Amy Blosser, Editor [email protected]

is typically a spiritual in a major key with a of African descent around the world. Black EEthnicthnic & MulticulturalMulticultural bright tempo. Small male vocal ensembles music can be in any style or genre and can historically performed “jubilees” as part of include vernacular music or music of the PPerspectiveserspectives a touring southern college choir’s program concert hall. The CBMR engages in research, Sharon Davis Gratto, to provide contrast to the program’s usual education, outreach, and publishing and National R&S Chair heavy classical content. Morris shared two sponsors programs of music contained in other arrangements: Just Jesus (GIA G-7766) its holdings. The library, archives, and per- and a selection from Trinity: 3 Choral Medita- formances are all open to the public and tions Based on Gospel Songs (GIA-6567), can serve as wonderful resources for choral both for SATB choir. GIA has an extensive composers, researchers, and conductors. series of choral music by African-American (Reverberation – Center for Black Music The Center For Black Music Research: composers. Morris also distributed a copy of Research brochure). Invaluable Choral Resource his own spiritual, This Joy I Have, is included Additional information is available on the in Spirituals for Upper Voices in italics, pub- CBMR Web site at www.colum.edu/cbmr. One of the highlights of the Ethnic and lished in 2011 by Oxford University Press As a group of ACDA conference attendees Multicultural R&S area at the 2011 ACDA and edited by Rosephanye and William C. learned when they toured the Center for National Conference in Chicago was the in- Powell. Other arrangers in the collection Black Music Research in Chicago, the staff is terest session presentation of the resources are Eurydice V. Osterman, Byron J. Smith, gracious and eager to provide assistance to at the Center for Black Music Research Mark Butler, Evelyn Simpson-Currenton, choral directors everywhere. (CBMR) at Columbia College, located on Barbara W. Baker, Lela Anderson, Damon H. Michigan Avenue just a short distance from Dandridge, David Morrow, and Jacqueline Additional Note: In an earlier article for the conference hotel. Suzanne Flandreau, Hairston. the Choral Journal in which Ethnic and Mul- long-time CBMR head librarian and archivist, Marvin Curtis introduced his Hymn of ticultural resources were listed, the author was the featured guest presenter. CBMR’s Consecration for SATB choir, piano, and trum- omitted references to the following two deputy director Morris Phibbs and African- pet. Commissioned by Roland Carter for important Choral Journal articles by Anthony American composers and arrangers Marvin the 1994 Hampton Ministers Conference Palmer that may be of interest: Curtis and Robert Leigh Morris joined Flan- Choir and Organist Guild, it is published by ♭ dreau in this presentation. Curtis is dean of GIA (G-6339) and includes the B trumpet the Ernestine M. Rachlin School of the Arts part. The piece is especially appropriate for at Indiana University, South Bend. a festive occasion. The interest session included readings Samuel A. Floyd, Jr. founded the CBMR in CHOIR ROBES of several new choral arrangements. Morris 1983 because of an identifi ed need for an EXPERT $ 95 Phibbs shared an unreleased transcription of integrated approach to the study of Black TAILORING 35 &UP Hic est Michael Archangelus, a 1551 motet by music. The CBMR mission is to document, Finest fabrics including permanent press and wash & wear. Superior the sixteenth-century Afro-Portuguese com- collect, preserve, and disseminate informa- quality. Free color catalog and poser and music theorist Vicente Lusitano. tion about Black music in all parts of the fabric swatches on request. Phibbs is working on a complete edition of world and to promote an understanding GUARANTEED SATISFACTION Lusitano’s works. of the common roots of the music, musi- Call Toll Free: 1-800-826-8612 Robert Morris led attendees through a cians, and composers of the global African reading of his new SATB arrangement of diaspora. CBMR differentiates operationally Good News, the Chariot’s Comin’, published between African-American music, with its www.rcgown.com by Hidden Gems Music (HGM 069). Good roots in the Black experience in the United P.O. Box 8988-CJ Jacksonville, FL 32211 News … is classifi ed as a “jubilee,” which States, and Black music composed by people

CHORAL JOURNAL Volume 52 Number 4 43 Palmer, Anthony J. Choral Music In Japan: A Palmer, Anthony J. Ethnic Musics in Choral The December 1999 article was one of Hybrid Art. December 1994. Performance: A Perspective on Problems. Vol. the fi rst to have sound tracks available from 40, No. 5, December 1999. the Choral Journal to better illustrate the examples which Palmer discussed.

MusicMusic inin WorshipWorship Terre Johnson, National R&S Chair

Molecular Music

The great works of J. S. Bach stand as monuments among the choral/orchestral repertoire. Their genius transcends the defi - nitions of sectarian sacredness, making them revered among singers, players, conductors, theorists, historians, and audiences of many religious or non-religious persuasions. They are expressive beyond the boundaries of Baroque style, and use simple musical tools MUSIC AND PERFORMING ARTS PROFESSIONS to depict profound human thought. Bach’s David Elliott, Director for Music Education extraordinary St. Matthew Passion gives a vivid example of the composer’s highest Kodály Summer Institute | July 2-20, 2012 accomplishment, and has demonstrated compositional techniques from which al- Three-Week Certification Program in New York City most three centuries of composers have Endorsed by the Organization of American Kodály Educators learned. The effort to perform it is intense and satisfying. Experience the teaching and learning of music using Kodály methodology. Studies Bach’s genius includes the ability to in voice, solfège, traditional song materials and research, choral performance, choral express the appropriate emotion or mood conducting, and recorder. Levels 1, 2, and 3. with minimal musical resources. Frequently, Special one-week workshops (July 9-13): the orchestra or singers in the work have the 1. Kodály Curriculum: Developing Ideas and Applications opportunity to tell the story of the Last Sup- 2. Solfège Seminar: Renewing the Ear per, the betrayal, the trial, and the crucifi xion of Christ using melody, harmony, or rhythm Noncredit tuition: $1,250; credit tuition: 3 graduate credits at $1,314 per credit plus fees. Low-cost NYU residence hall accommodations available. that give the listener a picture so vivid that the familiar story comes to life in a new way. Application deadlines: The structure of the piece includes the tell- February 1, April 1, and June 1. ing of the story from the scripture and the Applications accepted after the June deadline until spaces are filled. commentary on the story from other texts. In both cases, Bach is singularly masterful. Visit www.steinhardt.nyu.edu/2012kodaly, email [email protected], or call 212 998 5424. One of the most interesting tools applied to the task by Bach is his masterful use of the distance between two notes. The interval between pitches is the molecular level of a

NEW YORK UNIVERSITY IS AN AFFIRMATIVE ACTION/EQUAL OPPORTUNITY INSTITUTION. musical organism. When sound begins to move through time, it must be determined

44 CHORAL JOURNAL Volume 52 Number 7