HANDBOOK 2012/13 Updated September 2012

™

LUKE MCENDARFER | ARTISTIC DIRECTOR HANDBOOK 2012/13 Updated September 2012

HANDBOOK 2012 /13

All NCC parents are required to read this handbook upon receipt, and are responsible for parent/student compliance with the policies and procedures contained herein.

2012/13 Handbook 1 NATIONAL CHILDREN'S CHORUS | HANDBOOK

NCC Handbook 2012/13 - Table of Contents

I. Welcome to Season 2012/13 VI. Rehearsal Policies & Procedures Letter from the Artistic Director 3 Drop-o! and Pick-up 38-39 Important Dates 4-5 Parent Chaperones 41 Important Deadlines 6-7 Attendance 42 Parent Meetings 42-43 II. Artistic & Administrative Team Tech Week 44 Student Behavior 45-47 Luke McEndarfer, artistic director 9 Observing Rehearsal 48 Cristina Demiany, executive director 10 Supporting the Conductor 49 Dr. Pamela Blackstone, associate artistic director 11 Weekly Rehearsal Schedules 50-51 Ryan De Korte, executive administrator 12 Kurt Cereske, Kodály studies director 13 VII. Parent & Student Services Mollie Birney, associate conductor 14 Christopher Yraola, associate conductor 14 Mission Statement 52 Robert René Galván, associate conductor 15 My NCC 53 Kara Simpson, associate conductor 15 Carpools 53 Judith Chan, Kodály musicianship instructor 16 Electronic Weekly Reminder 54 Kelly O'Brien, Kodály musicianship instructor 16 Lisa Fenderson, Kodály musicianship instructor 16 VIII. Performances Dr. Vivian Liu, principal rehearsal pianist 17 Dr. Hiroyo Hatsuyama, associate pianist 18 "e Broad Stage 58 Nick Nicassio, associate pianist 18 St. Paul's (LA & NY) 59 Michael Dean, vocal studies director 19 Box O#ce Policies 60 Dr. Ian Krouse, compositional studies director 20 Photo and Video Policies 61 Moments in Music 62 III. Ensemble Structure IX. Attire & Appearance Prelude Level 22 Minuet Level 22 Formal, Casual & Festival Dress 63-64 Sonata Level 22 Grooming for Performance 65 Debut Ensemble 23 Premier Ensemble 23 X. Other Policies & Procedures Scholars 24 Solo Auditions 66 Luke McEndarfer Conducting Fellows 25 Letters of Recommendation 67 Michael Dean Vocal Studio 25 Gifts to Directors 67 Ian Krouse Composition Workshop 25 Artist Council 26 XI. Special Events NCC Promotions 26 Awards Reception 69 IV. Curriculum XII. Support Kodály Technique 28 Musicianship 29-30 Conductor’s Circle Bene$ts 70 Facebook & YouTube 71-72 V. Enrollment Fundraising 73 Auditions 73 Requirements and Tuition 31 Season Subscriptions 32-33 XIII. Contact Broad Stage Experience Package 35 Important Phone Numbers & E-mail 74-77 Conductor's Circle 36

2 Handbook 2012/13 Updated September 2012

WELCOME TO SEASON 2012/13 Dear Esteemed Parents and Members of the National Children’s Chorus:

On behalf of our entire Artistic and Administrative Team, please allow me to o!er you a heartfelt welcome to Sea- son 2012/13! "is year marks the NCC's 4th full season at "e Broad Stage in Santa Monica and 2nd full season at "e Church of Saint Paul the Apostle in New York, each presenting an exceptional array of unique opportunities and musical experiences for our gifted students! For the $rst time ever, our choruses will engage in a large- scale bicoastal collaboration where more than 150 NCC students from both Los Angeles and New York will meet each other, and sing together in what promises to be one of our most beautiful concert events to date, featuring internationally-acclaimed soprano Lisa Vroman and chamber orchestra. As we triumphantly continue building America's top choral institution for youth, here are some of our most exciting projects and developments— t 5SBEJUJPOTBU5IF#SPBE4UBHFJO4BOUB.POJDBGFBUVSFTUISFF TVCTDSJQUJPODPODFSUTy t $BOEMFMJHIUXJUI-JTB7SPNBO t $FMUJD4PVM t "NFSJDBOB t 5SBEJUJPOTBU5IF$IVSDIPG4BJOU1BVMUIF"QPTUMFJO/FX:PSLGFBUVSFTUISFF TVCTDSJQUJPODPODFSUTy t $BOEMFMJHIUXJUI-JTB7SPNBO t .PTUMZ.P[BSU t 5IF4JMWFS4DSFFO t /&8BTTPDJBUFDPOEVDUPSTKPJOUIF/$$hTFTUFFNFE"SUJTUJD5FBN t .PMMJF#JSOFZ .JOVFU-FWFM -PT"OHFMFT t 3PCFSU3FOÏ(BMWÈO .JOVFU-FWFM/FX:PSL t $ISJTUPQIFS:SBPMB 1SFMVEF-FWFM -PT"OHFMFT t ,BSB4JNQTPO 1SFMVEF-FWFM /FX:PSL t /&8FOTFNCMFTEFCVUPOCPUIDPBTUT CSJOHJOHUIFUPUBMPG/$$DIPSVTFTUPOJOF t 1SFMVEF-FWFM /FX:PSL t .JOVFU-FWFM /FX:PSL t 4POBUB-FWFM /FX:PSL t %FCVU&OTFNCMF -PT"OHFMFT t 4DIPMBST5# -PT"OHFMFT GFBUVSJOHNBMFWPJDFT t /&8NVTJDJBOTIJQQSPHSBNTSPMMPVUPOCPUIDPBTUT t 5IF,PEÈMZ.FUIPEJTJOUSPEVDFEUPBMMFOTFNCMFTJO/FX:PSL t 1SJWBUFWPDBMTUVEZJTJOUSPEVDFEUPUIF%FCVUBOE1SFNJFS&OTFNCMFTJO-PT"OHFMFT t /&8J1BEEJHJUBMJOUFSGBDFGBDJMJUBUFTJODSFBTFEFóDJFODZBUSFIFBSTBMTBOEFWFOUT t /&8/$$4UPSFMBVODIFT GFBUVSJOHPVSöSTU8JOUFS-JOF t 4&$0/%4PVUIFSO$BMJGPSOJB$PNQPTJUJPO$PNQFUJUJPODPNNFODFT t /&8GSFTIMPPLUPXFCTJUFBOENBSLFUJOHNBUFSJBMT t /&8DPMMBCPSBUJPOXJUI"NB[PO.BSLFUJOH1BSUOFST TFSWJOHBTUIFTUPóDJBMQVCMJDJTUGPSUIF/$$ t /&8DPMMBCPSBUJPOXJUI5IF-BX'JSNGPS/PO1SPöUT TFSWJOHBTUIFTUPóDJBMMFHBMUFBNSFQSFTFOUJOHUIF/$$ We hope that you love the many thrilling ways that we are working to improve your children’s experience as part of “America’s premier treble chorus.” It is our humble privilege to provide the most extraordinary space possible where we endeavor to nurture and cultivate the artistic truth and beauty that lie within each of our young musicians. As we begin a new year, please do not ever hesitate to ask for help or assistance—we are here to serve you in the best manner possible.

With great enthusiasm,

Luke McEndarfer Artistic Director National Children’s Chorus Los Angeles | New York

2012/13 Handbook 3 NATIONAL CHILDREN'S CHORUS | HANDBOOK

WELCOME TO SEASON 2012/13

Important Dates - Season 2012/13 (LOS ANGELES)

t 4BUVSEBZ 4FQUFNCFSUI—Welcome Reception/Hollywood Bowl with Fireworks (5 PM)

t 4VOEBZ 4FQUFNCFSUI—1st Rehearsal of Fall 2012 and Orientation

t 4VOEBZ 4FQUFNCFSUI—Fall Parent Meeting

t 5IVSTEBZ /PWFNCFSUI—Candlelight at The Broad Stage, Santa Monica (7 PM)

t 4BUVSEBZ %FDFNCFSTU—Fall Showcase (2 PM)

t 4BUVSEBZ %FDFNCFSUI— Candlelight at The Church of Saint Paul the Apostle, New York (8 PM) t 4VOEBZ %FDFNCFSUI—Mass at The Church of Saint Paul the Apostle, New York (10 AM) t 4VOEBZ +BOVBSZUI—1st Rehearsal of Winter 2013 and Orientation t 4VOEBZ +BOVBSZUI—Winter Parent Meeting t 'SJEBZ .BSDIOE—Celtic Soul at The Broad Stage, Santa Monica (7 PM) t 4VOEBZ .BSDIUI—1st Rehearsal of Spring 2013 and Orientation t 4VOEBZ "QSJMUI—Spring Parent Meeting t 4BUVSEBZ "QSJMUI—NCC Masterclass (2 PM) t 'SJEBZ "QSJMUI—NCC Annual Fundraiser (7 PM) t 4BUVSEBZ +VOFUI—Spring Showcase (2 PM)

t 'SJEBZ +VOFUI—Americana at The Broad Stage, Santa Monica (7 PM)

t 4BUVSEBZ +VOFUI—NCC Awards Reception (3 PM)

4 Handbook 2012/13 Updated September 2012

WELCOME TO SEASON 2012/13

Important Dates - Season 2012/13 (NEW YORK) t 8FEOFTEBZ 4FQUFNCFSUI—1st Rehearsal of Fall 2012 and Orientation t 8FEOFTEBZ 4FQUFNCFSUI—Fall Parent Meeting t 8FEOFTEBZ %FDFNCFSUI—Fall Showcase (7 PM) t 4BUVSEBZ %FDFNCFSUI— Candlelight at The Church of Saint Paul the Apostle, New York (8 PM) t 8FEOFTEBZ +BOVBSZUI—1st Rehearsal of Winter 2013 and Orientation t 8FEOFTEBZ +BOVBSZUI—Winter Parent Meeting t 4BUVSEBZ .BSDIUI—Mostly Mozart at The Church of Saint Paul the Apostle, New York (2 PM) t 8FEOFTEBZ .BSDIUI—1st Rehearsal of Spring 2013 and Orientation t 8FEOFTEBZ "QSJMSE—Spring Parent Meeting t 8FEOFTEBZ .BZUI—Spring Showcase (7 PM) t 4BUVSEBZ +VOFTU—The Silver Screen at The Church of Saint Paul the Apostle, New York (2 PM)

2012/13 Handbook 5 NATIONAL CHILDREN'S CHORUS | HANDBOOK

WELCOME TO SEASON 2012/13

Important Deadlines - Season 2012/13 (LOS ANGELES) t .POEBZ 0DUPCFSUI —DUE—All 2012/13 Season Subscription Orders t 5IVSTEBZ /PWFNCFSTU —DUE—Winter Registration Fee and Forms for Win- ter 2013 Enrollments t 4VOEBZ /PWFNCFSUI —DUE—Candlelight Art Projects (Senior Division only) t 5IVSTEBZ /PWFNCFSUI —DUE—Winter Tuition Fees for Winter 2013 Enroll- ments t 'SJEBZ 'FCSVBSZUI —DUE—Spring Registration Fee and Forms for Spring 2013 Enrollments t 'SJEBZ 'FCSVBSZUI —DUE—ALL Winter Package Orders (new Winter enrollments only) t 'SJEBZ .BSDITU —DUE—Spring Tuition Fees for Spring 2013 Enrollments t 'SJEBZ .BSDIUI —DUE—Conductor's Circle Member Contributions t 8FEOFTEBZ "QSJMUI —DUE—Fall Registration Fee and Forms for Fall 2013 Enrollments t 8FEOFTEBZ "QSJMUI —DUE—ALL Spring Package Orders (new Spring enrollments only) t 4VOEBZ .BZUI —DUE—Americana Art Projects (Senior Division only) t 'SJEBZ +VMZUI —DUE—Fall Tuition Fees for Fall 2013 Enrollments

6 Handbook 2012/13 Updated September 2012

WELCOME TO SEASON 2012/13

Important Deadlines - Season 2012/13 (NEW YORK) t .POEBZ 0DUPCFSUI —DUE—All 2012/13 Season Subscription Orders t 5IVSTEBZ /PWFNCFSTU —DUE—Winter Registration Fee and Forms for Win- ter 2013 Enrollments t 8FEOFTEBZ /PWFNCFSUI —DUE—Candlelight Art Projects (Sonata Level only) t 5IVSTEBZ /PWFNCFSUI —DUE—Winter Tuition Fees for Winter 2013 Enroll- ments t 'SJEBZ 'FCSVBSZUI —DUE—Spring Registration Fee and Forms for Spring 2013 Enrollments t 'SJEBZ 'FCSVBSZUI —DUE—ALL Winter Package Orders (new Winter enrollments only) t 'SJEBZ .BSDITU —DUE—Spring Tuition Fees for Spring 2013 Enrollments t 'SJEBZ .BSDIUI —DUE—Conductor's Circle Member Contributions t 8FEOFTEBZ "QSJMUI —DUE—Fall Registration Fee and Forms for Fall 2013 Enrollments t 8FEOFTEBZ "QSJMUI —DUE—ALL Spring Package Orders (new Spring enrollments only) t 8FEOFTEBZ .BZUI —DUE—The Silver Screen Art Projects (Sonata and Minuet Levels only) t 'SJEBZ +VMZUI —DUE—Fall Tuition Fees for Fall 2013 Enrollments

2012/13 Handbook 7 NATIONAL CHILDREN'S CHORUS | HANDBOOK

WELCOME TO SEASON 2012/13

The National Children's Chorus

"e National Children's Chorus under the leadership of Artistic Director Luke McEndarfer, is quickly establishing itself as America's leading treble chorus, with a set of ensembles based both in Los Angeles and New York City. In residence at "e Broad Stage in Santa Monica, the National Children's Chorus is one of few youth arts organizations in the world to have its entire concert season presented by a professional concert hall. Its groundbreaking fourth season at "e Broad Stage and second season in New York during 2012/13 entitled "Traditions" presents an eclectic array of musical styles, drawing on American cultural roots, and features a bicoastal collaboration with internationally-acclaimed soprano Lisa Vroman and chamber orchestra. Works will include Vivaldi's Gloria in D, as well as the world premiere of a new piece to be written by the Grand Prize Winner of the 2nd Annual Broad Stage NCC Southern California Composition Competition. Tracing its lineage back to the 1904 inception of the Paulist Choristers in Chicago, the Na- tional Children's Chorus has garnered a superb reputation for musical excellence, and has amassed an impressive resume of experience. Collaborating with some of the $nest music companies in the nation, the group has recently performed live with the Los Angeles Philharmonic, the Los Angeles Opera Company, the Los Angeles Master Chorale, the Hollywood Bowl Orchestra, the Jof- frey Ballet, the Kronos String Quartet, Center "eatre Group and Musica Angelica Baroque Orchestra, under the direction of such notable conductors as Gustavo Dudamel, Grant Gershon, James Conlon, Paul Salamunovich, Helmuth Rilling, John Rutter, John Mauceri and Esa-Pekka Salonen, with whom the ensemble recorded Mahler's Symphony No. 3 in D minor, with the Los Angeles Philharmonic and Women of the Los Angeles Master Chorale under the Sony Classical label. In addition, the National Children's Chorus has been featured on numerous movie and television soundtracks, most recently appearing on screen for Paramount Pictures and its 2009 $lm Imagine !at, starring Eddie Murphy. "rough the years, the group has been featured numerous times as the musical act on Jay Leno's former Tonight Show, and its members are regularly contracted as solo artists for professional engagements both on the stage and in the studio. Students of the National Children's Chorus in Los Angeles and New York are represented by more than sixty schools throughout both cities, and meet weekly for rehearsal and musicianship study. "e extensive curriculum includes college-level conducting, composition, music theory, sight-singing in the Kodály Method, and individual voice training in the bel canto style under the guidance of Michael Dean, Vo- cal Studies Department Chair at the UCLA School of Music. "rough a holistic approach to educating the total musician within each child, recent graduates from the program have gone on to be accepted at top schools around the country, such as USC's "ornton School of Music, UCLA's Herb Alpert School of Music, UC Berkeley, the Curtis Institute of Music, Manhattan School of Music and "e Juilliard School.

8 Handbook 2012/13 Updated September 2012

ARTISTIC & ADMINISTRATIVE TEAM

Luke McEndarfer, artistic director

Pianist and conductor Luke McEndarfer has been on $re since his 2004 appointment as Artistic Director of the National Children’s Chorus (formerly the Pau- list Choristers). Under his direction, the group has led numerous performances with critically acclaimed interpretations of Poulenc’s Gloria, Mozart’s Requiem, Lauridsen’s Lux Aeterna and Madrigali, Fauré’s Requiem, Britten’s A Ceremony of Carols, Rutter’s Dancing Day, Vaughan Williams’ Mass in G minor, Castelnuovo- Tedesco’s Romancero Gitano, Bernstein’s Chichester Psalms, Dvořák’s Mass in D, Copland’s Old American Songs, and Handel’s Messiah, the latter written up as “the best performance in many years” in Overture, the Musician’s Union o#cial publication. His ambitious and innovative plans have resulted in major program expansion taking the organization bicoastal, forg- ing a reputation for excellence and adventurous programming. To date, his world premiere conducting performances include works and arrangements by Grammy-nominated Morten Lauridsen and Emmy- winner Stephen Cohn, while current commissions include new music by Nico Muhly. Heavily invested in collaboration, Mr. McEndarfer has pioneered unique performance relationships which have culminated in concert appearances with the Los Angeles Philharmonic, the Los Angeles Op- era Company, the Los Angeles Master Chorale, the Jo!rey Ballet, the Kronos String Quartet, the Steven Petronio Dance Company of New York, Musica Angelica Baroque Orchestra, Josh Groban, "e Chief- tains, Ed McMahon, pianist Lorin Hollander, organist Christoph Bull, composer John Rutter, guitarist James Smith, harpsichordist Lucinda Carver, and soon, Grammy-winner soprano Jessica Rivera. Equally at home in the studio as well as on the concert stage, Mr. McEndarfer has worked on several motion picture soundtracks, most recently on Paramount Pictures’ 2009 feature $lm Imagine !at, starring Eddie Murphy, where McEndarfer selected, arranged and conducted sections of the score, and also appeared as the Music Teacher on screen. Television and radio credits include conducting performances in the musical act on Jay Leno’s former Tonight Show, and a live performance on KLSX as part of a 2005 Christmas special. Passionately committed to music education, Mr. McEndarfer has vowed to make the National Children’s Chorus an in- comparable resource for youth music education both in Los Angeles and New York City, o!ering rare, cutting-edge training, as well as once-in-a-lifetime performance experiences to musically gifted children. "rough his inspired vision, the National Children’s Chorus has grown to o!er its students university- level conducting instruction, Kodály technique, music theory, advanced ear training and music history. With a strong contingent of supporters, McEndarfer has led the National Children’s Chorus con$dently into a class of its own, signi$cantly enriching the lives of youth daily on both coasts. Since the age of 6, Mr. McEndarfer has studied piano extensively, winning competitions and musical honors with the Music Teachers’ Association of California. He is also a two-time graduate of UCLA, holding a Bachelor of Arts degree in English literature and a Master of Music degree in conducting, the latter with full scholarship under the tutelage of Donald Neuen. Studying privately, McEndarfer has been the pupil of Kenneth Kiesler and Marianne Ploger at the University of Michigan, Lucinda Carver at USC, Susan McClary at UCLA and Paul Salamunovich. Currently, he resides in New York City, and travels to Los Angeles weekly.

2012/13 Handbook 9 NATIONAL CHILDREN'S CHORUS | HANDBOOK

ARTISTIC & ADMINISTRATIVE TEAM

Cristina Demiany, executive director

Drawing from a wealth of experience and an intense personal commitment to the arts, dynamic NCC Executive Director Cristina Demiany embodies a unique approach to artistic management that fully fuses e#ciency and creativity. A native of Southern California, Cristina attended UCLA and graduated summa cum laude in 2004 with a Bachelor of Arts degree in art history. In the $rst quarter of her freshman year at UCLA, she auditioned into the UCLA Chorale and developed a passion for choral singing. Under the baton of Donald Neuen, Cris- tina performed an extensive repertoire of major works with the UCLA Chorale including Bach’s Magni"cat, Beethoven’s Missa Solemnis, Mozart’s Requiem, Beethoven’s Symphony No. 9, Handel’s Messiah, and Verdi’s Requiem. While at UCLA, Cristina also interned in the Islamic Art department at "e Los Angeles County Museum of Art, where she organized a 600-piece collection of ancient artifacts. After graduating from UCLA, Cristina traveled to Ecuador, where she spent a month volunteering for a conservation group in the Galápagos Islands. Later that year, she completed a semester study abroad program at Oxford University in the United Kingdom, where she wrote extensively on English Gothic Art and Architecture. During her studies, Cristina auditioned into the Oxford Bach Choir, and performed Bach’s Magni"cat in the Sheldonian "eatre under the direction of Nicholas Cleobury. Cristina credits her time in England with her great love and appreciation for the unique techniques and traditions of Brit- ish choral music. In 2005, Cristina took part in an archaeological dig at a Bronze Age site in northern Israel. In 2006, Cristina began vocal study with Michael Dean, Chair of the UCLA School of Music. "at same year, she was appointed administrator of the Music Department at La Cañada Presbyterian Church. In partnership with the music director, Cristina created a monthly arts event series at the church, producing a diverse program of concerts, theatre, and art installations. During this time, Cristina began studying graphic design, and soon became Director of Design and Marketing for the music department and several other ministries at the church. In the Fall of 2008, Cristina joined the sta! of the Paulist Choristers of California and, in partnership with Luke McEndarfer, launched the National Children’s Chorus at "e Broad Stage in 2009. Currently, Cristina manages NCC concert production, creative development, rehearsal administration, $nancial operations, recruitment, branding, marketing, and human resources. Recent credits include Handel’s Messiah, Benjamin Britten’s A Ceremony of Carols, John Rutter’s Dancing Day, Benjamin Britten’s !e Golden Vanity, and Aaron Copland’s Old American Songs. Cristina’s passion for her work with the NCC derives from the opportunity to impart her love of the arts to the shining potential of so many wonderful children. Cristina divides her time between Los Angeles, New York, and Frankfurt, Germany, holding residence in all three cities. In her spare time, she enjoys painting, singing, and writing poetry.

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ARTISTIC & ADMINISTRATIVE TEAM

Dr. Pamela Blackstone, associate artistic director

Dr. Pamela Blackstone’s life philosophy is “let what you love be what you do.” Because of this, her teaching encompasses a passion not only for music itself, but for the process of bringing it to life. Dr. Blackstone began her musical training as a pianist, violinist, singer and dancer in her hometown of Chicago, Illinois. Her studies at the college level earned her a Bachelor of Music degree from the University of Kansas in piano performance where she graduated valedictorian from the School of Fine Arts. Her primary teachers included Dr. Jack Winerock and Claude Frank. While at KU, Dr. Blackstone attended the Aspen Summer Music Festival and School studying piano and chamber music with Rita Sloan. Expanding her musical education to include her love of choral music, Dr. Blackstone received her Mas- ter of Music degree in choral conducting from the University of Missouri, Kansas City Conservatory of Music, studying under the tutelage of Dr. Eph Ehly. She also became the Director of Choral Activities at Westark College in Fort Smith, Arkansas, and quickly established herself as a highly sought-after choral clinician, judge and show choir choreographer throughout the Midwest. Dr. Blackstone completed her formal study with a Doctorate of Music degree in choral conducting from the University of California Los Angeles studying under Donald Neuen. "roughout her conducting education, she earned a multitude of competition awards and scholarships from organizations such as the American Choral Directors Association and Choral Conductor's Guild. Dr. Blackstone was also the Assistant Conductor of the Angeles Chorale and has taught choral and vocal music at UCLA, Santa Ana College and church organizations across Southern California. Dr. Blackstone is a professional healing arts expert in the mediums of yoga, energy work, $tness and health. Having trained in musical, physical and energetic disciplines, Dr. Blackstone incorporates an eclectic variety of teaching methodologies which inspire her students mentally, emotionally and kines- thetically. Far beyond that, Dr. Blackstone brings her singers an expansive and inspiring energy which throughout her life, has been called "positively contagious." In the NCC, she has pioneered a fusion of her healing arts and musical expertise, creating a class entitled "You are the Instrument: Yoga for Singers." Dr. Blackstone joined the NCC Artistic Team in January 2009 and is honored to be a part of a world- class organization. For almost 20 years, Dr. Blackstone has been dedicated to teaching choral music across the country to children and adults alike. She has concluded from her extensive experience that whether a musician is 5 or 95 years old, beautiful music is a tangible expression of one's soul which must be honorably executed with the $nest technique, purity of mind and passion of heart.

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ARTISTIC & ADMINISTRATIVE TEAM

Ryan De Korte, executive administrator

NCC Executive Administrator Ryan De Korte was born into a West Michigan family whose members make up an eclectic mix of operatic tenors, concert vio- linists, nurses and distinguished law enforcement professionals. " ese roots provided the foundation for his present career path, where he excels at creative organization and artistic administration. Ryan’s musical endeavors began at a young age with singing and performing in both school and church-produced productions. Piano lessons, hand bell choir, as well as playing the trumpet, rounded out his musical education. " rough the years, Ryan has performed as a $ rst tenor with various ensembles and traveled extensively on tour, both to Western Europe and South America. At Hope College, he was one of the $ rst two freshman ever to receive admittance to its exclusive chamber chorale, with whom he toured throughout the country. Currently a member of the Gay Men’s Chorus of Los Angeles, Ryan is a regularly featured performer in concert events that boast collaboration with top stars, such as such as Linda Ronstadt, Melissa Manches- ter and LeAnn Rimes. Ryan’s penchant for the skills required to excel at administration in the creative arts took hold in college, having studied extensively in the sciences and receiving his Bachelor of Arts degree in English literature. In 1997, Ryan moved to Los Angeles to pursue a career in the entertainment industry, and secured a job with the Writers Guild of America, west. " ere, he successfully brought his own brand of administrative creativity to the productions of the Writers Guild Awards for more than seven years. " is ultimately led to his work with " e Academy of Motion Pictures and the Oscar telecast for an additional four years. In the fall of 2011, Ryan joined the Administrative Team of the National Children’s Chorus where he enjoys his work immensely. In his spare time, Ryan takes joy in pottery, travel, and a good nap.

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ARTISTIC & ADMINISTRATIVE TEAM

Kurt Cereske, Kodály studies director and associate conductor

Kurt Cereske is a passionate music educator who truly believes and promotes the philosophy of Hungarian composer, educator, author, and philosopher, Zoltán Kodály. Originally from Michigan, Kurt received his Bachelor of Arts degree in science of education from Martin Luther College in 1990, and a Master of Music degree in music education in 1992 from Michigan State University. After teaching for $ve years in Wisconsin, Kurt accepted the position of music director and teacher at St. Paul’s First Lutheran Church and School in North Hollywood, California. Under his leadership and direction, Kurt's Kodály-based program at St. Paul’s grew to three children’s choirs, three handbell choirs, a tone chime choir, a beginner and concert band, as well as instrumental and voice lessons. He also served as the head organist and adult choir director for the church. Before coming to the National Children’s Chorus, Kurt taught Kodály-based musicianship and sight singing courses for the Los Angeles Children’s Chorus. While receiving his Kodály training from the Kodály Association of Southern California (KASC), an a#liate chapter of the Organization of American Kodály Educators (OAKE), he started to serve on the board of KASC as Vice-President and then Presi- dent. After serving four years as President, Kurt now serves on the board as the current Past President and also as the Kodály Certi$cation Coordinator. He also further promotes the Kodály philosophy by teaching Methodology Levels Courses for KASC’s certi$cation program at Azusa Paci$c University and also by giving professional presentations at various teachers' conferences and music educator workshops throughout Southern California. Recently, Kurt was elected to the position of Western Division Region- al Representative and proudly serves on the OAKE Board, promoting, guiding, and representing Kodály educators on the national level. In his spare time, Kurt enjoys performing in musical theatre. One of his favorite roles has been a recur- ring appearance as Sparky in Forever Plaid. Other memorable roles have included both Ewart Dunlop and Olin Britt in !e Music Man, Major Holmes in !e Secret Garden, and Poo Bah in !e Mikado.

2012/13 Handbook 13 NATIONAL CHILDREN'S CHORUS | HANDBOOK

ARTISTIC & ADMINISTRATIVE TEAM

Mollie Birney, associate conductor

Mollie Birney is a choral conductor and music educator who believes strongly in the choral arts as a unique medium through which to access and cultivate the rich human emotional experience. Her teaching philosophy centers around the ide- als of curiosity, compassion and service, through which she seeks to support her students in their development both as individuals and as part of a larger musical community. Ms. Birney earned her Bachelor of Arts degree in music from Tufts University in Boston, studying vocal performance and choral conducting under Andrew Clark. She has since completed her coursework for her Master of Music degree in choral conducting from California State University Los Angeles, studying under Donald Brinegar, Dr. William Belan, John St. Marie and Dr. Jean-Sébastien Vallée. She received her Kodály training at the Kodály Music Institute at the New England Conservato- ry, and has held teaching fellowships with the Boston Children’s Chorus and the Los Angeles Children’s Chorus. Ms. Birney is currently on the faculty at the Santa Monica Conservatory of Music where she teaches voice to students of all ages and levels of experience, working to develop their musicianship skills in addition to a greater understanding of their own instrument.

Christopher Yraola, associate conductor

Christopher Yraola is a music educator who believes that everyone possesses some inherent musicality, and he has made it his mission to help people discover and develop their abilities through the choral art. He currently teaches at Notre Dame Academy, where he conducts three levels of children's choir and one high school women's ensemble. In 2007, Mr. Yraola founded and began directing the Discovery Singers, a chamber vocal ensemble dedicated to singing early and contemporary choral literature. As an active choral musician in Los Angeles, he has performed with the Philippine Chamber Singers of Los Angeles, Donald Brinegar Singers, Northridge Singers, and Gay Men's Chorus of Los Angeles. Yraola earned his Bachelor of Arts degree in music education from California State University North- ridge, and has competed coursework for his Master of Music degree in choral conducting from California State University Los Angeles. His teachers include Aram Barsamian, Dr. William Belan, Donald Brin- egar, Henry Leck, Lori Marie Rios, Paul Smith, John St. Marie, and Dr. Jean-Sébastien Vallée. When he is not teaching, studying, or making music, Christopher likes to take his wife on dates around Los Angeles.

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ARTISTIC & ADMINISTRATIVE TEAM

Robert René Galván, associate conductor

Robert René Galván is a conductor and educator with a long list of credits and associations from all over North America, ranging from small churches to the highest echelons of music. He is equally at home in orchestral, choral, operatic repertoire and musical theatre, and is known for his extraordinary professionalism, precise communication and directing skills. Maestro Galván is Conductor of the Bronx Concert Singers, Peace of Heart Choir and Manhattan Sinfonia in New York City. He currently serves as Professor of Conducting at the Long Is- land Conservatory of Music where he is Vice President of Academic A!airs. He was also Music Director of Highbridge Voices Youth Chorus, Cantiamo Youth Chorus and Professor of Conducting & Choral Studies at the Brooklyn-Queens Conservatory of Music where he trained young conductors and directed the conservatory chorale. He was guest conductor of Florilegium Chamber Choir in Manhattan and Cappella Festiva in upstate New York. For four seasons he was conductor of the Spring$eld Symphony Chorus in Massachusetts. In Texas, Galván held positions as conductor of the Austin Philharmonic, Associate Conductor of the Austin Choral Union, and as director of both the University Chorus and the Longhorn Singers at the University of Texas. He is married to the playwright Holly Hepp and has a daughter, Gina.

Kara Simpson, associate conductor

Kara Simpson is elated to embark on her inaugural year as Associate Conductor of the Prelude Level for the National Children’s Chorus. Kara comes to Manhattan, New York from Manhattan, Kansas, where she completed her Master of Music in choral conducting at Kansas State University, as well as a Graduate Diploma in music education. While teaching elementary music in Manhattan, Kansas’s public schools, Kara re$ned her choral conducting skills as a soprano section seader for a local church and as associate director and choreographer with the Geary County Children’s Choir. She recently completed level one certi$cation in the Or!-Schulwerk method of music education. For two years she owned and operated a private studio teaching voice, piano and theory, primarily to children. She was the head mentor of a small group of pre-teen girls as a leader in the Becoming Girls organization. Kara began her training in acting, dance, and singing at the age of four and was active in all three arenas as a “triple threat” performer. "is led her to opportunities as a dance instructor and choral conductor. Before she could drive a car, she directed and choreographed a community theater production of !e Wizard of Oz in her hometown. Before graduating from high school, she had appeared in numerous productions as an apprentice with the Lyric "eatre in Oklahoma City. She was a choral director for two children’s choirs during high school and undergraduate studies. Also during her teen years, she taught ballet, tap and jazz at an Oklahoma City dance studio and actively competed throughout the United States, winning numerous solo awards. A native “Okie”, Ms. Simpson holds a Bachelor of Fine Arts in vocal performance from the University of Okla- homa. Kara was awarded the respected I-V-V7 Scholarship while attending OU. She was also a soloist with the University of Oklahoma Collegium Musicum, University Choir, and Chamber Ensemble under the direction of Dr. Eph Ehly, and Dr. Robby Greenlee. For OU Opera "eatre, Kara portrayed the roles of Ida in Die Fledermaus; Barbarina, Le Nozze di Figaro; Gretal, Hansel and Gretal; and Zerlina in Don Giovanni. She also performed roles in Julius Caesar, Lakmé and Ruddigore with the Cimarron Opera Company. Kara currently teaches general elementary music in the New York City public schools. She agrees with American painter, Georgia O’Kee!e, in that singing is the “most perfect art,” and that the opportunity to direct the talented children of the Prelude Level is providence. During her initial year with the National Children’s Chorus, her goal is to convince the young choristers that she is correct in that belief.

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ARTISTIC & ADMINISTRATIVE TEAM

Judith Chan, Kodály musicianship instructor Judith Chan has been teaching general music and choral music for nineteen years. She is currently the K-8 Vocal Music Specialist in the Beverly Hills Uni$ed School Dis- trict. Besides teaching a Kodály-based music curriculum to all the elementary grades, she also directs the Concert Choir, the Junior Choir, the District Honor Choir and the tone chimes ensemble at Beverly Vista School. She has a Bachelor of Music degree in piano pedagogy from the University of Lafayette in Louisiana and has taught piano privately for many years. She received the Graduate Diploma in music education from Queensland University of Technology in Australia, where she was $rst introduced to the Kodály Method. She then completed her Master of Music degree in music education with a Kodály emphasis at Holy Names University. She has also taught methodology and solfege classes at the Holy Names University Summer Institute. While living in the Bay Area, she sang with the California Bach Society and the San Francisco Symphony Chorus. Judith grew up singing in the Hong Kong Children’s Choir, and she is very passionate about using the Kodály Method to train children in sightsinging and other musicianship skills. Kelly O'Brien, Kodály musicianship instructor Kelly O'Brien has been a student of Kodály since her introduction to the discipline in the 5th grade as part of her elementary school music program. In 1997, Kelly was accepted to the OAKE Children's Choir with Henry Leck in Salt Lake City, Utah. Inspired through music, O'Brien immersed herself in a variety of high school music programs, including concert band, marching band, orchestra, jazz band, drumline, musical theatre, opera, and more. Her experiences in music and with youth encouraged her to pursue a degree in music education at California State University Northridge. While in college, O'Brien continued to explore many genres of music through ensembles such as vocal jazz, african ensemble, master chorale, and wind ensemble. Continuing at CSUN, Kelly completed the credential program with high honors and began teaching at a K-8 school called CHIME Charter Community School. For the last $ve years, Ms. O'Brien has built up CHIME's music program from its beginnings. During the summers, she continues her study of music with the Kodály curriculum under Kurt Cereske and Dr. Katherine Hickey. Kelly has completed two levels of Kodály as well as both levels of Folk Song Research. Last year, she also participated in a traditional drumming, singing and dance program in Ghana. Kelly O'Brien is excited to extend her experiences in music to the National Children's Chorus.

Lisa Fenderson, Kodály musicianship instructor Lisa Fenderson is devoted to opening the minds of children to the joy and power of music. She focuses on cultivating musicianship and artistry in young children, creating an environment in which the discovery and learning experience unfolds in a natural way. She is dedicated in serving all ages who seek to grow in musical literacy through the Kodály method, for its strong foundation and elegance in building musicianship skills. A Los Angeles area native, Lisa began studying the piano at an early age. She earned a Bachelor of Arts in music from the University of Southern California in 1981, and a Master of Music degree in choral conducting in 2009 from the summer program at Cali- fornia State University Los Angeles. She receives her Kodály training from the Kodály Association of Southern California. Lisa has established a Kodály-based program at the San Gabriel Christian School, currently conducts four choirs from grades K-8, and teaches general music grades K-3. She designs and teaches an interactive music course for middle school students, and has developed a &ourishing piano department at the school. She conducts the children’s choir yearly for the Festival of Worship at the Cathedral of Our Lady of the Angels in Los Angeles. Lisa also maintains an active piano teaching studio in San Gabriel. She serves on the boards of the Kodály Association of Southern California (KASC), and the Music Teacher Association of Cali- fornia, Pasadena Branch (MTAC), and is a member of the American Choral Directors Association (ACDA).

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ARTISTIC & ADMINISTRATIVE TEAM

Dr. Vivian Liu, principal rehearsal pianist

Dr. Vivian I-Miao Liu, a native of Taiwan, is a versatile collaborative pianist and coach. She has worked with the Intimate Opera, Long Beach Opera, Opera A La Carte, Opera Idaho, Opera Nova, Opera Paci$ c, Repertory Opera, Sun Valley Opera, Classical Singers Association, National Association of Teachers of Singing, Wagner Society of Southern California, Boys Choir of Harlem, LA Opera Lounge, L.A. Tapestries, Merrywoode Singers, Bakers$ eld Symphony, Calico Winds, California Quartet, Mládí Chamber Orchestra, Pokorny Low Brass Seminar, Redlands Bowl, Riverside Philharmonic, and LA Music Center's Education Program. She has played auditions for the Lyric Opera of Chicago, and Paci$ c Coast Opera. She has participated in the Aspen Opera Center, and Tyrolean Opera Program in Austria as a fellowship pianist. On the concert stage, Dr. Liu has collaborated with musicians from the Los Angeles Opera Orchestra, Los Angeles Philharmonic, Paci$ c Symphony, San Diego Symphony, and Vienna Philharmonic, as well as singers from the Los Angeles Opera, Metropolitan Opera, and New York City Opera. She has performed internationally in Taiwan, Russia, Austria and the United States, and has appeared on radio and television broadcasts. In 1998, she toured as a Young Artist winner of the National Taiwan Symphony Orchestra in Taiwan. In 2002, she gave her Carnegie Hall debut as a chamber music award recipient of Artists International. Dr. Liu has earned a Doctorate of Musical Arts and a Master of Music degree in keyboard collaborative arts from the University of Southern California, in addition to a Master of Music degree in piano performance from the Manhattan School of Music. Her Bachelor of Arts degree in piano performance was earned at the Taipei National University of the Arts in Taiwan. In 2007, she directed and staged Pou- lenc's monodrama La Voix Humaine at USC. Her teachers include Kevin Fitz-Gerald and Alan Smith at USC, Martin Katz and Graham Johnson at Songfest, Marc Silverman and John Forconi at MSM. With her passion for vocal repertoire, she is well-versed in the diction of French, German, Italian, Spanish, Russian, and Latin. Dr. Liu has served on the faculty for Songfest's Young Artist Program, Intimate Opera Company's Sum- mer Youth Vocal Workshop, and LA Opera Camp. She has served as a sta! accompanist at Manhattan School of Music as well as an opera coach at USC, Azusa Paci$ c University, and University of Redlands. Since 2011, she is the principal rehearsal pianist with National Children's Chorus. In addition, she is on the faculty at Chapman University and works closely with Los Angeles Opera's Education Program.

2012/13 Handbook 17 NATIONAL CHILDREN'S CHORUS | HANDBOOK

ARTISTIC & ADMINISTRATIVE TEAM

Dr. Hiroyo Hatsuyama, associate pianist

A native of Japan, Dr. Hiroyo Hatsuyama began her piano lessons at the age of three. After earning her Bachelor of Arts degree with honors in Japan, Dr. Hat- suyama continued her music education studying with Professor Elena Shishko at the St. Petersburg Conservatory in Russia, and Professor Kevin Fitz-Gerald at the University of Southern California's "ornton School of Music. As the recipient of a full-tuition dean scholarship and teaching assistantship at USC, she completed both degrees'Master of Music in piano performance and Doctor of Musical Arts in keyboard collaborative arts with a focus on chamber music. As a versatile pianist and harpsichordist, Dr. Hatsuyama frequently appears in recitals throughout the Los Angeles area. Her experience as an educator includes more than twenty years of teaching piano, chamber music, harmony, music history, theory and aural skills in Japan and the United States. After teaching at the University of La Verne, she recently became a part-time faculty member at the Pomona California State Polytechnic University.

Nick Nicassio, associate pianist

Pianist, composer, and tenor Nick Nicassio is a well-rounded collaborative artist with a diverse musical background. In addition to being a pianist for the National Children's Chorus in New York, Mr. Nicassio is a member of the artistic sta! at the Play Group "eatre in White Plains, New York, where he has been the musical director for numerous stage productions, including Into the Woods, Footloose, Bat Boy: the Musical and others. As a composer, Mr. Nicassio was commissioned to write choral music for the Los Angeles Children's Chorus Young Men's Ensemble, conducted by Dr. Steven Kronauer. Works include settings of poems by James Joyce and Emily Dickinson, and these pieces have been performed in concerts in Los Angeles as well as on tour, and in choral workshops and masterclasses nationwide. Mr. Nicassio has written music and lyrics for original musicals which have been performed at the Play Group "eatre. A skilled tenor, Mr. Nicassio received a Master of Music degree in vocal performance from the Manhat- tan School of Music, and has sung with the Los Angeles Master Chorale and the Los Angeles Opera Chorus. He has performed as a tenor soloist with the National Children's Chorus as well, in its opera production of Benjamin Britten's !e Little Sweep, and in concert at "e Broad Stage in Los Angeles. Mr. Nicassio enjoys teaching voice, and maintains a studio with students from a variety of backgrounds and disciplines.

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ARTISTIC & ADMINISTRATIVE TEAM

Michael Dean, vocal studies director

American bass-baritone Michael Dean has performed worldwide in both concert and operatic repertoire, appearing with many of the leading opera houses and orchestras of the United States and Europe. "e New York Times lauded his “strong, appealing bass-baritone,” while the San Jose Mercury News considered him “the standout, his voice a penetrating wake-up call.” He has made frequent appearances at New York City Opera, where he has performed the title role in !e Marriage of Figaro, Leporello in Don Giovanni, George in Of Mice and Men, Papageno in !e Magic Flute, and Don Alvaro in Il viaggio a Reims. Other notable appearances have included Jason McFarlane in the “Live From Lincoln Center” broadcast of Lizzie Borden; the title role in Don Giovanni and Silva in Ernani at the Landestheater in Linz, Austria; Figaro in Antwerp, Belgium; and Colline in La Bohème in Strasbourg and Berlin. Mr. Dean has also received critical praise for his numerous recordings of baroque opera, including Agrippina, Ottone, Radam- isto, Giustino, and Serse. "e London Daily Telegraph called his performance on the Harmonia Mundi recording of Dido and Aeneas “one of the most beautifully sung Aeneases on disc.” Mr. Dean made his debut with the New York Philharmonic in the world premiere of Aaron Kernis’ Garden Of Light, conducted by Kurt Masur, returning the following year for Street Scene, conducted by Leonard Slatkin. He has performed numerous concerts at the Kennedy Center in Washington, D.C., including Handel’s Alexander’s Feast, Haydn’s Creation, and Bach’s St. Matthew Passion. Mr. Dean has performed Messiah at Carnegie Hall; Bach’s Magni"cat with the Toronto Symphony; with the Philadel- phia Chamber Orchestra, he recently presented an evening of Mozart concert arias; he also appeared in Messiah with the San Antonio Symphony, Haydn’s Creation in Sarasota, and Mozart’s Requiem with the Bu!alo Philharmonic. He was featured as Escamillo in Carmen with the Bu!alo Philharmonic, and in an evening of Bach Cantatas at Disney Hall with Helmut Rilling conducting the Los Angeles Chamber Orchestra. In the 2007-08 season, Mr. Dean returned to the Pittsburgh Symphony for Messiah, a work he repeated with the Houston Symphony, conducted by Bernard Labadie. He performed both Haydn’s Creation and the Brahms Requiem in New Orleans under Carlos Miguel Prieto, with whom he also appeared in Beethoven’s Symphony No. 9 in Mexico City. "e 2008-09 season included Verdi’s Requiem in Denver; !e Creation in Mexico City; Bach’s Weinachts Oratorium and Handel’s Messiah in New Orleans; Purcell’s !e Fairy Queen in Los Angeles; Haydn’s Lord Nelson Mass in Huntsville; and the St. Matthew Passion in Richmond. Last season, Mr. Dean performed Messiah with the Baltimore Symphony, the Alabama Symphony, and the Pittsburgh Symphony. He also appeared in the St. John Passion with Musica Angelica in Los Angeles, and in Beethoven’s Missa Solemnis with the Angeles Chorale at Royce Hall.

2012/13 Handbook 19 NATIONAL CHILDREN'S CHORUS | HANDBOOK

ARTISTIC & ADMINISTRATIVE TEAM

Dr. Ian Krouse, compositional studies director

American composer Ian Krouse was born in 1956 in Olney, Maryland. Gramo- phone hailed him as “one of the most communicative and intriguing young composers on the music scene today,” while Soundboard described his music as "absorbing, brutal, beautiful, and harsh, all at the same time." "ough lov- ers of guitar music know him for his chamber music with guitar, especially his groundbreaking music for guitar quartet, and for such solo pieces as Variations On A Moldavian Hora, and Air, he has written in nearly every musical genre including opera, and his works are performed frequently and recorded by major artists worldwide. "roughout his career he has received dozens of awards, including an AT&T Ameri- can Encores Grant, three opera development grants from the National Endowment for the Arts, and several from the American Composer’s Forum and Meet the Composer, as well as those from the Ford and Rockefeller Foundations and the Atlantic-Rich$eld Corporation. He has won the BMI Award and the Gaudeamus Festival Prize, was a semi-$nalist in the Kennedy Center Friedheim Awards, and a $nalist in the Barlow Competition, and Big Ten Commissioning Project. Dozens of his works have been com- mercially recorded on the Brain (Japan), Urtext Digital Classics, Koch, Delos, Naxos, RCM, Lisaddell, GSP and GHA labels among others, some severaltimes. Early studies in guitar were with Richard Wisner, and subsequently with the late James F. Smith at USC. As a guitarist, he performed extensively and recorded with the de Falla Guitar Trio, a group he co-founded. "e group’s debut LP “Virtuoso Music for "ree Guitars” for the Concord Concerto label, was awarded “One of the Year’s 12 Best” for 1984 by Stereo Review. His principal teachers in composition were James Hopkins, Morten Lauridsen and Halsey Stevens. Early studies in composition at Indiana University at South Bend with Barton McLean, and David Barton, were later augmented with those at USC with Earle Brown, William Kraft, and Leonard Rosenman, as well as masterclasses with Pierre Boulez and Witold Lutoslawski. Dr. Krouse holds a Bachelor of Music degree, and Performer’s and Composer’s Certi$cates from Indiana University at South Bend, as well as Master of Music and Doctor of Musical Arts degrees in composition from the University of Southern California. Additionally, he is Professor of Music at the University of California Los Angeles, where he served for several years as Chair of the Music Department. In 2011, Dr. Krouse received one of the University of California’s highest honors'the Distinguished Teaching Award for Outstanding Contributions to University Teaching. Special mention was made of his mentorship of undergraduate students. "roughout his long career he has mentored several gen- erations of young people, many of whom have gone on to important careers in music and allied $elds. Several of his students have won prestigious awards such as the Prix de Rome, and the ASCAP and BMI Awards to Student Composers, among many others. Today Professor Krouse is a seasoned and sought after master teacher of composition, theory, musicianship, analysis and conducting, with a thriving private studio to augment his work at UCLA. He resides in Southern California with his three children.

20 Handbook 2012/13 Updated September 2012

ARTISTIC & ADMINISTRATIVE TEAM

AT A GLANCE: Your Distinguished Artistic & Administrative Team ARTISTIC TEAM t Luke McEndarfer, artistic director t Dr. Pamela Blackstone, associate artistic director t Mollie Birney, associate conductor t Christopher Yraola, associate conductor t Robert René Galván, associate conductor t Kara Simpson, associate conductor t Dr. Hiroyo Hatsuyama, associate pianist t Kurt Cereske, Kodály studies director and associate conductor t Judith Chan, Kodály musicianship instructor t Lisa Fenderson, Kodály musicianship instructor t Kelly O'Brien, Kodály musicianship instructor t Naomi Cohen, Kodály musicianship instructor t Dr. Vivian Liu, principal pianist t Nick Nicassio, associate pianist t Michael Dean, vocal studies director t Dr. Ian Krouse, compositional studies director t Maurice Grants, orchestra contractor t Alice Murray, vocal contractor

ADMINISTRATIVE TEAM BOARD OF TRUSTEES t Cristina Demiany, executive director Executive Board t Ryan De Korte, executive administrator t Luke McEndarfer, president (ex-o!cio) t Cindy Phillips, webmaster t Cristina Demiany, vice-president (ex-o!cio) t Kevin Frakes, treasurer t Laura McKinzie C.P.A., bookkeeper t Cathy Murphy, secretary t Amazon Marketing Partners, publicist t Barbera Thornhill t The Law Firm for Non-Pro!ts, legal Honorary Board t Mark Thallander, president t Grant Gershon t Paul Salamunovich t Morten Lauridsen t Frederick Swann t Frank Brownstead

2012/13 Handbook 21 NATIONAL CHILDREN'S CHORUS | HANDBOOK

ENSEMBLE STRUCTURE Meeting the Students’ Needs . . . "e National Children’s Chorus provides students of various age and skill levels the opportunity to learn and grow at a pace that is suitable for the individual by o!ering di!erent curricula ranging from an introduction to music at the age of $ve (5) to preparation for college and university auditions at the age of seventeen (17). Currently, here are the programs of study available: Junior Division (Los Angeles & New York)

Prelude Level Ages 5 to 6, no experience

Members of the Prelude Level are introduced to the thrilling world of music in a fun and interactive class designed to open up the ear and explore the possibilities of musical expression through listening and moving. Basic vowel formation, proper posture and the beginnings of breathing technique are taught, while the foundation of Kodály technique is set. Prelude Level students will have the privilege of working weekly with the following esteemed personnel: Christopher Yraola, conductor (Los Angeles) Kara Simpson, conductor (New York) Judith Chan, Kelly O'Brien, & Lisa Fenderson Naomi Cohen, Kodály instructor (New York) Kodály instructors (Los Angeles)

Minuet Level Ages 7 to 9, no experience to some experience

Members of the Minuet Level are introduced to the formal structure of a choral ensemble—seating, rehearsal protocol, choral tone and blend. Musical terms are taught and used freely in an environment where students are encouraged to be curious, ask questions and seek answers. Vocal technique, vowel formation, breathing, diction and phrasing are emphasized in order to create a beautiful and professional sound, while sight-singing intervals and rhythms will be practiced in Kodály training. Minuet Level students will have the privilege of working weekly with the following esteemed personnel: Molly Birney, conductor (Los Angeles) Robert René Galván, conductor (New York) Judith Chan, Kelly O'Brien, & Lisa Fenderson Naomi Cohen, Kodály instructor (New York) Kodály instructors (Los Angeles)

Sonata Level Ages 9 to 12, some experience to much experience

Members of the Sonata Level are already expected to possess basic skills and knowledge in the areas of tone, vowel formation, diction, breathing technique, and musicianship. From here, students are taught the beginnings of advanced choral and vocal skills, including singing in 2-part harmony within the context of more sophisticated repertoire that will include texts in foreign languages. "e beginnings of advanced Kodály technique will also be employed as part of the curriculum. Sonata Level students will have the privilege of working weekly with the following esteemed personnel: Dr. Pamela Blackstone, conductor (Los Angeles) Luke McEndarfer, conductor (New York) Dr. Hiroyo Hatsuyama, associate rehearsal pianist Nick Nicassio, associate rehearsal pianist (New York) Judith Chan, Kelly O'Brien, & Lisa Fenderson Naomi Cohen, Kodály instructor (New York) Kodály instructors (Los Angeles)

22 Handbook 2012/13 Updated September 2012

ENSEMBLE STRUCTURE Senior Division (Los Angeles Only)

Debut Ensemble Ages 9-13, much experience to most experience

Members of the Debut Ensemble are introduced to the professional stage, and begin the re$ned vocal training required to perform at the Senior level. Students will learn sophisticated repertoire in various languages and musical styles, featuring 2 and 3-part harmony. Professional collaborations with major music companies, as well as a full season of performances at "e Broad Stage, will be included as part of the regimen. Additionally, private vocal study, Kodály technique and a full range of musicianship courses will be o!ered as part of the curriculum. Debut Ensemble students will have the privilege of working weekly with the following esteemed personnel:

Dr. Pamela Blackstone, conductor Dr. Hiroyo Hatsuyama, associate rehearsal pianist Judith Chan, Lisa Fenderson, and Kelly O'Brien, Kodály instructors

Premier Ensemble Ages 10-17 much experience to most experience

Members of the Premier Ensemble are expected to perform at the professional level upon acceptance, and already have a clear concept of beautiful tone, accurate intonation, crisp diction, and gorgeous musical phrasing, in addition to possessing experience-based con$dence and assertiveness as a solo and group performer. Students will be taught the highest levels of sophisticated choral technique that is utilized in all of the world’s $nest adult choruses within the context of complex music featuring 2, 3 and 4-part harmony. Singers at this level will participate in multiple performances and projects throughout the year at professional venues such as "e Broad Stage, "e Edye Second Space, Royce Hall, Walt Disney Concert Hall, the Dorothy Chandler Pavilion, and Grand Performances at the California Plaza, among others. In addition, private vocal study, advanced Kodály technique and a full range of musicianship courses will be included as part of the curriculum. Premier Ensemble students will have the privilege of working weekly with the following esteemed personnel: Luke McEndarfer, conductor Dr. Vivian Liu, principal rehearsal pianist Judith Chan, Lisa Fenderson, and Kelly O'Brien, Kodály instructors

2012/13 Handbook 23 NATIONAL CHILDREN'S CHORUS | HANDBOOK

ENSEMBLE STRUCTURE Senior Division (Los Angeles Only) continued Scholars Ages 14-17 most experience only

Members of the Scholars represent the NCC's most advanced and professional vocal product, with its singers having received many years of performance training at the Senior level. All students in this group must sing with exceptional artistic and technical command, both as a chorister and soloist. Regular solo engagements, as well as high-pro$le ensemble projects, will be a regular part of the experience. Addition- ally, students will be prepped for major solo auditions with top music companies, as well as for entrance to college and university studies. Scholars will have the privilege of working weekly with the following esteemed personnel:

Luke McEndarfer, conductor and private voice instructor Vivian Liu, principal rehearsal pianist Judith Chan, Lisa Fenderson, and Kelly O'Brien, Kodály instructors Michael Dean, private voice instructor Dr. Pamela Blackstone, private voice instructor

AT A GLANCE: NCC Structure

The National Children’s Chorus is made up of two (2) divisions and a total of nine (9) ensembles: JUNIOR DIVISION t Prelude Level (LA) t Minuet Level (LA) t Sonata Level (LA) t Prelude Level (NY) t Minuet Level (NY) t Sonata Level (NY) SENIOR DIVISION (Los Angeles Only) t Debut Ensemble t Premier Ensemble t Scholars

Premier Ensemble, Fall 2010

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ENSEMBLE STRUCTURE Senior Division: Special Programs

NOTE: All programs listed below require an additional admittance process.

Luke McEndarfer Conducting Fellows

Members of the Luke McEndarfer Conducting Fellows are selected annually each Spring for participation the following year. Students in this group must have demonstrated unique skill and promise as part of the Senior Division’s “Leader of the Band” musicianship course that culminates in a year-end masterclass evaluated by our Artistic Team. As part of this program, our young conductors work weekly with the Artistic Director on conducting technique, rehearsal protocol and the psychology of leading a large group of musicians. In addition, they gain the exclusive privilege of real-life conducting experience by leading their peers in rehearsal and performance at major NCC events.

Michael Dean Vocal Studio

Members of the Michael Dean Vocal Studio must have a minimum of two (2) years experience in the Scholars, be at least twelve (12) years of age, and receive a personal recommendation from the Artistic Director. Within this unique program, advanced students in the NCC re$ne their vocal skills with one of America’s most sought-after voice teachers in a university setting. From October through May, via weekly, private, 30-minute and 1-hour training sessions on the UCLA campus at Schoenberg Hall, students in the Michael Dean Vocal Studio gain a profound singing foundation that provides the skills necessary to excel at major auditions (such as entrance to college and top music schools) and a possible professional career as a solo artist.

Ian Krouse Composition Workshop

Members of the Premier Ensemble and Scholars who have a minimum of two (2) years experience in the NCC, are at least twelve (12) years of age, and who receive a personal recommendation from the Artis- tic Director are eligible for invitation to study privately with UCLA Professor of Composition Dr. Ian Krouse. "is unique program allows young creative talents in the NCC to re$ne their composition skills by learning the basics of composition technique while writing their own music. From October through May, each participant meets weekly with Dr. Krouse to share project progress, and analyze the elements of musical creation that ultimately work well or not so well. "e workshop culminates in a year-end masterclass where students showcase their work in front of the general public, with a chance to have their pieces performed in concert by the NCC.

2012/13 Handbook 25 NATIONAL CHILDREN'S CHORUS | HANDBOOK

ENSEMBLE STRUCTURE Senior Division: Special Programs

NOTE: All programs listed below require an additional admittance process. Artist Council

Members of the NCC Artist Council are elected by their peers each Spring and serve for the following year. " e group takes a leadership role within the student body, and meets with the Artistic Director and Executive Director once per season. Candidates must be approved by the Artistic Director before running for o# ce, and will be required to ful$ ll excellent attendance, behavior and citizenship standards. Artist Council members will have the privilege of working with the following esteemed personnel:

Luke McEndarfer and Cristina Demiany, moderators NCC Promotions Advancing to the next level Ideally, students will come to the NCC at the age of $ ve (5), joining the Prelude Level, and will advance through the ranks of the program before graduating from the Scholars and Premier Ensemble at the age of seventeen (17). Accordingly, once per Season, our directors come together in a meeting to discuss which students, if any, should advance to the next level of the NCC. Several factors are taken under consideration when making this decision: t Age t Skill Level t Behavioral Maturity t Group Dynamics t Attendance and Overall Performance Quality in Past Rehearsals and Concerts While age is the only factor above that is not controllable, a student's excellent or poor showing in the other areas will either accelerate or delay receiving a promotion. Promotions are handled individually and con$ dentially, with no major announcements going out to the organization. All notices shall be transmitted directly to the parent(s) of the student via e-mail by the Executive Director. Ultimately, it is paramount that each student is in a place where he or she may grow and bene$ t most e! ectively, with the best chance of success. It goes without saying that moving a student up prematurely can be disastrous, which is why careful attention is paid to this process by our entire NCC Artistic Team. It is our goal to move each student up when it is the right time. If you feel your child is due for a promotion, but have not received notice of one, you may always e-mail the director and inquire over his or her current status. Our directors are very open with NCC parents in terms of assessing a given student's place on the journey of achievement, so questions and inquiries are fully welcomed.

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ENSEMBLE STRUCTURE NCC Experience Chart

LA LA LA LA LA LA NY NY NY

PREMIER DEBUT SONATA MINUET PRELUDE SONATA MINUET PRELUDE SCHOLARS ENSEMBLE ENSEMBLE LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL

Candlelight - LA

Fall Showcase - LA Fall Showcase - NY

Candlelight - NY

Mostly Mozart - NY

Celtic Soul - LA

Masterclass - LA

Annual Fundraiser - LA Select Select 2012/13 PERFORMANCES Spring Showcase - NY

The Silver Screen - NY

Spring Showcase - LA

Americana - LA

Repertoire Study

Kodály Technique Private Voice

Conducting

Composition CURRICULUM Guest Speaker Series

Music Seminar

NCC Uniform

NCC T-shirt

Baton

MATERIALS NCC Music Folder

NCC Binder

Candlelight Art Exhibit

The Silver Screen Art Exhibit

PROJECTS Americana Art Exhibit

Two (2) Season Subscriptions

One (1) Broad Experience Package

Zero (0) Ticket Requirement REQUIRED

One (1) Conductor’s Circle Member

2012/13 Handbook 27 NATIONAL CHILDREN'S CHORUS | HANDBOOK

CURRICULUM Kodály Technique Learning to Read Music

At the NCC, students are not just taught music by ear—they are trained in the study of sight-singing, which requires a vocalist to look at a piece of music for the $ rst time, and be able to sing it pro$ ciently— both in pitch and rhythm. Sound easy? It’s not! Unlike playing a piano, where one may read notes on the page and play the corresponding keys, sight-singing demands that a person $ nds the pitches as a result of knowing where they are in the mind, and then replicating them in the voice. Being able to perform this skill with ease and con$ dence is a sign of superior professionalism that is a prerequisite for the highest levels of music making. How Kodály Works

" e Kodály Method, invented and developed by Hungarian composer Zoltán Kodály, is highly struc- tured and sequenced, with well-de$ ned skill and concept hierarchies in every element of music. " ese sequences are closely related to child development—the way in which young children progress naturally in music. As a child develops physically, socially, emotionally, aesthetically, and intellectually, he or she is also led to develop musically in the acquisition of increasingly complex skills and more involved concepts. Some of the tools used at the NCC from the Kodály Method to achieve musical literacy and sight singing are solfége (do, re, mi, fa, so, la, ti, do), Curwin hand signs, rhythmic syllables, and a movable "do" system. It is the relationship between the syllables that trains the ear so that in-tune singing, along with accurate sight singing, occurs. By using those tools infused with traditional music reading, students of the NCC begin with the simple, and sequentially move to the more complex, always building on the foundations laid in the beginning. Like all skills, practice makes perfect. Once a concept or skill is learned, it is practiced again and again so that it becomes second-nature. With each layer of mastered skills and concepts, the development and artistry of the student is heightened and Zoltán Kodály’s philosophy is seen in action. If you would like to know more about the Kodály Method, please go to the Organization of American Kodály Educators website: http://www.oake.org. In addition, the NCC's Kodály instructors are always more than happy to speak with you about this very special program. So Now I Know What It Means . . . But Can I Pronounce It? Kodály is pronounced the same as saying the two English words “could” + “eye,” with the accent on the $ rst syllable (“could”). “COULD-eye.” Go ahead now'say it with con$ dence and impress all your friends!

28 Handbook 2012/13 Updated September 2012

CURRICULUM Musicianship

Private Voice for the Debut and Premier Ensembles Students of the Debut and Premier Ensembles receive private vocal instruction as part of the curriculum. October through May, students cycle out of the rehearsal room one at a time during their repertoire practice to meet for ten (10) minutes with an NCC Voice Instructor. During the session, students review basic concepts of breathing technique, tone quality and vowel formation, receiving one-on-one attention and individual guidance.

Music Seminar for the Senior Division In addition to a full set of classes on conducting and composition, along with a thrilling guest speaker series, members of the Senior Division receive specialized courses on various topics, designed to round out their knowledge and perspective in regards to the art of performance. Here are some of what is o!ered—

The Art of Singing Why singing? Why not just a violin or a &ute? What makes the voice unique and special, above all other musical instruments? "ese questions and more will be pondered, while the concept of great singing and what it takes to be an exceptional performer are discussed in this exciting session! Additionally, examples of stellar performances and the world's top singing artists will be shared, as students formulate their own standards for excellence and vocal success.

You Are the Instrument—Yoga for Singers Students will become more in touch with their body's full potential for making music by incorporating techniques which relax the muscles and allow the most beautiful and free vocal sounds to be made.

Meet the Orchestra Students will learn about the di!erent sections of an orchestra, and the various instruments which com- prise each section. In addition to being able to identify each by sight, students will be trained to recognize the exact timbre of each, so that any could be identi$ed solely by ear.

Presentation Counts Talent alone will not get you far—the manner in which you present yourself always goes a long way in helping you achieve your goals! In this class, students will learn what is considered appropriate attire and grooming for various concert and audition scenarios. Wrinkled T-shirt and jeans for your opera audition? Drenched in cologne before your soundtrack studio session? NO WAY! NCC singers will always know better.

Rules of the Road Students will review and discover new concepts relating to professional demeanor and decorum, both on and o! the stage. Members of the class will learn how to respect sta! in a professional concert house environment, and lend the best possible impression of themselves.

2012/13 Handbook 29 NATIONAL CHILDREN'S CHORUS | HANDBOOK

CURRICULUM Musicianship (continued)

Express Yourself What makes the di!erence between a performance that is solely well-executed, and one that brings it to the level of magic, where audience members are touched and moved beyond words or reason? Is it about singing the right pitch? Or singing with great rhythm? While both of these things are absolutely the $rst steps towards the goal of being extraordinary, a riveting performance always has that element of something more—something from the heart that is di#cult to describe. In this multi-week course, singers will be invited to choose their own music, and perform it in front of their peers, while Artistic Director Luke McEndarfer and guest clinicians give their critique, and teach the students to dig deeper into their own emotions. "rough this exercise of trial and error, NCC members will discover that only through a true connection to the soul does a piece of music e!ectively come to life!

The Big Audition What makes one audition stronger than another? How do you walk into a major audition with hundreds of applicants and stand out? What exactly does it take to bring forth your best when the pressure is on, and sing a winning rendition of your piece? Concepts of what de$nes a strong audition, and what does not, will be elucidated in detail within this highly useful session designed to strengthen the con$dence and audition skills of our NCC members. From showing up on time, to being courteous, to the way you walk into the room, to the way you answer questions when asked, to the knowledge you should have about your piece, to the level of execution that it will take to be considered for various types of roles— here, NCC students will learn and excel in all areas of the process!

Without music, life would be a mistake. — Friedrich Nietzsche

30 Handbook 2012/13 Updated September 2012

ENROLLMENT I have been accepted into the NCC' Now What?

Policy

In order to attend any NCC session or participate in any NCC event, a student must be ENROLLED in the program. Being “enrolled” is strictly de$ned by the following:

1. All required electronic forms are completed and received by the NCC 2. $95 Registration Fee is received by the NCC 3. Tuition Fee has been received by the NCC, or automatic monthly payments have been set up

IMPORTANT: If any of the above requirements are not met, a student is not considered “enrolled,” and therefore will not be permitted to participate in any NCC rehearsal, performance or event.

Paying Tuition Pay in Full and Save 5%

Opt to pay your tuition fees in full at the beginning of your contract, and save 5% o! full-year enrollments.

Pay Monthly

For your convenience, the NCC o!ers monthly tuition payments with an easy online sign-up process. For a nominal one-time set-up fee of $45, our secure system will automatically deduct a monthly payment from your debit or credit card, allowing you to spread your payments over twelve (12) months, increasing a!ordability and &exibility to families that prefer it. Here are some important things to remember when signing up for monthly tuition payments (READ CAREFULLY)' t Once the enrollment contract is signed, you are legally committed to paying the full year’s tuition, regardless of whether your child leaves the program or not t Once begun, monthly payments will be automatically deducted from your debit or credit card and cannot be stopped t Monthly payments are made over twelve (12) months, even though the NCC performance season is over ten (10) months; this is done to make the monthly amount less, and create additional a"ordability for you IMPORTANT: Monthly payments spread over twelve (12) months must begin by the deadline specified for each season in order to align correctly with the end of instruction. Payments continuing on past the end of the final season will not be permitted.

2012/13 Handbook 31 NATIONAL CHILDREN'S CHORUS | HANDBOOK

ENROLLMENT Season Subscriptions Minimum Requirements for NCC Families Each NCC Family is required to purchase a minimum amount of Season Subscriptions by Monday, October 15th, 2012. As this is an enrollment requirement, failure to do so will render a student ineligible to perform in NCC concert events. IMPORTANT: All subscriptions must be purchased directly from the NCC website in order to ful"ll the requirement. Single tickets, or packages purchased from the performance venue will not qualify. Will be strictly enforced. Depending on your child's ensemble, the requirement is di!erent. Please see below –

Two (2) Season Subscriptions are required for: t Scholars (Los Angeles) t Premier Ensemble (Los Angeles) t Debut Ensemble (Los Angeles) t Sonata Level (New York) t Minuet Level (New York)

One (1) Broad Stage Experience Package per student is required for: t Sonata Level (Los Angeles) t Minuet Level (Los Angeles)

IMPORTANT: !e Broad Stage Experience Package is not the same thing as the Season Subscription. Please see the following pages for a complete description.

Zero (0) ticket purchase requirement for: t Prelude Level (Los Angeles) t Prelude Level (New York)

Don’t Stop at meeting your requirement!

Our concerts are amazing, and our students work so hard to present the community with the $nest artistry they have to o!er. Reward their e!orts with a SOLD OUT house! Invite your friends, family and co-workers to purchase the Season Subscription or single tickets as early as possible in either Los Angeles or New York, securing them the best seats for our thrilling concert season!

Go to www.nationalchildrenschorus.com to place your order.

32 Handbook 2012/13 Updated September 2012

ENROLLMENT Season Subscriptions What does the Season Subscription include?

"e NCC Season Subscription includes tickets to all professional-level concert events produced by our organization in the speci$ed city. "is year, they are as follows ' The Los Angeles Season Subscription includes — t Candlelight with Lisa Vroman—Thursday, November 29th, 2012 at 7 PM—The Broad Stage , Santa Monica t Celtic Soul—Friday, March 22nd, 2013 at 7 PM—The Broad Stage , Santa Monica t Americana—Friday, June 14th, 2013 at 7 PM—The Broad Stage, Santa Monica

The New York Season Subscription includes — t Candlelight with Lisa Vroman—Saturday, December 8th, 2012 at 8 PM—The Church of Saint Paul the Apostle, New York t Mostly Mozart—Saturday, March 16th, 2013 at 2 PM—The Church of Saint Paul the Apostle, New York t The Silver Screen—Saturday, June 1st, 2013 at 2 PM—The Church of Saint Paul the Apostle, New York

IMPORTANT: !e Season Subscription does not include any event that is not listed above. All other ticketed NCC events will be sold individually on a single ticket basis. Additionally, the Los Angeles and New York Season Subscriptions are completely di#erent and sold separately. Accordingly, they do not include admission to the other city's events.

So what’s all the fuss?

"e Season Subscription brings you and your guests excellent value' t The best seats in the house reserved for subscribers only t A discount o" the single ticket face value

How does our online ticketing system work?

When you visit www.nationalchildrenschorus.com to purchase your Season Subscriptions, you'll be directed to our online ticketing system, powered by Tix.com. You will be prompted to create a password before purchasing your tickets. Please make a note of the password you create, as you will need it for all NCC concert ticket purchases, and to look up your order details in the future.

2012/13 Handbook 33 NATIONAL CHILDREN'S CHORUS | HANDBOOK

ENROLLMENT

AT A GLANCE: Season 2012/13 — TRADITIONS — The NCC's bicoastal series of professional concert events $BOEMFMJHIUXJUI-JTB7SPNBO Thursday, November 29th, 2012 at 7 PM The Broad Stage, Santa Monica Internationally acclaimed soprano Lisa Vroman joins the National Children's Chorus in a bicoastal celebration of the season that begins here at The Broad Stage before going on tour to New York City. This must-see event will feature Antonio Vivaldi's Gloria, followed by the most magical and heartwarming mix of holiday music traditions you have ever heard! Come experience the joy of more than one hundred pristine children's voices in harmony with Ms. Vroman and chamber orchestra in this spectacular concert extravaganza! $BOEMFMJHIUXJUI-JTB7SPNBO Saturday, December 8th, 2012 at 8 PM The Church of Saint Paul the Apostle, New York Internationally acclaimed soprano Lisa Vroman joins the National Children's Chorus in a bicoastal celebration of the season that begins at The Broad Stage in Los Angeles before coming here to New York City. This must-see event will feature Antonio Vivaldi's Gloria, followed by the most magical and heartwarming mix of holiday music traditions you have ever heard! Come experience the joy of more than one hundred pristine children's voices in harmony with Ms. Vroman and chamber orchestra in this spectacular concert extravaganza! .PTUMZ.P[BSU Saturday, March 16th, 2013 at 2 PM The Church of Saint Paul the Apostle, New York The National Children's Chorus New York embarks on its first concert event featuring classical literature, with an emphasis on works by W.A. Mozart! Guest conductor Dr. Pamela Blackstone, the NCC's newly-appointed Associate Artistic Director, will take the podium and lead what promises to be an exquisite afternoon of song. Joined by NCC soloists singing traditional Italian repertoire accompanied by Luke McEndarfer on the piano, this unique musical experience is not to be missed! $FMUJD4PVM Friday, March 22nd, 2013 at 7 PM The Broad Stage, Santa Monica The National Children's Chorus brings Ireland to The Broad Stage just in time for St. Patrick's Day! Green meadows, Gaelic rhyme, and visions of America will come together in a stunning tapestry of sound that you won't soon forget. Accompanied by authentic Irish instruments, and sung by the purest voices in the city, Westsiders will be mesmerized by the beauty of the Celtic art form, and convinced that leprechauns in fact may have found a new home in Santa Monica! 5IF4JMWFS4DSFFO Saturday, June 1st, 2013 at 2 PM The Church of Saint Paul the Apostle, New York With the invention of film, the world was changed. And when sound made its debut in movie productions, music was immediately a part of it. This June, join the National Children's Chorus as it celebrates some of the most beloved musical tunes that made their way from the Silver Screen into the hearts of millions across the world. My Fair Lady, Oliver and Westside Story are just some of what you will hear in this thrilling season finale! "NFSJDBOB Friday, June 14th, 2013 at 7 PM The Broad Stage, Santa Monica The legendary music of Aaron Copland, George Gershwin, and Charles Ives will be paired with today's most famous late 20th-century and modern composers in this exciting season finale that traces the influences of American compositional techniques, and points to where it is all going. Enjoy the exhilarating sounds of the National Children's Chorus, as it presents some of the most beloved classics along with newer works, including a world premiere by the Grand Prize Winner of the 2012/13 NCC Broad Stage Composition Compe- tition! Experiencing the greatest music of Americans past and present is surely the perfect way to commemorate Flag Day!

Season Subscriptions are available at www.nationalchildrenschorus.com—secure your seats TODAY!

34 Handbook 2012/13 Updated September 2012

ENROLLMENT Broad Stage Experience Package

Sonata and Minuet Levels in Los Angeles Only NCC Families of the Sonata and Minuet Levels in Los Angeles are each required to purchase one (1) Broad Stage Experience Package per student enrolled in the program. Every package will include one (1) ticket to each of the three (3) concerts the NCC presents at "e Broad Stage, in addition to a special educational pre-concert experience. Broad Stage Experience Packages may be purchased online at www.nationalchildrenschorus.com

So what exactly is this Broad Stage Experience?

For each of three (3) subscription performances at "e Broad Stage, all members of the Sonata and Minuet Levels in Los Angeles will… t Report to their directors at The Broad Stage at 5:30 PM on the day of the concert, as marked on the Season schedules t Take a full private tour of the professional concert hall facilities with their directors, where they will get to see the dressing rooms, backstage areas, empty concert hall, sound booth and grand lobby t Eat dinner together on site and talk about what they have seen t Enter the concert hall with Broad and NCC patrons in order to watch the performance together That sounds wonderful, but I'm wondering… Is this experience optional?

No. It is a required part of the curriculum, and purchase of the Broad Stage Experience Package is an enrollment requirement for every member of the Sonata and Minuet Levels in Los Angeles. As a parent, I would love to see the performance too—how can I get tickets?

Single tickets to the event may be purchased at www.nationalchildrenschorus.com Where will I pick up my child at the conclusion of the event?

Students will be checked-out at a designated location following the performance (TBD). Why does the NCC require this experience as part of the curriculum? Isn't it enough that the students perform in the Showcases?

At the NCC, we know how important it is to prepare each level for advancement within the program. "at being said, there can be nothing more powerful than watching and hearing the magni$cent performance quality of the NCC's Senior Division within their acclaimed concert series at "e Broad Stage. Establishing a clear concept of tone quality and visual polish in the minds of our gifted Junior Division members is of paramount importance as they perfect their skills towards promotion into the Senior ranks. Additionally, we know the students will be thrilled with their private tour of "e Broad Stage, as well as the VIP treatment they will receive on concert day as supporting members of the NCC!

2012/13 Handbook 35 NATIONAL CHILDREN'S CHORUS | HANDBOOK

ENROLLMENT Conductor's Circle Minimum One (1) New Member Annually per NCC Family Each NCC Family is required to recruit or solicit a minimum of one (1) new member to the Conduc- tor's Circle by Friday, March 8th, 2013. "e minimum donation amount to join the Conductor's Circle is a $100 single donation, or a monthly donation of $10. As this is an enrollment requirement, failure to do so will render a student ineligible to perform in NCC concert events. Go to www.nationalchildrenschorus.com, mouse over "Support" and click on "Donate".

"e NCC is a 501(c)3 non-pro$t corporation. All donations to the National Children's Chorus are 100% tax-deductible. Don’t Stop at One!

Help support our program by encouraging as many people as you know to join the Conductor's Circle of the National Children's Chorus. Each tax-deductible donation goes straight into maintaining and augmenting our $rst-rate music curriculum. In seeing the remarkable artistic achievement of our students, it becomes very apparent that nothing could be more worth it!

National Children's Chorus, New York - Spring 2012

36 Handbook 2012/13 Updated September 2012

ENROLLMENT

AT A GLANCE: Enrollment Requirements (primary & secondary) NCC Enrollment —In !ve (5) EASY steps! t PRIMARY Enrollment Requirements (in order to attend any NCC rehearsal or event) 1. ALL online registration forms for the current year are completed and submitted 2. $95 Registration Fee for the current year has been received 3. Tuition Fees are received and up-to-date for the current year t SECONDARY Enrollment Requirements (in order to perform in any NCC concert) 4. Minimum ticket purchase requirement has been completed by the deadline t Two (2) Season Subscriptions (or Seasonal Packages for mid-year enrollments) t Scholars, Los Angeles t Premier Ensemble, Los Angeles t Debut Ensemble, Los Angeles t Sonata Level, New York t Minuet Level, New York t One (1) Broad Stage Experience Package t Sonata Level, Los Angeles t Minuet Level, Los Angeles t Zero (0) ticket purchase requirement t Prelude Level, Los Angeles IMPORTANT t Prelude Level, New York 5. Minimum Conductor's Circle contribution has been completed by the deadline t One (1) new member at any level

2012/13 Handbook 37 NATIONAL CHILDREN'S CHORUS | HANDBOOK

REHEARSAL POLICIES & PROCEDURES LOS ANGELES Drop-off Procedure Private Entrance Back Door t Upon arrival, parents are asked to carefully drive Selby Avenue up the driveway, park in the lot, and escort their children to the Check-in Desk at the Pavilion. Music Room t Students will enter the building from the door D

nearest the Pavilion. R Front Door 2A2B I t During our sessions, when going into the musi- C V cianship classrooms, students will be required to L E A W walk on the red pavement only, and are forbidden S S 7A A to ever set foot in the driveway itself. R Y O O M LOS ANGELES Pick-up S 7B Procedure

NCC CHECK-IN t Students will be dismissed from the following DESK rooms and doors: 4DIPMBST5#—4:00 PM—dismissal by Luke McEndarfer from the Music Room or Room 7B (see sign on door) 4DIPMBST4"—5:45 PM—dismissal by Luke McEndarfer PAVILION from the Music Room or Room 7B (see sign on door) 1SFNJFS&OTFNCMF—6:30 PM—dismissal by Luke McEndarfer from the Music Room or Room 7B (see sign on door) PARKING LOT %FCVU&OTFNCMF—6:15 PM—dismissal by Dr. Pamela Blackstone from the Music Room or Room 7B (see sign on door) 4POBUB-FWFM—2:55 PM—dismissal by Dr. Pamela Black- Map of St. Paul the Apostle School stone from the Music Room front door (east side of room, LOS ANGELES adjacent to library, see sign on door) .JOVFU-FWFM—2:55 PM—dismissal by Mollie Birney from the Music Room back door (west side of room, along Selby Avenue, see sign on door) 1SFMVEF-FWFM— 2:55 PM—dismissal by Christopher Yraola from the Music O!ce private entrance (west side of building, along Selby Avenue, approximately 15 feet south of the Music Room back door, see sign on door) t Parents are kindly asked not to chat business with the instructor at this time, as he or she will need to focus on making sure this job is done quickly and accurately. If you need to speak business with an instructor, appointments are very easy to schedule via e-mail.

38 Handbook 2012/13 Updated September 2012

REHEARSAL POLICIES & PROCEDURES NEW YORK Drop-off Procedure t Upon arrival, parents are asked to enter the church o#ce, and proceed immediately to Room 101 ($rst door on the right). Please do not wait or congregate in the lobby. t Approach the Check-in Desk with the NCC sign, where NCC Authorized Personnel will document the Check-in, and point your child in the right direction (Minuet Level students stay in Room 101 within the secured area, while Prelude Level students are escorted to LL2, and Sonata Level students are escorted to the Music Room). Please do not wait or congregate in Room 101—Check-in must be fast and e#cient. Parents are not permitted within the limits of the secured area. t As soon as your child is checked-in, please kindly vacate the building as quickly as possible, in order to avoid congestion in Room 101, and allow other students checking-in to have the space they need to do so. Please do not wait around, congregate in Room 101 or the lobby. Because of the small amount of space, and the large number of students, parents are not permitted to stay on-site at any point during the rehearsal process. t Check-in procedures at Room 101 will conclude at precisely 4:27 PM, at which time the room must be completely vacated, except for the Minuet Level director and students. At this point, the door to Room 101 shall be closed, Minuet Level director and students shall take their places for rehearsal and all other check-ins shall be handled from the entrance to the lobby. Again, please do not congregate in the lobby, or anywhere on-site. As soon as your child is checked-in, please quickly vacate the building to avoid congestion within the small amount of space we have to accomplish these large-scale operations. t For all Check-ins at 4:27 PM or later, please approach NCC Authorized Personnel in the lobby, where he or she will document your child's Check-in, while another Parent Chaperone escorts your child to his or her rehearsal room.

NEW YORK Pick-up Procedure t Students will be dismissed from Room 101. t Parents are asked to come to Room 101, where the instructor will be standing with an iPad. t Children will remain seated in the secured area and will be called up as their parent or legal guardian announces themselves to the director, who will $rst verify that the individual making the pick-up is authorized, then proceed to document the Check-out by clicking the box next to his/her name. Once Check-out is complete, the $nished report will be uploaded to a storage $le for weekly review by NCC Administration. t Parents are kindly asked not to chat business with the instructor at this time, as he or she will need to focus on making sure this job is done quickly and accurately. If you need to speak business with an instructor, appointments are very easy to schedule via e-mail.

2012/13 Handbook 39 NATIONAL CHILDREN'S CHORUS | HANDBOOK

REHEARSAL POLICIES & PROCEDURES Check-outs Respecting our Facilities

Procedure Showing Our Deep Appreciation for St. Paul's

NCC iPad Check-out interface is automatically At both our rehearsal and performance facilities at generated with the information provided on the Saint Paul's in Los Angeles and New York, we are registration forms at the beginning of enrollment. extremely fortunate and grateful to have the un- Each student has been authorized by his or her wavering support of Sister Stella Enright (LA) and parent(s) to be picked up by certain individuals, Father Gilbert Martinez (NY), without whom the whose name(s) will appear on the screen next to NCC's mission would never have taken &ight. Ac- the child's name. Students will not be released to cordingly, it is of paramount importance that the persons whose names are not listed on the screen. behavior and attitude of our members is re&ective If you see an error, or if additional names need to of the gratitude we must always embody in return. be added mid-year, please send an e-mail to the Ex- Here are some ways to ensure the NCC shows its ecutive Administrator, who will update the record sincere respect— accordingly. t Always be mindfully polite, friendly and Self Check-outs courteous to St. Paul's sta" members when you encounter them I Can Do it Myself t Greet them with a smile, and show that you are happy to be there As students get older, it's natural for them to ac- t Do not ask St. Paul's sta" members to per- cept additional responsibility. And for parents, form NCC-related duties, such as placing this sometimes can be very convenient. "erefore, calls, sending/receiving faxes or making the NCC allows parents to authorize Self Check- copies outs for NCC members who are 12 years old and above. Simply e-mail the Executive Administra- t If you must make a request to a St. Paul's tor to authorize your child to participate in Self sta" member, do so with humility, and Check-outs, and his or her name will be added to not a sense of entitlement the authorized list that the director will see on his or her iPad when executing dismissal. t Be mindful and respectful of other groups using the facility, keeping noise to a mini- Procedure mum so disruptions are avoided—the NCC must not act like it is more important Any student who is authorized for Self Check-outs than other groups may approach the director who is executing dismissal as soon as it begins. "e director will expe- t Show at all times what an amazing group dite the process and send the student on his or her of people the NCC encompasses, remem- way as quickly as possible. bering that we are there to serve the community that supports us

AT A GLANCE: Important St. Paul's sta" members ST. PAUL'S LOS ANGELES ST. PAUL'S NEW YORK t Fr. John Ardis, pastor t Fr. Gilbert Martinez, pastor t Sister Stella Enright, school principal t John Znidarsic, resources manager t Christopher Walker, music director t Cleveland Kersh, music director

40 Handbook 2012/13 Updated September 2012

REHEARSAL POLICIES & PROCEDURES Parent Chaperones Keeping Our Students Safe

At the beginning of each season, parents kindly are asked to sign up to be Parent Chaperones, in an e!ort to lend much-needed help to NCC Administration on rehearsal and performance days. When given the opportunity, please be generous with your time and consider helping the NCC in this most signi$cant way. As a Parent Chaperone, here is some of what the duties entail—

t Assisting with Check-in t Watching over students at the break t Escorting students to the bathroom t Enforcing NCC policy, by notifying NCC Administration of any and all violations t Protecting the rehearsal space, by helping other parents who might otherwise disturb the rehearsal in progress

Making Sure the NCC is Covered

As described above, the job of watching over the NCC's student body is vital. At the NCC, student safety is the number one priority, and therefore we take very seriously all issues pertaining to it. Accordingly, please be mindful of the days you have signed up for, marking them in your calendars, and making sure never to fail in showing up on time. NCC Administration will send you an e-mail reminder prior to any day for which you have signed up, and the Weekly Reminder will list your name under "Chaperones." If for any reason you are unable to make it, please contact another NCC parent to replace yourself and have your shift covered, notifying our o#ce of the change. It is never acceptable to sign up as a Parent Chaperone, and simply not show up. A lack of chaperone assistance at any given event puts our student body in potential danger, and therefore cannot be permitted. To cover your shift, please use the NCC Member Directory, which can be found at My NCC.

Great! So once I show up, what do I do?

Upon arrival, please see the NCC Administrator on duty. You will be given a placard listing the various duties with which your assistance is requested. After reading, please return the placard to the NCC Administrator, con$rming your agreement with its terms and conditions. From that point forward, be available for the duration of your shift, acting according to the instructions on the placard. We thank you for assisting the NCC in one of the most important ways we need help from our parent body.

Mother's Day Special Schedule —We love you, Mom! Every year, the NCC has a special schedule on Mother's Day in Los Angeles in order to allow our students to spend the day with their amazing moms! Please consult your Spring Season schedule for details and mark your calendars accordingly.

2012/13 Handbook 41 NATIONAL CHILDREN'S CHORUS | HANDBOOK

REHEARSAL POLICIES & PROCEDURES Attendance Being Present . . . At all levels of the NCC (Prelude through Scholars), our instructors teach new and varied material at each session, and at a fast pace. Accordingly, even one missed session results in a signi$cant loss of learning. "rough years of experience, we have observed that when attendance dips below 80%, unacceptable signs of unpreparedness typically begin to manifest and students are no longer able perform at the professional level that is expected of our organization. As a result, it is imperative that a strict code of attendance and punctuality be observed. Absences

Two (2) absences are allowed per season (Fall, Winter or Spring). "e third absence will require advance permission from the ensemble’s director. Unexcused absences beyond two (2) may result in non-participation in ensuing concert events. Tardies

Students are to be in place $ve (5) minutes before the start time of any session, and must stay for its en- tirety. As latecomers miss important material and disrupt the rehearsal underway, we ask that punctuality be made a top priority for each NCC family. Since arriving late is deemed highly unprofessional and unacceptable in the real world of working musicians, please make sure to support your children's learning of what it truly takes to succeed by getting them there on time. "ey will one day thank you for a lesson well-learned'one that will bene$t them for the rest of their lives. Half-Absences and Quarter-Absences

Any tardy or early dismissal which causes the student to miss more than $fteen (15) minutes of rehearsal time is counted as one half of an absence. Any tardy or early dismissal which causes a student to miss less than $fteen (15) minutes of rehearsal time is counted as a quarter of an absence. Half-Absences and Quarter-Absences will add up and be counted towards a student's maximum allow- ance of two (2) absences per season, which cannot be exceeded as written above.

Parent Meetings Coming Together to Support Your Children . . . Once per season, the NCC holds a parent meeting where our Artistic Team updates our parent body on recent developments and expresses the most pertinent needs of the organization in a forum where parents are welcome to o!er suggestions, help and other needed assistance. Mandatory Attendance

One (1) parent from each NCC family is required to check in and attend our parent meetings. As the meetings are clearly indicated on the schedule, please make a note of each on your calendars well in advance so that they do not take you by surprise. As we depend on you, the parents, to generate the support required to educate your children, it is vital that you are there and ready to lend your help.

42 Handbook 2012/13 Updated September 2012

PARENT & STUDENT SERVICES Parent Meetings Frequently Asked Questions

I missed the meeting. Do you still love me?

Of course we do! While your presence is an extremely valuable asset to every meeting of the NCC parent body, we know that life happens, and inevitably, failed attendance can occur (though, hopefully, it is rare). "e good news is that we do take attendance, and will send out a special e-mail following each meeting to those who were not able to be there, outlining what was discussed.

If you can just e-mail the information to us, why do we need parent meetings?

Parent meetings are not about disseminating information. E-mail is very e!ective at accomplishing that goal. "e meetings are designed to create an in-person forum, where parent voices can be heard, providing valuable insight and feedback to our directors, asking questions that the NCC may not have addressed, and increasing the awareness of all NCC issues. A powerful thing happens when many great people come together in a room, and that is the greatness we are going for. Accordingly, we trust you will do your absolute best to participate and help build an NCC community that continually better serves your children.

Ok, ok, you win. I'll be there. But how long will I have to sit there? I'm guess- ing this is just one of those long, drawn-out parent meetings, where I have to endure a droning voice?

No way! How about this? 20-minute express meetings. "at's right—all Seasonal Parent Meetings have been reduced in length to just 20 minutes, and have been carefully planned to coincide with the Check-in or Check-out of your child for your convenience. And luckily for you, the NCC's directors are some of the most vibrant and energetic people in Los Angeles and New York. We promise not to be boring, our voices certainly will not be monotone, and you can be sure to have at least a little bit of fun! After all, fun through excellence is what the NCC is all about!

AT A GLANCE: Parent Meeting Times LOS ANGELES NEW YORK t Junior Division t Prelude Level SUNDAY 2:30 - 2:50 PM WEDNESDAY 5:20 - 5:40 PM t Senior Division t Minuet Level SUNDAY 3:00 - 3:20 PM WEDNESDAY 5:50 - 6:10 PM t Sonata Level WEDNESDAY 4:30 - 4:50 PM

2012/13 Handbook 43 NATIONAL CHILDREN'S CHORUS | HANDBOOK

REHEARSAL POLICIES & PROCEDURES Tech Week Putting on the Finishing Touches . . . Wise Planning At the end of each season, during the week of any We know how busy the students’ schedules are. major concert, the students at the NCC embark on From homework, to sports, to other extra-curric- an intensive musical journey, where the most de- ular activities, there are many demands on their tailed and rigorous work of the season is completed. time. "erefore, we do our absolute best through- During this time, which we call “Tech Week,” stu- out the year to create a regimen that is consistent, dents practice at an accelerated rate and take their easy and that works most harmoniously with the already excellent product to a level of true profes- students’ lives. Tech Week, however, is the one sional re$nement. week prior to any major performance where we need the students’ schedules to bend to the needs of the ensemble, and lend time additionally in the Mandatory Attendance pursuit of re$nement and polish. Absences, tardy arrivals and early dismissals are not For this reason, we ask that you plan well in advance allowed during any Tech Week rehearsal. Directors of any Tech Week rehearsals marked on the sched- can and will pull students out of any event where ule, clearing out the students’ calendars of other they are deemed “unprepared.” As all Tech Week activities, and minimizing their work to just school rehearsals are indicated on the schedule months in and the NCC. If this means postponing parties, advance, we urge you to adjust your schedules ac- events and outings to a di!erent time, then please cordingly to make sure nothing is missed. do so. We need their time during Tech Week, and we also need your cooperation in making sure they get ample rest for the performance, which usually means trimming down other activities. “CREATE: Joy” Dress Rehearsal, The Edye Second Space , 2009 We know how busy you, the parents, are as well. As much as this organization exists for the bene$t of the students, we wish the NCC experience to be as hassle-free and enjoyable for you too. "erefore, we urge you to take the time to carefully go through the schedule, making sure there are no con&icts with your family calendars, and that all planning issues are dealt with as far in advance as possible. Helping you avoid last-minute emergencies and stressful situations is important to us, so please take our thoughtful advice and plan ahead.

Early is on time. On time is late. ALWAYS be early. — Donald Neuen, Chair of UCLA Choral Activities

44 Handbook 2012/13 Updated September 2012

REHEARSAL POLICIES & PROCEDURES Rehearsal Expectations & Behavioral Standards Being Your Best: Proper Singing Posture Students will be expected to uphold proper posture when singing in order to facilitate excellent breath support—

t Feet shoulder width apart t One foot slightly in front of the other t Back up straight t Music chest high t All of the above for sitting, plus back away from the back of the chair, sitting on the upper 3rd of the seat

The "Do's" and "Don't's" of PICTURED: Premier Ensemble demonstrating excellent posture proper posture...

PICTURED: Improper singing posture PICTURED: Proper singing posture

2012/13 Handbook 45 NATIONAL CHILDREN'S CHORUS | HANDBOOK

REHEARSAL POLICIES & PROCEDURES Rehearsal Expectations & Behavioral Standards Being Your Best: General Guidelines

1. Students must have a positive attitude— t Willingness to work t Encouraging others t Answering questions t Taking risks 2. Students must not talk while in rehearsal, except by permission of the director— t Raise hand to ask a question or to make a comment t Raise index !nger to indicate a bathroom use request t Only ask questions in front of the group that concern the entire group—private matters are to be discussed with the director alone t Never express negativity in front of the group 3. Students must use the bathroom facilities before rehearsal, after rehearsal or during the break. Use of the bathroom during the practice itself is for emergencies only. 4. Students must behave respectfully and appropriately to the director and their peers at all times. "e following o!enses are grounds for suspension and/or permanent dismissal from the program— t Talking back to an instructor t Disrespectful sarcasm to an instructor t Inappropriate language t Racial slurs t Social intimidation t Threats t Intentional physical injury to another t De!ance against any member of the NCC Artistic or Administrative Team 5. Students must remember to bring their materials to practice if taken home— t NCC Music Folder and Pencil t Scholars, Los Angeles t Premier Ensemble, Los Angeles t Debut Ensemble, Los Angeles t Sonata Level, New York t Minuet Level, New York t NCC Binders t Sonata Level, Los Angeles t Minuet Level, Los Angeles t Other possible materials needed (advance notice will always be given) t Kodály books t Theory books t Batons t Conducting books

46 Handbook 2012/13 Updated September 2012

REHEARSAL POLICIES & PROCEDURES Discipline Electronics Policy Policy t Students who fail to uphold the behavioral Electronics are not allowed at NCC sessions, ex- standards of the NCC may be written up, with cept for mobile phones which must remain o! and a copy of the document going to the parents stowed away (out of sight) for the full duration of upon Check-out on the day the o!ense took the session (including breaks). Students are not to place. play with mobile phones or make calls/texts until t Parent and student must sign and return the rehearsal is over. "ey are to be used for emer- document in order for the student to be granted gency situations only. admittance to the following rehearsal or NCC Laptops, video games, iPods, etc., must not be event. brought to practice. Our Artistic Team has been t "e 2nd and 3rd write-ups will each require a instructed to con$scate any that are seen and re- meeting to be scheduled with the student and turn them to the parents at the end of rehearsal. parent. Doing What is Best for Your Children . . . t O!enses past the 3rd write-up will be grounds for suspension and/or permanent dismissal. t There is not a large amount of downtime, so there Please note that there will be no tuition refunds is simply no need to have electronic entertainment. given for permanent dismissal. t During short breaks or waiting time prior to rehearsal, students are encouraged to engage in social in- Food & Snacks teraction (not bury and isolate themselves in an electronic device). Nourishing the Body . . . t Not all students have the devices, so it is inappropriate for some to be using them while others cannot. Nutritious snacks are always recommended by the NCC for consumption during break and after re- t Music, community and teamwork are the focal hearsal. Food with whole grains and high in $ber points of our rehearsals; therefore, unrelated de- allow a steady release of sugar into the bloodstream vices that promote an antisocial environment are and prevent our students from experiencing a sugar counterproductive to our mission and cannot be al- high, followed by a sharp drop in energy. As sing- lowed. ing requires a great deal of mental focus and physical endurance, a proper diet rich in nutrients is very Electronics at Dress Rehearsals important. and Performances Respecting our Facilities Professional Standards Food consumption in any of the rehearsal rooms At dress rehearsals and performances, electronics is not permitted. Students are to eat outside, or in of any kind are strictly forbidden, and must be designated areas exclusively, and are responsible for handed over to NCC Administration at the Artist cleaning up their own trash. Entrance/Check-in Desk, or left at home. Mobile Bringing a Snack for the Whole Group? phones and other devices may never be brought backstage, into the dressing rooms, or on the con- "ank you so much for your kindness and generos- cert stage itself. It goes without saying that a de- ity. We only ask that the snack be of good nutri- vice sounding o! from a performer on the stage tional value, as described above. Candy and other during a concert would be a disaster. Don't risk foods high in sugar will be politely declined. it—leave all devices at home on the day of the dress rehearsal and performance.

2012/13 Handbook 47 NATIONAL CHILDREN'S CHORUS | HANDBOOK

REHEARSAL POLICIES & PROCEDURES Observing Rehearsal

Creating a Productive Space We Know You Want to Watch . . . Imagine that you are working e#ciently on a proj- We realize how inspiring it is for you to actually see ect alone in a room. Everything required for your your children gain a new concept, or learn some- project is in the room, and you are in a place where thing new—after all, it is the journey that is the you can create freely with no fear of judgment. most important thing, even more important than About an hour into your work, a friend and some- the $nal product. Not to worry! We have got you one you don’t know unexpectedly enters the room, covered! and wishes to watch you at work. "ough the same work exists in front of you, something has de$- Once per year, we designate a weekly rehearsal as nitely changed. Instead of your entire conscious- “Open House” on the schedule. On this day, all ness focusing freely on the work itself, you are now parents are invited to attend NCC practice and ob- intently aware that you are being watched and you serve their children in action. Chairs are set up begin to cater your work to meet the satisfaction of around the entire chorus, and parents are welcome those watching, thereby somewhat inhibiting the to be a part of the process, seeing what goes on free creative space that existed before they entered. at our sessions. Enjoy a complimentary bottle of You are a professional, and very good at what you water, a reserved seat, and a uniquely interactive do, so you can handle this and still do a good job. experience as our directors design this rehearsal to But on some level, you know that your work could involve the parents and show them how amazingly have been better if your friend and other person talented their kids are. As space is limited, make weren’t there. sure to RSVP right away once the message goes out. "is is exactly the type of thing that happens when people come to observe the NCC at work. Our The National Children’s Chorus experience is directors and students are skilled enough to do a a product of the unique joy which results from good job under any social circumstance, but it can- the tireless dedication to the creation of great not be denied by either directors or students that art. It is about the respect, discipline, and hard observation prior to the $nal product inhibits the work required to reach the highest level of ar- freedom to make mistakes, try new things and take tistic achievement, and it is likewise about the the chance of looking or sounding bad—the very pleasure which accompanies the reward of that thing that ultimately leads an artist or ensemble to achievement. It is about creativity and intelli- discovering the very best and most brilliant work gence; mathematics and poetry; maturity and they have to o!er. innocence. The Artistic Team of the National Children’s Chorus is wholly committed to pro- For this reason, rehearsals at the NCC are “closed.” viding the finest possible "is means that other than our Artistic Team and space for young musicians students, visitors are not allowed as a general rule. to be musically creative. Exceptions must always be cleared in advance with All of our policies and pro- the ensemble’s director who must be given the op- cedures derive from this portunity to strategize for the temporary loss of ar- philosophy. tistic freedom as described above. If you have an important reason to view an NCC rehearsal, or if — Cristina Demiany you have someone in mind that you feel needs to NCC Executive Director see our process, contact the group’s director who, depending on the situation, may or may not be able to accommodate your request. Cristina Demiany NCC Awards Banquet 2010

48 Handbook 2012/13 Updated September 2012

REHEARSAL POLICIES & PROCEDURES Supporting the Conductor's Work Protocol for Performance Days Protocol for Rehearsal Days All of us at the NCC—students, parents, and Artistic Team Now, here is something that may come members—want the best performance possible. It is what we as a surprise. A musical rehearsal, even strive for and work towards at every rehearsal week to week. a weekly rehearsal, takes almost as much Accordingly, we place all of our focus on the student per- focus and concentration on the part of formers, making sure they have what they need in order to the conductor as a performance. Our di- deliver the $nest performance possible. But there is another rectors are very ambitious, and tremen- performer whose musical job the night of the concert is of dously e#cient, which means that each tremendous di#culty and extreme importance—the conduc- rehearsal is planned down to the minute, tor. With so much emphasis placed on the performers who and must be executed to perfection if su- are actually singing or playing, the role of the conductor can perb concert preparation over the weeks sometimes be taken for granted or entirely forgotten. And is to be accomplished. Again, knowing yet if a conductor were to miss a single cue, or fail to properly what is going on with the conductor just indicate any given musical entrance, the outcome would be prior to any rehearsal immediately makes disastrous—in fact, a piece of music might have to be com- it obvious to observe the following cour- pletely stopped and restarted as a result, in front of the audi- teous protocol the day of a rehearsal: ence. Now consider that in a given concert, a conductor will have to encounter upwards of 500 similar instances, all with t Do not call the conductor the same crucial degree of importance. We could call this t Do not text the conductor "multi-tasking at its ultimate level," otherwise known as the job of musical conducting. t E-mailing the conductor is OK on a rehearsal day, but a response may By the time a conductor reaches the $nal moments prior to a not happen until the following day performance, he or she is swimming among countless musical t Do not approach the conductor or details, mentally going over them time and time again. At engage him or her in any conversa- this point, the level of concentration and focus required to tion beyond "Hello," should you see succeed is extraordinary, and takes every ounce of e!ort and him or her prior to the rehearsal energy. t If there is an emergency, please con- Knowing and understanding what is going on with the contact the Executive Administrator, ductor just prior to a performance suddenly changes one's who will pass the information along perspective, and immediately makes it obvious to observe the to the conductor if necessary and following courteous protocol the day of the performance so appropriate that the conductor is allowed to be "in the zone" and not distracted: The Appropriate Time t Do not call the conductor Ok, I understand. But if I can't approach the t Do not text the conductor director before or after any rehearsal or perfor- t Do not e-mail the conductor mance, does that mean he or she is never available to speak with me about my issue? t Do not approach the conductor or engage him or her in any conversation beyond "Hello," should you see him or No, to the contrary. Our directors are extremely available to discuss any and her prior to the performance in the parking lot, concert hall all issues you feel are important to you. lobby, backstage, artist entrance, or anywhere in passing Simply send an e-mail to the director with whom you wish to meet, request t If there is an emergency, please contact the Executive Direc- to schedule an appointment, and an ap- tor or Executive Administrator, who will pass the informa- propriate time will be set to give you tion along to the conductor if necessary and appropriate and your child the level of attention you require. Either by phone, or in person, our directors are always happy to be of service in the best possible way.

2012/13 Handbook 49 NATIONAL CHILDREN'S CHORUS | HANDBOOK

REHEARSAL POLICIES & PROCEDURES Weekly Ensemble Rehearsal Schedules – 2012/13

™ SUNDAYS

los angeles

JUNIOR DIVISION SENIOR DIVISION SPECIAL EVENTS 1:00 PM

SC / TB PL/REP ML / REP SL / REP REP (2A) (7A) (7B) (MR) 1 - 2:15 1 - 2:15 1 - 2:15 1 - 1:55

2:00 PM BREAK 1:55 - 2

SC / SATB BREAK 2:15 - 2:25 REP (MR) JUNIOR DIVISION KODÁLY P1(2A) / P2(7A) / P3(7B) 2 - 2:55 2:25 - 2:55 PARENT MEETING (7B) 2:30 - 2:50 BREAK 2:55 - 3 3:00 PM SENIOR DIVISION KODÁLY 1(2A) / 2(7A) / 3(7B) PARENT MEETING (7B) 3:00 - 3:30 3:00 - 3:20

CLASSROOM SWITCH 3:30 - 3:35

MUSICIANSHIP (MR / 7B) 3:35 - 4:00

4:00 PM BREAK 4:00 - 4:10

ABBREVIATIONS

PL - Prelude Level ML - Minuet Level 5:00 PM SL - Sonata Level DE / REP PE / REP SC / SA DE - DConductingebut Ensem bFellows,le 2010 (MR / 7B) (MR / 7B) REP PE - Premier Ensemble 4:10 - 6:15 4:10 - 6:30 (MR / 7B) SC - Scholars 4:10 - 5:45 SA - Soprano/Alto TB - Tenor/Bass REP - Repertoire 2A - Room 2A 6:00 PM 7A - Room 7A 7B - Room 7B MR - Music Room

50 Handbook 2012/13 Updated September 2012

REHEARSAL POLICIES & PROCEDURES Weekly Ensemble Rehearsal Schedules – 2012/13

™ WEDNESDAYS

new york

PRELUDE LEVEL MINUET LEVEL SONATA LEVEL SPECIAL EVENTS

4:30 PM

REP (LL2) REP (101) KODÁLY (MR) SONATA LEVEL 4:30 - 5:15 4:30 - 5:40 4:30 - 5:00 PARENT MEETING 4:45 PM 4:30 - 4:50

5:00 PM BREAK 5:00 - 5:10

5:15 PM BREAK 5:15 - 5:20 REP (MR) 5:30 PM KODÁLY (LL2) 5:10 - 6:45 5:20 - 5:45 PRELUDE LEVEL PARENT MEETING BREAK 5:20 - 5:40 5:40 - 5:50 5:45 PM

MINUET LEVEL KODÁLY (101) 6:00 PM PARENT MEETING 5:50 - 6:15 5:50 - 6:10

6:15 PM

6:30 PM

ABBREVIATIONS 6:45 PM REP - Repertoire LL2 - Lower Level Room 2 101 - Room 101 7:00 PM MR - Music Room

2012/13 Handbook 51 NATIONAL CHILDREN'S CHORUS | HANDBOOK

PARENT & STUDENT SERVICES NCC Mission Statement The National Children’s Chorus:

1. Provides a unique opportunity for children to fully develop their musical talent, individual sense of responsibility, professionalism, self-esteem, and leadership through a disciplined and creative program. 2. Inspires the expression of truth and beauty through the tradition of classical choral music and the commissioning of contemporary compo- sitions. 3. Teaches children to express themselves as matur- ing human beings and productive members of society through the creative arts.

NCC Artistic and Administrative Team Commitment The goal we strive to achieve for you, our valued members -

/PUIBQQZXJUITPNFUIJOH 1MFBTF UFMM VT We will do everything in our power to make it right. Your full satisfaction with the NCC experience is a top priority.

E-mail Executive Administrator Ryan De Korte: SEFLPSUF!ODDIPSVTDPN

52 Handbook 2012/13 Updated September 2012

PARENT & STUDENT SERVICES My NCC This really is too easy! On the NCC website is a members-only section entitled "My NCC," which o!ers students and parents access to valuable NCC information 24 hours a day, 7 days a week. Here is how to login: t Go to www.nationalchildrenschorus.com t Click "My NCC," at the top right area of the homepage t You will be prompted for a User Name and Password t Enter "ncc1213" for both !elds, and click "OK" You will then be taken to My NCC, where you may do the following' t Order concert CD's and DVD's t Order NCC o#cial photo prints My NCC User Name and Password: t Request a letter of recommendation t RSVP to NCC events t Download a PDF of the season schedule ncc1213 t Download a PDF of this Handbook lowercase t Order NCC T-shirts and other materials t Download the NCC Member Directory

IMPORTANT: The User Name and Password is case-sensitive. Please note that "ncc" is lowercase. Make sure to enter "ncc1213" NOT "NCC1213".

Carpools Getting to the NCC

Sometimes there is just too much going on. If only we could be in two places at once! For times when it seems impossible to $nd your child a ride to an NCC rehearsal or event, please feel free to contact other parents in your area to lend a helping hand. Our parent body is $lled with truly generous and helpful people, so don't ignore this most valuable resource! Try this—

t Go to My NCC t Download the Member Directory for your child's ensemble t Look down the list for members in your city and zip code t Call the numbers listed, introduce yourself and request the assistance you need

If you still are having trouble, don't hesitate to contact NCC Administration to help you out. We will do everything we can to make sure your child arrives on time for his or her NCC experience!

2012/13 Handbook 53 NATIONAL CHILDREN'S CHORUS | HANDBOOK

PARENT & STUDENT SERVICES "This Sunday at the NCC" & "Tomorrow at the NCC" Your Sensational Weekly Reminder Each Friday in Los Angeles and Tuesday in New York, at approximately 11 AM local time, you will receive an e-mail reminder from the NCC entitled ""is Sunday at the NCC" or "Tomorrow at the NCC," respectively. "e message will be laid out in outline form, and is designed for you to obtain the most important information as quickly as possible. Once you become accustomed to it, you should be able to glance at the message, and glean all necessary points within a matter of seconds. Here is what to look for, in the order it is presented' t *NQPSUBOU JOSFE All pressing matters or deadlines immediately upon us t 1JDL6Q.BUFSJBMT JOHSFFO Any items needing to be picked up from the Check-in Desk t $VSSJDVMVN JOHSBZ All repertoire and musical concepts currently being rehearsed and taught t $IBQFSPOFTPOEVUZ JOBRVB Parents who have signed up for the week t $PNJOH6Q JONBHFOUB Upcoming events and deadlines to keep on your radar t *NQPSUBOU-JOLT Quick access listed on the left under NCC EasyClick Sensational, huh? Other than its sleek design, in the upper left-hand side of the message, you also get the weather forecast for the day, so you can plan appropriate attire to make sure your children are not too hot or cold. Sorry, we can't help it. "Sensational" is our middle name! NCC Member Bulletin

At the bottom of the weekly reminder is a special section entitled "NCC Member Bulletin." Here, parents and students may request to have content posted for sharing with the rest of the organization. Below are some ideas of what this space can be used for— t Advertize a show or artistic production outside of the NCC that your child is involved in t Share a program or opportunity outside the NCC that you feel could bene!t other members t Draw attention to a musical event outside the NCC that you feel others would be interested in t Ask a question, or request collaboration for a project outside the NCC where you feel NCC members could provide special assistance OK, I get it. So how do I do this? Simply send an e-mail to [email protected] with the content you want posted. NCC Administration will $rst need to approve your post, then submit for publishing. Either way, you will receive noti$cation. Are there guidelines for posts, and deadlines for when they must be submitted? Yes. All requests must be made by Tuesday at 7 AM Paci$c Time in order to be included in the Friday LA Reminder, and by Saturday at 7 AM Eastern Time to be included in the Tuesday New York Reminder. Postings can be made for LA, NY, or both. None may pose con&icts with NCC events, policies or general interests.

54 Handbook 2012/13 Updated September 2012

PARENT & STUDENT SERVICES NCC Digital Sountracks E-mail Communication Providing You with Sounds at Home Getting You the Info You Need From time to time, NCC directors will provide students with "e NCC utilizes e-mail as the most fre- soundtracks, both for the purpose of vocal practice at home, quent, consistent and e!ective manner and for special projects. In order to accomplish this, the NCC of communication with its members. uses an online digital service called YouSendIt. YouSendIt al- Be sure to open every message sent to lows large $les to be uploaded to a server, where it is easy for you by the NCC, and read carefully. you to download to your home computers. If the $les were Vital information is contained in each small, we would simply send you an e-mail; but as you know, transmission, and it is crucial that you large $les may take up too much space in your inbox, or sim- receive all pertinent information. Addi- ply be rejected by your e-mail clients. tionally, we have developed a system to better help you know and predict ahead Here is how to easily utilize YouSendIt to down- of time what will be in each message. load your NCC Digital Soundtracks— Look at the subject line to $nd the following headings in caps— t 5IF/$$XJMMQSPWJEFZPVXJUIBMJOLCZTFOEJOHZPVBO t *.1035"/5 VSHFOUNFTTBHF FNBJMXJUIUIFMJOLJODMVEFE t 61%"5& OFXJOGPSNBUJPOPOB t $MJDL PO UIF MJOL XIJDI TIPVME MBVODI ZPVS JOUFSOFU LOPXOUPQJD CSPXTFS XIJDIXJMMUIFOUBLFZPVUPUIF:PV4FOE*UXFC t 3&26&45 TPNFUIJOHCFJOHBTLFEPG TJUF NFNCFST t */'0 CBDLHSPVOEJOGPSNBUJPOZPV t /FYU DMJDLPO%PXOMPBEBOEUIFODMJDL4BWF'JMF NBZXBOUUPSFBE t 3&.*/%&3 DPVSUFTZNFTTBHF t 5IFöMFXJMMUIFOEPXOMPBEUPZPVSDPNQVUFS t /&84 CSFBLJOH/$$IBQQFOJOHT t 5IF /$$ XJMM BMXBZT TFOE [JQ öMFT NFBOJOH BMM PG UIF TPVOEUSBDLTXJMMCFDPNQSFTTFEJOUPPOFTJOHMF[JQöMF t 3&46-54 BVEJUJPODBTUJOHT PODF JU JT EPXOMPBEFE POUP ZPVS DPNQVUFS UIJT NBZ t &/+0: UIFTIBSJOHPG/$$HPPEOFTT UBLFBGFXNJOVUFT EPVCMFDMJDLUIF[JQöMFMPDBUFEJO ZPVS%PXOMPBETGPMEFSUPFYQBOEJUBOEHBJOBDDFTTUP t &7&/5 /$$FWFOUJOGPSNBUJPO UIFTPVOEUSBDLT t 03%&3 /$$QSPEVDUTBOENBUFSJBMT t /FYU PQFOJ5VOFT UIFODMJDL'JMFBOE"EEUP-JCSBSZ t 8IFOBOFXXJOEPXPQFOT DMJDL%PXOMPBET BOEMPPL Important Disclosure GPSUIFöMFJDPOXJUIUIFOBNFPGUIFöMFZPVIBWFKVTU In completing your registration forms, you provided EPXOMPBEFE the NCC with your e-mail addresses. Please know that all addresses given to the NCC by way of the registra- t %PVCMFDMJDLUIFöMF BOEZPVTIPVMETFFFBDIPGUIFNV tion form will receive any and all e-mail correspon- TJDUSBDLT dence sent to our members. If you do not want NCC t )PME EPXO UIF DPNNBOE LFZ BOE UIFO QSFTT B PS e-mail sent to a particular address, then we kindly ask DMJDL&EJUBUUIFUPQPGUIFTDSFFOBOEDMJDL4FMFDU"MM that you do not provide it at the time of registration. If you provided an address at the time of registration, JOPSEFSUPIJHIMJHIU PSTFMFDUBMMPGUIFUSBDLTMJTUFE and have since decided that you no longer want to receive NCC messages at that address, please contact t 5IFODMJDL0QFO the Executive Administrator with a request to have it t "MM USBDLT TIPVME OPX CF JNQPSUFE JOUP ZPVS J5VOFT MJ removed from the system. Please be aware that it CSBSZ XIFSFZPVNBZEPXOMPBEUIFNUPZPVS"QQMFEF may take up to eight (8) weeks to fulﬁll your request, WJDFT PSCVSO$%hTBTZPVXJTI depending on the current workload being handled by

2012/13 Handbook 55 NATIONAL CHILDREN'S CHORUS | HANDBOOK

PARENT & STUDENT SERVICES Private Voice Instruction Outside of NCC Curriculum Important Things to Know About Going the Extra Mile

While the NCC promises a $rst-rate vocal education through the basic level without the need for private instruction, it also fully supports the individual study of voice for advanced students needing the specialized attention, and also beginner students who wish to overcome possible vocal issues and accelerate advancement. For those wishing to be put into contact with NCC-Approved professional voice instructors, please contact the Executive Administrator with your inquiry. We will be sure to refer you to the best instructor possible. Does my child need to take private voice lessons in order to be cast in an NCC solo role? No. NCC solo roles are assigned based on the quality displayed at the audition itself. It is fully possible that a student who does not take private lessons may outperform a student who does. Will private study increase one's chances of auditioning well? Of course. But it is not a requirement, nor does it give any student a political edge or special advantage within the audition process. Ultimately, what a student brings to any given audition is what he or she is judged upon, and nothing more. If you refer a voice teacher to me, where would you find this person? Both Dr. Pamela Blackstone and Maestro Luke McEndarfer o!er private vocal coaching outside of the NCC, and have coached many students successfully to elite levels of vocal accomplishment. Beyond their instruction, the NCC works with several other voice teachers that supplement the work they do. One way or another, the NCC will pair you with an excellent teacher that has been veri$ed to teach proper bel canto style singing, which we deem to be the healthiest utilization of the voice for young artists. I heard of a voice teacher, but I'm not sure if he or she is qualified. Does it really matter how the voice is instructed? Absolutely. Proper teaching is crucial. "e utilization of unhealthy vocal techniques is disastrous for the young voice, and can signi$cantly damage the instrument at an early age. Very special care must be taken in the selection of a voice teacher, which is why the NCC will gladly help you, under the guidance of our NCC Director of Vocal Studies and UCLA Music Department Chair, Michael Dean.

Summer Programs (NCC-Approved) So you want even MORE singing and performing? That's music to our ears!

"e NCC fully supports the involvement of its students in excellent summer music programs across the nation. Please consult My NCC for the latest information on various opportunities, applications and deadlines. We will do all we can to help you get there!

56 Handbook 2012/13 Updated September 2012

PARENT & STUDENT SERVICES The Art of Handling Rejection It's ok—really. One of the most important and powerful elements of psychological training at the NCC is for all our students to learn how to brush o! perceived failures and disappointments, placing them in proper perspective, learning from them and fully accepting any outcome for what it is. We know very well that a student's chances for success depend very much on the ability to overcome circumstances that threaten to demoralize and discourage great talent that has every right to continue development. Here are some key concepts we imbue as our gifted singers progress on a very natural life path of both successes and setbacks— t *UhTPLUPNBLFBNJTUBLF BOEJUhTPLUPNBLFBCBETPVOE*OGBDU JUJTPOMZUISPVHIHJWJOH POFTFMGUIFUSVFGSFFEPNBOEQFSNJTTJPOUPNBLFFSSPSTEPFTPOFFWFSEJTDPWFSIPXUPQSP EVDFHSFBUOFTTBOEFYDFMMFODF'FBSPGNJTUBLFTJTPOFPGUIFXPSTUJOIJCJUPSTPGQSPHSFTTBOE TVDDFTT4PDBMMFEQFSGFDUJPOJTUTMJWFJOBQSJTPOXIFSFNJTUBLFTBSFOPUBMMPXFEBOEBMM UIFXIJMFUIFDSFBUJWJUZJOTJEFUIFNXBOUTOPUIJOHNPSFUIBOUPCFTFUGSFF"UUIF/$$ XF NBLFTVSFUPTUBNQPVUUIBUGFBS4PHPBIFBEBOENBLFBNJTUBLF BOEMFUJUCFB#*(POF #VUNBLFJUXJUIDPOöEFODFBOEDPOWJDUJPO:PVhMMRVJDLMZMFBSOXIBUXFOUXSPOH ZPVhMMNBLF UIFDPSSFDUJPOBOEZPVhMMCFPOUPUIFOFYUUIJOHCFGPSFZPVLOPXJU4PVOEFBTZ )FSFhTB TFDSFU*5*4 t 4VDDFTTJTUSFNFOEPVTMZXPOEFSGVM#VUGBJMVSFCVJMETDIBSBDUFS BOEUIFSFGPSFDBOCFXPO EFSGVMBTXFMM*OGBDU JUJTOPTFDSFUUIBUNBOZPGUIFXPSMEhTNPTUTVDDFTTGVMQFPQMFXJMMUFMM ZPVUIBUUIFZMFBSOFENPSFGSPNUIFJSTFUCBDLTUIBOGSPNUIFJSBDDPNQMJTINFOUT5IBUJTOPU UPTBZUIBUGBJMVSFTIPVMECFUIFHPBM3BUIFS JUJTJOLOPXJOHUIFVOJWFSTBMUSVUIUIBUFWFSZ GBJMVSF TFUCBDLPSBEWFSTJUZDBSSJFTXJUIJUUIFTFFEPGFRVBMPSHSFBUFSCFOFöU4PXIBUDBO ZPVMFBSOGSPNZPVSMBUFTUTFUCBDL *UNBZTFFNBUUIFUJNFMJLFFWFSZUIJOHJTXSPOHJOUIF XPSME CVUZPVSUSFBTVSFJTIJEEFOUIFSF*UhTKVTUVQUPZPVUPöOEJU"OEUIF/$$JTDIFFSJOH ZPVBMPOHFWFSZTUFQPGUIFXBZ

t "UBVEJUJPOT BMMBOZBSUJTUDBOEPJTGPDVTPOQVUUJOHGPSUIUIFCFTUIFPSTIFIBTUPPòFS5IF BSUJTUOFWFSIBTDPOUSPMPWFSUIFPQJOJPOUIBUKVEHFTBOEDBTUJOHEJSFDUPSTXJMMGPSNVMBUF 5IFSFJTOPDPOTJTUFOUTFUPGQBSBNFUFSTPGXIBUXJMMXJOBOBVEJUJPOBDSPTTUIFCPBSE BOEJU JTOFWFSQPTTJCMFUPBDDVSBUFMZQSFEJDUXIBUJTJOUIFNJOETPGKVEHFTBOEDBTUJOHBHFOUT&W FSZTUVEFOUUSZJOHPVUGPSBSPMFNVTUBMXBZTGPDVTTPMFMZPOUIFCFBVUZPGXIBUIFPSTIFIBT UPPòFS5IFZPVOHTJOHFSNVTUMFBSOUPTFMGDSJUJRVFUIFBVEJUJPO CFDPNQMFUFXJUIUIFXBZ JUXFOU BOEMFUJUHP5IFPVUDPNFXJMMCFXIBUFWFSJUXJMMCF*UEPFTOPUOFDFTTBSJMZNFBO TPNFUIJOHBCPVUUIFTJOHFS4P EBSFUPGFFMWBMJEBUFEJOUBLJOHPOXIBUXFDBMMBIFBMUIZ BVEJUJPOJOHBUUJUVEF)FSFhTXIBU*IBWFUPPòFS*hWFXPSLFEWFSZIBSE BOEBUUIJTQPJOUJO UJNF UIJTJTUIFCFTUUIBU*DBOEP3FTQFDUGVMMZ ZPVDBOUBLFJUPSMFBWFJU*BDDFQUIPXNZ BVEJUJPOXFOU *MFBSOFEGSPNJU BOE*BNöOFXJUIXIBUFWFSUIFPVUDPNF/PX5)"5hTBO /$$TUVEFOU

2012/13 Handbook 57 NATIONAL CHILDREN'S CHORUS | HANDBOOK

PERFORMANCES Concert Venues LOS ANGELES The Broad Stage, exterior The Broad Stage 1310 11th St, Santa Monica, CA 90401 (corner of Santa Monica Blvd & 11th St) Located in the heart of Santa Monica, "e Broad Stage is a new home for the world’s best artists and a community that loves the arts. Boasting a total seat capacity of only 499, the main stage is an intimate state-of-the-art theater o!ering a unique The Broad Stage, interior experience for audience members and artists alike. Global yet local, "e Broad Stage o!ers everything from opera to theater to jazz to classical music and engages in community outreach through family and educational programs.

Seating "e Broad Stage is reserved seating. A sample seatmap is below. NOTE: row groupings may change from season to season.

58 Handbook 2012/13 Updated September 2012

PERFORMANCES Concert Venues

LOS ANGELES St. Paul the Apostle Church Seating 10750 Ohio Avenue, Los Angeles, CA 90024 St. Paul's, in both Los Angeles and New York, features general seating within three (3) distinct sec- Built in 1956, the sanctuary of St. Paul the Apostle tions: Premier, Section A, and Section B. Seats Church in Westwood is known for its outstanding within each section may be claimed on a $rst-come, acoustics and tranquil, modern architecture. Lo- $rst-serve basis when the doors are opened half an cated next to the campus of St. Paul the Apostle hour before the performance begins. A sample School, the church provides an excellent facility for seatmap is below. many NCC events and performances.

St. Paul the Apostle Church, Los Angeles

St. Paul the Apostle, sanctuary NEW YORK The Church of St. Paul the Apostle Corner of Columbus Avenue & West 60th Street New York, NY 10019 "e Church of St. Paul the Apostle was constructed between 1876 and 1885, and its interior architec- tural style is inspired by 4th & 5th century early Christian basilicas in Ravenna, Italy. "e grand exterior of the church features 13th century Goth- ic elements, streamlined by early American mod- ernism. "e acoustics of the church are world-re- nowned, and boast a six-second echo which favors high, pure sounds such as those made by the Na- tional Children's Chorus.

The Church of St. Paul the Apostle, New York

2012/13 Handbook 59 NATIONAL CHILDREN'S CHORUS | HANDBOOK

PERFORMANCES Box Office Policies Late Seating and Re-Entry at Concerts Get Your Tickets Policy Tickets to all NCC events are for sale online 24 hours a day, 7 days a week up until 1 PM the day before the Once a performance has begun, seating will not be per- show. Beyond that point, tickets must be purchased mitted until a designated “late seating” opportunity, or at the door, if still available. To purchase your tickets, until intermission. visit: www.nationalchildrenschorus.com Even if a concert guest leaves the hall to use the bathroom during the performance, he or she will not be re- No Refunds seated until intermission. "is is standard procedure at any professional concert hall, and will apply to all All NCC ticket purchases are $nal and non-refundable. NCC events. No Exchanges Respecting Our Performers

All NCC ticket purchases are valid only for the event Nothing is more distracting for a performer during a and time that was originally ordered. Ticket exchang- concert than noises or activity from the audience. As es between separate events, or between di!erent show our singers have spent months working to perfect their times within the same event are not permitted. skills, disruptions from the audience due to latecomers cannot be allowed. No Coordinated Reselling of Your Tickets Through the NCC Respecting Our Patrons Nothing is more distracting for an audience member Tickets may not be resold, and the NCC will not facili- during a concert than noises or activity from other au- tate the reselling of any purchased tickets. dience members. As our patrons have purchased a tick- Donating Your Tickets Back to the NCC et in order to partake in a quality music experience, it is our responsibility to make sure that their expectation Tickets that are not going to be used may be donated is ful$lled. "erefore, late seating cannot be allowed. back to the NCC in exchange for a letter acknowledging Please urge all your concert guests to be on time. the full value of your donation for tax purposes. Ticket donations do not qualify for membership or upgrades within the NCC’s Conductor’s Circle donor program. Children Under 5

No children under $ve (5) years of age will be admitted to an NCC Subscription Concert Event (please check your Season Subscription to see which events are listed).

Children under 5 will be permitted to attend any and all NCC events that are not a part of the Season Sub- scription.

Patrons of all ages to all NCC events must hold a purchased ticket for admittance. Children are not permitted to sit on the laps of adults in lieu of purchasing a seat, and must sit in the seat indicated on their ticket.

60 Handbook 2012/13 Updated September 2012

PERFORMANCES No Photography or Video at Concert Events Policy Other Steps You Can Take to Keep the Concert Focused on the Music . . . Photography/video during any NCC musical performance or rehearsal is NOT permitted. We recommend that concert patrons sit as quietly as possible during the performance. Try to refrain Respecting Our Performers and from: Audience Members t Talking or whispering At the NCC, we are heavily invested in providing t Moving around the highest quality musical experience for both our t Noisily unwrapping cough drops or candy performers and audience members alike. "erefore, any activities by concert patrons that could t Texting potentially take away from the beauty of the music Again, take advantage of the rare opportunity to are strictly forbidden. "e clicking and &ashing be completely 100% focused on your children’s of cameras, the holding up of camcorders, and the beautiful singing. It is a precious moment in time overall distracting energy of a person who is taking that will not last, so let go of the distractions and a picture/video rather than listening to the music engage it fully! are all things we strongly want to avoid. Be in the present moment! "e gift of live music is that it The Broad Stage cannot be experienced at any other time the same way. Don’t spoil it by doing anything else other In addition to adhering to the NO VIDEO/PHO- than enjoying the gorgeous artistry your children TOGRAPHY policy for the reasons listed previ- have worked so hard to create. ously, it is worth mentioning that "e Broad Stage is a union house that forbids video and photography. Ushers will ask any concert patrons in viola- Don’t Worry—We’ve Got You Covered . . . tion of its policies to leave the building with no refund. t Most NCC performances are professionally recorded by a videographer, and are made avail- Backstage able to NCC Members within a few weeks of each event. At any performance where the Artists and Crew Only NCC is not taking an o#cial recording, a designated area outside of the audience space will For performances and dress rehearsals, all students be provided for parents to take their own. Ad- are to be dropped o! at the Artist Entrance (at "e vance notice will always be given. Broad Stage), or a designated room (all other venues). Only performers and authorized personnel t Spectacular photos will be taken by profes- are permitted backstage. Parents and friends are sional photographers throughout the year, with kindly asked not to enter, and will be politely in- prints made available to parents. See our sec- structed to vacate any areas that are o!-limits. tion on “Moments in Music” on the following page, where we tell you how to obtain prints! t Personal pictures may be taken after any event with the director and fellow NCC members in the grand lobby or in the actual concert space, depending on the venue.

2012/13 Handbook 61 NATIONAL CHILDREN'S CHORUS | HANDBOOK

PERFORMANCES Moments in Music Your Child’s Name in Lights . . .

Capturing the Moment Well, eventually! For now, here is how it will be " roughout the year, the NCC employs profession- listed for various types of projects' al theatre and concert photographers to $ nd your 1. Printed concert program or printed CD children’s most special moments and get them on booklet for professional recording $ lm, creating some of the most beautiful and compelling images of young artistic talent just about $)0364 Full name is listed under the en- anywhere! semble title 40-0*45Full name is listed under the name Getting the Prints Into Your Home and of the piece of music or movement of a larger out to Your Friends work " e NCC has partnered with PRINTROOM—an 2. Archival CD or DVD online printing company that allows you to order $)0364"/%40-0*454Names are not prints in a variety of sizes and formats, all beau- listed tifully branded with an NCC Apple Logo water- mark! Available are color, black and white, sepia, 3. Concert advertisements—printed and e-mail wallet size to poster size, multiple frames and paper marketing quality, as well as mouse pads, co! ee mugs, drink $)0364 Names are not listed coasters and photo puzzles for fun! All items may be shipped to the address of your choice, and can 40-0*45Full name is listed if the solo is a make great gifts for family and friends. Ordering “major solo,” as determined by the director is easy! Here’s how: 4. Movie credits t Go to XXXOBUJPOBMDIJMESFOTDIPSVT $)03640/4$3&&/ Full name is listed un- QSJOUSPPNDPN where you will be taken der the ensemble title to the NCC storefront $)03640/406/%53"$, 0''4$3&&/ t Click on “Galleries” under the NCC logo Names are not listed and select the gallery you desire 5. Soloist on soundtrack t Look at the thumbnails, and click on the image you would like to see in larger size Full name is listed if the solo is a “major solo,” t Select the products you would like on as determined by the director the right of the image, and follow the 6. Programs produced by other organizations prompts to purchase; by clicking on the product word itself (“coasters” or Varies “mouse pad”), you can see a sample of what it will look like Overall, we are very happy with PRINTROOM and hope that you are able to obtain the most stunning and memorable shots of your children as they create sensational art! www.nationalchildrenschorus.printroom.com

62 Handbook 2012/13 Updated September 2012

ATTIRE & APPEARANCE Looking the Part

At the National Children’s Chorus, professionalism is exempli$ed on every level. "is most certainly includes the powerful visual image our singers give to the general public at concerts and various performances. For this reason, in collaboration with DENNIS Uniform Company, we have developed a spectacular look for our students! NCC Formal Dress BOYS GIRLS t Will be used for all major NCC performances, events and ceremonies t COST: Approximately $84 for boys and $92 for girls (which includes a 15% bulk order discount already secured for you by the NCC) t HOW TO OBTAIN: Use the measurements taken when you were !tted during your NCC Audition. Follow the directions listed to place the order online. If you need to be !tted again, please contact our Execu- tive Administrator who will assist you with making appropriate arrangements; payment is made directly to DENNIS PICTURED: NCC Formal Dress What Each Student Needs: 1. One complete NCC Uniform Set (either for Policy boy or girl), as ordered through DENNIS Uni- form Company which includes a white shirt, a With the NCC Uniform, we are striving to obtain black knit vest with NCC logo, black pants and a single and consistent look for all our students. belt (for boys), and black skirt and stockings "erefore, substitutions are not allowed for any (for girls) of the items listed, and the exact garment piece as ordered through DENNIS Uniform Company 2. BOYS—Black socks is required for all NCC performances and formal events. "e only item (other than black socks for 3. BOYS—Black shoes must be black dress shoes boys) that is not included in the package is shoes, with black soles, black laces and black lace rings which must meet the criteria as described. (no gold, silver or shiny anything) 4. GIRLS—Black shoes must be closed toe dress shoes with black soles (no gold, silver or shiny anything)

Did You Know? The NCC’s performance attire design was modeled after out!ts in the European tradition, and somewhat resembles that of the Tölzer Knabenchor in Germany (arguably Europe’s !nest boychoir). The black knit vests are embroidered with the NCC Apple logo with boys wearing $at-front black pants, and girls in black pleated skirts. The crisp white shirt worn by both boys and girls features a slightly thicker material that is resistant to wrinkling. Based on high ratings in customer service, garment quality and excellent pricing, DENNIS Uniform Company is the NCC’s top choice to tailor the out!ts.

2012/13 Handbook 63 NATIONAL CHILDREN'S CHORUS | HANDBOOK

ATTIRE & APPEARANCE NCC Casual Dress

t Will be used for all rehearsals, !eld trips and other o"-campus events t COST: NCC T-shirts are $35 each t HOW TO OBTAIN: T-shirts are available for purchase online at My NCC

What Each Student Needs:

1. NCC T-shirt 2. Blue Jeans 3. White sneakers 4. White long-sleeve thermal T-shirt (to be worn under the NCC T-shirt on cold days)

PICTURED: NCC Casual Dress

NCC Festival Dress BOYS GIRLS t Will be used for all major non-NCC performances, events and ceremonies What Each Student Needs:

1. Festival dress is the same as NCC Formal Dress, but without the black knit vest

PICTURED: NCC Festival Dress

64 Handbook 2012/13 Updated September 2012

ATTIRE & APPEARANCE Grooming for Performance Girls

t White long sleeve shirt, NCC vest, skirt and tights, all provided by DENNIS Uniform Company t Collar is to be buttoned down to the shirt at its points, but the top button of the shirt is to be left open t Black, closed-toe shoes t Hair must be up in a bun—NO PONYTAILS; small hair accessories are !ne, but must be black, or the color of the hair t No scented hairspray, scented products, perfume or cologne; no sparkly/glitter hairspray; unscented hair product is allowed, and encouraged to be used wherever necessary t No nail polish, except clear or french tips t No jewelry, rings or sparkly anything; discreet stud earrings are allowed only if cannot be removed (no earrings preferred) t No bracelets; no watches t Make-up is a must on stage, but can be minimal—simply add some color to lips and cheeks to prevent looking washed-out under stage lighting (just to be clear, this is not a lifestyle suggestion—just a theatrical requirement while on stage)

Boys

t White long sleeve shirt, NCC vest, pants and black belt, all provided by DENNIS Uniform Company t Collar is to be buttoned down to the shirt at its points, but the top button is to be left open t Black dress shoes, with black socks t No bracelets; no watches t Hair must be combed with unscented gel or product to hold in place; please look as neat and clean as possible t No scented hairspray, scented products, perfume or cologne t No jewelry, rings or sparkly anything

2012/13 Handbook 65 NATIONAL CHILDREN'S CHORUS | HANDBOOK

OTHER POLICIES & PROCEDURES NCC Solo Audition Policies & Procedures Solo Audition Agreements NCC Solo Roles SAMPLE STUDENT/PARENT AGREEMENT

Students in the National Children’s Chorus are (found on the audition contract for each event) given the opportunity to audition for solo roles as t I understand that the decisions of the judging they naturally come up within the course of the panel are made for the greatest bene"t of the en- performance season. Solo assignments are based semble and are carefully considered by our team on skill level and determined by the needs of the of highly trained music professionals who have full musical production as deemed appropriate by the knowledge of the production’s needs, requirements ensemble’s director, or a panel of judges. Not every and overall vision. student will qualify to receive a solo assignment, and some students may qualify for several. It must t I will accept whatever role I am given (if any) be clearly understood that the NCC is a chorus with utmost humility and professionalism, and (not a solo studio), and singing solo at an NCC promise to lend my talent in full support of the event is not a guaranteed experience. With that in production in whichever part I am called to play mind, the NCC ardently supports the vocal devel- (major solo, minor solo, speaking part or chorus). opment of each singer and enthusiastically o!ers the right solo experiences for students when they t I will trust the decisions of the judging panel and become ready. promise not to complain or contest its decisions. Solo Eligibility t I understand that violating this agreement will result in future audition ineligibility. t Students must be present for the o#cial audition as set by the director in order to be considered. Make-up auditions are not permitted. Audition Feedback t Students already exceeding the maximum At the NCC, it our goal to give useful and con- number of absences for a given season are not structive information in helping our students iden- permitted to audition. Students exceeding the tify ways to improve their performance. Appoint- maximum number of absences allowed for a ments by parents and students may be made with given season after a solo has been awarded to any of our directors to get requested feedback on him or her will be relieved of the solo which the strengths and weaknesses of any particular au- will then be reassigned to another student. dition, where advice will be willingly given on how to improve chances of securing a solo role in the t Behavioral misconduct prior to an audition will future. render a student ineligible. Behavioral misconduct after a solo has been awarded will result in Keep an eye out for NCC Notes, a service provid- the solo role’s being taken away from the stu- ed for select ensembles, where automatic audition dent and reassigned to another. feedback is e-mailed to each solo applicant within two (2) weeks of the audition date. t Soloists must attend ALL solo coaching sessions and every rehearsal of Tech Week (listed on the schedule), including the Dress Rehearsal. An absence at any of these practices will result in the solo's being reassigned.

66 Handbook 2012/13 Updated September 2012

OTHER POLICIES & PROCEDURES Letters of Recommendation Gifts to Directors Promoting the Excellence of our Students Showing Your Appreciation... Directors of the NCC are happy to assist with ap- Policy plications to schools and other music programs as they come up throughout the year. We are so honored that you would want to present a gift to one of our Artistic and Administrative Respecting the Time of our Professionals Team members. " e NCC permits such gestures of goodwill on an individual basis only. Group col- While our directors are fully willing to donate their lections of cash and/or other goods without the ex- time in helping you and your child, we ask that you press knowledge and consent of the Executive Di- give them a minimum of 30 days advance notice rector is strictly forbidden. Please make sure that for any such request, no matter how big or small. all gifts given to NCC Team members are done As our instructors are very busy professionals, last- so on a one-to-one personal basis only. If you are minute, stressful requests put a strain on their unsure or have any questions regarding this policy, schedules, and therefore cannot be allowed. For please contact the Executive Director. this reason, any request made within 30 days may be declined. As it is our wish to support your chil- Frequently Asked Questions dren in the best way possible, we kindly ask that you enable us to do so by submitting your request Can I buy a card and have several people sign it, pre- in a timely manner. senting it to my child's director? Utilizing O! ce Hours and Letterhead Yes.

" ough our instructors donate their time to write Can I take a small collection and use the money to buy your child a letter of recommendation, or $ ll out $ owers for the director? a form, our o# ce that processes the letter and as- No. Cash collections may not be taken on behalf sists with the administrative aspect of seeing that of the NCC. NCC parents must not be solicted it is submitted on time comes at an added, hourly by other parents for contributions. cost to the organization. Since some students do not ever ask for recommendation processing, and Can I present the director with my own gift card and/ others ask for several letters, it is only fair that we or present? charge separately for this service. " e fees for of- $ ce processing of the following documents are as Yes. Individual gifts are allowed. follows: As always, NCC Artistic and Administrative Team t Form to be ! lled out by director and mailed members consider their work with your children in (no letterhead used) -QFSGPSN the greatest gift of all, and have no need for anything additional. However, if it is your wish to t Letter to be composed by director, printed on express added appreciation by presenting one of our letterhead and mailed in - QFSMFUUFS Team members with a gift, it is both welcomed and appreciated. IMPORTANT NOTE: All requests for letters of recommendation must be made via the NCC's online form, available at My NCC. Directors shall not begin work on any recommendation project until the form and payment have been submitted. For students on # nancial aid, please follow the prompts on the form to request # nancial assistance with this endeavor.

2012/13 Handbook 67 NATIONAL CHILDREN'S CHORUS | HANDBOOK

OTHER POLICIES & PROCEDURES Regional Audition Representatives Golden Apple Awards

Helping Us Make a Spectacular Impression Excellence must be recognized! One time per season, the NCC holds auditions for Each month (October through May) a single stu- new members, both in Los Angeles and New York. dent from each ensemble will receive the coveted For these events, in addition to testing the skills of Golden Apple Award. During the process of re- prospective singers, the NCC introduces both new hearsing each month, directors keep track of per- parents and students to the organization by way of formance excellence by awarding points for good interaction with our own NCC members. If your behavior, superb musicianship, participation child is selected to represent the NCC at one of our and improvement. "e student with the greatest regional auditions, you will be contacted by NCC achievement for each month shall be honored with Administration. "ereafter, once the engagement a special award that will be posted in the Music has been agreed upon, he or she will be expected to Room for the duration of the Season in which it adhere to the following— is earned (limit one per student per year, multiple months as winner not allowed). Additionally, he or t Must arrive 15 minutes prior to the be- she is given recognition for this distinction at the ginning of the audition start time Awards Reception at the end of the year, along with a certi$cate. t Must be dressed in NCC Formal Dress, including all grooming requirements t Must meet and greet prospective parents "CREATE: Fantasy" at The Edye Second Space and students March 2010 t Must participate in the audition posture and vocalizing demonstration t Must sing a piece of music, or speak a few words about the NCC experience

Should your child be selected and participate as an NCC Regional Audition Representative, he or she will receive special recognition at the Awards Re- ception at the end of the year.

68 Handbook 2012/13 Updated September 2012

SPECIAL EVENTS Annual NCC Awards Reception

Recognizing Our Students’ Exceptional t Gold Ribbon: Participation in the Premier Ensemble Achievement t Black Ribbon: Participation in the Scholars Each year in June, the NCC holds its annual t Yellow Ribbon: Winner of a solo role in any ensemble Awards Receptions, both in Los Angeles and New t Royal Blue Ribbon: Participation in the Luke McEndarfer York. "ese special events are designed to honor Conducting Fellows and recognize the stellar accomplishments of our t Orange Ribbon: Member of the Artist Council gifted students which have been realized throughout the year. After enjoying light refreshment, t Purple Ribbon: NCC Regional Audition Representative awards are given out for participation and other t Hot Pink Ribbon: Fundraiser Participant various distinctions. As this event is of paramount t Aqua Blue Ribbon: Participation in Professional Studio importance to the students, providing a special oc- Work casion to acknowledge their excellence, we ask that t Pale Pink Ribbon: Participation in the Michael Dean Vo- each NCC family makes sure to reserve this date cal Studio several months in advance to avoid any potential t Green Ribbon: Participation in the Ian Krouse Composi- scheduling con&icts. tion Workshop

Who Is Invited? Golden Apple Awards Due to space and capacity restrictions, the Awards As awarded throughout the year for monthly achievement Reception guest list is limited to the following— Perfect Attendance Award t All students enrolled during the Fall, Winter and Zero (0) absences, tardy arrivals or early dismissals for the en- Spring Seasons of the current year tire year t 2 adult guests per student Director’s Choice Participation Award t Donors of the Conductor’s Circle “Patron Level” or For #nest level of participation and overall classroom contri- higher ($2500 and above) bution throughout the year

t One (1) student from each ensemble Dress Code for the Awards Reception Director’s Choice Development Award t All students at the Awards Reception are to be in For #nest overall improvement over the course of the year NCC Formal Dress, including grooming requirements t One (1) student from each ensemble Awards Director’s Choice Citizenship Award For #nest showing in all areas of rehearsal and performance "e NCC recognizes its students with the fol- within the year, exceeding expectations and consistently go- lowing distinctions— ing above and beyond what is required Honor Ribbons t One (1) student from each ensemble t White Ribbon: Participation in the Prelude Level t Gray Ribbon: Participation in the Minuet Level PLEASE NOTE: Additional Ribbon categories may t Red Ribbon: Participation in the Sonata Level be added throughout the year as necessary. t Silver Ribbon: Participation in the Debut Ensemble

2012/13 Handbook 69 NATIONAL CHILDREN'S CHORUS | HANDBOOK

SUPPORT Conductor’s Circle Making it Happen "e Conductor’s Circle is the NCC’s annual member donor program, designed to help support our educational mission while o!ering perks both fun and valuable to our patrons without whose help we could not exist. Read through the list of contribution levels below and decide which one is right for you! Getting friends and family involved is yet another important way to help maintain the quality of our curriculum. Recruit as many members as you can! "e education for which the NCC stands is absolutely worth it. Donation Levels Donor status is calculated based on total donations received within the last or current calendar year. Associate - $100

t Year-round concert program and website recognition t Monthly E-Newsletter Supporter - $500

t All bene$ts listed above, plus two (2) tickets to an NCC rehearsal Friend - $1,000

t All bene$ts listed above, plus two (2) tickets to a subscription performance Dress Rehearsal Sponsor - $1,500

t All bene$ts listed above, plus Founder recognition in programs and on NCC website for life Patron - $2,500

t All bene$ts listed above, plus two (2) tickets to the NCC Annual Awards Reception Benefactor - $5,000

t All bene$ts listed above, plus two (2) tickets to the NCC Annual Fundraiser Guardian - $10,000

t All bene$ts listed above, plus special recognition on the title page of the NCC seasonal concert program, and a premium dining experience with Artistic Director Luke McEndarfer and Execu- tive Director Cristina Demiany Champion - $25,000

t All bene$ts listed above, plus a private event performance by the NCC Scholars in Los Angeles, or the Sonata Level in New York

!e NCC is a 501(c)3 non-pro"t corporation. All donations to the National Children's Chorus are 100% tax-deductible.

70 Handbook 2012/13 Updated September 2012

SUPPORT Online Media Promoting the NCC

As part of our e! orts to promote the mission and musical product of the chorus in the local, national, and world community, the NCC utilizes today’s most popular social media forums, including Facebook, YouTube and Twitter. Here is some of what you can $ nd:

Facebook www.facebook.com/nationalchildrenschorus

" e NCC’s Facebook page is amazing—very-well maintained, always exciting and interesting, giving fans a unique glimpse into the world of the Na- tional Chidlren’s Chorus and its compelling curriculum. Here is what you will $ nd on the site:

t Photographs of NCC events, as well as archives and special features t Student artwork t Audio clips of performances t Video clips of rehearsals and performances t Behind-the-scenes info of interest t Concert announcements t Artist bios and headshots t Weekly updates

YouTube www.youtube.com/ncchorus

" e NCC has its own channel on YouTube where anyone can subscribe and be noti$ ed when a new video is posted. Currently, an extensive collection of videos is featured on the channel showing the wide variety of experiences of- fered by our program, as well as the artistic & exibility of our talented students. Here is what you will $ nd on the site:

t Video clips of rehearsals and performances

2012/13 Handbook 71 NATIONAL CHILDREN'S CHORUS | HANDBOOK

SUPPORT Online Media Spreading the Word

We ask that all NCC families are fans of the National Children’s Chorus on Facebook. We also ask that each parent suggests to friends and family that they should become fans as well! It’s fun and easy! Here’s how:

1. Sign in to Facebook 2. Go to the National Children’s Chorus Fan Page by enter- ing “National Children’s Chorus” in the “search” !eld and pressing enter, or by typing the following link into your browser: XXXGBDFCPPLDPNOBUJPOBMDIJMESFOTDIPSVT 3. Click “Like” if you are not already a fan All fans will receive regular updates about concerts and events, as well as various happenings at the NCC and access to new photo albums, videos and soundtracks.

Keeping an Eye on Student Safety

While it is vitally important that the NCC uses all common marketing meth- ods for promoting itself (such as Facebook and other online marketing tools), it is also imperative that we uphold strict safety standards to protect our young musicians’ identities, as well as discourage personal memberships to online social communities until they are of appropriate age, or have proper parental consent with applicable supervision. For these reasons, the NCC mandates the following policies in regards to Facebook and other online media: t While the images of students at events will be published to the general public, only their !rst names will be listed, if any at all. Last names will not be listed. t The NCC does not encourage or condone that students should join Facebook or any other adult social media network, and accepts no responsibility for any circumstance that may arise as a result of a student who does so. t Should a child be permitted to have an online social media account, NCC Artistic and Administrative Team members are forbidden to engage in any messaging or chatting with a student online and are not allowed to approve him or her as a “friend” or “contact” until the child is no longer a minor (18 years of age or older).

72 Handbook 2012/13 Updated September 2012

SUPPORT Fundraising Year at a Glance

We know you are very busy; therefore, we have organized our fundraising e!orts so that you need only concentrate on one thing at a time. Below is a listing of our three (3) Seasons, and the main fundraising goal of each— 'BMM — Season Subscriptions — SELL! 8JOUFS — Conductor's Circle — JOIN! 4QSJOH — Fundraising Event — ATTEND!

Students Helping Students A beautiful concept created by the Artist Council

For the Fall and Spring concerts in Los Angeles and New York, select members of the NCC will create special art projects to be sold at intermission, and after the performance. 100% of the proceeds from the sale of these items will go towards our NCC Scholarship Fund, which helps to $nance the tuition fees of talented students who are unable to a!ord them. Few things are more inspiring than student art, yet students creating art in order to take a stand for the education of other students is downright extraordinary! Help support this compelling initiative by encouraging family and friends to stop by the NCC Art Table, and purchase a piece that is not only visually exquisite, but symbolically beautiful as well!

Auditions for the NCC Helping Us Expand and Diversify Our Chorus

Do you know any exceptionally talented students who are not in our program? If so, please send them to us! We hold auditions each season, and simply forward any qualifying candidates to the next available season for enrollment. As we are always on the lookout for new talent, help us by spreading the word about our organization, and the unparalleled educational experience we o!er. Interested parties may book an audition and get all pertinent information at: www.nationalchildrenschorus.com

2012/13 Handbook 73 NATIONAL CHILDREN'S CHORUS | HANDBOOK

CONTACT Useful Information

%&//*46OJGPSN$PNQBOZ /$$"VEJUJPOT $IPSVT#PPLJOHT "ENJOJTUSBUJWF0öDF 0TDBS0SFMMBOB -04"/(&-&4 branch manager 310.475.2070 Oﬃce: 818.843.8306, ext. 303 Mobile: 818.292.5811 /$$"VEJUJPOT $IPSVT#PPLJOHT www.dennisuniform.com "ENJOJTUSBUJWF0öDF (School Code LA00NC) /&8:03, 646.308.1744

Whom Do I Contact For What? Here is a guide to make sure your inquiries get answered in the fastest and most

t Once at www.tix.com, click “Account” at the top left area of the homepage t Enter your e-mail address and Tix password, then click “Continue” t Click “Order History” t Click on the order you would like to view

t Once at www.tix.com, click “Account” at the top left area of the homepage t Click “I am an existing customer but I do not know my Tix password” t Enter the e-mail address you used to create your Tix account t The password will be sent to that e-mail address

t Once at www.tix.com, click “Account” at the top left area of the homepage t Enter your e-mail address and Tix password, then click “Continue” t Click “Account Information” t Make the applicable changes to your password, and/or other Tix account information t Click “Update”

74 Handbook 2012/13 Updated September 2012

CONTACT Whom Do I Contact For What? (continued) t Look up important dates and deadlines t Read about NCC policies, including attendance t Look up dress code requirements

t Obtain a Season Schedule t Obtain Year At A Glance t Obtain NCC T-shirts and other required materials t Obtain Concert CD’s and DVD’s t Request a Letter of Recommendation t RSVP to any NCC event t Obtain the most recent version of the Handbook t Order Uniform pieces from DENNIS t Obtain the NCC Member Directory t Download Practice CD Music

To access My NCC, go to www.nationalchildrenschorus.com, click on “.Z/$$” at the top right area of the homepage, enter ncc1213 for both the User Name and Password, and click “OK”

t Report an expected absence t Report an expected tardy t Inquire about the schedule or dress code for all NCC rehearsals and events t Obtain help with Tix.com if the instructions are not su#cient t Sign up as a parent chaperone for rehearsals, dress rehearsals and concerts t Obtain help with tickets to any NCC event t Inquire about your child’s current attendance record t Add or remove individuals authorized to pick up your child t Inquire about your DENNIS Uniform order t Arrange pick-up of any purchased items or printed materials t Inquire about a lost item t Inquire about your NCC CD or DVD order t Retrieve a lost item

2012/13 Handbook 75 NATIONAL CHILDREN'S CHORUS | HANDBOOK

CONTACT Whom Do I Contact For What? (continued) t Discuss payment of tuition or fees t Inquire about enrollment contracts and terms t Obtain documentation for a Conductor's Circle donation t Inquire about your Conductor's Circle status level or member bene!ts t Apply for !nancial aid t Inquire about your ad in the concert program

t Discuss issues that cannot be handled by NCC Administration as listed previously t Inquire about your child's progress in the NCC

76 Handbook 2012/13 Updated September 2012

CONTACT Your NCC Artistic & Administrative Team

Los Angeles New York NCC Mailing Address $ISJTUPQIFS:SBPMB ,BSB4JNQTPO associate conductor associate conductor Los Angeles Prelude Level Prelude Level [email protected] [email protected] P.O. Box 24625 310.475.2070, ext. 3 646.308.1744, ext. 3 Los Angeles, CA 90024 .PMMJF#JSOFZ 3PCFSU3FOÏ(BMWÈO 310.475.2070 associate conductor associate conductor New York Minuet Level Minuet Level [email protected] [email protected] 511 Avenue of the Americas #28 310.475.2070, ext. 3 646.308.1744, ext. 3 New York, NY 10011

%S1BNFMB#MBDLTUPOF -VLF.D&OEBSGFS 646.308.1744 associate artistic director artistic director Sonata Level Sonata Level Debut Ensemble [email protected] [email protected] 646.308.1744, ext. 3 310.475.2070, ext. 3

-VLF.D&OEBSGFS NCC Administrative Office Hours artistic director Premier Ensemble Providing you with the "nest service possible Scholars "e NCC O#ce in Los Angeles currently handles the administration [email protected] for the entire organization, both in Los Angeles and New York. Here is 310.475.2070, ext. 3 a listing of our regular hours of operation— t Monday — 8 AM to 4 PM, Paci!c Time $SJTUJOB%FNJBOZ t Tuesday — 8 AM to 4 PM, Paci!c Time executive director t Wednesday — 8 AM to 4 PM, Paci!c Time Los Angeles & New York t Thursday — 8 AM to 4 PM, Paci!c Time [email protected] t Friday — CLOSED 310.475.2070, ext. 3 t Saturday — CLOSED 3ZBO%F,PSUF t Sunday — CLOSED executive administrator — Los Angeles & New York For all inquiries, please contact [email protected] 3ZBO%F,PSUF 310.961.4437 &YFDVUJWF"ENJOJTUSBUPS SEFLPSUF!ODDIPSVTDPN

2012/13 Handbook 77 NATIONAL CHILDREN'S CHORUS | HANDBOOK

My NCC User Name and Password: ncc1213 lowercase

Handbook design by Cristina Demiany