURNAL January 2020 Volume 60 Number 6 77 2020 ACDA Eastern Region Conference IInterestnterest SSessionsessions hibit a higher level of global compe- emy Chorale. In 2018 the choir was a Ph.D. in choral conducting/mu- tency. The presentation will be built selected to be a part of the Music sic education from the Florida State on the “Curriculum Revision Tool For All inaugural Premier Nation- University. She is the conductor of Handout” created by Royce Davis, al Choir Festival in Indianapolis, the Syracuse University Women’s Alana Murray, and Heather Yuha- Indiana. Among other awards, the Choir and teaches courses in cho- niak, and will be made relevant and choir won three medals in their fi rst ral methods and conducting. An practical to the choral setting. The appearance at the 2018 10th World active conductor, clinician, and presentation will aim to help educa- Choir Games in Tshwane, South Af- adjudicator, her research interests tors courageously approach, high- rica, and two gold diplomas at the include choral text, the poetry of light, and engage the varied cultures 2019 Interkultur Sing ‘N’ Joy Inter- Sara Teasdale in choral music, mu- represented in their ensembles. national Choir Festival. sic literacy, and community service partnerships and fi eld experience Lulu Mwangi Mup- for music therapy and choral music fumbu currently education students. Previously, she serves as the direc- Developing a Community of taught twelve years in the public tor of the music de- Empowered Musicians: schools. partment at Takoma Academy, where she Literacy through Literature Carol Krueger will be a clinician for conducts the school choirs, band, this session. Her photo and bio are and teaches music technology. She Helping students become musi- on page 33. holds a master’s from the Ohio State cally literate is central to the school, University in Conducting, and a community, and church choral cur- bachelor’s from Atlantic Union Col- riculum. This session will present lege. She has a strong passion for techniques that apply a Sound-Be- Earthtones Vocal Ensemble: combining music in ministry with fore-Symbol literacy approach Exploring Cultures through Song excellence in music education, and (tonal, rhythm, melodic) to choral her desire is that all her students gain literature. Participants will exam- This session features the Earth- a deep love for the art and use it to ine sequencing tonal and rhythm tones Vocal Ensemble as a mod- serve humanity. concepts, selecting repertoire to re- el for developing ensembles that inforce students’ previous knowledge address cultural diversity through Takoma Academy Camerata and literacy skills, and the steps to song, and the joys and challenges determine what they need to know faced in bringing to life the songs to be successful on a particular piece. of underrepresented people and The implementation of tonal and critical periods in history. Video rhythm literacy to choral repertoire excerpts of the music of Trinidad via curriculum maps will also be ex- and Tobago, the Gullah people, the plored. Vietnam Era, and the Irish-Amer- ican experience will highlight the Hillary Ridgley is as- ensemble’s unique pedagogy and sistant professor of concert format, and student refl ec- The Takoma Academy Camer- music education at tions will be featured. The aim is to ata will be the demonstration choir the Setnor School of provide insight and inspiration for for this session. Camerata is the ad- Music, Syracuse Uni- those who strive to expand their vanced group of the Takoma Acad- versity. Ridgley holds choral programs in new directions

78 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Rochester, New York Interest Sessions related to cultural awareness and so- and students who are motivated to names, use of language in rehearsal, cial consciousness. learn in diﬀ erent ways. This inter- role models and choral culture, con- active session will explore strategies cert attire, and personal names and Mary Ellen Junda, for implementing UDL through a pronouns. Participants will have an Professor of Music, variety of visual, auditory, and kin- opportunity to share in small groups University of Con- esthetic experiences that can be used and generate possible solutions. An necticut, directs in choral classrooms. inclusive vision, suggested practices, UConntabile, the and a resource list will be provided. treble choir, and Kathryn L. Evans is Earthtones Vocal Ensemble. She the specialist in cho- Stephen A. Paparo has worked on issues related to so- ral and secondary is associate professor cial consciousness through the de- general music educa- of music education velopment of Earthtones, the new tion at Towson Uni- (Choral Specialist) world-music ensemble; as co-direc- versity. She earned at the University of tor of the Landmarks in American a Ph.D. in music education at the Massachusetts Am- History and Culture Program: Gul- University of Miami, where she was herst and a Guild Certiﬁ ed Practi- lah Voices awarded $730,000 by the recipient of the prestigious Uni- tioner of the Feldenkrais Method® the NEH; and as author of articles versity of Miami Fellowship. She re- of somatic education. He is active in Choral Journal and College Music ceived master’s degrees in both mu- as a guest conductor and regularly Symposium and as co-author in the sic education and choral conducting presents at international, national, International Journal of Education and the and bachelor’s from Central Mich- and state conferences. He currently Arts and a chapter in Songs of Social igan University. An active clinician, serves as president for Massachusetts Protest: International Perspectives. She adjudicator, and honor choir con- ACDA. His research interests in- presented at “Choral Symposium: ductor, she presents at conferences clude the application of the Felden- Relevance,” co-sponsored by ACDA. and teacher in-services nationally krais Method to singing instruction, and internationally. Evans previous- non-traditional choral ensembles,

ly taught K-12 general music and and LGBTQ studies in music ed- Embracing Learner Variability: choir in Michigan. ucation. He is published in leading journals, and his compositions for Strategies to Cultivate Inclusive beginning choirs are published by Choral Ensembles Alfred Music. Embracing LGBTQIA+ Singers Today’s diverse choral classrooms with Open Ears and Hearts are composed of students with a Empowering Students to wide range of abilities, learning This interactive session will en- preferences, and interests. Universal gage participants in thoughtful dis- Unleash Their Creativity: Design for Learning (UDL) provides cussion about gender and sexuality in Composition in the Rehearsal a framework for creating instruction- choir. With open ears and hearts, we al goals, methods, materials, and as- will explore the perceived challenges Compose! Create! Engage! Are sessments that work for all learners. in making choral ensembles welcom- you looking to include more student These ﬂ exible approaches improve ing and inclusive for LGBTQIA+ voices in your choir? In this session, learning for all students, including singers. Topics will include why the presenter will describe her ex- students with disabilities, students gender and sexual identities matter, periences with implementing com- who are English language learners, selecting and introducing reper- position, songwriting, arranging, students with various learning styles, toire, program structure, ensemble informal learning, and other musi-

CHORAL JOURNAL January 2020 Volume 60 Number 6 79 2020 ACDA Eastern Region Conference IInterestnterest SSessionsessions cally creative activities in a choral ical methods and resources that are Christopher Kiver context in elementary, secondary, available. In this lecture/demon- is director of choral and collegiate settings. The present- stration, topics discussed will include activities at Penn- er will make suggestions for how Contemporary Commercial Music sylvania State Uni- choral teachers might incorporate (CCM) pedagogical techniques, safe versity, where he student-centered learning into the vs. unsafe vocal production, and a directs the Concert ensemble classroom, and she will ad- short teaching demonstration. Choir and Men’s Glee Club, over- dress common concerns and road- sees the graduate choral conduct- blocks. Participants will experience Kyle Weary gradu- ing program, and teaches choral activities such as songwriting and ated with bachelor’s conducting and choral literature. arranging in a breakout session. and master’s de- Kiver is a graduate of the Univer- grees from Shenan- sity of London, the Florida State Aimee D. Pearsall doah Conservato- University, and the University of is an instructor of ry. In 2018 he was Michigan. Choirs under Kiver’s music education at presented with the Distinguished direction have performed at state the University of Alumni Award for Young Career and regional conventions of ACDA Delaware, where she Achievement. A current PhD stu- and NAfME. He has appeared as directs the UD Con- dent at Auburn University, Weary guest conductor, clinician, and ad- cert Choir and Children’s Choir. is recognized as a leader in teaching judicator in the United States, Aus- She also teaches courses in general, music literacy and contemporary tralia, China, and New Zealand choral, and instrumental music ed- commercial music. He has present- and serves ACDA as National R&R ucation. Pearsall’s research interests ed sessions at state, regional, and chair for Male Choirs. include adolescent songwriting, de- national levels, and his articles on mocracy in ensemble classrooms, teaching music literacy and vocal informal musicking, and music edu- pedagogy have appeared in Choral cation policy and advocacy. She is an Director Magazine. Weary has earned Hospice Singing: active choral clinician in the mid-At- nominations for the Grammy music The Spirit of the Movement lantic region and has presented her educator award. research internationally and nation- Trey Pratt (MassACDA Ser- ally at ISME, NAfME, CMS, the vice Choir R&R Chair) is joined Suncoast Music Education Sympo- by leaders in the hospice singing sium National Conference, PMEA, Exploring Gender Choirs movement, Peter and Mary Al- and DMEA. ice Amidon (Hallowell Singers), to Gender choirs are sometimes introduce the stories, repertoire, viewed as secondary to mixed en- rehearsal technique, and models sembles in choral programs. This behind hospice singing. This work- Equipping the Versatile Singer— session will address the many mu- shop and panel oﬀ ers attendees Teaching Vocal Registration sical, vocal, and social beneﬁ ts of tangible tools and a philosophical gender ensembles and suggest ways outlook that will impact their every- Teachers across the globe face the to avoid gender stereotypes in rep- day choral practice, and that serve problem of teaching popular musi- ertoire and appearance and provide as inlets to the world of bedside cal styles without performance ex- healthy vocal and social environ- singing. perience or knowledge of pedagog- ments for transgender singers.

80 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Rochester, New York Interest Sessions Trey Pratt is a singer, ages 7-11. He is also music director Amidons’ choral arrangements are conductor, and mu- of JourneySongs, a vocal ensemble being sung by hundreds of choirs sic educator based that sings bedside for people on their throughout the United States and in Boston, MA. Pas- ﬁ nal journey. the UK. “Peter’s work is artistry at sionate about com- the highest level: not only a gift to munity in song, he Mary Alice Amidon singers in a wide variety of settings, aligns himself with projects that at- is a member of Hal- but also a model worthy of study by tempt to broaden and diversify the lowell, and Peter songwriters and composers in any reach of choral music and ensemble Amidon is a founder tradition.” -Mark Simos, Songwrit- singing. At Boston Children’s Cho- and co-music direc- er; Associate Professor, Songwriting, rus, he is conductor of two train- tor of Hallowell, an a Berklee College of Music. ing-level choirs and assistant conduc- cappella SATB hos- tor of the Young Men’s Ensemble. pice choir that has He also serves as Special Projects inspired and helped Manager at BCC and spearheaded form scores of oth- the creation of BCC SUMMER, a er a cappella SATB summer choral program for children hospice choirs. The

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CHORAL JOURNAL January 2020 Volume 60 Number 6 81 2020 ACDA Eastern Region Conference IInterestnterest SSessionsessions

Improving the Proclamation Presbyterian Church Patrick Murray is a Sectional Rehearsal: in Bryn Mawr, PA. conductor, composer, and lecturer in cho- Steps to Productivity, Felicia Mulé is the ral music at Western Musicality, and Unity music teacher at University (London, Kennett Middle Ontario), where he Choir sectionals should be pro- School in Kennett conducts the Western Singers and ductive, musical, and unifying expe- Square, PA, where Chorale. Murray has previously riences for singers, and this session she teaches general served as director of the University is designed to help student section music and chorus. She is also asso- of Illinois University Chorus and leaders and their conductors. Ryan ciate director for children’s creative FAWN Chamber Creative (Toron- Kelly and Felicia Mulé will present arts at Paoli Presbyterian Church in to), where he was responsible for strategies to maximize learning and Paoli, PA. She has a bachelor’s from commissioning and premiering over musicality in sectionals, ways to ad- West Chester University of PA and is twenty new chamber and operat- dress challenges like minimal prepa- currently pursuing a master’s degree ic works. Murray’s own composi- ration time and piano skills, and in choral conducting. tions have been premiered by New suggestions for inspiring peers and York Polyphony, DaCapo Chamber mitigating confl ict. Conductors will Choir, Norfolk Chamber Music and learn ways to cultivate, encourage, I.P.A. for All!: Teaching the others, and are published by Cypress and train their section leaders, help Choral Music and Renforth Music. them pace rehearsals and improve International Phonetic Alphabet their teaching and listening tech- through Warmups niques—all to assist them in becom- ing confi dent, musical, and compas- Why can’t I.P.A. be for everyone? Korean Choral Music in the sionate section leaders. This session introduces a series of 20th and 21st Centuries new, fun, and accessible warm-ups Ryan Kelly is associ- that both serve to teach I.P.A. to After the Korean War (1950- ate director of cho- younger and/or less-experienced 1951), choral music fl ourished in ral activities at West singers (with a particular focus on South Korea. Cities, universities, Chester University high school, youth, and upper-level corporations, and churches began of Pennsylvania, children’s choirs), and also help the creating new choral ensembles, and where he directs four choir work toward unifi ed vowel a new generation of composers arose choirs and teaches courses in con- concepts. Using engaging and mem- to fulfi ll this increasing demand for ducting and choral music. He is an orable texts, these warmups provide choral music. Today South Korea active lecturer and clinician with choristers with a heuristic way of has fi fty-fi ve professional choirs and numerous appearances at nation- learning and remembering diff er- is one of the leading choral music al, regional, and state conferences ent vowel ideals, giving the choir a communities in Asia and around of NAfME, ACDA, and AGO. His baseline through which to listen for the world. This session will provide publications include compositions, and develop a desired tone through a brief chronology of Korean cho- journal articles, and his book, Han- a consistency of vowel formation. ral music and an introduction of del’s Messiah: Warm-Ups for Successful today’s leading civic choruses. This Performance (Hal Leonard). He is also audio-visual presentation will also director of music and organist at highlight many of the most popular

82 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Rochester, New York Interest Sessions contemporary Korean composers international peace-building choirs have become readily available, many and their music. A reading packet will invite application to other con- of which have new modern perfor- will be provided. texts. Through expanding circles of mance editions. This session will dis- impact, choirs become musical and cuss how to fi nd this repertoire and Dong-Kyu Lee is inter-personal “dialogic spaces” and will explore a variety of rich and currently pursuing live out the very songs they sing. approachable compositions from the a doctorate in cho- Renaissance to Romantic periods. ral conducting at Mark Bartel is direc- These works off er an assortment of the University of tor of choral music styles and are accessible to choirs of Alabama, where he at Friends Univer- varying size, type, and ability levels. teaches conducting, co-directs the sity, a university of University Chorus, and serves as Quaker heritage in Jeremy Wiggins is ACDA’s chapter advisor. He holds a Wichita, KS, where assistant professor of master’s from the University of Lou- he oversees a program of four music, coordinator isville, where he was assistant con- choirs. He is artistic director of the of graduate studies ductor of the renowned Cardinal Wichita Chamber Chorale, presi- and choral activities, Singers; and a bachelor’s from the dent of the Kansas Choral Directors at Western Con- Presbyterian University and Theo- Association, and past conductor of necticut State University, where he logical Seminary in South Korea. the Wichita Community Children’s conducts the University Singers and Lee’s conducting honors include the Choir. His choirs have appeared at Concert Chorale and teaches cours- Jubilate Conducting Competition state and regional ACDA conven- es in conducting, choral literature, Grand Prize, the Korean Church tions and traveled internationally and music education. Wiggins is an Music Association Outstanding Stu- on performance and service tours. active conductor and clinician who dent, and the Seoul Oratorio Festi- A recipient of the Canada Council’s has presented sessions throughout val Outstanding Student. Sir Ernest MacMillan Conducting the U.S. on the topics of conduct- Prize, he holds degrees from Univer- ing pedagogy, choral literature, and sity of Winnipeg, Southern Method- rehearsal strategies. Wiggins taught Living the Song: ist University, and Eastman School secondary choral music in southern of Music. California for nine years, and holds War Requiem, Choirs, degrees from the Florida State Uni- and Peacebuilding versity (Ph.D.) and California State Looking Outside the University, Fullerton (M.M. Con- What is the role of works that ducting & B.A. Choral Music Edu- make both a musical and social Choral Canon: Exploring cation). statement? How can choirs engage Overlooked Historic Choral Works with confl ict and confl ict transformation? This session introduces two While the choral cannon is full of approaches: the composition-per- incredible repertoire, there are still formance legacy, and the emerging undiscovered and underperformed practice of active peace-building choral works that can diversify the through choral experience. In an programming of historic literature. interview with conductor William Due to recent progress in imag- Weinert, Britten’s War Requiem will ing, cataloging, and database cre- be discussed in light of societal di- ation, previously unknown and less- vision. Finally, a spotlight on two er-known composers’ choral works

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Musician and Clergy Music Literacy in the Programming, Rehearsing, Collaboration as a Elementary Choral Rehearsal and Performing Music Model for Leadership without Notation One of the challenges that ele- There is an increasing concern in mentary choral directors often face is Conductors and teachers can the church today about the lack of building in quality time for music lit- program individual works or even collaboration and respect between eracy during rehearsals. This work- entire concerts without relying on clergy and church musicians. Each shop will guide participants through musical notation. By learning how group often talks about the other in a series of activities, warm-ups, and to substitute other structural ref- frustration and sometimes disdain. techniques, all implementing Con- erents for notation, the conductor The question becomes: how can versational solfège. Attendees will can open up new worlds of musical we engage in good practices that be guided through various games, possibility within ensemble settings: will move our music ministries for- including “Forbidden Pattern,” singers and conductors will learn ward? What strategies can we use to “Human Piano,” “Simon,” “Lower how to more authentically engage foster the type of relationships we the Curtain,” and “Solfège Wars.” with oral traditions, embracing val- are called to model for our congre- These carefully sequenced games ues of diversity, equity, and inclu- gations? These questions and more help to create a positive choral re- sion; musicians will learn how to will be explored in this interactive hearsal climate that will enable stu- conscientiously improvise. Attend- seminar. dents to joyfully assimilate the skills ees will participate in a non-notat- necessary to be musically literate. ed musical experience and examine Jeff ery Seeley, ex- ways in which to apply these ideas ecutive director Craig Knapp has within their own ensembles. of Partnership for been teaching class- Music Ministry Re- room music and cho- Nils Klykken is an newal, Inc., holds a rus, grades 3 through assistant professor of D.Min. from Emory 5, in the Rocky Point music at the Crane University, a master’s in choral con- School District since School of Music, ducting from Mansﬁ eld University, 1998. With his innovative and en- where he conducts an M.Div. from Drew University, ergetic approach to music educa- three choirs, teach- and a bachelor’s from Lycoming tion, Knapp directs the Metropoli- es undergraduate courses in con- College. He was previously the as- tan Youth Orchestra of New York’s ducting, and prepares future music sociate professor of church music Children’s Treble Choirs. He is an educators. As a musician, Klykken at Mercer University. An ordained adjunct assistant professor at Hofst- is most interested in conscientious minister and minister of music, ra University. He is also the director improvisation and its application to Seeley has held music ministry po- of the Early Childhood Community historical performance practices, as sitions, often accompanied by pas- Music Program at Stony Brook Uni- well as systemically addressing ways toral responsibilities, for over thirty versity, where he instructs children in performing ensembles can become years. Pre-K through 6th grade. Knapp is more diverse, equitable, and inclu- the co-author of the book First Steps sive. Klykken holds degrees in con- in Music with Orﬀ Schulwerk: Sing, Say, ducting from the Eastman School Dance, Play. of Music and an undergraduate degree from the University of Michi- gan.

84 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Rochester, New York Interest Sessions The Right Kind of Propaganda: ty of Illinois at Urbana-Champaign. and Langston Hughes. Martin is also African American Musical Iden- Her dissertation at UIUC was on the an active professional choral singer choral cantatas of Margaret Bonds in the New England area. tity in the Cantatas of Margaret Bonds and Langston Hughes

Poet Langston Hughes and composer Margaret Bonds wrote two choral cantatas together: “The Ballad of the Brown King for Christmas” and “Simon Bore Make the world a bettebetter place. the Cross” (discovered in 2014, when Georgetown University We can help. acquired the score) for Easter. Bonds and Hughes believed that music written by black composers could create a sense of pride in African American heritage and community. They placed biblical black characters at the center of their work to create a sense of historical and religious connection Colorado Symphony CChoh rurususs and integrated African American spirituals into the music. This presentation will explore their de- cades-long correspondence and the music of their two choral cantatas.

Allegra Martin is Emory University Concert Choir Boston Gay Men’s Chorus Portland Symphonic Girlchoir the director of college choirs at Holy SharingSh i music i means strengtheningtthit communities,iti bbuilding ildi Cross in Worces- understanding and spreading joy and peace. As fellow musicians, ter, MA, where she directs the we know concert tours have the power to do just that. As global College Choir and the Chamber travel experts, we can handle the special needs you have on tour. Singers. Previous positions have For over 60 years, we’ve been helping groups change the world. included director of music at First We can help you be next. Parish in Cohasset MA, artistic director of the Cantilena Wom- en’s Chorale, and chorus director (800) 627-2141 at Lasell College and Lasell Vil- Performing lage. Martin holds degrees from Arts Tours CST 2063085-40 [email protected] Williams College, Westminster TOUR CONSULTANTS Since 1955 WST 600 470 812 Choir College, and the Universi-

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Singing is Singing Malinda Haslett is a Singers 55+ for Goodness Sakes!: Grammy-nominat- Can Sound Fabulous!! ed soprano and has Soloist vs. Choral Singer? sung over forty leading roles in operas. Learn how to bring out the very The singing goals of choral di- Notable debuts have best in your aging voices. Jeanne Kel- rectors and voice teachers are been in Paris, Berlin, Beirut, Lon- ly, Founder and Artistic Director or sometimes viewed as diametrically don, and New York in roles such as Encore Creativity for Older Adults, opposed to one another. Howev- Violetta, Juliette, Nedda, and multi- the nation’s largest choral program er, choral singing and solo singing ple Mozartian heroines. In 2017 she for singers 55+, will give you excel- share much more similarities than published her fi rst bi-lingual vocal lent tools to fi nd more success with diff erences. This session will repre- pedagogy book, Il Cantante e il suo your older singers. You will discover sent the viewpoints of the solo voice strumento, in conjunction with mez- benefi cial breathing and vocal tech- teacher and choral director. Shared zo-soprano Claudia Marchi. A for- nique exercises for the older singer, goals, philosophy, and strategies for mer Rotary Ambassadorial Scholar repertoire choices that allow older addressing these diff erences will be and Fulbright semi-fi nalist, she is the singers to shine, performance prac- discussed. director of vocal studies at the Uni- tices, discuss diff erences in conduct- versity of Southern Maine, where ing patterns for older and younger Nicolás Alberto she leads a program of seventy un- singers, and learn the all-important Dosman is assistant dergraduate and graduate students. 3 C’s of choral singing. professor of music, director of choral Jeanne Kelly found- studies at the Uni- University of Southern Maine ed the Encore Cre- versity of Southern Chamber Singers ativity for Older Maine, and the Community Chorus Adults in 2007. Pri- at South Berwick. Previously he was or to that she had a director of choral activities at Colby teaching, performance, conducting, College. Dosman has conducted and and arts management career span- presented at national ACDA and ning over thirty years. Encore is the all-state festivals. His international nation’s largest choral program for conducting include workshops and older adults. Kelly has performed festivals in Latin America. Dosman major roles in operas including Car- was chorus master for the Portland men, The Medium, Die Fledermaus, Die Symphony Orchestra and interim The University of Southern Zauberfl ute, Walkure, and Das Rheingold. conductor of the Southern Maine Maine Chamber Singers represent She was the conductor of the Wom- Symphony Orchestra. Earlier in some of the most outstanding vo- en's Glee Club at the United States his career, he conducted the Casita cal performers at the University of Naval Academy. Kelly was named as Children’s Chorus (Bronx, NY) and Southern Maine. The Chamber one of the twelve “Infl uencers in Ag- taught in Miami, FL. He holds de- Singers perform a diverse reperto- ing” in 2018 by PBS Next Avenue. grees from Columbia, Florida State, ry centered on a cappella literature. and Oberlin. They have produced several CDs over the years (their most recent New Beginnings) and have participated in

86 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Rochester, New York Interest Sessions international tours and performed Good Mornin’ Music. Fisher has Understanding Registration Events at regional NAfME conferences. In had the privilege of living and mak- the spring of 2019 they awarded a ing music with South Africans in the in Children’s Voices: Gold Diploma at the Vietnam In- townships of South Africa through- Implications for Practice ternational Choir Competition and out the last twenty-fi ve years. He, received an invitation to participate along with Kathy Robinson, found- Our interdisciplinary team–mu- in Interkultur’s World Choir Games: ed Umcolo!, a teaching and learning sic educators and a speech-language Champions Round. immersion program for music edu- pathologist—will discuss terminolo- cators that takes place in the town- gy, and basic laryngeal anatomy and ships of South Africa each summer. physiology regarding vocal registration events among school-age chil- South African Musicing...YES! Keystone State Boychoir dren (K–8). Attendees will explore Cultural Appropriation...MAYBE? laryngeal anatomy and physiology and the roles of glottal and vocal This interest session will involve tract adjustments in registration. session attendees learning South Af- After attending this presentation, at- rican songs in an authentic way as a tendees will be able to describe basic vehicle to explore issues of cultural laryngeal anatomy and physiology, appropriation. We will be identify- identify children’s vocal registers, ing what is cultural appropriation in and explain the long-term implica- the context of making and publish- tions and importance of teaching ing South African folk music, versus The Keystone State Boychoir children to sing in every register. Re- what might seem like cultural appro- will be the demonstration choir for sources will include interactive web- priation but is actually music making this session. Founded in 2001, the sites, diagrams, relevant studies, and very much in the spirit of how South Keystone State Boychoir (KSB) is case studies. Africans make music themselves. counted among the the fi nest, most The South African musicing will successful community-based boy- Mara E. Culp is as- be led by members of the Keystone choir choral programs in the world. sistant professor of State Boychoir, who toured South Under the direction of music direc- music education Africa in 2018. The songs they teach tors Joseph P. Fitzmartin and Steven at Eastman School will be songs they learned from M. Fisher, the Boychoir sings a di- of Music. She has South Africans. verse enthralling repertoire from the taught general, cho- classical to the contemporary. KSB ral, and instrumental music. Her Steven Fisher is prides itself in singing world music scholarly interests include improv- founder of Com- with authenticity and integrity and ing communication in and through monwealth Youth- in the American genres of folk mu- music and interdisciplinary collabo- choirs (CY), an sic, spirituals, gospel, Broadway, and ration. She has presented her work organization that jazz. Keystone State Boychoir has at state, national, and international transforms the lives sung with such distinguished ensem- conferences; and served as a guest of 800 young people through the bles as the Philadelphia Orchestra, speaker in Communication Scienc- power of making music together. CY Opera Philadelphia (for which it es and Disorders departments. Her programs include Keystone State serves as offi cial boychoir), and the work has been published in Choral Boychoir, Pennsylvania Girlchoir, Philadelphia Singers. Journal, Journal of Research in Music New Jersey Boychoir, Garden State Education, The Orff Echo, and General Girlchoir, Find Your Instrument!, Music Today.

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Elizabeth Banaszak Women’s Composer Panel Women Giving Voice is a speech pathol- to Women ogist specializing in Today more women are being the evaluation and recognized as notable composers This session presents a panel of treatment of pro- than in the past. However, a quick female choral conductors as they dis- fessional voice users review of concert programs reveals cuss their experiences programming including singers at Mass. Eye and that women composers continue to and performing works by female Ear, where she is also the Transgen- be under-represented. This panel choral composers. Panelists repre- der Voice Program Coordinator. will discuss the challenges faced by sent diverse backgrounds and varied She earned her bachelor’s in voice women composers in the fi eld today choral settings including K-12 pub- and opera performance from North- and steps we might take to be more lic and private schools, collegiate, western University and her mas- inclusive of women composers on community, and professional orga- ter’s in speech-language pathology our concert programs. Moderated nizations from urban, suburban, and from the University of Illinois Ur- by Joy Hirokawa, our panelists will rural locations across the northeast. bana-Champaign. She completed a include Kala Pierson, Diedre Rob- A brief summary of fi ndings from a clinical fellowship at the University inson, Jessica French, Katerina Gi- formal research study on the same of Rochester Voice Center and an mon, and Melissa Dunphy. topic sets the context for the discus- internship at the Chicago Institute sion and off ers additional perspec- for Voice Care, both with compre- Joy Hirokawa is the tive. Implications for the fi eld will be hensive training in voice, upper air- founder and artistic addressed, and time will be allotted way, and swallowing disorders. director of The Bel for questions and discussion. Canto Youth Chorus Christina Svec is as- of The Bach Choir Andrea Maas serves sistant professor of of Bethlehem and as assistant professor music education at Director of the Lafayette College of choral music edu- Iowa State Univer- Concert Choir. She formerly led the cation at The Crane sity specializing in music education program at Mora- School of Music, elementary general vian College for ten years. Hirokawa SUNY Potsdam, where she works music/secondary choral methods is a published arranger, specializing with pre-service students in ensem- and conducts the Ames Children’s in authentic arrangements of jazz ble settings, as well as choral and Choirs. Prior to receiving a PhD in and ethnic music for young voices. general practicum courses. Maas Music Education from the Univer- She is a frequent guest conductor previously taught PK-12 general sity of North Texas, she taught ele- and clinician, presenting regularly music and choir in Vermont public mentary music and directed choirs at ACDA, NAfME, and PMEA con- schools, where she also founded and in Texas. She has also taught early ferences. She is the ACDA National directed community youth and show childhood music in both Texas and R&R Chair for Children and Youth choirs and maintained a private Michigan. She has presented at con- Choirs. Hirokawa taught in the pub- voice studio. Her interests in musi- ferences locally, nationally, and in- lic schools for twenty years prior to cal expression drive her to challenge ternationally. Her publications can teaching at the collegiate level. students and teachers toward deeper be found in Update: Applications of Re- meaning-making during musical en- search in Music Education and Psycholo- counters. gy of Music.

88 CHORAL JOURNAL January 2020 Volume 60 Number 6 2020 ACDA Eastern Region Conference HHonoronor CChoirhoir CConductorsonductors

Elementary Musical Theatre Repertoire

Henry Leck is an internationally recog- Rob Fisher is an internationally recognized choral director and professor emer- nized music director, conductor, and pi- itus of choral music at Butler University anist. He has been music director and and the Founder and Conductor Laure- conductor for many Broadway shows, ate of the Indianapolis Children’s Choir. and he has been a guest of virtually every Leck has conducted all-state choirs in major orchestra in the country as con- nearly every state, plus national and regional ACDA ductor or pianist. With the New York Philharmonic, he honor choirs and national honor choirs for OAKE. Leck has conducted Carousel (Emmy Nomination for Best Mu- received the Lifetime Achievement Award from Chorus sic Director) and My Fair Lady. At Carnegie Hall he led America and was named a Lowell Mason Fellow from Candide, Guys and Dolls, and The Sound of Music. Fisher was NAfME in 2015. He will serve as the artistic director founding music director and conductor of the New York for the Music for All National Choir Festival in 2020. City Center Encores! He has made numerous record- Leck is widely known as a specialist in choral techniques, ings for Encores! including the Grammy-winning Chica- Dalcroze Eurhythmics, Laban, child voice, and the boy’s go cast album. He holds degrees from Duke, American, changing voice. and Mansﬁ eld Universities.

Junior High High School

Lynnel Joy Jenkins is artistic director Edith A. Copley is a Regents’ Professor of Westrick Music Academy and choral and director of choral studies at North- teacher at Timberlane Middle School ern Arizona University, where she con- of the Hopewell Valley Regional School ducts the Shrine of the Ages Choir and District. At Westrick Music Acade- teaches undergraduate and graduate my, Jenkins conducts advanced groups, courses in conducting and choral liter- Princeton Girlchoir Ensemble and Concert Choir. She ature. She has received numerous honors, including has conducted honor choruses for one national, three Arizona Music Educator of the Year, Arizona ACDA regional, and several state conferences for ACDA; two Outstanding Choral Director Award, and the Weston national conferences for OAKE; and numerous all-state H. Noble Award. Copley has served ACDA as president choruses. Jenkins has earned degrees from Westminster of the Western Region, Arizona state president, editor Choir College, Temple University, and University of Ar- of the Arizona and western division newsletters, and in- izona, and at the ﬁ rst two institutions was awarded the terest session chair for the 2011, 2019, and 2021 ACDA Elaine Brown Conducting Award. National Conferences.

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