2020 ACDA Central/North Central Region Conference 2 2020 ACDA

20202 ACDA Central/North Central Region Conference OOverviewverview

Joining Voices is all about the process of making con- and/or diversities. Further, the conference will highlight nections both within and between singers from various innovative choral programming and practices. walks of life. All aspects of the conference are designed Throughout the conference, you will not only hear to help choral conductors/teachers increase the richness inspiring performances (all in the incredible Marcus of their work with singers. The conference will represent Center), but you will also learn from inspiring master the primary ACDA Repertoire and Resource areas— clinicians, most of whom engage in choral music making Youth, Collegiate, Lifelong, and Repertoire-Speciﬁ c within the Central and North Central Region’s elemen- (Men’s, Women’s, Jazz, Ethnic, Contemporary/Com- tary, secondary, and post-secondary schools and lead mercial)—with a diverse, broad representation of per- church and community choirs. If you are eager to help formances and interest sessions that explore the potential your singers connect to one another in meaningful ways, for choral organizations and ensembles to create rich, re- to help them sound better, to sing with greater artistry, to warding, and meaningful connections between singers, better connect their musical “doing” with their musical audiences, and communities. In addition to celebrating thinking and feeling, and to value the role music plays our past traditions, the conference will feature ensembles in their lives and in the lives of our communities, then and programs that represent underserved populations Joining Voices is for YOU!

20202 ACDA Central/North Central Region Conference SSpecialpecial EventsEvents

Immersion Day Joining Voices Festival Choir

The conference begins on Wednesday, March 4, with Anton Armstrong, Tosdal Professor of Immersion Day: a day focused on working with singers Music at St. Olaf College, became the who have a variety of speciﬁ c needs, with special em- fourth conductor of the St. Olaf Choir phasis on creating meaningful connections between in 1990 after ten years in Grand Rapids, singers with varying abilities. Immersion Day will in- Michigan, where he served on the facul- clude sessions that focus on the unique opportunities ty of Calvin College and led the Calvin and challenges related to building singing communities College Alumni Choir, the Grand Rapids Symphony whose members have particular learning and perfor- Chorus and the St. Cecilia Youth Chorale. He is a grad- mance needs. Participants will also have the opportuni- uate of St. Olaf College and earned advanced degrees ty to observe rehearsals of an honor choir that will be at the University of Illinois (MM) and Michigan State a ﬁ rst in ACDA conference history: the Joining Voices University (DMA). He is editor of a multicultural choral Festival Choir. The Joining Voices Festival Choir will be series for earthsongs and co-editor (with John Ferguson) conducted by Anton Armstrong, with integrated body of the revised St. Olaf Choral Series for Augsburg For- singing sessions led by Therees Hibbard. Susan Vaughan tress Publishers. and the High Five Choir will present an interest session/ concert and will present a brief virtual performance during the Joining Voices Opening Night Concert.

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Therees Tkach Hibbard is associate pro- formed at the Illinois Music Education Conference in fessor of choral music at St. Olaf College Peoria, Illinois (2009, 2014, and 2017), ILMEA TED- and directs the Manitou Singers and St. style Talk at North Central College (2018), and IL-AC- Olaf Chamber Singers. Her background DA Fall Conference (2019). She earned a master’s in as a voice and movement specialist in the vocal performance from Northwestern University and training of choral singers and conductors a bachelor’s in music education from Eastern Michigan has created unique opportunities for her to collaborate University. with choirs and conductors from around the world. Her research on enhancing choral performance through movement training has led to the development of a comprehensive choral education philosophy of “BodySing- Opening Night Concert ing,” most clearly demonstrated through her work with choirs such as the Oregon Bach Festival Youth Choral Academy and The American Boychoir. The opening night concert of the Joining Voices Con- ference will bridge our Immersion Day focus on working with singers who have a variety of specifi c needs with our full conference focus on the process of making con- New Trier High School nections both within and between singers from various High Five Choir walks of life. This focus requires us to refl ect, plan, and act both broadly and deeply regarding issues related to inclusion, access, unity, and diversity. The opening night concert will include a program by one of our auditioned choirs, the Roosevelt High School Concert Choir, titled “Building Humanity… Together.” The cornerstone of the program will be the premiere of a collaborative work by Kyle Pederson and the members of the choir. Immer- sion Day presenter and performers, Susan Vaughan and High Five Choir is a group of students of all abilities the High Five Choir, will participate in the evening con- coming together through music, building long-standing cert through a brief performance/media presentation friendships, raising disability awareness, and serving as that will be shared virtually via video. Immersion Day agents of change for our school, our community, and our presenter and invited performers, G. Phillip Shoutlz III world. The High Five Choir is currently in its fi fteenth and the VocalEssence Singers of This Age (VESOTA), year at New Trier High School in Winnetka, Illinois, un- will perform selections that represent the backgrounds der the direction of their founding choral director, Su- and values of its membership. Finally, the Joining Voices san Vaughan. Currently there are over eighty High Five Festival Choir will sing individually and in collaboration Choir members from both general and special education with other performers, culminating in an opening night populations ranging in age from fourteen to twenty-one. fi nale you will not want to miss!

Susan Vaughan is currently in her twenty-seventh year as a choral music educator at New Trier High School, Winnetka, Illinois. Vaughan, along with the High Five Choir, have presented and per-

10 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Milwaukee, Wisconsin Special Events Roosevelt High School VocalEssence Singers of This Age (VESOTA) Concert Choir

VocalEssence Singers Of This Age (VESOTA) is a The Roosevelt High School Concert Choir is an au- dynamic group of young people from Twin Cities area ditioned group of juniors and seniors from all walks of high schools who sing, move, write their own music, rap, life who work together to achieve a high level of mas- and—most importantly—refl ect the diversity of our tery in singing, sight reading, and musicality. The source community in its membership. Under the visionary lead- of their collective joy stems from a shared commitment ership of founding director, G. Phillip Shoultz III, the toward excellence in building community through hu- students present a wide range of music. VESOTA is in manity and celebrating each other’s personal growth. residence at Augsburg University. The program is free to The Roosevelt High School Concert Choir is a part of participants upon successful completion of an interview a well-balanced program, off ering twelve daily choirs process. totaling 650 singers. This is the second regional ACDA appearance for this ensemble, with the fi rst being at the G. Phillip Shoultz III is known for fos- NC-ACDA conference in 2016. tering community and inspiring action among people of all ages and abili- Robyn Starks Holcomb has served as ties. He enjoys a multifaceted career in the head choral director at Roosevelt the arts, learning, and worship arenas. High School, Sioux Falls, SD, since Shoultz serves as associate conductor/ 2011. Under her direction, the depart- director of Learning and Engagement of VocalEssence ment has grown to twelve choirs totaling and also oversees worship and music activities at Good over 650 singers. Her ACDA conference Samaritan UMC. He frequently conducts choirs and performances include: 2014 Concert Choir and 2017 leads workshops across the United States and beyond. Chamber Choir at SD-ACDA; 2016 Concert Choir at He is the winner of the 2015 ACDA Graduate Conduct- NC-ACDA; and 2019 Advanced Mixed show choir, Ex- ing Competition and an International Conductors’ Ex- ecutive Suite, at National ACDA. She holds degrees in change Program Participant. music education and education, having studied at the University of Minnesota, Augustana University, and Augsburg University.

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Thursday Night Concert All-State and festival programs, and at venues including the Library of Congress, Kennedy Center, and Royal Opera House Muscat. He is a co-creator of the theatri- In alignment with our focus on innovative program- cal production of All is Calm: the Christmas Truce of 1914. ming and practice, our Thursday night line-up begins Takach has frequent national work as a composer-in-res- with Nation, a collaborative vocal band from Minneap- idence, presenter, conductor, clinician, and lecturer. olis/St. Paul, MN, pioneered by composer/performers Jocelyn Hagen and Timothy C. Takach. Our evening continues with Variant 6, a vocal sextet. Variant 6 Nation

Nation is a collaborative vocal band from Minneapolis/St. Paul, MN, pioneered by composer/performers Jocelyn Ha- gen and Timothy C. Takach. Blurring the lines of pop, clas- sical, a cappella, singer/song- writer, folk, and many other genres, Nation’s sound defi es defi nition and commands attention from the stage. Hagen and Takach are quickly becoming known for reshaping the choral experience with singers around the globe. They can guide participants through a collective Variant 6 is a vocal sextet that explores and advanc- and creative journey, modeling healthy, accessible, and es the art of chamber music in the twenty-fi rst century. honest pedagogy for developing singers. The ensemble’s work includes concertizing throughout the United States, commissioning new works, collabo- Jocelyn Hagen is a pioneer in the fi eld of rating with other ensembles, and educating a new gen- composition, pushing the expectations eration of singers and composers. Variant 6 believes that of musicians and audiences with large- its process of detailed music making shared by its six in- scale multimedia works, electro-acous- dividual artists can create deeply impactful experiences tic music, dance, opera, and publishing. for audiences, collaborators, and students. The ensemble Hagen’s commissions include Conspi- maintains a dedicated commitment to educating the fu- rare; the Minnesota Opera; the Minnesota Orchestra, ture community of singers, conductors, composers, and ACDA of Minnesota, Georgia, Connecticut, and Texas; music lovers. the North Dakota Music Teachers Association; Cantus; the Boston Brass; the Metropolitan Symphony Orches- tra; and the St. Olaf Band.

Timothy C. Takach has been applauded for his melodic lines and rich, intriguing harmonies. His compositions have been performed on A Prairie Home Companion, The Boston Pops holiday tour, multiple

12 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Milwaukee, Wisconsin Special Events Wisconsin Sings! University of Wisconsin—Stevens Point An Evening of Music Celebrating Our Host State Jazz Central Voices

Both Central and North Central Regions are home to rich and storied choral traditions. Wisconsin Sings! oﬀ ers an opportunity to celebrate choral singing in our host state by presenting a sample of the larger Wisconsin singing community. Our Wisconsin Sings! performances begin with one of the four auditioned choirs hailing from our host state: Jazz Central Voic- es, University of Wisconsin, Stevens Point; Timothy Buchholz, conductor. Our second ensemble consists of singers from area high schools participating in the Milwaukee High School Honor Choir; Lee Kessel- Jazz Central Voices is an auditioned communiversity man, conductor. Our Friday evening concert oﬀ ers vocal jazz ensemble on the UW-Stevens Point Wausau the opportunity to celebrate individuals in our two re- campus. The group consists of both college students gions who have made a lasting impact on the choral and community members from central Wisconsin and profession: presentations of the Weston H. Noble Life- beyond, including music educators, current UWSP stu- time Achievement Award and the Stace N. Stegman dents, and other professionals with strong backgrounds Award. Following the award presentations, conference in music. Founded in 2012 by Timothy Buchholz, Jazz attendees will have the opportunity to participate in an Central Voices gives numerous performances through- All-Conference Sing, featuring a small sample of the out Wisconsin, at local and regional jazz festivals, and rich body of choral music created by composers with at UW-Stevens Point’s state-of-the-art UW Center for strong ties to the state of Wisconsin. Our celebration Civic Engagement Theater in Wausau. of choral music concludes with performances by two invited Wisconsin choirs: the Milwaukee High School Timothy Buchholz is an associate profes- of the Arts Vocal Jazz Ensemble, Raymond Roberts, sor of music at the University of Wiscon- Director; and the Madison Choral Project, Albert Pin- sin Stevens Point, where he directs three sonneault, artistic director, who will present a program vocal jazz ensembles and a concert choir. featuring music for soprano/alto voices. Throughout His published vocal jazz arrangements the evening we will be joined by the emcee, Greg Mar- have been used throughout the country cus, CEO of The Marcus Corporation, Milwaukee in high school and college vocal jazz ensembles and for resident, and jazz pianist. all-state choirs. He has presented on the topic of vocal jazz pedagogy at both state and national choral conventions and has directed a number of high school all-state vocal jazz ensembles. He is currently the Wisconsin ACDA vocal jazz all-state coordinator and director of the UWSP Wausau Vocal Jazz Festival.

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The Milwaukee High School of the Arts Madison Choral Project Vocal Jazz Ensemble

The Madison Choral Project is Wisconsin’s only pro- The Milwaukee High School of the Arts Vocal Jazz fessional chamber choir. Their work has been hailed as Ensemble is an award-winning group composed of the “a bundle of pure bliss, unaccompanied choral sound most advanced singers from the vocal music program. at its most beautiful,” by Madison’s Isthmus newspaper. Dedicated to the study and perpetuation of America’s Founded in 2013 by conductor Albert Pinsonneault, the music jazz, the curricular focus is centered on improvi- ensemble has consistently received high praise for its sation, utilizing both solo and ensemble repertoire as the musicianship and innovative programming. Madison vehicle for spontaneous musical creation. This ensemble Choral Project works to enrich lives in the community has performed at numerous conferences and festivals, by giving voice to the great music of this diverse world; including Wisconsin MEA (2008), the Wisconsin Cho- to express, to inspire, to heal; to garner joy in the expe- ral Directors Association (2013), North Central ACDA rience of live music; and to educate and strengthen the (2014), and the ACDA National Conference in Salt Lake next generation of singers and listeners. City (2015). The group has received ﬁ ve Downbeat Maga- zine Student Music Awards since 2014. Albert Pinsonneault is visiting director of choral activities at the University Raymond Roberts is the director of vo- of St. Thomas, where he conducts the cal music at the Milwaukee High School Chamber Singers and Concert Choir. of the Arts, where he has taught since Pinsonneault is also founder and artistic 1991. Roberts is a graduate of the Book- director of the Madison Choral Project, er T. Washington High School of the and artistic director of the Madison Chamber Choir. Arts in Dallas, Texas, and holds a bach- Most recently he was associate director of choral orga- elor’s from Northwestern University and a master’s of nizations at Northwestern University’s Bienen School Educational Leadership from Cardinal Stritch Univer- of Music, where he conducted the University Singers, sity. He and his wife, Alyssa, currently serve as music di- co-conducted University Chorale, taught the graduate rectors at First United Methodist Church-West Allis. He choral literature sequence, and mentored graduate stu- has also performed as tenor soloist with the Milwaukee dents in choral music. Symphony Orchestra, Bel Canto Chorus, and the Bach Chamber Chorus. He currently serves WCDA as the R&R Chair for High School.

14 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Milwaukee, Wisconsin Special Events Cream City Honor Choir in their careers. The format allows an upbeat and ener- getic pace without the pressure and logistical concerns The Cream City Honor Choir is a festival choir com- of performance. This honor choir will meet on-site and prising Milwaukee public school high school singers and will be integrated fully into the conference schedule. created for this ACDA conference. The purpose of this Cory Ganschow, director of choral activities at Brad- project, started in conjunction with the 2018 Chicago ley University, is delighted to serve as the new R&R ACDA Conference, is to engage young singers in the Collegiate Chair for the ACDA Central Region. We cities of ACDA regional conferences so they are active are excited to have so many opportunities for collegiate participants in this gathering of choral professionals. As students this year, including singing under the fabulous the Cream City Honor Choir, members will have the Lynne Gackle in the Collegiate Repertoire Choir, a spe- opportunity to participate in an intense day of rehearsals cialized session on fi nding success in the fi rst fi ve years and a performance before Conference delegates. They of teaching, a virtual and physical scavenger hunt with will work with conductor/composer Lee Kesselman on prizes, and a College Fair and Reception. We hope you an original composition written for this occasion and will join us! a new arrangement developed during the conference. The work of the Cream City Honor Choir is dedicated Lynne Gackle is the director of choral to the fi ftieth anniversary of Milwaukee’s struggle for its activities at Baylor University and holds Open Housing Ordinance, which followed 200 consecu- the Mary Jane Gibbs Professor of Music tive days of marches. Chair. She conducts Baylor Bella Voce, Baylor Concert Choir, teaches choral Lee R. Kesselman has been director of conducting and choral literature and choral activities at the College of DuP- serves as the director of the Ensemble Division. She re- age since 1981. He was founder and ceived her education from LSU (BME) and the Univer- music director of the New Classic Sing- sity of Miami (MM/PhD). Gackle is an active choral cli- ers, a professional choral ensemble. He nician and conductor nationally and internationally. She directs the DuPage Chorale and College has held various positions within ACDA and currently of DuPage Chamber Singers. Kesselman is active as serves as the National President. Gackle is the editor of a conductor, pianist, clinician, and lecturer. As a com- Choral Artistry for the Singer (Walton Music/GIA) and the poser and arranger, he has written over 100 works for Lynne Gackle Choral Series (Colla Voce). chorus, with additional works for solo piano, solo voice, orchestra, instrumental chamber music, and wind ensemble. Kesselman has served in leadership capacities at the state and regional ACDA levels and is immediate Immersion Day Sessions past-president of Illinois ACDA. Inclusion, Access, and Equity: Collegiate Repertoire Choir Advancing the Vision

The goals of the CRC are to expose talented and As a part of its core vision, VocalEssence seeks to committed collegiate singers to excellent choral reper- develop future singing generations in ways that are re- toire, to provide singers and conferees the opportunity ﬂ ective of and responsive to diverse constituencies. The to observe a master clinician in rehearsal, to encourage greater organization acknowledges that a major societal collegiate choristers to make contacts with established issue is the conscious development of equitable opportu- professionals and each other, and to encourage college nities in a pluralistic society. While this focus on equity students to participate fully in ACDA conferences early is prevalent throughout the VocalEssence organization,

CHORAL JOURNAL January 2020 Volume 60 Number 6 15 20202 ACDA Central/North Central Region Conference SSpecialpecial EventsEvents perhaps the most vivid outgrowth of this commitment Robyn Starks Holcomb, Randi Van Der Sloot and John is present in the establishment of VocalEssence Singers Parezo comprise the Roosevelt High School team of di- of This Age (SOTA). This session will trace the develop- rectors oﬀ ering broad experience in balanced and inclu- ment of VocalEssence SOTA, exploring the impact of sive programming. the organization on its members, the larger VocalEss- ence organization, and various Twin Cities/Minnesota Kyle Pederson is a Minneapolis-based constituencies. Participants in the session will also en- composer, commissioned to partner with gage in dialogue about issues of inclusion, access, and the program in creating a work to ignite equity within the larger choral arts profession. thoughtful conversation about inclusivity.

G. Phillip Shoultz III will be the clinician for this session. His photo and bio are on page 11. A Year in the Life VocalEssence Singers of This Age (SOTA) will be the of the High Five Choir demonstration choir for this session. Their photo and bio are on page 11. Susan Vaughan will share High Five Choir’s history and journey since its inception in 2005 for other choral directors and institutions to emulate across the country, followed by a live High Five Choir performance demon- Joining Voices: stration. Creating Choral Opportunities for Singers of All Abilities New Trier High School High Five Choir will be the sub- ject of this session. Their photo and bio are on page 10. The opening concert of the Joining Voices conference will include a program by the Roosevelt High School Vicki Murphy, MHS, CCC-SLP, is a Concert Choir titled “Building Humanity… Together.” speech and language pathologist at New The cornerstone of the program will be the premiere Trier High School in Winnetka, Illinois. of a collaborative work by Kyle Pederson and the mem- She received her BS and MHS in Com- bers of the choir. The composition, exploring ideas of munication Disorders from Governors inclusivity, connectedness, and unity, will be performed State University. Murphy has had the by the choir joining their voices together with invited privilege of working with the High Five Choir since guest singers of all abilities. In this session, Kyle and the 2008. Roosevelt team of directors will share the journey of this work from dream to stage through project documenta- Susan Vaughan will be one of the clinicians for this ses- tion and open conversation. A portion of the discussion sion. Her photo and bio are on page 10. will also be dedicated to sharing the inclusive culture of Roosevelt High School that inspired this work.

Panelists: Robyn Starks Holcomb, Kyle Pederson, Ran- di Van Der Sloot, and John Parezo

16 CHORAL JOURNAL January 2020 Volume 60 Number 6 20202 ACDA Central/North Central Region Conference Special Events AAuditioneduditioned ChoirsChoirs

Appleton Boychoir Ankeny High School Concert Choir

The Appleton Boychoir celebrated its fortieth anniversary during the 2018-2019 season. The choir has pro- The Ankeny High School Concert Choir is the pre- vided musical training to thousands of boys from across miere choral ensemble at Ankeny High School in An- the heart of Wisconsin’s dairyland. Singers begin as third keny, Iowa, and is one of six performing ensembles in graders then advance through a series of four choirs un- an award-winning comprehensive vocal music program. til the end of their eighth-grade year or until their voice Grades 10-12 are represented in the ensemble; students changes. The Appleton Boychoir has performed for con- undergo a competitive audition process for selection ferences of ACDA, OAKE, NAfME, AGO, and the In- each year. The ensemble has been selected for the Iowa tercollegiate Men’s Choruses association, among others. Choral Directors Association Iowa Choral Showcase The choir has traveled as young musical ambassadors and has shared the stage with Iowa legend Simon Estes across the globe to China, Japan, Russia, South Africa, and the Wartburg Choir. They competed in the 2018 Iceland, and Peru sharing their message of friendship World Strides Heritage Music Festival in New York City, through music. receiving ﬁ rst place in their class and ﬁ rst place overall.

Kevin Meidl is artistic director of the Ben Walters is in his ﬁ fteenth year of Appleton Boychoir, conductor of the music education in Iowa. He is in his ﬁ fth ChamberSingers, and principal cho- year as director of choral activities at An- ral conductor and performing arts de- keny High School, where he oversees a partment chair at Appleton West High vocal music program of six ensembles School. He is artistic director of the (grades 10-12) involving approximate- Badger State Girl Choir in northeastern Wisconsin and ly 275 singers. He conducts the most select choral en- co-founder of the Renaissance School for the Arts in semble, Concert Choir; the auditioned treble ensemble, Appleton. He holds degrees from Lawrence University Cantorei; and the award-winning varsity show choir, Vi- Conservatory of Music, Northwestern University, and sual Adrenaline. Walters also serves as music director for Boston University. Meidl is past president of the Wis- the annual musical production, as artistic director for the consin Choral Directors Association and North Central holiday production, “Julefest,” and teaches voice lessons. ACDA. He has conducted festivals, honor choirs, and His choirs have attained division 1 ratings at IHSMA master classes throughout Asia, Europe, South America, Large Group Festivals. and the United States.

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Ball State University Bexley High School Chamber Choir Vocal Ensemble

The Bexley High School Vocal Ensemble travels the United States and Canada extensively. Their interna- As Ball State University’s most selective choir, the tional tours include Venice, Salzburg, Vienna, Prague, Chamber Choir is the ﬂ agship ensemble of a choral Budapest, Krakow, London, Paris, and Ireland. They program that includes six curricular choirs. The Cham- have performed in Lincoln Center and embarked on a ber Choir provides undergraduate and graduate student twelve-day tour of Germany, Austria, and the Czech Re- singers experience with a complete range of choral rep- public. Vocal Ensemble has performed at state confer- ertoire from the sixteenth to the twenty-ﬁ rst centuries, ences for NAfME, National ACDA, and Central Region including numerous world premiere performances. ACDA Conferences (2012, 2016). They were awarded Recent engagements include collaborations with pro- second place in the Youth and High School division for fessional orchestras and community choirs, plus master the 2017 American Prize. classes and performances with choral artists such as Vo- ces8, Eric Whitacre, and The Rose Ensemble. Amy Johnston Blosser is the ACDA National Chair for Repertoire and Re- Andrew Crow has served on the faculty sources. She has been active in planning of Ball State University since 2009. As National Conferences in Los Angeles, director of choral activities, he leads the Chicago, Miami, Oklahoma City, Dallas, Ball State Statesmen and the Chamber Salt Lake City, Minneapolis, and Kansas Choir, teaches conducting, and men- City. In her seventeenth year as director at Bexley High tors graduate conducting students. He School, Blosser conducts six choirs in grades 7-12 and has served as a church musician for twenty years. Crow was named Educator of the Year for Bexley City Schools received the 2017 Mayor’s Award for Arts Leadership in 2011. Blosser was selected for the 2015 International in the Muncie community. He is currently an associate Conductors Exchange Program to Sweden. She holds editor for The Choral Scholar. Crow earned degrees from degrees from the Ohio State University. University of Minnesota, Temple University, and The Ohio State University.

18 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Milwaukee, Wisconsin Auditioned Choirs The College of St. Scholastica Cor Cantiamo Bella Voce

Cor Cantiamo is a professional chamber choir whose Bella Voce is an auditioned treble ensemble at The creative programming and artistry weave contempo- College of St. Scholastica (Duluth, MN) focused on rary music with choral masterworks to present con- sharing stories, personal growth, and inspiring audienc- certs designed to inspire and engage audiences. This es. Along with four collegiate women’s choirs, Bella Voce ensemble-in-residence at Northern Illinois University participates annually in “Still I Rise,” a concert high- has achieved critical acclaim and recognition for their lighting the link between the arts, education, and social musicality, impassioned performances, and versatility. justice as they perform songs of struggle, strength, and Since their inaugural concert with Morten Lauridsen in empowerment. Bella Voce has been featured on Minne- 2010, Cor Cantiamo has focused their mission on col- sota Public Radio and performed at the 2017 Minnesota laborations with contemporary composers, educational ACDA State Conference. Bella Voce’s ﬁ rst album is Still outreach, and recording projects. I Rise. Eric A. Johnson is the founding artistic Bret Amundson is the dean of the School director of Cor Cantiamo and director of Arts and Letters at The College of St. of choral activities at Northern Illinois Scholastica in Duluth, MN, where he also University. Ensembles under his direc- directs Bella Voce, a select treble ensem- tion have performed at multiple nation- ble. In addition to his work at CSS, he is al, division, and state conventions for the artistic director for the Lake Superior ACDA, NCCO, and NAfME. His service to ACDA in- Youth Chorus and the artistic director of the Twin Ports cludes IL-ACDA president and board member for ten Choral Project. He holds a bachelor’s from Saint John’s years, Youth and Student Activity R&R Chair for the University, a master’s from Saint Cloud State University, Central Region, and numerous state and division confer- a doctorate from the University of Washington, and an ence planning committees. Johnson earned degrees from MBA in Change and Leadership from The College of Luther College, University of Wisconsin-Madison, and St. Scholastica. Under his direction, The College of St. the University of Illinois. Scholastica Choirs have performed regionally, nationally, and internationally.

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From Age to Age Linn-Mar High School Bella Voce

Bella Voce is a forty-one-voice advanced treble choir from Linn-Mar High School in Marion, IA. This ensemble is one of three treble choirs and seven total concert choirs that serve the 430 students enrolled in choir at Linn-Mar. Over 750 individual students are enrolled in From Age to Age is a Minnesota nonprofi t choral en- at least one of fi fteen curricular ensembles off ered in the semble comprising accomplished musicians who inspire choir, band, and orchestra departments. Bella Voce fo- audiences of all ages with their passion and performance cuses on exposing audiences to a rich and diverse selec- of the highest level of choral music. From Age to Age tion of treble repertoire. The choir enjoys experiencing enriches communities in music appreciation through new and emerging works from composers all over the cultural, educational, and outreach programming. The globe in addition to classic choral repertoire. choir was selected to perform at the 2018 MN ACDA Conference. Within the past four seasons, the choir has Trent Buglewicz is a vocal music teacher produced annual “Made in Minnesota” concerts that at Linn-Mar High School in Marion, IA, showcase choral music written and arranged by compos- where he has spent the last six years. In ers with ties to Minnesota. addition to directing the advanced treble chorus, Bella Voce, since the fall of 2016, Peter J. Durow is a conductor and com- he also conducts Linn-Mar’s bass chorus, poser who began his tenure as the artis- Fortis, and one of the school’s mixed choruses, Concert tic director of From Age to Age in 2016. Chorale. Outside of curricular choir, he is the director Durow has taught at the secondary of Linn-Mar’s extracurricular varsity show choir, Tenth and university levels and has worked as Street Edition. He received his bachelor’s from the Uni- a church musician in six states. He is a versity of Nebraska–Lincoln and now lives in Cedar graduate of the Florida State University, Butler Universi- Rapids. Buglewicz avidly enjoys watching the Yankees ty, Augsburg University, and Bethany Lutheran College. play baseball, struggles to play golf, and loves his stu- Durow’s choral music is published with Heritage Music dents and colleagues. Press, Colla Voce, MusicSpoke, The Sacred Music Press, and VocalEssence Music Press. He currently serves as the managing editor of the Star of the North magazine, the offi cial online publication of ACDA-MN.

20 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Milwaukee, Wisconsin Auditioned Choirs Little OL Korea Children’s Choir Luther College Aurora

Aurora is one of ﬁ ve auditioned choral ensembles at Luther College in Decorah, Iowa. Established in 1981, The Chicago “Little OL Korea Children’s Choir”— Aurora comprises ﬁ rst-year sopranos and altos, selected the only children’s cultural promotion company in each fall by audition. They participate in various con- America—comprises third-generation overseas Kore- certs and worship events throughout the year and in the an children and seeks to make Korean culture and art annual production of “Christmas at Luther.” Aurora has known to the world through their performances. L.O.K performed for state and regional events including several choir’s traditional yet creatively modern performances North Central ACDA conferences. The ensemble is fea- make known to the world the culture of Korea. “OL” tured on an instructional DVD accompanying the book refers to the individual horizontal and vertical strands Conducting Women’s Choirs: Strategies for Success (GIA Pub- that are weaved together to form a piece of cloth. The lications). Aurora is actively involved in the process of choir weaves together Western and Eastern characteris- creating new music and has premiered works by many tics, and the traditional with the modern, to form their notable composers. performances. In 2007 chairperson Shinai OH Lee founded the “Little OL Art Foundation.” Jennaya Robison serves as associate professor of music at Luther College, where Ahra Cho, born in Seoul, Korea, received she teaches courses in conducting and her bachelor’s from Sung Shin Women’s vocal pedagogy and conducts Aurora, University in Korea and master’s from Collegiate Chorale, and the Luther Col- Roosevelt University in Chicago. Cho lege Gospel Choir. She has presented has a unique blend of cross-cultural cho- lectures and workshops at national, regional, and state ral music teaching and directing experi- ACDA and NATS conferences. She has been an invited ence specializing in children and youth choirs. In Seoul, conductor and clinician at numerous regional and All- she served as a conductor of Myoung Sung Youth Choir State festivals throughout the United States. She holds and Hong Gwang Children’s Choir. In addition, Cho a doctorate from the University of Arizona, a master’s serves as a music director at the Calvary Presbyterian from the University of New Mexico, and a bachelor’s Church in Wheeling, Illinois, and is frequently invited from Luther College. She has held leadership roles in to conduct the Chicago Deaconess Choir, the Chicago state and regional chapters of ACDA. Christian Chorale, and interns with Anima Glen Ellyn Children’s Choir.

CHORAL JOURNAL January 2020 Volume 60 Number 6 21 20202 ACDA Central/North Central Region Conference AAuditioneduditioned ChoirsChoirs

The Roosevelt High School Concert Choir and their ries (Santa Barbara Publishing Company) and the editor conductor, Robyn Starks Holcomb, are an auditioned of the Christmas with The Singers Choral Series (MorningStar choir for this conference. Their photos and bios are on Music Publishers). page 11.

University of South Dakota The Singers–Minnesota Choral Artists Chamber Singers

The Singers–Minnesota Choral Artists are recog- Chamber Singers is the premiere vocal ensemble at nized nationally for their innovative programming, com- the University of South Dakota comprising students mitment to new music (nearly ninety premieres since selected through audition from the entire university 2004), and artistic quality. They made their debut at the student body. Its repertoire is primarily a cappella and Ravinia Festival in June 2013, and returned in 2014, includes music from the Renaissance to the present in 2015, and 2016. The Singers and Matthew Culloton are a wide variety of styles. The ensemble presents formal engaged in educational collaborations that pair the choir concerts on campus each semester, and its annual tour with school choirs around Minnesota. In recent years, has taken them throughout the United States and Eu- the choir has collaborated with the Saint Paul Chamber rope. The Chamber Singers have been featured on the Orchestra. The Singers have performed at ACDA na- Public Radio program “Going Beyond Words” and were tional, regional, and state conferences. selected as a ﬁ nalist for the American Prize in Choral Performance. Matthew Culloton is the founding artistic director of The Singers–Minnesota David Holdhusen is the director of cho- Choral Artists. He holds degrees from ral activities and Douglas and Susan Concordia College, Moorhead, and the Tuve Distinguished Professor of Choral University of Minnesota. As a compos- Music at the University of South Dakota er, Culloton has been commissioned by where he directs the Chamber Singers, The Singers, the Dale Warland Singers, Choral Arts teaches conducting, and serves as music Ensemble of Rochester (MN), Ames Chamber Artists, department chair and director of the Choral Directors Chanson, the Minnesota MMEA All-State Choir, and Institute. Holdhusen received his Ph.D. in music educa- numerous high school, collegiate, and church choirs. He tion from the Florida State University, holds a master’s is co-editor of the Matthew and Michael Culloton Choral Se- from Northwestern University, and a bachelor’s from

22 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Milwaukee, Wisconsin Auditioned Choirs Gustavus Adolphus College. Holdhusen received the the North Central Rrgion Conference. Watkins joined SD-ACDA Encore Award and USD’s Belbas-Larson the faculty of the University of Wisconsin-Eau Claire Award for Excellence in Teaching. His choirs have been in 2014. invited to perform at festivals and conferences throughout the country. University of Wisconsin—Milwaukee Concert Chorale University of Wisconsin—Eau Claire Concert Choir

Concert Chorale is the fl agship ensemble of the Uni- versity of Wisconsin Milwaukee choral program. Cho- rale comprises undergraduates and graduate students and includes both music majors and non-majors. The group performed at the 2016 WMEA and 2017 WCDA conferences and sang with the Rolling Stones when they performed in Milwaukee as a part of their 2015 Zip Concert Choir is one of six choral ensembles at the Code Tour. In 2018, Chorale recorded the tenth and University of Wisconsin-Eau Claire, “Wisconsin’s Sing- fi nal version of the song “This Time Tomorrow” for ing University.” Concert Choir has performed at fi ve the TTT Foundation—an organization providing direct conventions of the Wisconsin MEA and the Wisconsin fi nancial support to cancer patients and families. Cho- Choral Directors Association. Concert Choir has per- rale was selected as a national fi nalist for the 2018-2019 formed with ensembles including the Minnesota Or- American Prize in Collegiate Choral Performance. chestra, the San Diego Symphony Orchestra, and the Philadelphia Brass. The ensemble has completed eight Zachary Durlam is director of choral European tours, including appearances at the 50th and activities at UW Milwaukee. He leads 60th anniversaries of the D-Day Invasion. In 2006 the multiple choirs and teaches graduate and ensemble received an international award for artistic ex- undergraduate conducting and choral cellence from the Federation of Mediterranean. literature. Durlam holds degrees from Luther College, the University of Iowa, Frank A. Watkins is assistant professor of and Michigan State University. Choirs under his direc- music and director of choral studies at tion have appeared at state and divisional conventions the University of Wisconsin-Eau Claire. of ACDA and NAfME. He has presented at state and He holds degrees in piano performance regional music conferences and conducted honor choirs from Jackson State University, the Uni- and choral festivals around the Midwest and in Califor- versity of Arkansas, and choral conduct- nia. Durlam was awarded third place in the 2018-19 ing from Northwestern University and Michigan State American Prize for Collegiate Choral Conducting. University. Choirs under his direction have performed at the Wisconsin Music Educators State Conference and

CHORAL JOURNAL January 2020 Volume 60 Number 6 23 20202 ACDA Central/North Central Region Conference AAuditioneduditioned ChoirsChoirs

The University of Wisconsin—Stevens Point Jazz Cen- Wartburg College tral Voices and their conductor, Timothy Buchholz, Castle Singers are an auditioned choir for this conference. Their photos and bios are on page 13.

Central/North Central Region Registration Information

Early Registration prior to midnight January 29, 2020 The Wartburg College Castle Singers have been hailed as a model of musicianship since their inception • Attendee $240 • Retired $175 • Student $90 in 1950. The ensemble adopted its current name under the direction of James Fritschel and has evolved under the baton of various directors, including Paul Torkelson. Registration after midnight January 29, 2020* Today, under the direction of Nicki Bakko Toliver, this chamber ensemble continues to prepare a wide variety of repertoire from Byrd to The Beatles and beyond. The • Attendee $260 • Retired $180 • Student $100 Singers collaborate regularly with The Wartburg Choir and the College’s string ensemble. They tour nationally on an annual basis and internationally every three years. On-site registration begins March 4, 2020 Nicki Bakko Toliver joined the Wartburg • Attendee $300 • Retired $200 • Student $100 College faculty in 2014 as the associate director of choral activities and assistant professor of music. She conducts the One Day registration (Wednesday, Thursday, or Friday) Castle Singers and St. Elizabeth Chorale while teaching courses in music educa- $125 tion and supervising student teachers. Toliver enjoyed a distinguished career in both public and private school *NO READING PACKET SELECTION systems in Minnesota, North Dakota, Nevada, and Ari- zona. She is an active church musician, adjudicator, cli- AFTER MIDNIGHT JANUARY 29, 2020 nician, and performer. Toliver holds a doctorate from North Dakota State University, a master’s from Arizona You must be a current ACDA member to register. State University, and a bachelor’s from Concordia Col- You will need your membership number to register. lege, Moorhead.

24 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Milwaukee, Wisconsin Auditioned Choirs

Waubonsie Valley High School complete the ILMEA audition process and are consis- Varsity Chamber Singers tently selected to participate at the district and state levels. The ensemble was invited to perform in the 2019 Varsity Cham- IL-ACDA Honors Choir, performing the Faure Requiem ber Singers is an under the direction of Mary Hopper. advanced, mixed choral ensemble at Seth Durbin began his career at Wau- Waubonsie Valley bonsie Valley High School in 2015. High School open Durbin holds a bachelor’s from Elmhurst to students grades College in Elmhurst, IL. Among the 10-12. Through- choirs under his direction are ﬁ ve curric- out the school year, ular choirs, the Mosaic chorus, Mosaic the students study Ensemble, and the award-winning show choir Sound a variety of genres, Check. In addition, Durbin serves as the co-musical di- performing chal- rector for the spring musical. He is currently serving as lenging and en- the Show Choir R&R Chair for Illinois ACDA, organiz- gaging repertoire. ing the yearly Illinois All-State Show Choir. He performs In addition to dai- for various professional concerts and tours. Durbin ap- ly ensemble rehearsals, the students also participate in peared in the 2018 and 2019 productions of Leonard student- led quartets twice a week, learning music in a Bernstein’s Mass at Ravinia Festival under the direction chamber style setting. Members of Varsity Chamber of Marin Alsop.

20202 ACDA Central/North Central Region Conference IInterestnterest SSessionsessions

sea chanteys and songs of broth- Agents of Change: Panelists: Susan Vaughan, Phillip Shoultz, and Robyn Starks Holcomb erhood. Yet SSAA literature exists Inclusion, Access, and Equity that is fast, humorous, challenging, (Joining Voices Immersion Day Panel) and even bellicose. TTBB literature exists that demands nuance, tender- In this session, Immersion Day Beyond Drunken Sailors ness, and refl ection. This session will presenters will refl ect on issues of in- and Little Maids: briefl y review the historical perspec- clusion, access, and equity in each of Finding and Teaching SA and TB tive of treble and bass clef choirs their individual presentations. Panel- in school settings, identify trends in ists will also engage in a synthesis of Literature in the 21st Century nomenclature that are refi ning our lessons learned in each of their re- understanding of gender identity, spective choral organizations, apply- For decades, SSAA choirs have re- identify ongoing gender imbalanc- ing these lessons to individual choral lied too often upon what Hilary Ap- es in choral programming, suggest organizations and the choral profes- felstadt referred to in 1998 as “but- philosophical constructs that com- sion in a broader context. Please see terfl ies and rainbows’ music,” while bat these imbalances, and provide Immersion Day session descriptions. TTBB choirs still often gravitate to practical literature options that are

CHORAL JOURNAL January 2020 Volume 60 Number 6 25 20202 ACDA Central/North Central Region Conference IInterestnterest SSessionsessions appropriate for those working with and maintain those standards, what Jay Dougherty is the SSAA or TTBB choirs. challenges may interfere with sus- director of choral taining a positive culture, and how to activities at Mariet- Panelists: Bob Demaree, Jill Wilson, overcome challenges. Maintaining a ta College in Ohio, and Stephen Sieck growth mind-set is key, and forging where he teaches all positive relationships ensures a path campus choral en- Jill Wilson is assistant to your goals. sembles, choral methods, and begin- professor at Luther ning and advanced conducting. His College and serves as Stacie Blackmore is area of research is in intonation and ICDA president. the choral director overtone reinforcement. He lives in in Cozad, Nebras- Vincent, Ohio, with his wife and fi ve ka. She earned her daughters. Stephen Sieck is undergraduate de- co-director of cho- gree from Northern ral studies at Law- Arizona University and master’s of rence University and education from the University of The Choir Takes a Voice Lesson: past-president of Nebraska–Kearney. She serves as di- Strategies for Adapting Concepts WCDA. rector of membership programs for from the Private Voice Studio into Nebraska MEA. She was the 2010 Choral Ensemble Settings Bob Demaree is di- NCDA Outstanding Young Choral rector of choral ac- Director. In the private voice studio, an in- tivities at UW-Plat- dividual singer’s unique needs can teville and served as be assessed and addressed. For many president of WCDA vocalists, however, their only voice and NCACDA. The Choir Audition: Drafting the lesson is choral rehearsal. How do Best Ensembles without Bias we as choral directors successful- ly teach voice to a large number of Building Program Culture When auditioning your advanced students who possess vastly diff erent ensembles, should you accept your vocal instruments and issues? In this If you haven’t deliberately de- most responsible student over some- session, Zachary Durlam, director of signed the culture of your program, one who is more musically talented choral activities at UW Milwaukee, you have built a culture by default. A but not as reliable? Should you put will join forces with Tanya Kruse, positive program culture doesn’t just someone in who has very support- head of the voice area at UWM, to happen. How do you design a pos- ive parents even if their musician- discuss fundamentals of singing that itive culture and how do you reach ship skills are lacking? Is tone more are commonly explored in private your goals? Whether you have a important than literacy? Is part in- lessons and explain how to adapt large or small program, work in a ru- dependence more important than these concepts to ensemble rehears- ral area or metropolitan area, serve tonal recall? How much should your als for choirs of all ages. high-poverty students, or are bless- past experience with a student factor ed with a well-funded program, you into your fi nal decision? This session Zachary Durlam will be one of the can be sure that culture starts at the will present a unique audition pro- clinicians for this session. His photo top. This session will focus on how cess that will help remove biases and, and bio are on page 23. teachers and directors set up stan- as a result, help draft the best overall dards for culture, how to implement ensemble.

26 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Milwaukee, Wisconsin Interest Sessions Tanya Kruse is head conducting faculty at Indiana Uni- stantial body of published choral ar- of the voice area, versity, where he directs NOTUS, a rangements available; these Hebrew where she teaches new music chamber choir. DiOrio and Ladino melodies have been undergraduate and currently serves as chair of ACDA’s arranged by Eleanor Epstein, Alice graduate voice les- Composition Initiatives Standing Parker, Joshua Jacobson, and others. sons, voice pedagogy, Committee. In this session we will listen to fi eld diction, song literature, and opera. recordings and sing arrangements of Judeo-Spanish music, discussing Digging Deeper into how musical elements can be high- lighted in a choral context. We will Commissioning a New Piece 101: Judeo-Spanish emphasize the conductor’s and ar- The Must-Know Basics Choral Arrangements ranger’s roles in educating audienc- for Conductors es and ways to teach singers about Sephardic Jewish music refl ects Sephardic culture. Resources on After hearing from people around the interaction between Jewish and pronunciation, fi eld recordings, and the country about the critical need non-Jewish musicians in Mediter- repertoire will be provided. to provide more information to ranean regions after the Spanish members about how to commission Expulsion in 1492. There is a sub- new music, Dominick DiOrio re- sponded by authoring an article for the November 2018 Choral Journal titled “A (Somewhat) Brief Guide to Commissioning New Music.” This presentation will take the most important tidbits and best practices No other folder holds up like ours. from that article and present them in an easy-to-understand session for conductors from all walks of life. This session will provide answers to questions like: How do you choose a composer? What goes into a commissioning contract? How much does it cost? Time will be provided for additional questions, and all re- cipients will receive a handout to help them with their own commis- You can feel the quality the moment you pick it up – from the sturdy sioning projects. rear hand strap to the heavy-duty stitching and solid metal corner protectors. Our folders have been the choice of more than half a million Dominick DiOrio is a choir singers, instrumentalists and directors since 1993. How about you? composer and conductor who has won 5PMMGSFFt5FMFQIPOF'BY widespread acclaim

for his contributions Free shipping to the U.S. and Canada to American mu- on online orders $200+ until Jan. 15, sic. He is associate professor on the 2020 using order code SPEEDSHIP20

CHORAL JOURNAL January 2020 Volume 60 Number 6 27 20202 ACDA Central/North Central Region Conference IInterestnterest SSessionsessions

Sarah Riskind is writing a diction guide for Mandarin versity of Illinois, she taught second- a conductor and Chinese. She was named the winner ary choirs, piano, and ukulele. She composer and the of the 2019 ACDA Graduate Stu- recently completed a 200-hour yoga director of choral dent Conducting Competition. certifi cation. activities at Eureka College in central Illinois. She holds a doctorate from Enhancing Ensemble Energy: University of Washington, a mas- The Female Voice Change: ter’s from University of Wisconsin Yoga, Mindfulness, and Breathing at Madison, and a bachelor’s from Strategies for Choirs A Practical Approach Williams College. In a competitive musical world While many choral methods that values performance and courses address the male voice Diverse Music Programming: achievement, sometimes we as change, fewer detail the female voice teachers need to step back and allow change. Citing the works of Gackle, How to Avoid the Negative ourselves and our students to take a Sweet, and Cooksey, this session will Eff ects of Tokenism breath...and then use that breath to cover characteristics of the changing engage and energize our practice. female voice, the key similarities and Programming diverse repertoire Driven by the connection of breath diff erences of the male and female is done with good intentions, but in yoga and meditation to the breath changing voices, how to pick litera- in an attempt to be more inclusive, of music and ensemble, participants ture to meet the needs of adolescent we often end up inadvertently os- will explore traditional choral and singers, common misconceptions tracizing the students and audienc- yogic breathing strategies and learn surrounding the female changing es we want to include. This session several short stretch and breath se- voice and how we can change those is appropriate for educators at any quences appropriate for any music perceptions, and ways that we can level; we will discuss approaches to classroom. All techniques covered educate and empower students with teaching and talking about music will account for the fact that most changing voices. from outside of the European musi- choir teachers want to spread well- cal tradition. Models and resources ness awareness to their students but Jessica McKiernan will be provided to help educators have limited budgets, space, and is a Ph.D. student in feel confi dent about programming time. Using choral, yogic, and per- music education with these pieces and to assist in devel- forming artist medical resources, we a choral cognate at oping the skills needed to teach with will discuss focuses, benefi ts, vocabu- Michigan State Uni- cultural sensitivity. Also included are lary, and practical application. versity, where she su- resources on repertoire, culture, and pervises student teachers, assists with language pronunciation. Colleen McNickle undergraduate coursework, and is a music educa- serves as co-advisor for the NAfME Hana J. Cai is a doc- tion PhD student at student chapter. Her research inter- toral student at Indi- Michigan State Uni- ests include gender, identity devel- ana University. Her versity with a prima- opment, and social justice in music research focuses on ry research interest education. the accessibility of of Musicians’ Health and Wellness. Chinese choral music With a bachelor’s from Augustana in the United States. She is currently College and a master’s from the Uni-

28 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Milwaukee, Wisconsin Interest Sessions Going Retro: specifi c pedagogical outcomes and Chapel Choir, and Abbey Schola at contribute to unique choral pro- Saint John’s Abbey and University. How Gregorian Chant Can Help gramming. Specifi c examples will He teaches adolescent vocal ped- Boys through Their Voice Change demonstrate applicability of various agogy for the VoiceCare Network chants in developing tone quality, and conducts the National Catholic Recent research on the pedagog- breath use, vocal agility, and intona- Youth Choir. ical benefi ts of singing Gregorian tion; building skills in sight-singing, chant has opened up a surprising ear training, and registration facility; new avenue of repertoire for adoles- and exploring concepts of expres- cent voices. Chant’s conjunct melod- sivity, movement, text declamation, In Tune: How Group Vocal ic lines, narrow pitch ranges, move- phrasing, and entrainment. Technique Aff ects Intonation able starting pitches, and propensity for legato phrasing make this genre André Heywood As a choral conductor, we fi ght a perfect outlet for vocal exploration serves as artistic di- many battles. One of the most ob- and skill development. This presen- rector of The Saint vious of these is intonation: a mul- tation will explore how chant can be John’s Boys’ Choir, tifaceted and complex issue. Poor creatively incorporated into young conductor of the vocal production is often the cause. singers’ repertory to help achieve All-College Choir, Additionally, extrinsic and intrinsic

yale glee club Je≠rey Douma, Musical Director

Emerging Composers Competition First Prize: $1,500, premiere performance by the Yale Glee Club, and possible future publication Compositions for a cappella or accompanied SATB Choir Please visit gleeclub.yalecollege.yale.edu/new-music for details and submission info Submission Deadline: April 1, 2020

Yale Glee Club New Classics Choral Series A source for new music that will engage your singers and your audiences Dominick Argento Cristian Grases Jocelyn Hagen James Macmillan Michael Gilbertson Eric Banks Dale Trumbore Je≠rey Douma Dominick DiOrio Kathleen Allan Brandon Waddles

CHORAL JOURNAL January 2020 Volume 60 Number 6 29 20202 ACDA Central/North Central Region Conference IInterestnterest SSessionsessions forces are also often working against During this session, participants will cess in the fi rst years of service as a us. More complicated things, such as learn about various aspects of the choir director. We will explore men- blend (vowel) and balance problems Joining Voices Festival Choir expe- torship, working smarter not harder, can contribute to tone quality and rience, with particular emphasis on and effi cient administrative work in production issues. In this session, the benefi ts and challenges of inclu- the choral program. Join us for this we will ask “why.” We are aware sive practice from the perspectives important conversation about start- of problems but are unsure how to of both conductors/clinicians, and ing your career strong! fi x them. If one can think of solv- participants with and without dis- ing intonation problems as part of abilities. See the Joining Voices Festi- Zachariah Carlson is the teaching and rehearsal process, val Choir description on page 9. currently vocal mu- things will work more effi ciently. sic director at Buff alo Panelists: Anton Armstrong, Ther- High School in Buf- Erin Colwitz is the ees Hibbard, Lynda Laird, Will falo, Minnesota. He director of choral ac- Green, and other Joining Voices leads fi ve curricular tivities at Northern Festival Choir participants; Rhonda choirs, three extracurricular choirs, Michigan University. Fuelberth, moderator directs the musicals, and co-teaches Colwitz is a frequent Music History and AP Music Theo- guest conductor and Anton Armstrong will be a clinician ry. Previously he taught in two rural choral clinician. She earned her de- for this session. His photo and bio is districts in Iowa and Minnesota. grees in choral music from the Uni- on page 9. versity of Southern California. Therees Tkach Hibbard will be a clinician for this session. Her photo The Other Half of Our Life in Choral Music: Joining Voices, and bio is on page 10. Text is the Connection Shifting Perspectives, Changing Lives We deal with text every day in re- Navigating Your Career: Finding hearsal but don’t always see all that Conductors and clinicians Anton Success in the First Five Years textual awareness can do for our Armstrong and Therees Hibbard, choirs and audiences. In this session along with Joining Voices Festival Have you ever questioned if you we will fi nd new ways to use texts to Choir coordinators Lynda Laird and are meant to be a choir director or teach concepts and awaken audienc- Will Green, will share perspectives if you will make it through the year? es, to help with interpretive ques- on artistry, inclusivity, and empathy Expanding responsibilities paired tions, and double the inspiration we development through the lens of the with decreasing funding and re- feel and project. Specifi cs include: 1) Joining Voices Festival Choir. Spe- sources can create a perfect storm Understanding and teaching poetic cifi cally, presenters will share how of isolation and struggle for life bal- rhythms with their counterparts as inter-ability group singing opportu- ance. A review of literature on choir infl ected vocal texts, 2) Building pro- nities, such as those provided in pur- director attrition with pro tips from grams based on text themes rather posefully inclusive choirs, may pro- leaders in the fi eld will act as the than musical genres, 3) Interpreting vide a foundation for deeper, more centerpiece of this session. Through poetry and involving the audience meaningful connections to human small group discussion and group in the process, 4) Finding answers experience and increased empathy activities we will explore practical when the music and poetry don’t development for all participants. tips and tricks for fi nding your suc- match, and 5) Dealing with issues of

30 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Milwaukee, Wisconsin Interest Sessions inclusivity when presenting works of Teaching Jazz Concepts in the singers who do not fi t the gender other cultures or ages past. Vocal Jazz Ensemble Rehearsal binary? Is there a way to erase the gender lines of “women’s” and Beverly Taylor is This clinic will provide directors “men’s” choirs and still preserve in her twenty-fi fth with strategies to effi ciently incor- their unique sense of community? year as director of porate important aspects of jazz The panel will discuss how to pre- choral activities at styles—namely rhythmic feel, song serve the SSAA/TTBB choir while UW-Madison and form, vocal production, impro- creating an equitable environment conductor of the visation, and harmony—into the that addresses items such as attire, Madison Symphony Chorus. Pre- rehearsal by showing connections repertoire, voicing, and language so viously she conducted choruses at between these concepts and the lit- that all singers feel valued and wel- Harvard University. She has guest erature the ensemble is learning. come. conducted around the world, has au- The material presented in this clinic thored articles on choral music, and is the combined result of research Jennaya Robison will be one of the recorded premieres. conducted during graduate studies clinicians for this session. Her pho- at the master’s and doctoral levels, to and bio are on page 21. and experience gained through conducting vocal jazz ensembles at the Maggie Burk is pur- Othering and Inclusion college and high school levels. This suing her doctorate in the Choral Experience will be an interactive clinic, encour- in choral conduct- aging attendees to sing and partici- ing at the University “The choir” is a symbolic culture pate in written, aural, and improvi- of Michigan, where that implies a community with clear satory examples. she studies with Eu- purpose and cohesion. The mem- gene Rogers and will act as assistant bers of a choir, however, are not ho- Timothy Buchholz will be the clini- conductor of Women’s Glee. mogenous instruments but instead cian for this session. His photo and very diff erent people each bringing bio are on page 13. to the space their hopes and fears, histories and futures, and multiple Voice-Charting Your Young Men: intersecting identities. In this presen- Them, Their, They: Why, How, and What to Listen For tation, Sieck draws from his research and book, Teaching with Respect: Inclu- Navigating the Changing World In this session we will discuss sive Pedagogy for Choral Directors, to help of the Single-Gender Choir why voice-charting is imperative to us see how our repertoire, ensemble a successful choral program. With structures, and classroom pedagogy Never has there been a more the help of some young men, this can exclude some singers and make surprisingly diverse ensemble than session will walk you through, step them to feel “other.” He then shares in the “single-gender” choir. Con- by step, how I voice chart the men a toolkit of resources and approach- ductors need to think beyond het- in theclassroom. You will be able to es to inclusive teaching that will sup- eronormative terms and be aware hear what to listen for as you are port our collective endeavor to cele- of the issues of sex, sexuality, and voice-charting the young men in brate every voice. gender so we can be inclusive of your choir. You will also see how to all singers. How do we foster the use the chart as a tool to help your Stephen Sieck will be the clinician most inclusive environment when young singers advocate for them- for this session. His photo and bio women’s and men’s choirs are, by selves as musicians. are on page 26. their very nature, exclusive of those

CHORAL JOURNAL January 2020 Volume 60 Number 6 31 20202 ACDA Central/North Central Region Conference IInterestnterest SSessionsessions

Dan Andersen is an (WMP) to the choral music class- body of repertoire in meaningful active clinician, fes- room. A brief overview of the fi ve and ethically responsible ways. tival conductor, and phases of WMP will be presented, judge throughout and a rationale for WMP in choral Sarah Bartolome is the Midwest. He has music education will be forwarded. associate professor of conducted the Indi- Each phase will be explored through music education at ana and Kentucky All-State Junior participatory singing activities fea- Northwestern Uni- High Choirs and the Indiana All- turing musical traditions from Lith- versity and associate State Jazz Choir. His book, War m- uania, Iraq, Japan, Southern India, director of the Evan- Ups for Changing Voices-Building Healthy South Africa, the United States, and ston Children’s Choir. She has com- Middle School Singers, is available New Zealand. Considerations for pleted research on choral music in through Hal Leonard. developing interdisciplinary connec- Ghana, Sierra Leone, South Africa, tions, working with culture bearers, Zimbabwe, Panama, and Lithuania and using WMP as a means of get- and recently published World Mu- World Music Pedagogy in the ting “beyond the score” will also be sic Pedagogy V: Choral Music Education Choral Music Classroom off ered. The session will conclude (2019, Routledge). with suggestions for successful, sus- tainable WMP practice, off ering This clinic will explore appli- useful strategies for choir directors at cations of World Music Pedagogy all levels who aim to teach a diverse

20202 ACDA Central/North Central Region Conference HHonoronor CChoirhoir CConductorsonductors

The Central-North Central ACDA Conference will education organization conferences and has appeared host four honors choirs. In addition, Lynne Gackle will as an honor choir guest conductor for multiple ACDA work with collegiate ACDA attendees in the C-NC Col- regional and national conferences, OAKE national con- legiate Repertoire Choir. ferences, all-state choirs, and in international settings.

Elementary Honor Choir Middle Level Mixed Angela Broeker was recently hired at Western Washington University, where Tim Fredstrom is professor of choral mu- she conducts three choirs and teaches sic education at Illinois State University, undergraduate courses in choral meth- where he teaches music education cours- ods. Before this appointment she was es, conducting, and conducts the Illinois director of choral activities at the Uni- State University Men’s Glee. He serves as versity of St. Thomas for twenty years. Broeker presents conductor of several community choirs, for numerous national, regional, and state choral/music including assistant conductor of the Peoria Bach Festi-

32 CHORAL JOURNAL January 2020 Volume 60 Number 6 March 4-7, 2020 Milwaukee, Wisconsin Interest Sessions val Chorus. Fredstrom has conducted numerous Illinois gan, Ann Arbor. He is the winner of the 2013 National MEA festival choruses and is a frequent choral clinician, Student Conducting Competition. He has conducted adjudicator, and workshop presenter. He holds degrees the University of Michigan Chamber Choir, the Univer- in vocal performance from Nebraska Wesleyan Uni- sity of Michigan Men’s Glee Club, and the Manhattan versity and the University of Nebraska and a Ph.D. in Chorale—a professional ensemble of New York City. curriculum and instruction from the University of Ne- Rideout has served First Unitarian Universalist Congre- braska. gation of Ann Arbor as director of music since August 2007. Carol Krueger is an active conductor, clinician, and author. She has conducted festivals and honor choirs in eighteen states and presented interest sessions/ High School TTBB workshops in twenty-six states. Oxford University Press publishes her book, Jessica Nápoles is interim chair of con- Progressive Sight Singing, which is now in its third edition. ducting and ensembles division at the Krueger formerly served as director of choral activities University of North Texas. She is an at Valdosta State University, Emporia State University, associate professor of choral music ed- and Florida Southern State University. She received a ucation and conductor of the Concert bachelor’s from the University of Wisconsin-Oshkosh Choir. A native of Florida with a Cu- and advanced degrees from the University of Miami. ban-American background, Napoles taught in the public schools of Miami and Orlando, FL. She received three degrees in music education from the Florida State Uni- versity. Nápoles is an active conductor, clinician, and ad- High School SSAA judicator, and has conducted all-state and honor choirs in twelve states and the ACDA Southern and Western Glen Thomas Rideout is a native of Bal- regions. timore. He holds a bachelor’s degree in Honor Choir Conductors voice from Vanderbilt University, and a master’s and a doctoral degree in conducting from the University of Michi-

Central/North Central Region Conference Exhibits and App Advertising

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CHORAL JOURNAL January 2020 Volume 60 Number 6 33