THE CHORAL JOURNAL Collins of Oakland University, (Michi- WORKSHOP TO BEHELD AT gan), Gerald Eskelin of University of IS YOUR JOURNAL Southern California, and Allen Lannom EASTERN ILLINOIS U. of Boston University. This board replaces ALLEN C. LANNOM Dr. Jack Boyd, Director of Choral the old Publications Committee and de- Activities at Abilene Christian College, Chairman, Editorial Board votes itself exclusively to the problems Abilene, Texas, will be the featured clin- The editing of the Choral Journal is of the Choral Journal. Articles. which are ician for a workshop that will stress a complex, tedious, and time-consuming submitted to the Journal are evaluated repertoire and techniques for the cham- task. It requires the work of not only by members of the Editorial Board and ber choir. Held at Eastern Illinois Uni- an editor who must correct manuscripts, are returned to the editor with sug- versity, Charleston, Illinois, from June make layout, secure advertising, and so- gestions relative to suitability for inclu- 27 to July 3, Dr. Robert E. Snyder and licit articles and reviews from many per- sion in one of the issues. This, however, Dr. John Maharg of the EIU faculty sons; it requires the assistance and in- though only a portion of the work, takes will also participate in the workshop, volvement of an Editorial Board. This considerable time on the part of all which features two select high school board is comprised, currently, of Alfred members. The major part of the task is chamber choirs. The event is designed Skoog of Arkansas State College, Walter in securing articles which can be printed for high school and college directors in- in the Journal-articles which will reflect terested in chamber choirs. both scholarship and active musical think- Dr. Boyd is widely known as a com- ing. The Board is aware that many im- "A Unique Concept in Music Publishing" poser and arranger, and served as re- provements are needed in the Journal, viewer of chamber music repertoire for and it is trying to bring about some of The Choral Journal for several years. ~®~ these improvements as rapidly as budget, For further information concerning this manpower and availability of material workshop, write, Dr. Robert E. Snyder, .$tanJarJ .Jtu.1ic Pu/'li.1hm!JJ Jnc. will permit. Here are some things which Director of Choral Activities, Eastern is pleased to announce could be of help: Illinois University, Charleston, Illinois "The Robert Page Choral Series" 1) This coming season the Journal is 61920. HE'S GOT THE WHOLE WORLD trying to institute a policy of a certain IN HIS HANDS (TIB-Sop. solo) number of in-depth issues dealing with various aspects of our profession. It is LET US BREAK BREAD TOGETHER (SSA) CORRECTION I KNOW WHERE felt that a concentration of articles in a I'M GOING (SATB-Treble solol particular field might occasionally be of In the March Journal review of the interest to our readers. Three Motets Palestrina Alleluia and Hymn arranged 2) We hope to develop a series of I - QUEM VIDISTIS PASTORES? by Forshlad and Livingston and publish- short "guest editorials". These would not ed by Pro Art Publications, Inc., it was (SSA, SATB, TTB·Triple choir) be long and involved articles, but would II - 0 MAGNUM MYSTERIUM stated that the orchestration was avail- (SATB, Mezzo solol be short expositions of philosophies suc- able on rental. Pro Art Publications III - VENITE EXSULTEMUS DOMINO cessful in the field. has informed us that the orchestra ac- (SATB, Triple choir) . 3) It is our hope that a regular feature companiment is a published work, avail- '" '" of pertinent reprints can be a part of able at the following prices: $5.00 set A, "The David Uber Brass Series" the Journal's offering. Articles which $7.00 set B, and $9.00 set C. Op. 83 CANZONA MODERNA have appeared in other magazines and Op. 88 GLORIA IN EXCELSIS which could have special meaning for Op. 78 A CHRISTMAS FESTIVAL choral directors would become a part of OF CAROLS the Choral Journal. (Scored for Brass Choir) '" '" '" 4) Although it is not yet clear what to suggest very strongly that you do it, "Other Outstanding Octavos" change would be recommended, it is for you will discover that ideas which RISE UP 0 MEN OF GOD (SATB) rather apparent from the comments of exist only in vague form assume a great THE ROAD NOT TAKEN manv of our readers that some alteration deal of Clarity in the act of expression. n~cessary (SATB with TTB and SSA Choruses) is in the section dealing with If you don't believe it, try sitting down o LOVE DIVINE "Choral Reviews". If you have any sug- and writing an open letter to your chorus. (SATB with Soprano solo) gestions on this matter, these would be You will discover that, not only will they SPRING AND FALL greatly appreciated. be better for the experience, but that TO A YOUNG CHILD (SSA) The most important thing of all is KI MI TZIYON (SATB) you will have grown considerably in the ALLELUIA (SATB) that we need a constant flow of material process. Carry this a step further and so that good articles can be printed in imagine what it could do for you to ex- "Publications" an ever-growing and ever-deepening press yourself in the form of an article COMPOSITION - A FUNDAMENTAL Choral Journal. It still is a fact that, which could be read by persons in your APPROACH, Dr. Otto H. Helbig among those who make music, a high profession. AESTHETIC, Arthur W. Harvey degree of importance is accorded to pub- We all are stimulated by the exchange lished materials in the professional field. This is only a sampling'" of'" the'" finest in NEW pub· which is possible through conventions of Iished music. For further details. catalogues or Many of us in our anxiety to plunge our professional organization. Such stim- information regarding submitting of manuscripts ourselves wholeheartedly into rehearsals for review write . . . ulation should continue by means of that and performances miss this great oppor- organization's professional publication, Mr. Richard J. Luongo, General Manager tunity for making ourselves known to the Choral Journal. May I throw this Standard Music Publishing, Inc. our profession. Furthermore, an effective P.O. Box 1043, Whitman Square out to you as a very real challenge. How Turnersville, New Jersey 08012 choral conductor is nearly always a per- about it-have you written a good article . . . or contact your local music distributor. son who can express himself well, for lately? :.: verbalizing is an important part of the ~~'-~ SMP and ~..AlP are the Registered Trademark. explication of the musical score. If you ~ ~® have not attempted writing, I should like Pay your ACDA dues now.

6 THE CHORAL JOURNAL Respectfully dedicated to my teacher and beloved friend, Mavis Douglas, whose life is dedicated to music and mankind.

remove those barriers so as to fill full GEORGE BRAGG that t had never really separated the the cup of the individual student. Founder-Director voice of the adolescent as a .subject, per And so it is with the teacher who finds The Texas Boys Choir se ... although there are those who have himself facing a child who has precon- done wondrous things in fathoming the ceived ideas and imitations of singing depths of the subject for both musical and no concept of the body or technique Address before the Annual Meeting of and scientific reasons of good results. I or even music. His thinking is undis- The American Choral Directors' Assoc- never formulated my thoughts about the iation, Kansas City, Missouri, March 6, ciplined-his memory is short. And you 1971. adolescent, because in being a boychoir look at him there, 10 years old, knowing master for twenty-five years, I have that Town Hall is but two years away always nurtured the treble male through for this would-be singer. In that ideal- It is indeed an honor for me to have his metamorphosis of mutation to his istic mind of yours, illogical from every. this opportunity to share with you fledgling state as a beginning young practical point of view, you decide that thoughts on "THE ADOLESCENT adult. you will train him-you will do it. Step VOICE", a subject as interesting and Each pupil's transition is a marvelous by suffering step, if necessary, you can complex as its seasonal owners, yet most adventure in itself for the two of us are do it. What will happen to him if YO'1t worthv and important to be pursued, if learning a great deal - he, about himself don't teach him-lost from music for- we a~e to fulfill our art as choral as a singer, and I - about myself as a ever-you must do it! directors and our commision as teachers. teacher. The pupil has begun months and Meanwhile, he has learned that singing Our basic knowledge of choral singing sometimes years before on a program for is elevated speech and in such a context, should be founded upon an intimate development of ideas, concepts, and tech- the practice 'of the principles of singing knowledge of individual singing~ and no niques. It becomes evident to both of us is part of his daily life and functioning. phase of phonation is so important to whether each has been faithful in his pur- He finds singing still an abstraction, how- everyone concerned than those years of suits: whether each has given sufficient ever, for his ideas are not yet at one transition: the mutation years of the detail to his work. with the ideal of artistic singing. But adolescent voice. At about the age of ten a child enters he does understand more than he did. It is regretable that all of us were our world of boychoir. From that time He understands that breath is energy, deprived of the opportunity of hearing forth he is constantly leaving previous that muscles support and that the voice Professor Ferdinand Grossmann share patterns and taking on new and distant must be free. He also knows that prin- with us his unique personal love and dimensions. He has chosen to be a singer ciples new being given him are true- knowledge of the human voice. His way for a time. By his acceptance, he has and good for a lifetime of use. was filled with fact. much of which was shown a willingness to try. By my ac- Rightly used, his breath wiII be the simply astute observation . . . often a ceptance of him, I have acknowledged means hy which the beauty of his voice rejection of teachers' theories ... for in that he has the talent and that I will can be heard, and the means by which his reflection on their teachings there was share v.lith him all that he is willing the voice will grow. He will come to not sufficient evidence he said that truth and capable of using and owning. And understand that good breathing is the was supreme. or that common sense had there is nothing new in this exchange, basis of perfect singing, and that he been included. Therefore. he began to for it has been the unwritten basis of must gain the ahility to sing long mus- study and to analyze for himself the learning since the first person discovered ical phrases with all the accents and facts of singing and its source, the voice, that another possessed knowledge which changes of intensity and pitch. In the and in so doing he discovered for himself he desired, or in the case of the teacher beginning, nasal breathing will strengthen a wealth of understanding in much the that he could share his legacy of know- his voice and develop the muscles which same way as had Manuel Garcia, the ledge with one who, like a vessel, would are involved in both inspiration and ex- great Spanish vocal explorer of the 19th accept and receive all that he was capable piration. Later this inhalation will be Century. of holding. enlarged in scope to include the mouth In the joy of learning, Professor The first encounter he has with the and he will breathe upward into both Grossmann had found a greater joy ... world of singing is posture for he can the nose and the mouth which contains that of sharing with his fellowman the relate to this. Athletes do, and a ten the form of the vowel to be sung. knowledge which he had gained, that year old is a "joiner" and stories of how He begins to discover how the abdom- was in every sense of the word, his gift world champions succeeded by the use inal muscles work, how the chest and to everyone Wh0111 he knew. Perhaps this of technique is interesting to him and the abdomen work together. He finds is what his life can symbolize to us ... part of his world. Posture is part of that he should never raise his shoulders the taking of a gift and sharing it with mine, and is the key and fundamental to upon inspiration, that it can be a dan- others. :Maybe this is what life is all technique. He is taught how to stand, gerous thing for a singer. Then he comes about. We humbly thank God for his life how to flex the knees, flatten the lower to understand his first abstraction. A and its blessings which will continue to abdomen, elevate the spine, lift the ster- good singing voice always achieves a resound in this world to who knows num, with an added manly touch of maximum sound or tonal effect with a vV'here, and for how long? His pupils "shoulders back and down", neck relaxed. minimum effort. He had accidentally numbered in the hundreds, and his fame With patient repetition he responds. gotten that right one time and after a brought students from all over the world. The uniqueness of the Twentieth Cen- few times had been able to do it again. Let us pray that God will continue to tury is that with the greater exploration As his teacher I must be a guardian bless us with such understanding and of the mind we have begun to accept of my student to help him develop good inspiring courage and example. the psychological fact that barriers do habits and to avoid such pitfalls as the In being asked to talk with you about exist for some pupils, and the effective glottal stroke which could lead in later the adolescent voice, I readily replied teachers are the ones who know how to life to the formation of nodes. I need

10 THE CHORAL JOURNAL ~o\11ehow to teach him that even the most and nothing ahead of him but travel and pranos usually do - and altos, tenors. powerful fortissimo has a soft beginning. glamour and honor and glory. He has The lower his voice drops the greater And someday, I must find that all his forgotten that work is hard. Work has the . difficulties in muscular adaptation. singing is based on the "sigh" which will become joy. I WIll not vocalize him above the treble give longevity and artistic beauty to his His thirteenth year is one of love of staff very much .any more. voice especially during his mutation work and only the love shows. Each day Hoarseness will come and go as is period in adolescence. begins with rededication ~nd commit- often the way during the mutation period. I begin his vocalization by estahlishing ment as he goes through the school day He will be vocalized on OH and AH his concept of head voice which even- thinking about the competition ahead and mostly and make profitable use of inter- tually will be coupled with the ringing how he will conquer all. Concert tours vals in vocalizations in order to pr~pare resonance of the hard palate and frontal take him from California to New York him for the feeling of different registers. facial structure which will produce the and from Canada to Mexico - and music He will continue to sing while he crosses great carrying power of the mask, for critics begin to mention his name, and from childhood to manhood. Proof sub- here each vowel with its individual shad- audiences give prolonged applause. stantiates that it is entirely possible and ings will take on its own importance. Bach has been given a back seat for proper that a boy sing into manhood. I will not induce him to sing "softly", a time. My student is beginning to run There is no evidence that during the but I will encourage him to sing vitally instead of walk. His growing vocabulary period of great polyphonic vocal art that and freely, for vitality brings about adds interest to his increased talking. an experienced voice, a trained mind proper phonation through support of the Saturday afternoons are spent listening and a disciplined body should be cas~ breath and free release of the pitch and to Texaco's broadcasts of the Metropol- aside and allowed to cease its musical word. I will guard against his use of itan Opera. Saturday mornings are spent function. force while enjoying his new found sound in playing ball with no yelling as part Of course after his voice has settled and seeming larger voice. of the ground rules. It is more fun to he will no longer sing in the boys choir, He will come to know the important sing with orchestras than with piano. but there is the men's choir where he difference between loudness of volume he has decided. He has concluded that may continue his vocal art and progress. and vitality in his practice of singing. Michaelangelo is the greatest painter. He will be missed by his peers, and By the age eleven. he will sing care- Vocally, he can do almost anything I shall miss him as a friend and a sound. fully and well. In time he will begin he desires. His latest venture is Mozart's He will reluctantly take his leave. His to build and establish his own personal "Exsultate Jubilate". His sustaining abil- parents will be happy to have him home repertorie apart from his choral one. ity is increased and he feels unlimited, for awhile, after all, the family unit Piano has entered his life and his knowl- so much so, that he decides to do all hasn't been visiting for at least two years, edge of the keyboard has enhanced the the embellishments, trills and all. His hair is not as combed as it used to singing of new music. He has begun to Three, four, five performances with be. The sparkle in the eye has become read the music graphs which put tran- orchestra of Mozart's exsultation and a twinkle and Bach's going to get a lot sient sounds into material form. something strange happens to a couple better! He isn't as talkative as he used to be. of notes that never happened before- He walks most places instead of running. a kind of tensing on just a spot or two He stops occasionally to look at the where support had always worked before, NOTES OF INTEREST paintings in the halls. His hair is gener- Probably just a bit of vocal wear - rest The Hui Le'a Nani Singers from ally combed now, his shirt-tail tucked will solve this as it has before. But Punahou Academy in Honolulu, Hawaii in, and his shoe strings are tied most what about that sudden chest-like pro- are touring the mainland this summer of the time. He shakes hands easily and duction on the "e" coming up from the with concerts on the West Coast from his "Sirs" are more natural. Most of the middle "c"? Oh, it'll go away after some June 9-20 followed by a series of concerts time there is a pleasantness about him. rest. on the East Coast. Director is ACDA Obviously he's doing better in school. The next day, however, it was still State President Bob Peters and actor By this time he has moved into the there and the next day, and the next Richard Boone, a Hui parent, will ac- second advanced group, and is proud of and the next. Finally while vocalizing company the choir narrating the text of it with a few concerts under his belt. him individually in preparation for a Tom Scott's Creation. At the age of twelve the slow growth series of concerts, I confirmed the sus- -***- of childhood begi'ns to be noticed. His pected fact. Pubescence which had sat Kaiser Aluminum and Chemical Cor- neck lengthens, the larynx moves to the at his door for more than a year had poration announces that those interested middle of the neck and an Adam's Apple reached full bloom and flown, and ado- in renting or purchasing the film, Why assumes its proper prominence. A rich- lescence had begun. This was confirmed 1v!al1 Creates) shown at the ACDA con- ness of quality and an increased strength by his extended range now to a "g" vention in March, may do so by contact- of the vocal mechanism is noticed, while below middle "c" up to only an "a" ing their educational distributor, Mr. greater overtones and partials can be below high "c". Dave Adams, Pyramid Film Producers, heard. His new joy is the result of the My job now was to become his bridge P.O. Box 1048, Santa Monica. California budding brilliancy of his high notes. from childhood to manhood and our 90406. ' Memorization comes easily to him. He journey would take about a year. He -***- is a soloist now, and among the impor- would have to be moved bit by careful Fifth annual Choral Arts Workshop. tant members of the choir. His piano bit downward from the mezzo-soprano, July 6-16, at The American University practice is a daily battle with Bach. His to contralto and psychologically prepared with Vito E. Mason and the first annual own vocal repertorie is serviceable to for it. Because of his workable technique sessions, June 28-August 22, of the Wolf him within his school, church and civic and abdominal support, there would not Trap American University Academy for COmmUl11tIes. Vocally, more than two be a break - only if he were to push- the Performing Arts in the newly built octaves are useable and there's a constant most boys don't experience a cracking Filene Center for the National Youth twinkle in his eye. He has confidence or a breaking. He will need individual Chorus and Orchestra. Contact Depart- that now he can do anything, and his attention quite often now - the lack of ment of Music, American Universitv. ambitions are unlimited. Musically, he it now could be harmful. Most likely he Massachusetts and Nebraska Aves., NW. is literate, physically no longer afraid, will become a baritone or a bass - so- Washington, D.C. 20016 for information.

MAY 1971 11 pienisten. (Bach). Today we say solo and tutti singers. The soloists, being the core Perf rmance Pr clices in of the choir, were required to sing the full choral sections as well as the arias .ro ue Peri in contrast with present performance The practice. Praetorius called the soloists the "essentia totis cantinlenae". WILHELM EHMANN false harmony. For this reason a contra- Choral settings were frequently divided Director, Westphaelische Kantorei bass should always be present to play into soloists and tutti sections with the Herford, Westphalen, Germany the bass line an octave lower, thus main- soloists singing the expositions of fugues taining the correct harmonic structure. if the orchestra was tacet and only the The following commentary on the final For instance, examine our motet on page continuo played. In an "A B A" form session with the Directors Chorus at the 16, measures 96 through 99. The reali- when the middle section was not played ACDA Convention, where various ac- zation of the figured bass from the end by the brass and wind instruments it was ceptable performance practices of the of measure 96 to the beginning of meas- sung by the soloists accompanied by the Baroque era were explained and demon- ure 100 is edited with the bass line an strings. Sometimes Bach denoted these strated, has been graciously forwarded octave lower. Without the contrabass a parts in his cantatas as Concertista and bv Professor Ehmann following his re- wrong chord would also be heard on the Ripienista, especially in his earlier works, t~rn to Germany. The first two sessions first beat of measure 8 on page 2l. with soloists probably singing the piano exploring the choral side of Bach's J eslt This American edition of the Bach sections as a consequence of terraced dy- M cille Frellde were covered by Paul motets is especially good since the con- namics. They also sang entire choral Paige in the April Journal and we are tinuo part is written out, a feature not settings characterized by individual and indebted to Professor Ehmann for his found in other editions. Similar examples expressi ve melodies scored for a few remarks which include suggested refer- are found to require a continuo employ- instruments. ences for those wishing to pursue the ing a keyboard instrument, cello and In the B minor Mass some settings subject. His remarks follow: contrabass. have the sigh "soloists" such as in the During the Baroque period there were Et incarnatus est. In this way we get a manv different methods of performing CHOIR, CONTINUO, choral concerto-grosso form which was the ~lOtets and we would like to demon- MELODY INSTRUMENTS self evident in the orchestra and organ strate a few of the possibilities. Bach himself wrote the instrumental music of the period. In Bach's time the parts for the motet Der Geist hilft Concertisten and Ripienisten had a rela- CHOIR unsrer Schwaclzeit auf} while the instru- tion of one to three. In our case we have In the sixteenth, seventeenth and mental parts for Fuerchte dich nicht 60 Ripienisten in the choir, therefore eighteenth centuries a pure vocal style come from the circle of musicians of C. we should have 4 Concertisten on each was the exception. However it became P. E. Bach's time. J. S. Bach also added part. the customary performance practice after instrumental parts to a Palestrina motet Johann Gottfried Schicht studied with the renaissance of Palestrina in the nine- for double choir. a teacher who had been a student of Bach teenth century. This a cappella interpre- Kirnberger. a student of Bach, wrote and was, therefore, a second generation tation was carried through into the Ro- that church music, even when it was disciple of Bach. As a student he was a mantic period and we are still used to written without instrumental parts, was tutti and soloist singer in Leipzig and it hearing and singing the Bach motets in always supported and given a foundation was he who had the I esu. meine Fre-ude this fashion. For example, Iesu Meine by melody instruments with the organ published for the first time. In the music Frcllde (page 4) and Ihr aber seid nicht as continuo. Bach's cousin, Johann Gott- he designated three movements as "Ter- fleishlich (page 27) of the new Urtext fried Walther, wrote in his encyclopedia zetto", "Quartetto", and "Solo": Denn edition by Werner Neumann and Walter that, in his time, a cappella style meant des Gesetz des Geistes (p. 19), Gute E. Buszin, C. F. Peters, New York, 1958. that instruments played with the voices; Nacht 0 Wesen (p. 44) and So aber not as a separate accompaniment but Christ1ts in euch ist (p. 40). He wrote CHOIR AND CONTINUO rather as a reinforcement of the vocal the other movements as "Coro". For ex- The continuo parts from three of the lines. ample Es ist n·un 'fl·ichts Verdammliches Bach motets are still preserved today: Mozart heard the Bach motet Singet (Concerto grosso, p. 6) and Gute N acht Der Geist hilft Ilnsrer Schwacheit auf} dem H errn under the direction of Bach's o Wesen (Chorale-Concert Solo, p. 44). Lobet den. Hernl aUe Heiden} and successor, Doles. He wrote in his copy The soloists were taken from the choir. Flleychte diclz nicht. Carl Philipp Em- of the piece that an entire orchestra LITERATURE manuel Bach catalogued his father's should be added. We don't have any works and in this collection the motet, colla parte instruments here but we will Arnold Schering : Johann Sebastian Jesu Meine Freude, is scored for voices use instruments to support the cantus Bach's Leipziger Kirchenmusik, Verlag and continuo. Many of these motets, in- firmus. For example I eSIl meine Frellde Breitkopf and Haertel, Leipzig 1936. cluding J esu Meine Freude, were writ- (page 6) and Weg mit allen Schaetzen Wilhelm Ehmann: Auffuehrungspraxis ten for funeral services often held in the (page 37) using oboe as melody instru- Bachscher Motetten, Musik und Kirche, homes of the deceased. ment and English Horn for Gllte Nacht. Bd. 21 (1951), Heft 2, Verlag Baeren- The Thomas School possessed several o Wesel1. reiter, Kassel. Performance practice of small portative organs which could be Bach's Motets, American Choral Re- taken along and used as accompanying CHOIR, CONTINUO, view, Vol. 7 (1964-65), Nr. 1-4, trans- instruments. A contrabass was also ne- MELODY INSTRUMENTS, lated by Herman Adler. cessary in the performance of the motets SOLOISTS, TUTTI CHOIR Wilhelm Ehmann: Concertisten und and the Thomas School and both of the The choir of the Baroque time was di- Ripienisten in der h-moll-Messe J. S. main churches in Leipzig possessed such vided into two groups of singers: sola Bachs, Verlag Baerenreiter, Kassel instruments at the time of Bach. voce and 0111l11eS (Praetorius), Favoriten 1960, Sonderdruck aus "Musik und At times in the motets the tenor line and C apelliste11 (Schuetz), Principals Kirche", Bd. 30 (1960), Heft 2-6. goes below the bass line resulting in a and All (Handel), C on·certisten. and Ri- Konrad Ameln : Johann Sebastian

12 THE CHORAL JOURNAL quite rightly placed throughout the book initial step in the standardization of an Book Review . . . on the need to properly warm-up the expanded choral notational system". choir, to develop the ability of the choir Divided into sections covering Sung or CHARLES G. BOODY to sing correctly, and to sight read well. Voiced Sounds, Unvoiced and Synthetic Music Department Boyd's writing style is clear, straight- Sounds, Tone Clusters, Glissando and Austin College forward and concise. It is not formal, Vibrato and Miscellaneous signs, the Sherman, Texas 75090 and the informality makes the book handbook contains 48 pages of illustra- much more enjoyable reading than many tions from avant garde works employing REHEARSAL GUIDE FOR THE CHOR- of the more pedantic volumes on some- varied notation with concise explanations AL DIRECTOR, by Jack Boyd. Par- what similar topics. which interest and inform the reader ker Publishing Company, Inc., Village The ideas in this book are not new, and help prepare the director venturing Square Bldg., West Nyack, N.Y. 10994. certainly, but they are well presented, into unexplored areas of contemporary Clothbound. and more important, are gathered to- works. While it is impossible to catalog The name Jack Boyd is familiar to all gether in one volume where they are all symbols in use today, the simple readers of this journal from his many easily accessible for the beginner need- clarity of the book makes it an invalu- contributions to it. Boyd's book is ex- ing to re-examine his program. The book able and a highly recommended addition actly as the title describes it; a rehearsal is worth the time of any director and to the conductor's working library. guide for the choral director. Its aim is should certainly be read by all who are to "take you from the prerehearsal se- just beginning their careers. Goldstein, Richard.* *(ed). * The Poetry of lecting of music and the planning of a Rock. New York: Bantam Books, 1969. year's programs through the opening try- * * * Marks, J. Rock and Other Four Letter outs and rehearsals, up to the closing NEW CHORAL NOTATION, Frank Pool- Words. New York: Bantam Books, 1968. rehearsal and the time to step on stage." er and Brent Pierce. New York: Wal- Along the way, such matters as: tryouts Nicholas, A. X. The Poetry of Soul. New ton Music Corporation 1971, $2.95. ("actually the fir~t rehearsal between dir- York: Bantam Books, 1971. ector and singer"), preparation of the For the director interested in studying Reidel, Johannes. The Lutheran Chorale: score for a rehearsal, rehearsal schedul- and performing avant garde works, the Its Basic Traditions. Minneapolis, Minn: ing, developing proper tone and style in recently published book on New Choral Augsburg Publishing House, 1967. rehearsal, successful warmups, the re- Notation is an essential aid. Finding an The Rolling Stones. Our Own Story. New hearsal with instrumentalists, and the ever increasing variety of notational sym- York: Bantam Books, 1970. rehearsal of extended choral works are bols being created and used by individual Stanton, Royal. Steps to Singing for discussed. Special rehearsal problems of contemporary composers in the explora- Voice Classes. Belmont, Calif.: Wads- chamber choirs, festival choirs, men's tion of new choral sounds, Frank Pooler worth Publishing -Co., 1971. and women's choirs are also examined. of California state College at Long Beach Hallowell, John. Inside Creedence. New This book is in every respect a prac.. and Brent Pierce of La Serna High School York: Bantam Books, 1971. :.: tical one. Boyd makes no attempt to at Whittier have undertaken to catalog provide a rigorous, .step-by-step series and standardize many of these symbols of directions to produce a "superchoir". which appear with greatest frequency, Music is the art of the prophets, the Instead he concentrates on describing as well as adding phonemes to clarify only art that can calm the a;gitation of the general approaches and techniques illustrations. The intent of the book is the soul; it is one of the most magn·ifi- that, if implemented by the director, will to make conductors aware of what is cent and delightful presents God has provide satisfying results. Emphasis is happening and to serve as "part of an given us. -M. Luther

Alabama-John W. Jennings, R. I, Indian Springs School, Helena 35080 Montana-Arthur L. Brandvold (HS), 1417 Avenue 0, Billings 59102 Alaska-Joseph McAlister (HS), Box 222, Wasilla 99687 Nebraska-Raymond A. Miller, School of Music, U. of Nebraska, Lincoln 68508 Arizona-Rudy Thompson, Rincon HS, 422 N. Arcadia Blvd., Tucson 85711 Nevada-Douglas R. Peterson, Mus. Dept. Nevada State U., Las Vegas 89109 Arkansas-Robert Fuller (HS). 1408 Twin Oaks, Jonesboro 72401 New Hampshire-Theodore W. Garland, 161 High St., Keene 03431 California- New Jersey-F. Louis Hooker, Fairleigh-Dickinson U., Rutherford 07070 North: John C. Tegnell, SF State Coil., 1600 Holloway Ave., San Francisco 94132 New Mexico-Charkes K. Smith (HS) 1304 S. Country Club Cir., Carlsbad 88220 South: (SCVA) Donald Bremer (HS), 7711 West 80th St., Playa del Rey 90291 New York-George F. Comings (HS), 8841 Angel Road, Greenfield Cen- Colorado-Charles M. Compton (HS), 1400 Remington St., Ft. Collins 80521 ter 12833 Connecticut-John Poellein, U. of Connecticut, Storrs 06268 North Carolina-Joel R. Stegall, Mars Hill College, Mars Hill 28754 Delaware-William W. Young (HS), 312 W. Holly Oak Rd., Wilmington 19809 North Dakota-Kenneth Sherwood (HS), 3125 Walnut, Grand Forks 58201 District of Columbia-Peter J. McCarthy (C), 6700 Belcrest Rd., Apt. 401, Ohio-John R. VanNice, Mus. Dept., Findlay College, Findlay 45840 Hyattsville 20788 Oklahoma-Kenneth Cox, Altus HS, Altus 73521 Florida-Kenneth R. Marshall, Brevard Jr. Coil., Cocoa 32922 Oregon-David S. Herbrandson (HS), P.O. Box 321, Albany 97321 Georgia-Haskell L. Boyter (CH), 1135 Lanier Blvd, N E, Atlanta 30306 Pennsylvania-Frank L. Cummings, North Hills HS, 55 Rochester Road, Pitts- Hawaii-Robert E. Peters (HS), 4910 Kilauea Ave., No. I, Honolulu 96816 burgh 15229 Idaho-James H. Gabbard, College of Idaho, Caldwell 83605 Rhode Island-Ward Abusamra, U. of Rhode Island, Kingston 02881 Illinois-Leonard Van Camp, SIU-Edwardsville Campus, Edwardsville 62025 South Carolina-Arpad Darazs, Choral Dept., USC, Columbia 29208 Indiana-Gene R. Poston (HS), 1115 Broad Ripple Ave., Indianapolis 46220 South D,akota-Perry O. Jones, So. Dakota State U., Brookings 57006 lowa-J. Eugene McKinley, Chairman, Music Dept., Iowa Central Commun- ity College, Ft. Dodge 5050 I Tennesse-Donnie J. Adams, 86 Redleaf Place, Jackson State Community Col- lege, Jackson 3830 I Kansas-Harrison C. Boughton, Mus. Dept., Wichita State U., Wichita 67208 Texas-B. Jack Glover (HS), P. Box 5669, Aoilene 79605 Kentucky-Bruce D. Hoagland, Eastern Kentucky U., Richmond 40475 o. Louisiana-William J. Herring (HS), 3109 Ft. Miro, Monroe 71202 Utah-Ralph Woodward, Dept. of Music, Brigham Young U., Provo 84601 Maine-Gerald G. Chamberland, Gorham State Coli., 19 College Ave., Gor- Vermont- ham 04018 Virginia-Mrs. Harriet C. Heath, Cradock HS, 4300 Geo. Washington Hwy., Maryland-Paul Traver, Dept. of Music, U. of Maryland, College Park 20742 Portsmouth 23702 Massachusetts-M. Gale Harrison (HS) 526 W Street, Braintree 02184 Washington-Wallace J. Goleeke, Seattle Central Community College, 1718 Michigan-Melvin Larimer, Olivet College, Olivet 49076 Broadway, Seattle 98122 Minnesota-Philip Steen, 105 Scott Hall, U. of Minnesota, Minneapolis 55455 West Virginia-Frances Moody, Fairmont State College, Fairmont 26554 Mississippi-Rolland H. Shaw (C), P.O. Box 266, Clinton 39056 Missouri-John Mizell, Chairman, Dept. of Music, School of the Ozarks, Pt. Wisconsin-Elliott R. Wold, WSU-Mus. Dept., River Falls 54022 Lookout 65726 Wyoming-Ken Johnson (HS), 1002 Madison Ave., Cheyenne 8200 I

MAY 1971 EASTERN WASHINGTON STATE COLLEGE· CHENEY, W I H.99004 June 21 through July 3, 1971

In Residence

Donald Thulean, Musical Director

With Ren,owned Guest Conductors and Soloists

IRWIN HOFFMAN GRANT JOHANNESEN

June 21-25 June 21 - July 3 Orchestral Conducting Workshop High School Creative Arts Summer Session Participants selected to conduct professional symphony orchestra. Challenging program fori those exploring or specializing (in the Creative Arts. Chamber:: music, June 21·23 I ndividual instruction, Art,l Dance, Piano Master Class Drama, Gymnastics, Radio - TV, Speech. \ Limited number of participants selected as soloi sts for teach i ng sessions with orchestra. For information concerning workshops and regular degree course offerings, write to: June 28· July 2 Choral Symposium DR. WENDAL S. JONES Executive Director Literature - rehearsal techniques. Tamarack Music Festival Final performance with festival Eastern Washington State College chorus and orchestra. Cheney, Washington 99004

C4 THE CHORAL JGURNAL " It i.s ~ot surprising that in our time Choral USIC Force in Social Change the mIsfIt between traditional institutions demand~ ALBERT J. McNEIL reigning ·'establishment." These are the and actual conditions, needs, and circumstances in which revolutions occur. should have become almost intolerable. Address given April 4, 1971 at the ACDA The objective of the makers of revolu- Try as we may to recast our institutions sponsored session at the MENC Western and our beliefs to keep pace with the tions is to change the established insti- Division Convention at San Diego, Calif. accelerating changes in our way of life tutions of the society by violence in order we are failing at present to win thi~ A revolution is a symptom of "the to make them answer, more or less, to desperate race. The rising generation ,sees times being out of joint." Its outbreak contemporary conditions, needs, and de- that the disparity betwen existing institu- is a sign that the traditional structure mands. Weare in a period of revolution, tions and the actual conditions of life of society has ceased to answer to the perhaps more serious than we realize. has now become so extreme that the conditions. needs. and demands of at least "The makers of a revolution are whole fabric of society may collapse and a portion of the members of the society usually a minority of a minority," says may bury youth under its ruins. historian Arnold J. Toynbee. Revolution that is numerous enough, or strong During the decade just past, we have is a violent form of change, and in human enough, to have the power to change the gotten used to seeing the world divided affairs, change is inevitable, but the pro- structure of society by force if its de- into two parts-the developed and the cess of change need not be revolutionary mands continue to be resisted by the underdeveloped. To bring this closer, the unless we fail to understand the magni- ghetto and suburbia have become Amer- tude of the social problems facing cur- ica's two worlds. Each can be charact- Bach, Neue Ausgabe saemtlicher Werke, rently the blacks, chicanos, Asian-Ameri- erized as developed and underdeveloped. Serie III, Bd. I, Motetten, Kritischer cans, Indians, and Jews in our society "The central issue of our time remains Bericht, Verlag Baerenreiter, Kassel, today. It was Lincoln who said that he the fact that the rich are getting richer 1967, p. 21 ff., 88 ff. did not fear America's enemies abroad, and the poor-poorer," says I van Illich. he feared destruction of this state from CONDUCTING WORKSHOP within. In the United States, for all its gar- JULY 17-31 It is impossible for Po younger genera- gantuan prosperity, real poverty levels ACDA members will be interested to tion, or series of generations, to take rise faster than the median income. In learn that Professor Ehmann, with Mrs. over, intact, the social and cultural heri- the capital-starved countries, median in- Frauke Haasemann of Herford and Dr. tage that an older generation has handed comes move rapidly away from rising Hannes Reimann of St. Moritz will di- on by a process of education in the broad- averages. Most goods now produced for rect the International Course for Choir est meaning of the word. It is impossible rich and poor alike in the United States Conducting July 17-31, 1971 in the for America's minority groups to accept are beyond the reach of all but a few Course Centre Laudinella in St. Moritz, a subservient role in shaping this coun- in other areas. This is not a message of Switzerland. The program will include try's destiny. doom, but a desperate plea for a change works by Schuetz, Mendelssohn and Dist- The measuring rod for gauging the of direction. I am convinced that Music ler, choral voice production, conducting pace of change in human affairs is the can do it. techniques and stylistic problems with' a average length of a human being's life During the decade now beginning, we final concert July 30. Anyone interested from the dawn of consciousness till death. must learn a new language, a language may contact the Secretary's Office, Lau- In the Lower Paleolithic Age, man's only that speaks not of development and un- dinella-Kurse, CH-7500, St. Moritz, means of communication were his feet, derdevelopment, but of true and false Switzerland on or before June 15. and his means of transport were limited ideas about man, his deeds, and his to the maximum load that he could carry KANTOREI RECORDINGS potential. There must be a growing awa- as he walked. Human communities were reness of the cultural contributions of Through the efforts of John Haberlen were small and were widely scattered, all men; a utilization of the history of of the University of Illinois at Urbana because, in that age, man's means of blacks, chicanos and other minorities; we are pleased to add the following list gaining his livelihood were so inefficient an inclusion of compositions by indigen- of recordings by Ehmann and the Kan- that a large area of territory per indi- ous native composers in all programs; torei which Professor Ehmann regards vidual was required in order to enable an insistence that centers like the Black personally as having been the 'most ar- a community to earn its living. In these Music and Latin-American Centers at tistically satisfying. All records are pro- circumstances, any type of tool must have Indiana University, Bloomington, be re- duced by Cantate Record Company and taken hundreds and thousands of years to adily accessible in more strategic loca- may be ordered from Concordia Pub- be disseminated from its place of origin. tions in the United States; that conduc- lishing House, 3558 South Jefferson, St. There must have been few opportunities tors read seriously John Hope Franklin's Louis, Missouri 63118 or directly from for passing it on from one community to F1'om Sla,very to Freedom; Sal si Puedes Baerenreiter in Cassel, Germany. another, and, even when a community did - Cesar Chavez's story; The L. A. Handel, Der Messias ...... 658213 acquire a tool of a new type from its Times' story on the life of reporter, Schuetz, Musikalische Exequien 650205 distant nearest neighbor, we may guess Ruben Salazar; Black Music in Our Clll- Hugo Distler, Der Jahrkreis ... 568222 that it will have been slow to copy and flt·re, a complication of discussions at the Neue Spielmusik fuer Blaeser .. 658224 adopt the new type, since small isolated June 1969 Black Music Seminar, Indiana Alte Blasmusik ...... 658211 comunities are apt to be conservative- University, by Dr. T. J. Anderson(artist Schuetz, Geistliche Chormusik I 657611 minded. Obviously one of the essentials in residence, Atlanta Symphony), OIly Schuetz, Geistliche Chormusik II 657612 lacking during this age was an ability Wilson (University of California, Berk- Schuetz, Psalmen Davids ...... 658215 to communicate. We can conclude then eley), Hale Smith, Dave Baker, Dr. Wil- Schuetz, Kleine that an ingredient to revolution is poor liam Grant Still - all well-known black geistliche Konzerte ...... 658210 or no comunication. Today, America's composers currently listed in the Schwan? Buxtehude, Choralkantaten ..... 658219 majority community has fled to the quie- Catalogue; Black America·ns and Thetr Praetorius, Weihnachtskonzerte 658218 tude of suburbia. Minorities now resist Music, a magnificent 300-year history of Willkomen, suesser Braeutigam .. 653326 patronizing overtures, token inclusion, music making by blacks, written by the :.: and to some extent-demand separation. eminently qualified black musicologist.

13 MAY 1971 CHORAL MUSIC .... T E F USI Dr. Aileen Suthern, Queens College, New York: Blues People and Black M1t- I I sic bv Leroi Jones, must be included' to S get ~ complete picture. Read the arti- cle about America's great black choral NICK STRIMPLE no longer borrows to remain stable, but conductor, Hall Johnson, appearing in to become as transient as the society the January 1971 ACDA Journal. An Throughout its history, the Church has around it. To many churchmen, this investigation into the activities of. the been almost continually faced with some ability to operate in a constant state of fiftv-three.:.year history of the N atlOnal sort of crisis. Beginning with the Cru- change indicates the ultimate stability of As;ociation of Negro Musicians will cifixion, the Church has had to struggle the Gospel. This is no d-oubt true. But add vet another dimension. A perusal of against overwhelming odds to exist. attempting to prove it by direct applica- the ~cores of Howard Swanson, Marga- Sometimes the enemy has been a tangi- tion of a procedure used for centuries to ret Bonds, Julia Perry, Ge?rge Walker, ble thing: a band of Roman soldiers, or support an opposite theory has resulted Edward Margetson, Nathamel Dett, Carl an army of Turks; and occasionally, it only in the loss of those qualities which Diton, and Clarence Cameron White will has been something intangible: a heretical make the Church distinctive. This loss be revealillg. theory, or the pricked conscience of a has led some sociologists to predict that, This organization, ACDA. SCV A, German priest. In every instance, the by the 21st century, the Church will exist ALENe. the Musicians' Union, AFTRA, Church's response has been appropriate to only in "isolated conclaves of die-hard AGMA - you name it - they are all the nature of the confrontation. It has believers." This prediction is strength- representative of the white "power maintained armies to wage war on the ened by an examination of the various structure." Hence, attendance by minor- infidels who threatened its bodily exist- protestant denominations and then com- ities at these meetings is sparse, parti- ence, and its theologians have protected parative lo.sses (and/or gains) in com- cipation is visibly spotty, real interest it from the grasp of damnable heresies. municant members over the last few in these groups does not exist by ghetto Even though it has enjoyed periods of vears. people. Why? 'V,That have you done to relative tranquility, the times of great - Those denominations in the vanguard encourage participation by your black, growth have been the times of great ad- of secularization have suffered the larg- chicano, Asian-American associate, not as versity. The most traumatic experiences est exodus of parishioners and clergy a "do-gooder," but as a seriously con- have produced the most lasting accom- from their ranks. This was, of course, cerned person in building secure human plishments. foreseeable: if a church ardently teaches relationships? Do you take the "we- Today, the defense against divisive its people to get into the world, they will them" attitude and emphasize the "dif- forces is left in the hands of theologians. probably do so. But these have gone be- ferentness or apartness" of the isolated These men, in unprecedented numbers, cause they were dissatisfied, and not be- group? This kind of an attitude sets have realized that the old forms of wor- cause they felt the call of God to never in motion feelings of hostility and sus- ship arc no longer adequate for a society again darken the door of a church. The picion leading to irrational acts that en- which is history-conscious, but without clergy have been dissatisfied because the danger US all. The late Whitney Young historical precedent. And so, Christian Church, even in its most contemporary stated. "The sickness of racism has ministers now find themselves in the moments, is still behind the secular avant- f:lrought our nation to the point where critical position of leading their people garde. The congregation has simply got- its 1110St cherished values - indeed its in worship and change at the same time. ten tired of hearing music it could hear very essence will die, or it can overcome This most difficult problem consists not at the Saturday-night dance, and ser- the sickness which is sapping its life and only of how to change and how much to mons it could see on television's "Issues recover to a state of racial health. equal- change, but also of what to change. and Answers." To the non-Christian, ity and justice." Evelyn Underhill, in her book WOR- this condensed secularization does not ap- A goal is needed which focuses ef- SHIP, lists four basic elements of wor- pear to be "up-to-date" but rather a forts toward something even more satis- shi p: 1) ritual (the fonp or prescribed sophisticated cop-out, a gigantic "keep- fying than another concert - more pattern of worship), 2) symbol (signifi- ing-up-with-the-J oneses." To the outsid- meaningful than another festival - more cant images in worship), 3) sacrament er, the Church no longer has anything to important than another convention. Many (a personal action during worship), and offer, since it apparently contains nothing of you choral directors are sincerely inter- 4) sacrifice (self-giving). It is unlikely of permanent value. ested in this problem, but before we can that these basic elements can actually This is of particular importance to the work on solutions, there must be crea- change) but they can and must, adapt. church musician. Music may be the most tive dialogue. The theme of our 1972 re- This adaptation varies with each element vital component in a worship service. In gional conference will be "Choral Music and each parish, and consists of chang- many denominations it is the only means - A Force for Social Change." To ing the individual parts of each element of congregational participation, and it is make this a reality we solicit your re- to fit the needs of a particular congrega- usually the most obviously, though not plies. So, armed with serious concern, tion at a particular time. And yet, with- necessarily to most authentically, secular- an inquiring appraisal of the worth of in this change, there must be something ized element in worship. It is also the all mankind, we can go forward toward to represent that which is held to be most easily adaptable to changing situa- an open society in which we hope to permanently valid. tions, and is therefore the most logical bring whites, blacks, browns, and yel- In the past, the church has accomplish- representative of the permanently valid. lows together in true equality, eliminate ed this by absorbing secular elements This has been realized by the clergy who poverty, and aid in restoring the cities which evolved so slowly as to seem com- seek to secularize the Church. They have to greatness. The two Americas (the pletely stable, or which had become, or seen that gospel songs which expound whites on the one hand, the minorities were becoming, socially obsolete. Today, non-sensical theology, and overly pomp- on the other) must realize that the fate however, in our McLuhanized world, ous anthems (by John Stainer or Dudley of each is tied to the other. YOU BET- change takes place so rapidly that every- Buck, for example) are driving many TER BELIEVE IT! :.: thing seems transient. The Church, then, young people away from the Church, and

14 THE CHORAL .IOURNAL. CHORAL MUSIC .... T E F USI Dr. Aileen Suthern, Queens College, New York: Blues People and Black M1t- I I sic bv Leroi Jones, must be included' to S get ~ complete picture. Read the arti- cle about America's great black choral NICK STRIMPLE no longer borrows to remain stable, but conductor, Hall Johnson, appearing in to become as transient as the society the January 1971 ACDA Journal. An Throughout its history, the Church has around it. To many churchmen, this investigation into the activities of. the been almost continually faced with some ability to operate in a constant state of fiftv-three.:.year history of the N atlOnal sort of crisis. Beginning with the Cru- change indicates the ultimate stability of As;ociation of Negro Musicians will cifixion, the Church has had to struggle the Gospel. This is no d-oubt true. But add vet another dimension. A perusal of against overwhelming odds to exist. attempting to prove it by direct applica- the ~cores of Howard Swanson, Marga- Sometimes the enemy has been a tangi- tion of a procedure used for centuries to ret Bonds, Julia Perry, Ge?rge Walker, ble thing: a band of Roman soldiers, or support an opposite theory has resulted Edward Margetson, Nathamel Dett, Carl an army of Turks; and occasionally, it only in the loss of those qualities which Diton, and Clarence Cameron White will has been something intangible: a heretical make the Church distinctive. This loss be revealillg. theory, or the pricked conscience of a has led some sociologists to predict that, This organization, ACDA. SCV A, German priest. In every instance, the by the 21st century, the Church will exist ALENe. the Musicians' Union, AFTRA, Church's response has been appropriate to only in "isolated conclaves of die-hard AGMA - you name it - they are all the nature of the confrontation. It has believers." This prediction is strength- representative of the white "power maintained armies to wage war on the ened by an examination of the various structure." Hence, attendance by minor- infidels who threatened its bodily exist- protestant denominations and then com- ities at these meetings is sparse, parti- ence, and its theologians have protected parative lo.sses (and/or gains) in com- cipation is visibly spotty, real interest it from the grasp of damnable heresies. municant members over the last few in these groups does not exist by ghetto Even though it has enjoyed periods of vears. people. Why? 'V,That have you done to relative tranquility, the times of great - Those denominations in the vanguard encourage participation by your black, growth have been the times of great ad- of secularization have suffered the larg- chicano, Asian-American associate, not as versity. The most traumatic experiences est exodus of parishioners and clergy a "do-gooder," but as a seriously con- have produced the most lasting accom- from their ranks. This was, of course, cerned person in building secure human plishments. foreseeable: if a church ardently teaches relationships? Do you take the "we- Today, the defense against divisive its people to get into the world, they will them" attitude and emphasize the "dif- forces is left in the hands of theologians. probably do so. But these have gone be- ferentness or apartness" of the isolated These men, in unprecedented numbers, cause they were dissatisfied, and not be- group? This kind of an attitude sets have realized that the old forms of wor- cause they felt the call of God to never in motion feelings of hostility and sus- ship arc no longer adequate for a society again darken the door of a church. The picion leading to irrational acts that en- which is history-conscious, but without clergy have been dissatisfied because the danger US all. The late Whitney Young historical precedent. And so, Christian Church, even in its most contemporary stated. "The sickness of racism has ministers now find themselves in the moments, is still behind the secular avant- f:lrought our nation to the point where critical position of leading their people garde. The congregation has simply got- its 1110St cherished values - indeed its in worship and change at the same time. ten tired of hearing music it could hear very essence will die, or it can overcome This most difficult problem consists not at the Saturday-night dance, and ser- the sickness which is sapping its life and only of how to change and how much to mons it could see on television's "Issues recover to a state of racial health. equal- change, but also of what to change. and Answers." To the non-Christian, ity and justice." Evelyn Underhill, in her book WOR- this condensed secularization does not ap- A goal is needed which focuses ef- SHIP, lists four basic elements of wor- pear to be "up-to-date" but rather a forts toward something even more satis- shi p: 1) ritual (the fonp or prescribed sophisticated cop-out, a gigantic "keep- fying than another concert - more pattern of worship), 2) symbol (signifi- ing-up-with-the-J oneses." To the outsid- meaningful than another festival - more cant images in worship), 3) sacrament er, the Church no longer has anything to important than another convention. Many (a personal action during worship), and offer, since it apparently contains nothing of you choral directors are sincerely inter- 4) sacrifice (self-giving). It is unlikely of permanent value. ested in this problem, but before we can that these basic elements can actually This is of particular importance to the work on solutions, there must be crea- change) but they can and must, adapt. church musician. Music may be the most tive dialogue. The theme of our 1972 re- This adaptation varies with each element vital component in a worship service. In gional conference will be "Choral Music and each parish, and consists of chang- many denominations it is the only means - A Force for Social Change." To ing the individual parts of each element of congregational participation, and it is make this a reality we solicit your re- to fit the needs of a particular congrega- usually the most obviously, though not plies. So, armed with serious concern, tion at a particular time. And yet, with- necessarily to most authentically, secular- an inquiring appraisal of the worth of in this change, there must be something ized element in worship. It is also the all mankind, we can go forward toward to represent that which is held to be most easily adaptable to changing situa- an open society in which we hope to permanently valid. tions, and is therefore the most logical bring whites, blacks, browns, and yel- In the past, the church has accomplish- representative of the permanently valid. lows together in true equality, eliminate ed this by absorbing secular elements This has been realized by the clergy who poverty, and aid in restoring the cities which evolved so slowly as to seem com- seek to secularize the Church. They have to greatness. The two Americas (the pletely stable, or which had become, or seen that gospel songs which expound whites on the one hand, the minorities were becoming, socially obsolete. Today, non-sensical theology, and overly pomp- on the other) must realize that the fate however, in our McLuhanized world, ous anthems (by John Stainer or Dudley of each is tied to the other. YOU BET- change takes place so rapidly that every- Buck, for example) are driving many TER BELIEVE IT! :.: thing seems transient. The Church, then, young people away from the Church, and

14 THE CHORAL .IOURNAL. are no longer valid for those who stay. REPORT ON COPING WITH N-EW In their desperate struggle to change, they have confused "secular" with "new." CHORAL SOUNDS AND NOTATION They have thrown out their stock of con- ventional music, locked the organ. and loaded the choir room with folk-song DOROTHEA WADDELL choirs of 2-part women's and two 2-part hymnals, electric guitars, and trap sets. Huntington, New York mal~ choirs with piano, organ and per- By failing, in many cases. to adjust the CUSSIOn, the emotional impact on the per- non-musical portions of worship to ac- for~ers was very evident with ev.ery commodate this blatantly secular intru- An outstanding feature of the ACDA chOIr member completely involved. Cer- tion, these clergy have succeeded only in Convention was the session on new tain . sounds . were repeated to produce reversing the age group that has become choral sounds and notation with Robert certaIn emotIOns. alienated. In short, the Church has ex- E. Page, Temple University of Philadel- During the following discussion, Mr. ploited contemporary secular elements phia, presiding with panelists Brock McElheran was asked the following ques- instead of assimilating them into a struc- McElheran of State University College tions: ture uniquely its own. of Potsdam, New York and Frank Pooler Q: "When did you start to use avant of California State College at Long garde music?" Church music does not have to be Beach. A very unique demonstration fea- A: "When the Potsdam Choir was ex- secular to be new. In many cases, it does tured segments of the score being flashed tended the invitation by Lukas Foss to not even have to be contemporary to be on the screen before Frank Pooler's ex- perform Stockhausen's M omente with the new. To the congregation who has never cellent choir demonstrated that portion of Buffalo Philharmonic. The score looked heard it. Bach, Brahms, or even Franck the score. It not only heightened the in- like the wiring for a space ship." is much newer and fresher than a replica terest for the audience but also helped to Q: "Where did this type of music of their favorite popular song. That it clarify the type of notation. The four is not as immediately familiar does begin ?" avant garde selections, all by Scandina- A: "Perhaps John Cage in the late '50s not. nor should it detract from its val- vian composers. were presented in the ue, even in the most illiterate church. and with Penderecki's work at about the following order. same time. Stockhausen says no one is The most well-intentioned lie ever propa- N ote- Jan Bark. All voices converged gated by religious leaders is that fable certain as to who did this first; all learn- on a unison at the outset with an interes- ed from each other." which tells us that musicallv uneducated ing use of consonants, vocal sounds, and appr~ciating people are incapable of great other devices. Q: "Are composers using the same music. The use of this music, however, Rondes- Folke Rabe. Performed with type of notation?" puts more responsibility on the shoulders body movements such as gesturing with A ; "Certain notational devices are of the minister, for if music is to be the arms, swaying, changing places, as well becoming standardized such as squares, representative of permanence, the other as many spoken and sung vocal sounds. inverted triangles, and tone clusters." elements of the service, including the Suol1i- Knut Nystedt (Souni means Q: "Avant garde music frequently has sermon and scripture lessons, must neces- sounds). Written for women's voices on no text. Do you miss this wedding of text sarily minister more directly to the cur-- the twelve tone row with flute and mar- and music?" rent needs of the congregation. imba accompaniment, the work was a A: "No, because each singer becomes real spiritual experience for the listener. so much more involved with a definite This also places great responsibility on Te11la- Alfred Janson. Program notes personal contribution. Your ears seem to the church musician. First of all, he stated that this was a musical picture of grow because there is so much listening must be a competent musician, and he the Nazi war (horror) camps when mass to each other . Avant garde music makes must be capable of presenting any kind executions took place. Written for three traditional music tame." of music enthusiastically and positively to his choir and congregation. This implies Mr. Pooler was asked if any problems that he be also a teacher - activelv en- had arisen with voice teachers and he replied, "I haven't asked adding "if- gaged in teaching the congregatio~, not circumstances. If this is done, even !", only about music, but about God, and not otherwise inadequate or out-dated music singers don't overblow or overdo, I can see no harm." He also mentioned the merely providing an outlet for their emo- can enhance a worship service, and not excellent rapport between the singer and tions, or entertaining them during the detract from the permanence-function of anthem. music. if the service is designed to ab- the conductor. sorb it. The appropriateness of this de- At the insistence of the audience, Mr. Finally, the church mUSICIan must be sign to its individual components is the Pooler and the California State College capable of making value judgments. For key to a relevant worship service. choir performed Crea,tion by Michael some time it has been popular to ask not Not since the first century have con- Hennegin. The work is part of the set, "Is it good?" but rather, "For what is it gregations generally sought so personal Family ot Man) with words by James r good ?" The latter is certainly a valid a relationship with God. Highly personal Joyce and employing multi-media dimen- question, because as long as there are emotions, because of their immediacy, sions which is to be published by Walton parishioners whose youth coincides with are usually expressed in transient unsta- Music Corporation. the initial popularity of certain types of ble ways. Highly subjective art passes Our congratulations to Mr. Pooler and music, this music (in its religious guise) from the scene much more rapidly than the choir for their terrific performance can remain valid (although this validity the man who conceived it, leaving him and to the panel for their contributions. appears to diminish with age). But a with the same emotions, but no adequate To those not attending the convention church musician must also ask "Is it artistic expression for them. During the a personal note of encouragement: If a good ?" Not to do so discredits his own last century, church music, serving this director wishes to start with something competence as a musician, and is a dis- subjective function, has left the old lonely easy in avant garde music, try Brock service to the composer who is attempt- and the young discontent. Because they McElheran's Patt,erns in SOlmd and se- ing something more than functional serv- too are men, the clergy must now assume cure a copy of a book on notation by ice music." Both questions, then, must be the -subjective role, and music must point Pooler and Pierce, titled The New Choral applied even in the most contextualistic directly toward God. N 01 a tion, published by Walton.

MAY 1971 16 SISTER LAURA LAMPE, O,SIF.

Reprinted with permission from MUSART, official publication of the National Catholic Music Educators Association, 4637 Eastern Avenue, N.E., Washington, D.C. Sept. 1970.

WE ARE ALL aware that teachers· of his oWn vocal abilities. All of these voice and choral groups are constantly practices w.ill greatly aid in the build-up of teaching control. I t is likewise cxplorinab new and improved methods. of instruction. And while from supenor 8ssumed that a teacher will possess a teachers we can always gain new in- good musical ear, sensitive to vocal sights and sometimes new techniques, quality. Both of these gifts are of great there are certain basic concepts that importance. every voice teacher must command if Physical Principles: he claims to have sound methods of F our Qualities instruction. Voice teachers have studied and ap- Let us look briefly at the four qual- plied basic principles and techniques ities which a teacher must constantly which are fundamental to vocal in- attend to in his instruction: breathing, struction. These are of such impor- resonating, phona:ting, and interpreting. tance that frequent study is necessary While we must make a distinction to reaffirm the validity of these prin- between these qualities for purposes ciples. of study, let it be clearly understood at the outset that not one of them stands alone in the Slow Process actual voice production. All are so closely knit, in fact, Any experienced vocal teacher knows that the develop- that there simply is no finished voice without the con- ment of the human voice is a slow process. It is simply junction of all four of them. To quote Mr. Vennard assumed that any competent voice teacher will have a again, "A knowledge of the various processes involved in singing is like a disjointed skeleton until their inter- thorough understanding of the physical and psychological relation is understood. An organism is greater than the principles requisite for producing a good tone. As Ven- sum of it, parts, and no analytical study discovers the nard stated in his excellent book, Singing, the Mechanism whole truth until it leads to synthesis."2 and the Technic, "You don't have to take your watch It must also be clear that the developing of anyone apart in order to tell time .... The singer need not of these requisites does not result from the use of gim- analyze his art in order to sing. But, if my watch does micks and other artificial devices. Rather, the trained not keep good time, I take it to someone who can take it voice is the end product of systematic, progressive, clearly apart."! focused instruction. The gimmick does not work, be- cause the growth in vocal control is slow, and it is this Teaching Control fact that the gimmick simply does not honor. In support of this statement the good teacher will 1 William Vennard, Singing, the Mechanism and the Technic regularly listen to voices, study their quality, frequently (New York: Carl Fischer Inc., 1967), p. 191. observe master teachers at work, and continually explore 2 Vennard, Singing, p. 191.

18 THE CHOMa. .lOURNAL 1. Breathing its line or focus, it must be based on the hum which is Now first let us examine the importance of proper done with an open throat. There will always be a sound of the· nose in the tone, but never the tone in the nose. breathi~g. We know that most people breathe naturally} This sustaining openness of the throat is of primary im- but not adequately. This is especially true in singing. portance, and a teacher should be prepared to hear and It is also true that breathing is perhaps the most com- correct any habits of pronunciation and vocalization that plicated vocal quality to understand and to teach. As c~mplex t~e interfere with this openness. It follows then that reso- Appelman has so aptly stated, "So are nance is an effect or a result, not a cause; and, that con- muscular controls of breathing, so mmute are theIr sciousness of it belongs to the hearing rather than to the effects when expiration is linked with phonation, that a sensation. reconciliation of these forces in song has defied accurate Naturally, no young student has reached full physical physiological description."3 To many it is purely a physio- powers. But even though all high school students vary logical experience. One thing is certain: we know that somewhat in their maturation timing, a teacher cannot breath is the source of tonal energy; therefore, correct be too lenient in demanding a satisfactory resonated breathing is really the touchstone of beautiful quality tone in the singing voice even of these younger students. of tone. By persistent attention to this tone, an instructor can Sincring develops breathing and it does this by making 0 , help a student experience the delight of vocal growth, two demands upon us: we need a breath supp1 y m excess help him maintain interest, help him avoid complacency, of normal supply, and we need an act of balanced and perhaps even lead him into further serious study of resistance. Now this resistance is determined by the length voice. It is probably not true to say that every voice and by the rising and falling of the climactical phrase. improves through better handling and intelligtmt appli- Is this phrase up or down? It is loud or soft? These are cation of vocal aids, but the experienced teacher knows only some of the factors that help us to decide. In every- that many, if not most, voices do improve and develop with~)U~ day speech, a person inhales and exhales much while a few students merely respond by way of better concentration upon his breathing, but when smgmg, he usage of their voice. It is important to remember that must breathe with more awareness. He has to think also too many singers have pushed the natural span of tones of pitch, of intensity, of volume, duration and emotional out of their original setting by working too forcefully for color. He must also know how to retain the breath not more range and more volume. Let us not mistake volume used up by these demands. It is in the mastery of this for resonance. We must keep in mind while working for balance between the proper emission and the proper better resonance the importance of preserving the natural resistance that a singer achieves good breath control and or native range and quality of voice of the singer. Too that he experiences a state of "buoyancy." This buoyancy much forcing or pushing will cause the natural texture is developed through constant review of the vocalise to be lost. pattern, or if necessary, through the slow repetition of Care must be taken so as not to lose what we are the pattern using a neutral vowel rather than the text working for by being guilty of asking the student to sing itself. This procedure temporarily reduces those muscle louder, higher, longer, sometimes lower, and always tensions needed to project the text. In other words, good much better than nature intended him to sing. A con- :,oc~l diaphragmatic breath control produces adjusted scientious teacher should be ambitious, of course, but cords and a subjeetive feeling of buoyancy essentIal m must respect the limits of the natural voice of the indi- good singing. vidual student.

2. Resonance 3. Phonation and Pronunciation Resonance in the voice is that amplification of the Without good resonance, there is no proper pho~at.ing. fundamental element in the vocal tone which gives to The act of phonating is also the act of pronunCiatIOn; the voice body, richness, carrying power and beauty. It the vowel consonant and tone are inseparable. The way need not, indeed should not, be produced consciously, the vowel is formed largely determines the ~ondition but a student must learn to recognize it as the natural under which the sound is produced. A beautIful, con- result of a proper fundamental tone condition. Sound trolled vowel tone is produced by the complete f;eedo:u vocal.cords and the healthy, natural action of the larynx of the throat, tongue, lips, and jaw, whether thIS be m give character to this fundamental tone quality. speech or in singing. This is a skill highly de.sirabl~ for Since resonance is the enlargement of the fundamental .singers: to be able to idealize vowels above theIr ordmary vibration, the first attention must be given to the attack. value in casual speech. The same is true of consonants; It must be clear, clean-cut, and firm if good resonance for in order to be heard distinctly, the tone must freely is to be achieved. As Vennard says, "The problem of hum through with the same ease and level that it does the singer then, is to make the most efficient balance in vowel formation. As the forms change, they should between the contraction of the muscles of breathing and almost seem to dissolve into one another. The proper the tension in the muscles of the valve (the larynx). phonated vowel gives a feeling of freeness of throat, Proper adjustment should be achieved at once.' since palate, and tongue.. The sound is not confined and the readjustment while the tone is being produced IS bot~ difficult and unbeautiful. A singer who has solved thIS problem is said to have a good at~ack."4 Once this attack is right, we may expect to hear that 3 D. Ralph Appelman, The Science of Vocal Pedagogy fundamental in the tone that determines the character (Bloomington: Indiana University Press, 1967), p. 10. of resonance. In other words, for the vowel to maintain 4 Vennard, Singing, p. 33.

MAY 119711 bloom of youth and health and enthusiasm gives way to EffECTIVE SINGING maturity, the voice can change, if only suhtly. Certainly the body changes. There mayor may not be a deterio- ration of vocal technique. 1£ problems develop later and the sInger has no idea of how he sings, the results can be disastrous. The teacher must not deceive himself. His own motives singer is quickly aware that he is enjoying the freedom are something of which he, as a mature adult, should to sing. be constantly aware. If we do not tell the student, are It is most delightful to listen to English sung or spoken we merely using this as an excuse to keep the student for- when we hear a certain clarity in the vowel sound ever our student? Or, will we let him grow up too? properly phonated and when we hear words free from There is no shortcut to the training of a voice. As affectation, having a defined, unde:stand.able text. The for any art, there is a long, strenuous apprenticeship. achievement of this distinctive proficIency IS the hallmark But this apprenticeship need not be any longer than the of the vocal artist. skill and art and musical feeling of the talented and We must not try, however, to put all singers into the trained teacher can control. I would like to register a same mold for we must recognize that no two people plea here for more voice teachers; yes, but specifically will sound 'exactly the same. The variations may result for more well-trained voice teachers who accept respon- from cultural influences or from dialects which -affect the sibility for this important apprenticeship. Arnold Rose speech in certain localitie3. Nevertheless: regardle~s of put it very well indeed when he said, "The diplomas any obstacles inherent in cultural or dialectal dIffer- given to teachers of singing today, and which are recog- ences, any voice, to be beautiful, must offer a clearly nized as qualifications, do not satisfactorily equip their effective word. , holders for -their work."5 And-1ater he states, "But unless better facilities are provided for the training of singing teachers, which I suggest can only be adequately done 4. Interpretation in a specially designed university course, we cannot ex- The gap between vocalise and song is difficult to pect the standard of teaching to improve."6 overcome. Throughout the student's training period, a It is an injustice to the teacher and to the student to teacher must help the singer realize that the medium expect an ill-trained i:nstructor to do good work. Singing with which he sings is not the voice exdusively. He must is one of the performing arts. We sing for an audience. help the singer keep in mind that the song is first of all a The voice teacher is asked to direct programs and to poem. The text of the song inspired the composer to give public performances far more frequently, I think, write the music. Music without words obviously is as- than is the history, or math, or the science teacher, or signed to the instrumentalist, not to the singer who must probably any other teacher. Music is by its very nature always be responsible for the word. a public art. And the voice is the one musical instrument One avenue of musical expression for a singer is that every person plays. Now shouldn't the instructor opened through the study of the meaning of the text. who trains this valuable instrument be himself a well- In this way, the student will be better able to identify trained musician, a skilled and artistic teacher, a person himself as a singer who has something to say, something of elevated tastes and high musical ideals? And, if he is to express. And he will be far better received in his public specifically a teacher of voice, should he not himself presentations than the singer who offers only a mechan- be carefully trained in his area of music, in the mastery ical and lifeless presentation, better received than one of all those principles and basic fundamentals for excel- who has not mastered the difficult technical patterns, lent voice performance? The teaching of singing and and better than the one who is always making conscious si:agers is a noble art. The young singer deserves the vocal adjustments rather than concentrating on good best teacher we can bring to the classes and studio. D expression of the text. ,

Basic Psychological Principles BIBLIOGRAPHY To quote Vennard again, "the singer need not analyze Appelman, D. Ralph. The Science of Vocal Pedagogy. Bloom- his art in order to ~ing." What is meant here, perhaps, is ington: Indiana University Press, 1967. Husler, Frederick & Rodd-Marling, Yvonne. Singing: The that if technique is sound it is not necessary for the stu- Physical Nature of the Vocal Organ. London: Faber- and dent at first to analyze his technique. In fact, in-depth Faber, 1965. analysis in the beginning may be harmful, because it Judson, Lyman S. V. & Weaver, Andrew Thomas. Voice Science. can unnecessarily complicate the goal of relaxation and New York: Appleton Century-Crofts, 1965. Malmberg, Berti!. Phonetics. New York: Dover Publications, "buoyancy." However, the teacher must be constantly Inc., 1963. aware of the student's individual method of vocal pro- Rose, Arnold. The Singer and the Voice. London: Faber and duction, analyze it, and be alert for any sign of persistent Faber Ltd., 1962. degeneration. If any problems occur regularly, the stu- Vennard, William. Singing, the Mechanism and the Technic. ?ent must be made aware of them but not overly anx- New York: Carl Fischer, Inc., 1967. Wardale, W. L. German Pronunciation. Edinburgh: University IOUS. of Edinburgh Press, 1961. Vennard says we need not analyze. But surely the ad- vancing student and mature performer must analyze. 5 Arnold Rose, The Singer and the Voice (London: Faber and The teacher can portion out the analysis of exactly what Faber Limited, 1962), p. 20. the student does over a long period of time. When the 6 Rose, The Singer, p. 26.

18 THE CHORAL dOURNAL service was be constructed in such . a 5 eriments orshi way as to present apparent conflicts and to bring the worshipper to re-evaluate A LOOK BEHIND THE SCENE OF THE his own position and ultimately to make RECENT WORSHIP SERVICE AT KANSAS CITY his own conclusions. The draft of the service was examined for its logical GERALDR. ESKELIN music and worship classes hcrve been do- progression, (including its relation to Music Department ing this for more than two decades. What standard liturgical forms) and for its University of Southern California is significantly different in. recent semeS- potential artistic and emotional impact. Member, Journal Editorial Board ters is that church music students have That first experimental worship service invited the help of students from other was presented in the beautiful, contem- On Friday evening of our recent departments-drama, cinema, dance, tele- porary Herrick Chapel, at Occidental ACDA convention, an experimental wor- communications, audio-visual, etc.-and College in Los Angeles. The chapel's ship service entitled "Celebration of are creating services which include these 500 seats, arranged in such a way that Love" was presented by students of the other arts media as well as music. worshippers surrounded the center of church music department at the Univer- The first major project in this direc- activity, were filled to capacity. The sity of Southern California, The Furman tion was undertaken when the Los service rose to heights of meaning and Universitv Concert Choir, and the dance Angeles Chapter of the Choral Con- impact undreamed by the -committee. It departmet;t of the University of Missouri ductor's Guild of California invited the appeared that the experiment was suc- at Kansas City. The presentation was USC Church Music Department to pre- cessful insofar as it demonstrated that part of the doctoral research project of sent in March of 1969 a model worship careful use of multimedia can contribute John G. Morgan, USC graduate student. service employing some of these innova- to artistic and spiritual meaning in a and was planned and executed by a tive techniques. When the planning com- worship service. committee of USC students and inter- mittee, which it was my job to chair, In some ways, the service presented departmental faculty members under Mr. began the process of examining materials at the recent ACD:A Convention was Morgan's leadership. The choir was dir- and developing a rationale on which to modeled after that fIrst service. It at- ected by Dr. Milburn Price, head of cull them, the project mushroomed far tempted to include as many innovative -choral organizations at Furman Univer- beyond the borders of the original intent. techniques as possible while maintaining sity. One idea prompted other ideas; a newly a unified artistic form. It was not in- If the value of this project has any discovered ( or composed) anthem or tended to be transplanted intact to a correlation to the amount of discussion hymn opened up whole new vistas; a local church. It was the product of a which it prompted at the convention, new technical development made possible community of thought, involving students then it was very successful. Reactions new directions of thought and expression. and faculty from many departments and were expressed on a number of levels: It soon became evident that the project disciplines. It was intended to raise cer- technical, intellectual, aesthetic, and spir- would not arrive at anything like a tain religious and moral issues, and its itual. While much of the discussion oc- culmination of ideas in time to meet the creators intended that the service be curred spontaneously as a direct result March date. The service was postponed judged on the basis of how clearly those of the service itself, a formal discussion until November of the same year, and issues were presented. was held at the church music interest preparation continued though the summer Probably the least important consid- luncheon on Saturday. and into the fall semester. By the time eration regarding these services is the For further information of those who the service was finally held, over a year degree to which one agrees with their experienced the service, and those who of planning and rehearsing had passed. content. Of more consequence are such did not but nevertheless have an interest Obviously a local church cannot take factors as the success of the various in experimental worship, I would like a year to plan such a service. But then media in conveying artistic and religious to provide information concerning the neither would a local church likely want meanings, the amount of thought and climate out of which this experimental to include all of the media in one service discussion which is generated among service grew. that were included in that first experi- those who attended the services, and the While many of the activities in the ment. The purpose was not to present degree to which they help to open new USC department of church music are a model service which could be trans- avenues of worship for our generation concerned with traditional matters, a good planted to any local parish, but to explore and those to follow. deal of attention has been given lately as many techniques as possible in order to exploration of possibilities for the to allow the "congregation," made up Weare grateful for the many letters future. A prime example is the Hymn- of choral conductors and others interested we are receiving in response to the Ex- ology <:lass taught by Dr. Charles Hirt, in worship experimentation, to experience perimental Service at our ACDA Con- head of the department. In that class, them in the context of a worship and to vention in Kansas City. We are gratified, students not only study hymns of the evaluate each for use in their local too, that these responses express not only past and present, but compose new hymns, -churches. interest in the innovative aspects of the often using techniques and media here- The planning committee felt that in service but interest in the spiritual im- tofore little explored in hymnody. (See order to be properly evaluated, these plications as well. March issue of the Choral Journal.) In techniques should be presented in an other <:lasses, students are encouraged artistic manner. Furthermore, since their EDITOR'S NOTE: to study and evaluate the past, but also effectiveness in a worship situation was To bring a more complete picture of to investigate the present and occasional- of critical importance. it was considered the Experimental Worship Service, a ly to venture predictions for the future. vital that they be used to convey a study of the content of the service by Many recent master's and doctoral re- spiritu~l message. After exploring avail- John Morgan of the University of South- search projects are concerned with the able materials and techniques, the plan- ern California will appear in the Sep- present directions of chur-ch music toward ning committee decided on the theme tember issue of The Choral Journal. the future. "The Search for a Heavenly Existence," Further reports of activities by the Putting together model worship ser- and explored such matters as the relation chairmen of various Standing Commit- vices is not new at USc. Students in of "inner peace" and "social peace." The tees will also appear in the next J ourna!.

MAY 1971 19