MAY -JUNE 1968 T E

Official Publication of the AMERICAN CHORAL DIRECTORS ASSOCIATION

FIRST ROW SECOND ROW Sally Ross, Harriet Steinbaum, Melinda Cummings, Mrs. Mildred Andrews; accompanist; Dr. F. Wil­ Karen Balkin, Kathryn Miller, Ellen Zucker, Patricia lard Robinson, Principal of Beverly Hills High Cummings, Joanne Hall, lynne Levinson, Carole School; Terry Wolff, Ronald Burger, Geoff Shlaes, White, Melissa Moss, and Janet Harris. Mrs. Rena Brian Bingham, David Loew; Joel Pressman, Henry Hubbard, Assistant Director, and Robert Holmes, Kahn, Barry Pyne, Dwight Holmes, Michael Kan­ Director, are in front holding the banner. tor, and Neal Spiegel. vent with numerical superiority and fi­ ic, festival, or meeting by which more d)1UUH tIt,e ------1 nancial strength to speak as the choral choral directors will become aware of voice of this country an'd still maintain the aims, purposes and value of ACDA. our 'dues at the present level of $6.00 a This issue carries the first Dues No­ Executive Secretary's year the need to double our membership tice for the 1968-69 fiscal year. Although this coming year was expressed by Pres­ July 1 is the first day of that year, many '------:Jluk ident Decker and the National, Divisional of you win be away on vacation or at While it. fs impossible to report in de­ and ,State officers. A renewed plea was summer school and it is the hope of the tail on all meetings of the National issued that each ACDA member make it executive committee that you will help Board, the Executive Committee, the Di­ his personal obligation to bring in one both the organization and yourself by vision and state Chairmen and open new member this fall to swell the ranks paying your dues now before the end of sessions, several important plans and of ACDA to help us through this coming the current school year. Your early ;pay­ needs for the future were discussed with year unUl dues are adjusted to cover ment will help our office maintain staff directives to initiate means of accomplish­ rising costs of all' services we must em­ and operations through the summer ing them as soon as practicable. Com­ ploy. Many State Chairmen were signalled months untH the payments following the mittee reports were given, some of for the spectacular growth during the Se'cond ,dues notice in September {)ome in which appear in this issue and others past two years' in their states and it is to keep the organization going. If you which will follow in coming issues. The hoped that each of the 50 states will not plan to become a Life Member, do so need for a completed ACDA Handbook only boast an, increased mempership this now since this is the last year you may was stressed and, in an effort to get it coming year but hold at least one ACDA do so at the $100 fee. Happy summer into the hands of Division and State sponsored event: workshop, reading clin- holidays, but :send your check first! t·: Chairmen as soon as possible, officers are at work revising each section which will be forwarded to appropriate chair­ men as it is completed. Utilizing a loose­ leaf format, further revisions and addi­ tions will be readily made. From With the need for commissioned ar­ ticles for The ,Choral Journal, mono­ graphs, lists of ,choral literature, and other informative materials for the mem~ bership, more secretarial help, time for processing members and requests, and a desire to raise the Executive Secretary's Throo Ouf!!fanding go rio!! of thora!!! salary to that of a full time position there was unanimous agreement that an­ (Originals - Arrangements - Editions) nual dues for ACDA must be raised. While it was felt this should be done im­ mediately, the necessity for {)omplete in­ Edited by formation to all members, Constitution DR. LEE KJELSON and bylaws changes whioh m,ust be rati­ fied by the entire membership to allow Chairman, Music Education any chan'ge in fees made it impos­ University of Miami (Fla.) sible to act soon enough for the current year. Since all changes must be voted on prior to any alteration in dues, com­ pletely new brochures and appli'cation • MUSIC FOR YOUNG CHOIRS forms as well as dues notice cards would then have to be printed. Because results 40 Selections for S.A. or T.B. with of such a ballot could not be determined in time to be effective this year, it was optional third voice the considered judgment of the Execu­ 15 Selections for S.A.T.B. written tive Board that such action should be given sufficient time and publicity to al­ especially for Junior High voices low all members the opportunity to ex­ press themselves. Further support for State Chapters was discussed. Under proposed budget chang­ • MUSIC FOR ADVANCING CHOIRS es funds available for states win be S.A.T.B. arrangements - including doubled. When a state becomes an ap­ proved affiliate chapter and its officers the music of Gasparini, Hassler, take over collection of all dues it will be Vivaldi, Palestrina, Faure, Gibbons, in line for additional se'cretarial funds. This and other plans will be discussed Brahms, Croce, Mendelssohn, Praetorius at the Executive Board's annual meeting Ravenscroft and Billings at Tampa in July. Discussion of student chapters and ACDA merit awards for outstanding choral students at the high school and • THE LEE KJELSON CHORAL SERIES college level led to the formation of a committee to explore the possibility of This series (S.S.A. and S.A.T.B.) an award for high schOOl, college and community as well as a committee on features music of various modern idioms student chapters. Library subscriptions to The Choral Journal were stressed as well as Institutional memberships in All copies - 25c each ACDA. Membership in the National Mu­ sic Council was continued. ACDA will co-sponsor an International Choral Con­ F or a, represelltafh1c selectiOIl of ductors Symposium in conjunction with the Institute of European Studies of Vi­ COMPLIMENTARY samplc copics ~l'rite fa; enna, Austria, this coming year and President Decker spoke to the member­ ship on the possibility of a World Cantat in the near future with ACDA as one of the leading sponsors. BELWIN INC. -- Rockville Center, N.Y. 11571 In order t.o keep the organization sol-

MAY-JUNE 1968 1 BEVERLY HILLS, CALIF., MADRIGAL SINGERS WIN READER'S DIGEST AWARD The Beverly Hills Madrigal Singers, under the direction of Robert Holmes, pictured on the front 'cover won a Read­ er's Digest National Award for a Sister City Project. This was a cooperative ef­ fort between the Music and Foreign Lan­ guage Dep'artments of Beverly Hills High School channeling their efforts through the Sister City Association. The Sister City Program, which was initiated by former President Eisenhow­ er, is a project to develop greater politi­ cal and cultural understanding between the cities and nations of the world. Beverly Hills, California and Acapulco, Mexico, began their cultural exchange during the summer of 1966. 'Since then there have been exchanges between the two cities wh~c:h included exchange of language students, art exhibits between the two cities, and the concert tour of the Madrigal Singers to Acapulco during Ma.yof 1967. The Madrigal Singers were official guests of the city of Acapulco for six memorable days. Concerts were given in the major hotels and theaters, the E.Je­ ALFRED HOLDS FOURTH At Alfred Festival, left to right: mentary and Intermediate Federal Virginia Mitchell, Alfred Tech Choir; Schools and before civic organizations. SUCCESSFUL FESTIVAL Dr. Ger:ald Mack, Hartford; Jack Pe'l'haps the most memorable 'concert Boyd, Iowa City, Ia.; Anthony C. for reaching every strata of Acapulco WITH FORTY-SEVEN CHOIRS Cappadonia, Alfred; R. "Vayne society were those performed in the his­ Hugoboom, Tampa, Fla. toric Soledad Cathedral and in the adja­ The state University Agricultural and ·cent Zocalo, the town square. These con­ Technical College at Alfred held its certs were followed by a significant per­ fourth annual Choral Festival on Friday ments for each choir, and transportation. formance of the "Misa Criolla" in the and Saturday. May 3-4, 1968. .one {if the most important aspects of Playa Hornos Theater, where a capacity The weekend of choral performance3 stUdent organization ·centers in the stu­ audience responded enthusiastically to and adjudication attracted 47 ;high school dent guide' program. Two guides (a girl to this very moving folk-mass by the Ar­ and college choirs. Over 3,000 singers and a boy) from the Alfred 'State Col­ gentinian composer, Ariel Rami·rez. The participated in the program. lege Concert Choir are assigned to a host mass was sung in Spanish with the sing­ The three adjudictaors for the event choir. The guides are responsible for the e'rs playing native instruments to pro­ included R. Wayne Hugoboom, editor of choir during the entire day and evening. vide the accompaniment. The Choral Journal; Jack Boyd, Univer­ This approach insures an orderly suc­ The warm feeling of friendship ex­ sity of Iowa; and Dr. Gerald Mack, cession of choirs 'on stage with no time perienced by each individual from both Hartt School of Music, University of loss in the total schedule. Every Alfred countries, and the lasting impression of Hartford, Conn. Tech choir student is involved in the dedicated youth from the United States Workshops for choral directors were festival with a definite planned assign­ made this exchange more than worth­ scheduled at noon and evening on both menlo while from every point of view. days. Prof. Boyd discussed chamber mu­ sic; David Riley, high school coordinator, discussed the cambiata voice and pre­ sented demonstrations of the changing voice with junior high school students. Dr. Mack and Mr. Hugoboom discussed rehearsal procedures, conducting prac­ CONTEMPORARY CHORAL WORKS tices and choral techniques. New octavos music was presented to choral directors LORD OF LYFE - Ludwig Lenel THE CHRISTMAS STORY and a reading session followed. - Hugo Distler The adjudication technique used is Four Songs for mixed chorus. high gaining acceptance at festivals through­ baritone or tenor solo and harp. For unaccompanied choir and soloists. out the country. Through the use of No. 97-4782 $1.80 No. 97-4780 $2.00 stereophonic recording, the choirs were PSALMKONZERT taped during performance on channel MAY GOD BESTOW ON US HIS one and, simultaneously, the adjudicators - Heinz W. Zimmermann GRACE - Richard Hillert recorded their comments on channel two. For five-part mixed choir, unison No ratings were involved. For fifteen choir. baritone. three trumpets. For Q1ixed choir, three trumpets. and minutes after the adjudication, Dr. Mack, vibraphone. and string bass. two trombones. Mr. Hugoboom or Prof. Boyd rehearsed No. 97-4746 $ .85 the choral group adjudicated. Listeners Score. No. 97-4854 $2.50 present were able to liste·n to the clini­ THE BEATITUDES - Jan Bender cian's commentaries during ·rehearsal MAGNIFICAT - Harald Rohlig since a collar microphone amplified them. For two-part treble choir. oboe, For mixed choi r. two flutes. two The organizational plan of the choral viola. organ. and cello ad lib. trumpets, and organ. festival includes the· head student co­ No. 97-4742 $ .85 No. 97-6436 $2.75 ordinator (choir president) and two gen­ eral co-chairmen who branch out in two general areas: Organization of choral performances (scheduling, performance time, publicity, program, dining, housing, (9ncordia entertainments, invitations). The second l'l.rea is termed external relations which MUSIC include properties, student guide assign- 1Id'...... ,."..-."",..""CONCORDIA PUBLISHING HOUSE. ST. lOUIS. MO. 63118 ...... """""'- __

2 THE CHORAL JOURNAL .;.l,:~,i~'... ;., ..•. ·.~'; .';'," ';i'H>"'-" ,;',/ 'i:::,j '.:-:-:-.:.'.',~,.:,- ..;;.',!:.>, -~'~:-::':~ i -','}i:>:i' -':-,·,,2d'L"J

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' ',', - ._. - :..:: ....'... '.{ .•.. ,:.,ii .•. :;;; !d>', * l :"';THER,ON KIRK.': ...... \'" ~;;;).Sa~·M~i111lo:Colle~;;i·:i ;•... ·.1 :,.:,.·San .l'..ntomo," Texas 78212.:. . " "'1 [~'~~;~;l~-~~i~su~"' , Official Publication of the American Choral Directors Association li, HARVEY E. MAIER '. ',j I •U:ofSo~thernMississippi .' j ACDA AFFILIATED ORGANIZATIONS t, ,:Hattiesburg, Mississippi39401. i TEXAS CHORAL DIRECTORS ASSOCIATION, C. M. Shearer, Secretary-Treas­ ,~ I.1- , ~, ; . _ -- ' , I urer, 1'. O. Box 3428, McAllen, Texas 7850 I ,f'ro'DOARD .'OF DIRECTORS . SOUTHERN CALIFORNIA VOCAL ASSOCIATION, Willard Schmitt, President l .E:rccliti7JcSecre/ary., 'Edi/Dr, .. Tlte Cltora! JDllrlla! Copyright @ 1968 by the American Choral Directors Association ,.R. WAYNE HUGOBOOM P. O. Box17736 ". "'·.Tampa,. Florida 33612 R. WAYNE HUGOBOOM, Managing Editor VOL. VIII, NO. 5 ~:i:-E~i~~'i---Division \ ;- I:,' . ': MARYE:ENGLISH . StilteUniversity College : ',' Potsdam; New 'York 13676 1 ; ifDrl;, Ce.ilralm,JjsiDn I [ ; R. BYRON GRIEST 1 Washington High School MAY -JUNE 1968 '. Massillon, Ohio 44646' J ',_ ili1rt"w~ster;;: -'Divisicn'z, , >ROBER'r E~ ROBINS . . . . i ':RoseburgSenior HigJi School' 'j On Conducting the Bach Magnificat - Martin R. Rice...... 12 i" Roseburg, ·Oregon. 97470' "j 14 l >Sou~I~~; ,-pj~'~'~n :,: .',-/::/:';r:":: -; ~ Resolution - Choral Editing Standards Committee ...... I ,RICHARD G.cbx ,.C '.jl New Sounds in the Church - Claude Zetty ...... 15 ·Utiiver~ityor.N6rth Cirolina '\ : . ·Greensb.oro/N.C., 27412 ': I Choral Programming in Minnesota - Charles G. Boody ...... 17 f:SD"til~esle;,,;D;7JiSi~.i>'·•• '.· .] Expel' '67 - Jaklin BOltOl~ Stopp ...... 20 j'GEORGE'E:UMBERSON' '. :,;'.'.1 East~rn N~~Mexicopniver~itY '.' Some Comments on Rhythm - Howard Skinner...... 22 'Porta1es,.Ne\v Me:.cfc088130 .. ·,,; ." Tone Quality, a Pragmatic. Approach for High School Choirs - R. Cedric Coll1ess 27 ,'; \W~~i~r~:i ,'bl~'~':}',~,' ':~: :::::;~'::)~~,"::~~\:.:: ,!. ~ <;r1::{ \K.' GENE SIMMONDS,. '. , oi·RioHo~doJuniOl'Col!eg~ 1,]1 i .' Whittier; California 906(}2' short Executive Secretary, 1; Alfred Holds Fourth Festival, Beverly Hills Mad- ?I!,,;l.sl~yA~;~cjale~e"~~slJ.~cili7J~ "'j rigal Singers Win Reader's Digest Award, 2; President's Message, 4; ;~.A~i..:t~;C~Y... .', "j' subJoects Compilation and Tabulation of ACDA Questionnaire, 5; St. .Tohn's Uni- . cNe\v.York,N.;;Y;. 100.17,: :;'i,' ° • versity Men's Chorus, 6; Have You Read the Ads?, 7; North Central ;. Rep;;lis~,ilai;7J;-di::itirge y ... ".• :.;,.,' '.J Iowa District of ACDA Reports Activities, ACDA-FVA Plan Choral Work­ .. :HELEN.LOUISEGRAvES;' "J shop, 8; St. Paul, Minn. Choir, NATS Establishes Headquarters, 9; Liberty, Missouri Choir, Northeast Louisiana Chorus Festival, Choral ~~~irl'l:,uJl~g~;;",~Ui~;~~~~o~s; ".~l Tape Library, 10; Hugh T. Rangeler, Director of Lincoln Boys Choir Wins , ; St.Louis, ,Missour\ 6~10Q ; '. '.' ''..d Kiwanis Medal, Third Choral-Orchestral Concert, 11; Workshop and r.• r·','·, ·1 Clinic at ISU, 13; Augsburg to Sponsor Three Church Clinics, 17; ACDA of Ohio to Hold Summer Clinic, 21; U. of Iowa Choir Tours Yucatan, 25; Lauren B. Sykes Honored, 26; Choral ReViews, 29; Chamber ChOir, rCH~~;~{:i:L~7s~=S:BOOk):;j Record of the Month, 32; Book Review, Record Exchange, Ad Index, C3. ·.~JACKBOYD" (ChOr~I ... ~semble).'J ." BOBBURROUG:HS.·(Cho~al);..",:,. ····.·.·.·<.y·l i~ Ai C.CAPPADONIA(Record).:) ; ...tAFT.R .. L.LJ'LNDERS(C~oV~i;'l PUBLICATIONS COMMITTEE: Alfred R. Sk

••••••••••••••••••••••••••••• All communications regarding The Choral Journal should be addressed to The Editor, P. O. Box 17736, Tampa, Florida 33612. Phones: (BI3) 935-93BI; ACDA - Choral Journal 932-44B4 (if no answer at other number)

Copyright 1968 by The American Choral Directors ASSOCiation, P. O. Box 17736, Tampa, Florida 33612. Issued 6 times yearly: Sept.-Oct., Nov.-Dec., Jan.-Feb., lIIar.-Aprll, May-June, July-Aug. Subscriptions to Institutions Only. Rates: $3.00 a year; Mexico and Canada, $3.50; For­ eign, $4.00; Group Subscription (5 or more copies to one address) $1.50 each per year; Single Copy, 60c. Second Class postage paid at Tar­ pon Springs, Fla. Publication Office: (Do not return mail to. or communicate with this office) Route 1, Box 365A, Tarpon Springs, Fla. 33589

MAY-dUNE 1968 8 Preslflent's Messflge

This is my last opportunity to express myself here in meeting that I have attended. I hope that we can continue the "President's Greetings" space, so I do want to thank all to work closely with MENC leaders but if not, we may need members of ACDA who have and are contributing time and to set up our own arrangements independent of their plan­ effort to the development of our organization. Especially do ning. It is not difficult to obtain a hotel center for such I want to thank you for the opportunity of being your pres­ meetings and I recommend that our Divisional Chairmen ident. My very best wishes and support go out to our new proceed with such action if need be. preSident-elect, Theron Kirk, and our newly elected board In the very near future all ACDA officers, including members, Charles Hirt and Mary English. With such out­ State and Divisional Chairmen, the Executive Board, and standing leadership, ACDA will climb to great heights in the all members who take responsibility for organizing Reading years to come and I am certain that all of the support of Sessions and Choral Clinics, will have a work manual made our 3,100 members is behind them. available to them. This manual has been compiled by former We have recently experienced a thrilling convention President J. Clark Rhodes and Treasurer Harvey Maier, where ACDA and MENC worked hand in hand to bring to with suggestions and final approval by the Executive Board. choral conductors the most recent developments in our field. The purpose is to clarify the duties of each officer and to This was attended not only by ACDA members but also by offer suggestions for sponsoring ACDA activities at both literally hundreds of MENC members who made a special the state and national levels. Copies of the Constitution are effort to come early to the conference. Weare very proud also obtainable with an easy reference index provided. to be able to influence other music educators who may not Receritly you received a notice from the Chicago office be "full-time" choral conductors and feel that the cooperation of the Institute of European Studies which announced the with MENC in helping to select outstanding and meaningful forthcoming symposium on "Music in the Classical Viennese choral programs for their meetings is in line with our ob­ Tradition" to be held August 17 through September 4, 1969, jectives. in Krems, Austria. More information concerning details will Recently we have been informed that one of our leading be provided in the September issue of The Choral Journal. MENC Divisions wishes to abandon pre-convention sessions. From the response I have had already, there is considerable in 1969 so that all ACDA meetings must be held within the interest in this project and there may need to be some lim­ context of the Divisional meetings. Let me remind ACDA itation in numbers. If you are seriously considering the pos­ representatives who may attend such "planning" sessions sibility of attending, I recommend an early payment of the that this type of meeting has already been attempted withmtt reservation fee. success. To be specific, at the NorthCentral conference in My best regards to you all both for the coming summer Detroit, the overwhelming consensus of those who attended and for your future in choral music. was that a day of ACDA meetings was essential. The most serious objection was that of unavoidable conflicts, no matter how good were the intentions of those who were responsible for planning. If we are to continue as a vital organization we must insist on one day for ACDA at Divisional conventions and two days at the National. This has been the unanimous agreement of our membership at every ACDA divisional

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AGO STARTS PLACEMENT SERVICE service will be operated by the Colorado Massachusetts and July 1-5 at the Alms Department of Employment where ap­ Hotel at Cincinnati. An idea conceived 50 years ago for plications and vacancies will be main­ professional service to members of the tained throug.hout the year. American Guild of Organists will be The Mid Atlantic Music and Arts Cen­ made operable at the 1968 national con­ ter in the Poconos, Mountainhome, Pa. vention in Denver when a convention Summer workshops this year presented will hold it's annual music festival June Placement Bureau will operate during the by the World Library of Sacred Music of 23 through August 4 with work in music, meeting July 1 throug.h 6. There will be Cincinnati, Ohio are being presented art and dance. Music includes all instru­ no charge for the service and members June 10-1 at Hyatt Lodge, Belleville, Illi­ ments, keyboard, vocal, theory, orchestra, need not be present to make use of the nois, June 17-21 at Aquinas College, band and chorus. L. P. Harris, 129 Penn service. Providing a clearing house for Grand Rapids, Michigan; June 24-28 at St., Reading, Pa. 19601 is Business Ma~­ positions in schools and churches, the Assumption Prep School, Worcester, ager.

4 THE CHORAL JOURNAL Compilation and Tahulation of ACOA Quegtionnaire

The following is a compilation of the a. The average number of semester quirements. ACDA questionnaIre printed in the No­ hours required was 11.6 hrs. 2. Suggestions for improvement in vember~December issue of The Choral b. 6 indicated they had no private this area were as follows: Journal. The questionnaire was compiled voice lessons at all. a. More emphasis in analyzing choral on the basis of undergraduate experience 2. Was your voice training adequate? and not just "instrumental" composi­ only. The total number of responses to Yes ...... 63 tions. the questionnaire was 104, representing No ...... 41 b. Combine theoretical study with 31 states. 3. Suggestions for improvement as practical application. well as the criticism of. present study c. Relate theory to style and perform­ 1. Undergraduate degrees he 1 d by were combined into the following state­ al'lcepractices. those responding were: ments according to the response: Bachelor of Music ...... 28 a. More vocal pedagogy methods F. Sight-singing and Ear-training Bachelor of Music Ed...... 22 b. Voice seminars emphasizing vocal 1. The average number of hours in Bachelor of Science ...... 20 problems of singers. this area was 2.5. Bachelor of Arts ...... 33 c. One course in ..·the adolescent voice" B.. 40 indicated it was offered as a Not stated ...... 1 d. More classes on vocal repertoire separate course 2. Major positions currently held by and performance practices b. 64 said it was incorporated and those responding were as follows: combined with Theory College ...... 32 C. Foreign Language 2. Of those who responded to question High School...... 54 1. The number of hours taken by number 2, 57 answered that their sight­ Music Supervisors ...... 14 those ,persons answering the question­ reading had improved as a result of their Ministers of Music ...... 4 naire 'ranged from 0 to 25 :hours. The av­ course work, While 25 indicated no im­ 3. Every ty.pe of choral organization erage number of hours taken was 7.2 hrs. provement. was conducted by those answering, a. 59 .had taken some hours in for­ 3. Criticism and suggestions for im- therefore no attempt was made to com­ eign language while 45 had taken none ·provement, indicated the following: pile the total number or types of groups at all.- 35 recommended a separate course directed. 2. The overwhelming majority 0 f 20 recommended this study. should be done in an "ensemble" situation A. Piano preparation teachers felt that foreign language was necessary as indicated by the results: 8 recommended that this study re­ 1. Did you have adequate piano pre­ Yes ...... 91 main combined with Theory paration prior to entering college? No ...... 13 3 recommended that sight reading be Yes ...... 54 3. Recommendations for improvement done in all clefs. No ...... 50 in the foreign language a:rea were: 2. Were you required to take a .piano a. Courses in foreign language pro­ Respectfully submitted proficiency exam on entering your un­ nunciation for Singers and choral ma- Morris D. Hayes, Chairman dergraduate music degree program? jors. Yes ...... 38 'Commitee on Colleges b. A course in foreign musical te·r­ and Universities :-: No ...... 66 ·minology a. Of the 38 who answered yes, 10 c. Foreign languages should 'be a re­ said the test standards were high, 21 quirement and 'not an elective. Premiere performance of a ·new work, said they were medium and 7 indicated "Venite" by Rhilip Westin, a 40-minute they were elementary. D. Conducting composition for chorus, symphony or­ 3. In ,reference to piano instruction, chestra, soprano and mezzo-soprano solo­ 73 felt their piano training was not 1. There was considerable discrepancy ists, will be given at the University of geared toward the needs of a choral di­ in the answers on total .number of hours Southern California on May 15 at 8 p.m. rector while 30 answered in the affirm­ !required in condUcting. The average num­ in Bovard Auditorium. It will be pe·r­ ative. I indicated .no private piano train­ ber of -required hours was 5.1 which formed by the USC Concert Choir and ing at all. seemed high. It is suspected that cer­ Symphony Orchestra with Prof. Ingolf a. Reasons given by those who felt tain "quarter hours" were not changed Dahl as guest conductor. Westin, a double their piano training was inadequate to "semester hours" by some persons major in church music and composition were: who responded to the question. 3 indi­ in the USC School of Music, chose the (1) Too much emphasis on recital cated that they had no required con· opening canticle from the Anglican Ser­ and performance. ducting course. vice of Morning Prayer for his text. The (2) Lack of emphasis on accom- a. In response as to whether their "Venite" consists primarily of the 95th panying. conducting was adequate: Psalm. (3) Lack of training in developing Yes ...... 40 a facility to sight read open scores. No ...... 61 b. The general consensus for im­ b. Did you have any opportunity to provement in piano training for choral conduct "live .music groups?" oriented students was: Yes ...... 13 (1) Teach open score reading (43 No ...... 56 SUMMER MUSIC CAMP polled made this !request) 2. ISuggestions for improvement in the (2) Emphasize accompanying and its choral conducting area were as follows: NORTHERN MICHIGAN UNIVERSITY relation to both large and small vo­ a. More opportunities to conduct live cal ensemble (39 made this request) musical organizations Marquette, Michigan (3) Emphasize sight reading (27 b. Recommend college juniors and se­ made this request) niors seek out church musical pOSitions August 11 - 17, 1968 (4) Teach simple chording proced­ c. Develop choral conducting appren­ ures. (19 made this request) ticeships with experienced and well BAND - CHORUS - STRINGS (5) Other suggestions were: respected choral directors. BATON TWIRLING - DRUM MAJORING d. A course in combined instrumental (a) More emphasis on improvisa­ Choral Conductor: Dr. James McKelvey tion and vocal conducting techniques (31) (·b) A special piano course for e. Divide laboratory choruses into Guest Band Conductor: Dr. William Revelli, choral students smaller chamber 'groups in order to University of Michigan (c) Raise piano proficiency re­ offer more opportunities for the stu·· qUirements dent conductor to conduct Fee (includes music, food, housing): $45 (d) More emphasis on transposi­ Inquire: Dr. Harold E. Wright, tion E. Form and Analysis How much form and analysis of vocal Camp Director B. Voice Preparation music scores were you .required to do in ENJOY A "COOL" CAMP EXPERIENCE 1. The total amount in terms of credit your undergraduate study? Social - Educational - Recreational hours requi-red in the applied voice area 1. 76 indicated no instruction in this ranged from 2 to 32 hours of study. area and 25 indicated they had some re-

MAY-JUNE 1968 (; ST. JOHN'S UNIVERSITY MEN'S CHORUS TOUR WEST COAST J/jos I NEW CHORAL RELEASES I CHRIS'fUS By FELIX MENDELSSOHN Arranged and Edited by CHARLES ZIEMER & WALTER RODBY from Mendelssohn's Unfinished Oratorio "Christus" A Passion Cantata for Mixed Voices and Solo Recitative-Tenor or Baritone-with Piano or Organ Accompaniment. $2.00 Write for On Approval Copy

MAYNARD KLEIN Hear Me, Lord - Schubert Lord My Saviour, My Salvation - Schubert Save Us Lord Jesus Bruckner Fr. "Utrecht Te Deum" - Handel Thou Art the King of Glory Holy, Holy, Holy o Lord, In Thee Have I Trusted RALPH WILLIAMS Reflections in Space Come Unto Me, Ye Weary GORDON YOUNG Nonsense Song HAYDN MORGAN Think Thou On Me, 0 Lord Single Complimentary Copies of these and other editions in o'ny catalog sent 0'/1 request. NEIL A. KJOS MUSIC CO. Publishers 525 BUSSE PARK RIDGE, ILL. 60068 Concerts the past season by the st. ,John's Unive,rsity Men's Chorus, College­ ville, Minnesota, under the direction of Gerhard Trruck included a tour of the West Coast with additional concerts in the Wisconsin, Minnesota, North Dakota area. T,rack, who has been director of the Plan to Attend Chorus since 1958 is also director of the st. Jonn's Symphony Orchestra (Central Minnesota Orchestra) and the nO-piece Metropolitan Youth Symphony at Min­ Peter J.Wilhousky's neapolis.

University of Cincinnati College-Con­ servatory of Music Summer School will WORKSHOP IN CHORAL CONDUCTING feature two special programs in addition to a wide selection of regular summer July8-12 session courses. The Music Institute for High School Students, June 17 through in July 20, is for outstanding high school musicians who have completed their sophomore year and are interested in New York City symphonic orchestra, symphonk band, and choral music. Write for detailed brochllre CARL FISCHER, Inc. Dept. 91 62 Cooper Square New York, N. Y. 10003

6 THE CHORAL JOURNAL tion Depa·rtment. For the church direct­ of the Taverner Benedictus as well as or John Ness Beck's Contemporary Music the complete Bach Cantatas being of­ for the Church Service, ($1.25), a series fered in this issue deserve your careful of responses, sentences and calls' to wor­ perusal and attention for suitable ma­ ship deserves your attention. The above terial for the coming year. octavos. are either 25c or 30c per copy. Having checked through these two The September-October issue carries a advertising contributors to The Journal, list of new large choral works. If you take time to go through the other ads know and have performed them all you as well, purely as a search for new ma­ are fortunate; if not make it a point to terials and you'll be surprised to see how get acquainted with at least one or two much of' the material you really missed you haven't used. For Easter materials in the cursory glances given to ads dur­ be sure to re-read their ad in the No­ ing your first reading of The Journal. The search for new choral music is an vember-December issue and· make' it a By saving the issues and going through integral part of the conductor's life; point to check again for something you each company's ads once a year during some prefer to browse a few hours or have neglected in the past. Most of us yotir planning period for the coming days in a music distributor's store, others have done the .schubert Mass in G, year, you will find them far more val­ rely on reading clinics for their source which has become extremely popular the uauble and stimulating in helping you of material. Concerts of other groups, past decade, as well as the Mass in F design your aims and goals for the com­ both amateur and professional, bring to which is particularly suited for the small ing season. to: light works we may wish to perform; church choir. It is now time to check the talking sessions with other directors Mass in C, edited by William Ramsey. prove a valuable means of locating in­ The March-April issue and the present teresting works; choral reviews in this one also carries major works for the and other magazines also often furnish choir: the Marc-Antoine Charpentier clues as to what may prove interesting Venite ad Me, 75c; Colonna Beatus Vir and beneficial to our choirs. One other (Psalm 112) $1.00; Michael Haydn Timete valuable source which we recommend is Dominum, 60c; Sammartini Magnificat Oxford the regular ads placed in The Choral $1.25; and the Schuetz Deutsches Magni­ Journal each issue and which, amazingly, ficat $1.25, as well as the Michael R. Mil­ proved even more interesting when read ler edition of the Haydn Paukenmesse in sequence. Take for example the page and the William Herrmann edition of the ads of G. Schirmer, one of the most re­ Harmoniemesse, Missa Solemnis in B­ spected publishers of choral works. Flat, both $1.50, to mention a few. The new Start with the May-June 1967 issue to Having concentrated on the G. Schirm­ discover a wealth of material for the er catalog for a few minutes, continue mixed choir which you may have neg­ the practice by re-reading the materials Oxford Choral lected. Several Maynard Klein editions: presented in ads by Associ'l.tedMusic 11415 Brausten aIle Berge (Thunder all Publishers. Here you will find contempo­ Catalogue ye mountains); the Croce Cantate Do­ rary works such as the Nystedt De Pro­ mino (11419); the Bruckner Christus fundis, Ulysses Kay Choral Triptych, and Factus Est (11395) as well as several works by Kirke Mechem, Jon Polifrone, German folk songs are listed. The Kyrie Ed Fissinger, Alan Hovhaness, and This brand new edition 0 f the from the Haydn Mass in B-Flat has been Jeanne Weaver Fuller. A wealth of Oxford Choral Catalogue provides edited for SATB (11194) and for SSA Christmas material is listed in the Sep­ a complete alphabetical listing by (11303) by Herrmann; Gabrieli's Magni­ tember-October issue, the Hindemith title of the more than 2,000 sacred ficat (10565) ; Monteverdi's Piagn' e songs for SSA, Pastimes of Youth, and and secular c h 0 r a I publications sospira, edited by Lynn (11403); Men­ the Six Chansons are to be found in available from Oxford University delssohn's My Soul Longeth For Thee by various issues, Jean Berger's Hymns of Press, New York, Toronto, and Pooler (11421) are but a few of the works, Praise, Jeanne Fuller's Exsultati Justi, London. ten of which are available to you by Charles Ives Psalm No. 67; Daniel Pink­ Included are all of the in-print ti­ writing for sample copies to the Educa- ham's The Reproaches and his editing tles from the Oxford London series: Oxfoi'd Anthems Church Mu'sic SOCiety Descant Easy Anthems CHORAL MUSIC of DISTINCTION Euterpe Extended Chorale Folk Song John Playford FOR MEN'S VOICES Oxford Church Music Tudor Church Music Wayne Barlow DIVERSIFY THE ABYSS Oxford Choral Songs (T.T.B.B., with piano) 312-40570 -- for Men - from the Old Masters lyndol Mitchell ST. MARK'S EASTER GOSPEL - for SAB chorus (T.T.B.B., with organ, optional trumpets) 312-40631 - for Two-part singing - for Unison chorus Burrill Phillips THAT TIME MAY CEASE - for Women (T.T.B.B., with piano) 312-40675 - for Mixed chorus Bernard Rogers ...... PSALM EIGHTEEN Each title is graded, and all new (T.T.B.B., with piano) 312-40600 publications and current price in­ William Schuman ...... DEO AC VERITATI formation are included through (T.T.B., a cappella) 342-40015 February 1, 1968.

Available at your local 11111Sic dealer or write: For your copy write to Theodore Presser OXFORD UNIVERSITY PRESS Music Department Company 200 Madison Avenue BRYN MAWR, PENNSYLVANIA 19010 SINCE 1883 New York, N. Y. 10016

MAY-JUNE 1968 7 NORTH CENTRAL IOWA ACDA-fVA Plan Choral DISTRICT Of ACDA Workshop at U. of florida REPORTS ACTIVITIES . The Florida. ACDA and the Florida Vocal Association have joined forces in The North Central Iowa District of cooperation with the Music Department ACDA presented its first annual choral of the University of Florida to provide workshop at Fort Dodge, Iowa, Senior an outstanding choral workshop on Fri­ High School, ;Saturday, Ma;rch 16, 1968. day and Saturday, November 15 and 16. Co-sponsors of the clinic were the Fort The workshop wm take place in the new Dodge Community ,schOOls and Iowa multimillion dollar union building on the Central Community College, with Larry University of Florida Campus, Gaines­ Mitchell and J. Eugene McKinley serv­ ville. This facility also offers housing ing as hosts. for participants in the workshop. The theme for thds year's session was The schedule will start with a luncheon The Chamber Choir. We were fortunate at noon on November 15 and will close to have as our clinician Jack Boyd, edi­ with a major area-wide performance by tor "The Chamber Choir", Tlie Choral the Roger Wagner Chorale on Saturday Journal. evening, November 16. Featured in the Performing groups who appeared on schedule will be valuable 'reading ses­ the clinic sessions were the Humbolt sions, guest choirs selected for demon­ Chamber ,Singers, H .. Milo Hall, director; stration purposes, solo performance, arid Iowa Lakes Community College Mad!I'i­ the studying of a major choral work with gal ISingers, Kenneth Vand Der Sloat Roger Wagner as clinician and conduct­ director; and the Sac City Madrigai or of the directors' ,chorus. An o'pen dis­ Singers, Gordon H. Lamb, director. The cussion is planned with Roger Wagner groups were selected to \I'epresent dif­ Pictured above are L. Kay Ba;rney, Nevada State Chairman for ACDA whose at a ,luncheon on Saturday. ferent sizes of chamber ensembles. Sac The announcement' is being· made at City uumbered 9 members, Iowa Lakes activities cover the southern half of the state and Northel'n area ci:lairman, LaTTY this time, because it is felt that the 15 members, a:nd Humbolt 24. choral workshop will 'be one which The morning activities were opened Hoffman, choral director at Fallon High School, who was recently appointed to would interest a wide variety of directors with a welcome by H. Milo Hall, North who would need to save the dates on Central D'isbrict ACDA Ohairman and cover the northern portion of the state for ACDA. - their calendars. Opportunity will be given Colin Demery, .president, Fort Dodge to make reservations after the first of Area Fine Arts Council. The first ses­ August. The registration fee will be $5.00 sion was a concert by the Sac City Mad­ Clinicians for the Montana State Uni-. versity Choral Workshop June 10-14 are which inclUdes a complimentary ticket rigal Sin'gers. Mr. Boyd followed the con­ to the Roger Wagner Chorale concert on cert with a lecture-demonstration choir. Harold A. Decker, ACDA President, Ujii­ versity of Illinois and Jean Berger, Colo­ Saturday evening. M·r. Boyd presented many technical as­ Questions concerning the choral work­ pects of preparing the chamber choir, rado University. Located at Bozeman, the workshop includes lectures and demon­ shop may be directed to Dr. Donald L. how to select ohamber choir music, per­ Bisdorf, Chairman, Department of Hu­ formance teffimiques,and he opened the strations on choral style. and literature, performing practices, conducting tech­ manities, Clearwater Campus, st. Pe­ door for 'greater understanding of the tersburg Junior College, Clearwater, Fla. nebulous chamber. choir area. niques and the performance of' a major At the noon luneheon a business meet~ choral work. Registration fee is $20. ing was conducted. Those attending re­ Bruce .Brown of the Music Department solved to continue with another clinic is in ,oharge of the workshop. ACDA members join this office in of-· next year. The theme of that clinic will ,fering sincerest condolences' to Dr. Ar­ be of a specific historical period. 'chie N. Jones, University of Missouri at After lunch Mr. Boyd conducted a read­ Be sure to notify us Kansas City, whose wife recently passed away following' a serious illness. An ing session of selected chamber choi.r if you have any literature. The representative selections honorary life member, Arclhie was one had been chosen by ,the clinician and he CHANGE OF ADDRESS pf the founders of the organization. reviewed the merits of each of the works: The. Iowa Lakes Chamber ,singers con­ cluded the workshop with a concert of representative materials. The day's activities were enthusias­ tically received. The theme was very per­ NOW AVAIL BLE tinent in Iowa since ,the chamber choir i.s included for the fi.rst time in' our Spring Contest Series. Jack Boyd de­ livered again one of his. practical,. inform­ A New Program Finale ative, and "hard hitting" presentations. Those present came away with an ample amount of new and useful information.

Festival 68, sponsored by the New Hampshire Music Festival .. Inc., win pre­ sent a series of 8 orchestral concerts, chorus, chamber music, teen, children's con'certs and a week-end festival of new SATB, Aneurin Bodycombe ...... $ .30 music between July 11 and August 15. Center Harbor, home of the festival, will share concerts with Meredith, Wolfeboro BAND ACCOMfANIMENT, Lt. Cdr. Maurice E. ford $9.00 and Tamworth. Thomas Nee is director. * Free condensed band score with SATE available upon request. A new source book on twentieth cen­ tury music will be ,released by Carl Fisch­ er, Inc. when it brings out Anton von Webern, SKETCHES (1926-1945) this summer. Containing 'reproductions from VOLKWEIN BROS., INC. Webern's Sketchbooks I, II and V, the . 117 SANDUSKY STREET / PITTSBURGH, PA. 15212 book has a commentary .by Ernst Krenek 412-322-5100 and foreward by Hans Moldenhauer.

8 THE CHORAL JOURNAL ST. PAUL, MINN. CHOIR 111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 TO SPEND 33 DAYS IN EUROPE NATS Establishes National Headquarters in New York City On June 10, the 65-voice Bethel Col­ Dr. Berton Coffin of the University of Trump, Vice-Presidents; John Thut, Sec­ lege Choir will leave on a 33-day concert Colorado at Boulder, newly elected pres­ retary; Paul Engelstad, Treasurer; ,Had­ tour of Europe. Departure will be from ident of the National Association of ley CraWford, Registrar and Philip Duey, Chicago's O'Hare Airport with a return Teachers of Singing has announced the Past President. The annual dues of the to New York City on July 12. establishment of a NATS National Head­ Association were raised to $12.00, affili­ Included in the tour will 'be such aTeas quarters in the Fisk Building, 250 West ates $9.00. as London, the Shakespeare Country, 57th Street, New York, N.Y. 10019, as of Amsterdam, Copenhagen, Sweden, Nor­ April 1, 1968. Mrs. Dodie Lefebre has The College of New Rochelle Glee Club, way, Germany, Paris, !Switzerland, Brus­ been appointed Executive Secretary of under the direction of Peter J. McCarthy, sels, and Shannon, Ireland. the Association and is, at present, at the won first place in the Sixth Annual The Bethel College Ohoir is diTected by National Office on' a part-time basis. Catholic Women's Glee Club Festival Dr.' Robert Berglund, professor of mu­ Various duties of the Executive Board which was held at the College of Mount sic. Accompanying the choir on the piano members, Regional Governors and Com­ St. Vincent on Sunday, March 24. Ten is C. Edward 'Dhomas, associate profes­ mittee Chairmen are being centralized colleges competed in the festival at sor of music at Bethel. Mr. Thomas will in this office, so that by 1969 when NATS which each glee club sang "Ave MaTia" also present a piano and/or organ reper­ wHI celebrate the 25th year of its found­ by Monteverdi and a free choice selec­ toire as a special segment of the concerts. ing, it will be functioning more efficient­ tion. Second place was awarded to the This is the first concert tour abroad ly. Other officers elected for a two-year Women's Glee Club of St. John's Univer­ thiat the Clhoir has undertaken. In the term at the Annual Convention in Chi­ sity in Jamaica, N.Y. Third ,place' was summer of 1966 the Bethel Male Chorus cago, December 1967 are: Thomas Abbott, won by Mount Saint Mary's College in made a similar trip, presenting concerts Gean Greenwell, Jean Ludanan and Karl Newburgh, N.Y. in Scandinavia, northern Europe, Eng­ land and Ireland. ••••••••••••••••••••••••••••••••••••••• : Kenaor Presents. . . : • • • • • II1II • :• rl:•• : "MUSIC BY AND FOR THE YOUNG GENERATION" : :• KITES ARE FU N by Chris Dedrick :• : MUSIC TO WATCH GIRLS BY : : FOR by Ve'ona G Ramin : :5 AT B• SA B• SS A arranged by TED PETERSEN: :See them at your dealer or send for FREE REFERENCE COPIES ... :

: KENDOR MUSIC, INC .. (Dept. C) Delevan, New York 14042 : ROBERT BERGLUND •••••••••••••••••••••••••••••••••••••••

MAV-JUNE 1968 9 CHORAL TAPE LIBRARY The choral tape library being developed at the University of Florida by Elwood Keister continues to grow and now has approximately five hundred compositions in it. Recent additions include a cross­ card file and note books containing mu­ sic for each tape. The tapes are grouped in categories ranging from Renaissance to Modern and have been constructed from recordings of college, high school, <:hurch, clinic and all-state groups. The library at present is the basis for an ex­ perimenta;l course in choral materials at the University of Florida and will be made available during the summer for use in colleges and choral clinics. Addi­ tional recordings are always ,needed. Any records sent will be promptly returned (if desired) and po,stage paid both ways. Send recordings and suggestions to, El­ wood Keister, c/o Music Department, University of Florida, Gainesville, Fla. 32601.

CHORAL DIRECTORS' CONFERENCE AT WSU-WHITEWATER A Choral Directors' Conference with Dr. Jean Berger as 'guest le'cturer,will LIBERTY, MISSOURI, CHOIR TO MAKE EUROPEAN TOUR be sponsored by the Department of Music of Wisconsin State University at White­ The 36-member William Jewell College Dijon, France, and The Baptist World water, July 1, 2, and 3, 1968. Dr. Berge,r Concert Choir directed by Wesley L. youth Conference at Santander !Semin­ of the College of MusiC, University of ary in Madrid, :Spain. The choir }'I'ill also Forbis, head of the music department at Colorado at Boulder, will conduct three sing over Radio Zurich, Zurich, Switzer­ sessions each day between 2:30 p.m. and Jewell, will sing their way through land and over Radio Spain in Madrid, 5:30 p.m. on the following topics: The Europe, July 2 to July 31. Highlighting Spain. Additional concerts will be given Cantatas of Bach, Choral Sound of Eliz­ their European choral tour will be con­ in Vienna and Salzburg, Austria; Copen­ abethan Madrigals and Motets, and Chor­ cert appearances at Spurgeon's College hagen, Denmark; Amsterdam, Nether­ al Compositions by Jean Berger. Dr. in London, England; The International lands and various cities in Germany and Berger is one of the outstanding, pro­ Society for Music Education meeting in Norway. lific 'composers of choral music in Amer­ ica. His compositions are performed by '111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 choral ensembles tbroughout the world. No registration fees will be charged for Northeast Louisiana Chorus all the works ,performed by the group. this conference, but registration is neces­ In 1964 she was awarded the Woman of sary for planning. Registration deadline Festival Declared a Success the Yea;r medal by the Mid-Hudson Fed­ is June 1, 1968. Housing, meals and re­ erated Women's Club for her contribu­ creation will ,be available on the White­ The All Northeast Louisiana Chorus of tion to the cu.]tural development of Put­ water campus. Robert Lee Jennings, 1968, co-sponsored by ACDA and ~he nam County. Whitewater, Wisconsin 53190 is in charge. Choral Directt!lrs of the Northeast HIgh Schools was presented in concert Satur­ day, March 30, following two days of in­ tense rehearsal at Neville High School at Monroe. Guest conductor for the festival CORINTHIANS ON LOVE by Don McAfee was Dr. Travis Shelton of Southern Methodist University, and minister of mu­ The definitive Biblical statement on Love, made even more meaningful for our sic at the First Presbyterian Church at time in this dramatic new a cappella setting for concert or church. SATB. 45c Dallas. Co-chairmen for the event were Miss CANTICLE by Harold Schramm Nina Harris of Neville High and Miss Aleatory music comes alive in this contemporary composition for voices and op­ Loanne Lay of Wossman High. Mrs. tional instruments. Any group can get with it regardless of skill. An exciting exposure Paula McClung of Winnsboro was chorus to the avaht-garde for all ages. SA TB. 35c accompanist with members of the North­ east Louisiana State College Brass En­ THE LORD'S SUPPER by Bob Burroughs semble accompanying two of the choral A complete choral service designed to make The Communion a more deeply mov­ selections. The Woodwind Quintet from the same school were presented in three ing experience for both the choir and the congregation. SATB. 40c selections during the concert. WRITE FOR SAMPLE COPIES:

The Putnam County Choral Society, with headquarters in Carmel, New York, recently completed its 24th year with performances of the Mozart Requiem, Handel Messiah and the Bach St. Mat­ thew Passion, the latter of which was repeated in Danbury, Connecticut in April. Founder and director of the group A is Ruth Shaffner, who has conducted USIC many major chural works with the group. GrELt Soloist at St. Bartholomew's Church ill 107 CHRISTOPHER ST., NEW YORK, N. Y. New York City for 10 years, Ruth Shaff­ ner has appeared as soprano soloist in

10 THE CHORAL JOURNAL fenton Band and Choir to Tour Europe Fenton High School A Cappella Choir One hundred sixty band and choir is also director at the Community Church Left to right: Fred Lewis, Fenton members from Fenton High School, Ben­ and of the Bensenville Summer Choir High School Music Department senville, Illinois, will tour Austria, Ger­ which performs with the Munici.pal Band. Chairman; Dr. Martin Zuckerman, many and 'Switzerland June 7-23, 1969, Associates in the department are Elmer Superintendent; Norman West, fourteen days of concerts and sightseeing F. Ackermann, Who also serves as organ­ Fenton High Principal, and B. G. on the continent. Fred A. Lewis, Music ist-director at ,st. John's Lutheran Coo It, Director 5th Army Bands. Department chairman and Concert Band Church in Maywood, Illinois, and Miles director, is in charge of tour arrange­ Vokurka, a native of Czechoslovakia, ments and Vincent Matola, Lyons Band Who is associate band director at Fenton. Instrument Company, will serve as tour Dr. Martin Zuckermann is Superinten­ manager. ACDA member, James Skomer, dent of District 100 and Norman E. West is director of the A Cappella Choir. He is Principal.

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Hugh T. Rangeler, Director of Third Choral-Orchestral lincoln Boys Choir Wins Concert, North Royalton, O. Coveted Kiwanis Medal The Music Department at Ernest E. Root High ,school of North RQyalton, Hugh T. Rangeler, director of the Lin­ Ohio, presented its third annual choral­ coln Boys Ohoir and eoordinator of mu­ orchestral concert on February 1. All 111111111111111111111111111111111111111111111111111111111111111111111111111111111111, sic for secondary schools in Lincoln, was three Qf the school's choirs performed. recently the winner of the coveted Ki­ The RoyaJ.tone Choraliers presented The 1968 Cincinnati May Festival is wanis medal for distinguished service as three Renaissance style pieces by Arca­ scheduled for May 17, 18, 24 and 25 in a teacher, builder, and distinguished citi­ delt, Nanino, and Hassler, with a brass historic Music Hall. This 95th Anniver­ zen. On February 26 the Lincoln Sym­ choir accompaniment. The Royaltone sary year is celebrated with the World phony Chorale under Mr. Rangeler's di­ Ohoralettes performed A Ceremony of Premiere of "Moralities", a cantata of rection presented Mendelssohn's Elijah Carols by Britten with harp accompani­ three episodes by Hans Werner Henze. at Nebraska Wesleyan Music Hall ac­ ment by Miss Oelia Glover of Lakewood The four concerts will be conduded by companied by members of the Lincoln High School. Five students sang solos, Robert Shaw (May 17 and 25), Eugene Symphony Orchestra. In the past three and the select Bel Canto Chorale pre­ Ormandy (May 24) and Max Rudolph years the group has presented the sented choruses from Messiah (Miss (May 18). Richard Lewis, Montserrat· Brahms and Verdi Requiems, Haydn's Linda Hohenfeld, soprano soloist); Re­ Caballe and Lili Chookasian head a dis­ The Seasons, the Kodaly Missa Brevis, quiem in D Minor, Mozart; Mass in C tinguished list of soloists performing Walton Beishazzzar's Feast and pre­ Major, Beethoven (quartet of student so­ with a 500 voice chorus and combined miered Robert· Beadell's Mirage Flats loists); Mass in B Minor, Bach; and the choirs, and the Cincinnati Symphony Or­ last fall as a State Centennial commem­ complete Schicksaslied by Brahms; all chestra. oration. Mr. Rangeler will retire this with a 32-piece professional orchestra of year after devoting his career to music local instrumentalists. Leon Thurman is in education. Professor E. L. Williams of Greens­ the choral music teacher in North Roy­ boro College, North Carolina, has been alton. appointed U,S. Special Advisor to Con­ Several Summer Session Workshops certs Abroad, an organization recently are offered at Peabody Conservatory of 'Salem Seven Arts Festival scheduled formed by International Travel Compan­ Music at 1 East Mt. Vernon Place, Bal­ for July 11-14, 1968 will be held in Salem, ies, .Ltd. of New York and Chicago to timore, Md. according to Ray E. Robin­ Oregon. This is a "significant" artistic assist choirs interested in performing in son, Acting Director. Elementary InsH­ experience for .people of the Northwest South America, Europe or Asia. Their tute includes an Orff Workshop June 24- combining cultura.J interests of music, address is Suite 602, 20 East 46th st., 28; Keyboard in the Classroom July 1-5; art, drama, tours of historic sites, foreign New York, N.Y. 10017. Kodaly Workshop July 8-12; Music The­ films and folk dancing. Guests as well ory July 15-19; Suzuki Workshop July as residents of the Northwest states will Temple University Music Festival and 22·26 and Electronic Music in the Class­ want to consider attendance at this Fes­ Institute will be held June 24 tci August room July 29-August 1. Secondary Work­ tival when traveling to this area of the 4 on Ambler Campus, Upper Dublin, Pa., shops include the Choral School June 24- United States. Dr. Jerry Weseley Harris, for teachers and a limited number of 28 with L. Stanley Glarum; Band Di­ consultant on Music, State Department students, David Stone, Dean of College rectors Workshop June 24-28 with Clar­ of Education, Salem, Oregon, is general of Music, announced. Robert Page, Col­ ence Sawhill, University of Southern chairman for the festival. He is also lege of Music, Temple UniverSity, Phil­ California and Guitar in the Classroom conductor of the Salem Civic Choir and adelphia, Pa. 19122 is in charge of ap­ July 1-5. . Women's Chorus. plications.

MAY-JUNE 1968 11 center is a festive movement in the home key of D major. The last half of the final movement repeats the music of the first movement. The text, deeply understood by Bach who On Conducting the felt that music must be perfect because God is perfect, pre­ sents Bach with the opportunity of asserting, movement by movement, specific emotions.: Joy, Exultation, Humility, Bach Magnificat Praise, the Power of God, the Mercy of God, God's Right­ eousness, God's Holy' Anger,Sweetness and Goodness, the Grace of God, God's Word, and the festive Doxology. The overriding conception of the Magnificat must be one MARTIN R. RICE of spiritual monumentality, not physical strength or power. A massive sonority is as wrong as an anemic one; it is inner conviction not loudness that must revail. An~d The preparation, study, and performance of the J. S. ClOusness of ex ression, not with a fist-pounding Bach Magnifica.t in D Major is truly one of the most re­ evangelism. warding and exciting experiences ahead of any choral con~ In the first movement, this graciousness can b est be ductor. Concise and direct in manner, the form yields up achieved by conducting in a buoyant three rather than in a twelve magnificent movements full of cosmic order and per­ divided beat patter:n which may lead to a rigorous and stern fection. In this article, I will attempt to give only certain expression completely out of character. A light downbeat is highlights relating to conceptual and practical problems in needed to establish the up-beat character of Bach's phrasing conducting and interpretation. I hasten to acknowledge my which really begins with the second sixteenth note of the debt of gratitude to Dr. Julius Herford who coached my first beat in the strings and the second eighth note in the choir and soloists so intensively as to leave us gasping for brass. The phrase concludes on the downbeat which should the rarified air of his dynamic musicianship. be slightly separated from the next note. The opening choral It was instructive to consult the various editions of this phrase at measure 31 should continue this graceful character, work, beginning with the Bach Gesellschaft Ausgabe Volume achieving the quality of happiness without loudness. The XI which is the oldest (1862, edited by W. Rust), through third sixteenth note of the opening theme must not be heavy the equally good Eulenberg Edition of 1924 (edited by Scher­ or too detached. Try this exercise: ing), to the most authentic edition edited by Duerr and pub­ ~.rr ~ gn;- fi- cat, Hshed by Barenreiter, the Neue Bach Ausgabe of 1955-56. l~1¥q I' .a FEn I:: l~ J tIl The comparisons yielded certain insights of each editor re­ , Tra_ln-?l± -In -In-ln-ln - In - In In garding dynamics, articulation, and tempi, which rightfully D cause one to experiment with these "suggestions" to arrive Don't "sit" on the note on the syllable "-gni-" of Magni­ at a thoughtful, individual conclusion. ficat, but glide over the bar-line. For rehearsal purposes, look On the practical side, I decided to use the Bach Gesell­ at the modal implications of the phrases beginning with schaft edition for conducting since the spaciousness of the measure 52. Try the "tra-Ia-Ia" method of setting an articu­ printing and size of the volume was visually more satisfac­ lation pattern with all parts, for example, the basses at tory, making, of' course, my. own performance "edition'" of measure 67: this score. In stock in our library for the chorus and orches­ tra was the Peters edition which we used, but it is badly over-edited and one must caution the orchestra, especially, to disregard the multitude of "hair-pins", staccato and legato indications, and other markings. If possible, use a "clean" The joyous gestures of the music of the second move­ score for the orchestra, and set a conception of phrasing ment, Et exultavit, are most infectiol,ls. This is a "mottq" aria and articulation in rehearsals, avoiding editorial markings utilizing a joy motive which begins in the second measure as much as possible. in the bass. To give it character, try a light staccato on the Bach composed two versions of the Magnificat, the earlier last three sixteenth notes of the second measure, legato the one in E-flat major harks back to an older conception in which portions of the Christmas story were dramatized, and therefore contains four insertions related to this special type ABOUT THE AUTHOR of observance. The interpolated movements are so wonderful Professor Martin R. Rice is the Director of the Creative Arts Program and Conductor of the College-Community that I feel my next performance of this work must be the Choral Society and Orchestra at the Lake Geneva (Wiscon­ E-flat version, provided I can find a sympathetic dramatics sin) Campus of George Williams College. director knowledgeable in the style of the medieval miracle He was selected by Mal'garet Hillis to succeed her to the play. post of Di·rector of Choral Studies at the Chicago Musical College of Roosevelt University in 1963. Knowing that Bach liked an equal proportion of sound He is a member of ASCAP, "Sinfonia," and Pi Kappa or sonority between chorus and instruments, I chose to bal­ Lambda, and was selected for listing in Who's Willo in Amer­ ance 3 violins I, 3 violins II, 2 violas, 2 celli, and I double­ ica. He was recently appointed Chairman of the Southeastern bass as the string section against a rather mature sounding Wisconsin Region of the ACDA. Professor Rice served as Director of Choral Activities at college choir of fifty voices. I was fortunate to have three D Towson State College in Baltimore, at Auburn (Ala.) Univer­ trumpeters using appropriate mouthpieces, but for less than sity, and as Choral Consultant to the Music Extension professional players, I would advise the use of clarinets on Division of the University of Illinois at Urbana. He was the these parts. B-flat trumpets are inappropriate - they send founder and first President of the Gulf states Regional Chapter of the Association of Ohoral Conductors, affiliated forth a blanket of tone rather than the pointed line possible with the American Choral Foundation, Inc. with D trumpets. With the solo/duet voices, a string quar­ Rj.ce holds the B. Mus. Ed. degree from the University tet is sufficient. of Wichita (Kansas), the M. Mus. degree from the Unive'rsity The form of the Magnificat is architectural in the Ba­ of Michigan at Ann Arbor, and is a candidate for the D. Mus. Arts (Ohoral) degree at the University of Illinois at Urbana. roque sense, consisting of a frame (first and last movements) He has studied musicology at the University of Erlangen and a center axis (movement seven). The last three move­ (Germany) and choral music on a professional basis with ments tonally reflect the first three in reverse order, and the Dr. Julius Herford.

12 THE CHORAL dOURNAL first two eighth notes of the third measure, and a light stac­ tries. Note how Bach begins the idea of "dispersing" in one cato for the next three eighth notes concluding the' motive. voice in measure 8 and how it builds to a five-voiced ex­ Caution the soloist to start with a light downbeat, moving pression by measure 24, culminating in the dispe.sing of the , forward to a. peak of the phrase accent'to set the style. The proud with expressive chord thrusts at the word "superbos." cOllcerto-ripiello technique applies here as elsewhere, the in­ Measures 27-28, therefore, should be in an intensity cre­ struments playing a little louder when the soloist ,rests. In scendo. The decrescendo which may be indicated in some Bach, 3/8 meter is almost like 1 to a bar - work for a long­ editions at measures 31-32 is not relative; a firmness of er line by artistically shortening the rest between tlje first sound, is needed from the beginning of the Adagio, measure three groups of two, two-m~asure phrases. Note the hemiola 29, to the end, with a divided beat used at the penultimate effect in measures 34-36 which correspond to,the word accent. measure to bring out the decorative cadential figure in the I would not ritard at the cadence before measure 51. brass. In the thir'd movement, Quia respe:J:it, the eighth note, is In the aria for tenor, Depo~tit, movement 8, remember the beat conducted but the quarter note must feel like the that the Baroque "dot" is shorter than the romantic or mod­ beat in this tender aria of humility and demureness. The ris­ ern dotted note. This implies that much experimentation is ing sequence, in the instrumental obbligato line will be felt , needed to set the opening motive. Caution the soloist not to and will produce a superb duetting effect if the tempo is sustain the, long held tone at' measure 48 too heavily, but taken a little faster than Adagio. rather,' to listen to the orchestra which has the interesting Chorus No.4, Onvlt.es generationes, expresses the flow musical expression here. of generations past, present, and future that are eager to Esurientes, movement 9 for alto with two flutes in ob­ join in the praise. A flowing line must be created, and re­ bligati, is an exquisite portrait of the dropping of manna upon peated notes should neither be static nor rushed but move the earth full of hungry people, and sending the rich away, to the point of most tension. Bring out the urgent feeling in empty! A spirited joy motive is combined with the second the phrasing. At measure 15, note the ascending scale line motive of the preceeding aria, Deposuit, in a miniature psy­ vocal entrances distributed among the parts which program­ chological drama. A divided beat may be helpful to the two atically depict how one generation flows out of another. If flutes but mitigates against the gracious and flowing expres­ your score indicates an Adagio in measure 24 following the sion needed. The final note in this aria, a pizzicato low E to fermata, don't make a drastic tempo change and don't de­ be sounded only in the cello, depicts emptiness for the rich; crescendo to pp at the end, of the movement; a sonorous a ritard and stress of the final notes in the penultimate meas~ sound is implied textually and musically. ure more gently prepare one for the shock of the final pluck. The thirty~seven measures which comprise movement 10, Movement 5, Q~da fecit, is a happy and glorious expres­ Suscepit Israel; are, perhaps, the loveliest lines ever to be sion. Each Baroque aria has a sonority of its own, and this written by a mortal. The three female voice parts (four to one is a dramatic example of th,at concept. The aria is scored five voices to a part is sufficient) in concert with the Gre­ for Bass voice, cello and double bass, with a cembalo part gorian Psalm Tone Cantus Firmus (played by the oboe in a (realized in score by various editors). The large intervallic subdued manner with the instrumental bass in soft 8' stops skip encompassing a seventh in the ostinato figure presented on the organ) captures tranquillity in its most beatific ex­ by the cello is a fine example of Bach's tone-painting. It is pression. Again, intensity without loudness is the essence of an expressive interval, embracing the whole world, to the the interpretive key. words "For He that is mighty hath done to me great A strong double fugue follows, movement 11 - Sicut 'things. . ." Remind the soloist of the conception previously 10mtus est, reminding us of God's Word and Promise. Bach indicated of inner conviction and spiritual monumentality; reyerts to an older manner of sacred music expression, sym­ mere loudness here suggests harsh power. bolically, by scoting this movement for five-voiced choir and Et n~isericordia, movement 6, is full of the soul of loving­ continuo only. A generally marcato style is appropriate to kindness, presenting the idea of God the Shepherd and God's the expression. Mercy in a pastoral setting. The staccato articulations indi­ The concluding and majestic Gloria or doxology contains cated for the tenor at the final cadence should enhance the three interlocking passages" symbolic of the Trinity. In the notion of "fear," the music contracting as does the body in a first half of the movement, the key to articulation is the..es­ state of apprehension. sential six-note construction of the individual lines. These The main melody of movement 7, Fecit potentiam, be­ lines, over a sustained pedal point" weave together to culmin­ ginning in the tenor part, is surrounded by "legions of angels" ate in vibrant pillars of tone. The second half repeats the with the orchestra playing a marching motive suggesting the music of the opening movement to the text "As it was in the militant Power of God, the whole cast in the style of a double beginning, is now, and shall be forever in all eternity. Amen." fugue. Add altos, to the tenor opening if necessary, and work Caution the chorus to subordinate the long-held tonic chord diligently for a light staccato phrase articulation on the first beginning at measure 36 in favor of the musical interest in sixteenth note of the second measure in the tenor part, in the orchestra until the inner detail begins to culminate in the each succeeding inner phrase, group, and in the ensuing en- brilliant, drive to the final cadence. to: 1II11111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111illllllllll11111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 Music Department presented a recital ous executive capacities for more than Workshop and Clinic at for the group with the choir singing the five years, most recently as Sales Pro­ Idaho State University second performance of M.r. Harris' re­ motion Manager, Jewels assumes the A Choral Techniques Workshop and cently completed short oratorio based' on post vacant since the death of Carl Literature Clinic was held February 23 James Weldon Johnson's poem, TheCre­ Zoehrns, nearly a year ago. at the IdSiho State University with Wes­ ation. After a dinner session, several ley M. Harris, director of rsu choirs, as area directors participated in a choral The Tampa office was delighted with host to a large and enthusiastic group. literature clinic as they conducted the a 'recent visit from one of the original Featured for the workshop was Lyneer Festival Choir. founding group, of ACDA, Dr. Harry Smith, director of the Weber State Col­ Robert Wilson, Professor Emeritus of lege Concert ChOir, Ogden, Umh, who Robert Jewels ,has been named General Teachers College, Columbia University, presented the workshop using the com­ Sales Manager of Edward B. Marks Mu­ Who stopped in to meet the family and bined Weber Sind LSU choirs for demon­ sic Corporation, Herbert E. Marks, 'pres­ talk over ACDA's growth during its nine stration. Following the session, the ISU ident, announced today. Serving in vari- years of existence.

MAV-JUNE 1968 18 MINIMUM STANDARDS OF EDITORIAL PRACTICE As minimum and immediate standards of practice for all published editions of choral music, the American Choral Di­ RESOLUTION rectors Association urges that: 1.) The sources used in preparing the edition should be identified. If the source is a recognized scholarly edition - CHORAL EDITING STANDARDS COMMITTEE such as the collected works of a composer many of the fol­ lowing procedures may be eliminated, providing always that Presented at the ,seattle ACDA Convention by Walter S. such is identified and changes from it are specified. . Collins,. Chairman of the Choral Editing Standards Commit­ 2.) All original material, including the ariginal composer, tee, the following resolution was discussed and approved title, opus number, and instrumentation of the composition unanimously by the meeting of all ACDA Officers and Board should ·be supplied, as well as such matters as figured bass Members. numbers and original realizations. Where piano-vocal score format is necessary, a description of the original instrument­ Whereas the chief purpose of the American Choral Directors ation should be included. Association is the improvement of all phases o,f choral 3.) The original text should be provided with the music, music in the United states, and as well as any translations or adaptations, and the author, Whereas much choral music - especially that of earlier translator, source, and liturgical use of the text should be periods - is published in a manner which does not ac­ identified w.herever possible. curately represent the composer's intentions nor render 4.) All editorial changes in and additions to the original maximum service to the needs of the conscientious choral sources must be clearly distinguishable. There are several director, recognized methods for doing so simply (see below). Therefore Be It Resolved that the Association offer .the pub­ 5.) Where necessary, rhythmic values, rhythmic grouping, lishers of choral music the following editorial suggestions accents, pitch levels, clefs, time signatures, key signatures, and standards, the adoption of which it believes will ma­ and other notation should be modernized. When such changes terially improve editing practices without excessive cost are made, an incipit showing the original notation should be to the publisher and the .purchase,r, and included, and a descri·ption of ·the alterations not shown by Be It Resolved that the Association membership support the the incipit be supplied in an editorial note. Anachronistic recommended standards wherever possible by purchasing notation should be avoided at all costs. publications which exemplify .the best editing 'Practices 6.> W,here two different editions must be used together - and by avoiding those which do not. as in the ·case of separate choral and instrumental parts - TERMINOLOGY every effoxt should be made to assist the performer to identi­ Each of the three major types of choral publications fy and rectify differences between them. A full score usually which are not original compositions - arrangements, tran­ eliminates such problems and is usually preferable to sepa­ scriptions, and editions - requires different publishing pro­ rate parts, though it admittedly is not always ·practical. cedures. The use of these terms should ·be standardized and 7.) The composer's dates and the date of the compOSition publications labeled according to this standard. We urge all should be given where known. It is more desirable to provide publishers and purchasers of chloral .music to adopt as stand­ musical and histarical information about the piece itself and ard the following definitions and methods of presentation its peTiormance than biographical information about the com­ for each type of publication: poser which is easily obtainable elsewhere. 8.) Measure numbers or rehearsal letters should be pro­ ARRANGEMENTS vided to assist the rehearsal. In order to stimulate more An aDrangement is a deliberate alteration of the com­ musical rehearsing, such markings sihOl,lld be placed at con­ poser's original intention, such as occurs in the il'e-wil'iting venient stopping and starting points in the mUSic, rather for chorus of a solo song or a:n instrumental .piece; the re­ than by some arbitrary system such as every fifth measure working of a mixed chorus for some other choral combina­ on the beginning of each staff, provided that they frequent tion; the adapting of a new text to the music; or the enough to eliminate any nece!!sity for extensive counting in harmonization for chorus of a pre-existent melody such as a rehearsal. folk or popular song. Ar.rangements should include informa­ 9.) The entire text and any txanslation· should' be pri,nted tion concerning the original version, its composer, its ·per­ straight throug.h in easily readable form before the piece in forming forces, title, text, and opus number. The indentifica­ orde·r that it may be read and understood as a whole. tion of the source of the music used by the arranger is also 10.) An estimated time of performance should be provided. desirable. ULTIMATE STANDARDS FOR EDITORIAL PRACTICE The common practice of publishing "aDrangements" which are simply rep-rints of pieces for the same performing As a maximum goal, publishers 'should eventually adopt forces with someone's ideas of interpretation and/or a trans­ a recognized, detailed, and unified standard of editorial prac­ lation of the text should be strongly discouraged. Such pub­ tice in earlier music. For e:x;cellence, practical availability, lications are more properly termed "editions'. and should and unity of international practice, the American Choral Di­ follow the standards far editions which are given below. rectors Association suggests as this standard the .piiinpii,Iet entitled Editing Early Music; Notes on the Preparation of TRANSCRIPTIONS Printer's Copy, published by Novello and Co., Oxford Univer­ A tJ;'anscription is t.he literfl.l reproduction o~. an original sity Press Music Department, and stainer &. Bell. In order SOUDce i·n a different notation. Nor.mally this is useful to the to begin immediate progress· toward that goal, we urge that scholar only, and it is falling into disuse in earlier music be­ this pamphlet be provided now by each publishing company cause of the increasing use of facsimile prints, because the to its editors. Useful discussions of editorial ·problems also earlier the original source is the more it requires editorial appear in Emery's Editions and Musicians (Novello, 1957) interpretation, and because it is easily confused with the use and Dart's The Interpretation of Music (Harper and Row, of the word in later instrumental music where it signifies the 1963). re-writing of a ·composition for a new medium, what is de­ fined as an arrangement above. It is suggested that the term Res·pectfuI.ly proposed by the Choral Editing Standards no longer be utilized in charal publications,. Committee of the ACDA: EDITIONS Walter Comns, Chairman Alfred Mann An edition is a transcription whic:h is made ready for Meadow Brook School Rutgers University modern performance. Its goal is to provide a version of the of Music James McKelvey music as close as possi>ble to the composer's in.tentions· in a. Oakland University Northern Michigan . form which easily permits the performer to realize those in­ University tentions if he chooses to and ·can. It must include everythi,ng Jacklin stopp left by the composer (or the sources closest to ihim) and .State University of New Richard Pisano must identify any deviations from or additions to the origi,nal York at Buff!lilo Pembroke State College made by the editor. !The editor may provide as many sugges­ Walter Ehret Denis Stevens tions for .performance as he wishes - indeed, he should in­ Scarsda:le Public Sc:hools Columbia Universi.ty dicate fully, on the basis of his knowledge of the performance practices of the time, his opinion of how the composer would. Iva Dee Hiatt John Owen Ward have expected the piece to be perfo'rmed; but in simple hon­ Smith College Oxford University Press esty, he must always differentiate between editiorial opinion Don Malin Franklin Zimmerman and original material. Marks Music Corporation UniverSity of Kentucky

14 THE CHORAL .JOURNAL COMPLETE SCORES & PARTS OF THE No. 76: Die Himmel erzahlen die Ehre Gottes (The " Heavens Proclaim the Glory of God). CANTATAS Score 5.00 Set 8.00 Parts, ea ..90 Organ 4.00

B@J.~. No. 124: Meinen Jesum lass' ich nicht (Never Jesus GM Willi Leave). Score 3.25 Set 5.25 Parts, ea ..90 Organ 3.50 Breitkopf & Haertel are rapidly 10 eprinting their celebrated editions of the Cantatas by J. S. Bach. The following 20 additional titles No. 127: Herr Jesu Christ, wahr'r Mensch und Gott have just ben released: (Lord Jesus Christ, True Man and God). Score 4.50 Set 6.75 Parts, ea ..75 Organ 3.25

No. 128: Auf Christi Himmelfahrt allein (Now Christ No.1: Wie schon leuchtet der Morgenstern (How is Risen to God on High). Brightly Shines the Morning Star). Score 5.00 Set 8.00 Score 4.00 Set 8.00 Parts, ea. 1.00 Organ 2.75 Parts, ea ..90 Organ 4.00 Solo parts, ea ..90

No. 18: Gleich wie der Regen und Schnee (Like as the No. 146: Wir mUssen durch viel Triibsal (We All Must Showers and Snow). Bear Much Sorrow). Score 3.75 Set 8.00 Parts, ea. 1.00 Organ 3.00 Score 8.75 Set 9.00 Parts, ea. 1.25 Organ 7.00

No. 29: Wir danken dir, Gott (We Praise Thee, 0 God). No. 152: Tritt auf die Glaubensbahn (The Path of Faith Score 5.00 Set 8.00 Parts, ea ..90 Organ 4.00 Now Run). Score 3.50 Set 5.00 Parts, ea. 1.25 Organ 3.00

No. 31: Der Himmel lacht, die Erde jubilieret (The Heavens Rejoice, The Earth Exults). No. 168: Tue Rechnung! Donnerwort (Show Thy Reckon­ Score 6.00 Set 15.00 Parts, ea. 1.00 Organ 4.00 ing! Word of Doom). Score 3.50 Set 4.50 Parts, ea ..75 Organ 3.00

No. 34: 0 ewiges Feuer, 0 Ursprung der Liebe (0 Fire Everlasting, 0 Font of Love). No. 183: Sie werden euch in den Bann tun (Ve Shall Score 5.00 Set 8.00 Parts, ea ..90 Organ 2.50 from God's House be Cast Forth). Score 3.25 Set 8.00 Parts, ea. 1.00 Organ 3.00

No. 37: Wer da glaubet und getauft wird (True Be- ., lievers and Baptized Shall be Saved) No. 185: Barmherziges Herze der ewigen Liebe (Fond Score 3.75 Set 6.00 Parts, ea . .90 Organ 3.00 Heart, Full of Mercy). Score 3.25 Set 6.00 Parts, ea ..90 Organ 3.00

No •. 57: Selig ist der Mann (Blessed is the Man). Score 3.75 Set 5.50 Parts, ea ..90 Organ 3.50 No. 192: Nun danket aile Gott (Now Thank We all Our \ God). Score 4.50 Set 8.00 Parts, ea. 1.10 Organ 3.75

No. 64: Sehet, welch' eine Liebe (See Now What Great (The set includes one (1) each of aU parts, except organ Affection). Score 2.75 Set 5.00 Parts, ea . .75 Organ 2.25 and any solo pa1·ts.)

For a complete listing of all available Cantatas, ask No. 70: Wachet, betet, seid bereit (Watch Ve, Pray Vel. for special clLtaiogue. Address educational depart­ Score 6.00 Set 7.50 Parts, ea. 1.10 Organ 4.50 ment and please state position.

No. 72: Alles nur nach Gottes Willen (All Things Move Sole Selling Agents as God Doth Will Them). Associated Music Publishers, Inc. Score 4.25 Set 6.75 Parts, ea. 1.00 Organ 4.00 A suaSIOtAR'" Or:' 0, SCHIRMC". INC. 609 FIFTH AVENUE. NEWYORK. N.Y. 10017 NEW S UN S in l~e C~urc~

CLAUDE ZETTY U.S.A., has written about the intellectual Presented at ACDA National Convention as follows: at Seattle, Washington, March 14, 1968 "The intellectual who pauses before the masses and asks himself the ques­ tion, 'Why is it that we are smarter, In trying to assess the plethora of new but they have more sense?' is getting musical sounds which have been appear­ close to my point. He is beginning to ing in Church music in recent years, it draw the contrast between the elite becomes necessary for one to decide on and the mass mind. . . which side of the ecclesiastical fence he "The elite mind is gifted, trained, ar­ stands. If one follows the idea that ticulate and rational - except at fac­ church music is set apart from the secu­ ulty meetings. The mass mind is in­ CLAUDE ZETTY lar or profane world, the position fre­ tuitive, inarticulate and lives happily quently held by many church authorities with contradictions. The elite is edu­ and church musicians in the 'past, then cated beyond his intelligence; the mass than most of those groove-made, even­ there is no problem in reachi-flg an as­ man is intelligent beyond his education. measured, monotonous, non-rhythmed, sessmentof the "new" music. One simply The elite sees the meaning of life, but indoor-smelling, priest-taught, academ­ rejects it and continues to use only mu­ its richness escapes him, while the ic, English or neo-English hymns (and sic of former generations or new "music mass drinks in life's richness, but its anthems) - well-written, well-har­ which sounds like the old, achieving an significance escapes him. Analogously, monized things, well-voice-Ied, well­ effect in the Sunday morning worship while the mass drinks in life's richness counterpointed, well corrected, and well service that is frequently spoken of as but its significance escapes him, the O.K.'d, by well corrected Mus. Bac. "traditional or classical" church music, elite mind is a specialty shop with a R.F.O.G.'s - personified sounds, cor­ whatever that phrase may mean to va~i­ small sign outside written in Sanskrit, rect and inevitable to sight and hear­ ous individuals. One cannot accept the 'By appointment only.' The mass mind ing; in a word, those proper forms of new sounds of "secular" music in tne is a general store chuck full of food stained-glass beauty which our over­ church if one makes use of the worship and drink, tools and toys, and outside drilled mechanisms - boy choirs - service as a refuge from the world and is a mat saying, 'Welcome.' Perhaps are limited to. But if the Yankee can its problems, where the worshiper seeks that's why God has such easy access reflect the fervency with which 'his to escape the realities of life in his quest to the mind of the people and such dif­ gospels' were sung - the fervency of for peace of mind. ficult access to the mind of the elite - 'Aunt Sarah' who scrubbed her life However, if one accepts the thesis th~t one welcomes - the other insists on away for her brother's ten orphans, the Church is a living, vital force in our divine appointments. the- fervency with which this woman, lives, and that the Grace of God can 'Like many polarities, the elite and the after a fourteen hour work day on the work through us in unlimited ways aild mass are meant for one another - like farm, would hitch up and drive five with unlimited means, which appears "to convex and concave. Left to itself the miles through the mud and rain to be an idea held by many of today-'s mass mind retreats into brutalization, 'prayer meetin', her one articulate out­ Christians, then one cannot ignore :the sensation and vulgarity. . . let for the fullness of her unselfish new sounds, for if we do, we may be "Left to itself, the elite mind escalates soul - if he can reflect the fervency closing an avenue that God in His' ·in­ into esotericism. (If you know what of such a spirit, he may find there a finite wisdom has opened for us. All esoteric is, you are.) It's the smarter­ local color that will do all the world too often when we," as serious church than-thou attitude portrayed by so good. If his music can but catch that musicians, investigate some of the newer many elites - who become ungodly spirit by being a part with itself, it will trends appearing in church music, an ex­ snobs, contemptuous of the common come somewhere near his ideal - and. tremely difficult task at best, we may mall." it will be American, too - perhaps find it hard to accept the music of the nearer so than that of the devotee of secular world, because we know too much Charles Ives has a few words to say Indian or Negro melody. In other about church music. We can be extreme­ on this subject, also. In his Essays Be­ words, if local color, national color, ly discriminating in our choice of music, fore a Sonata he writes: any color, is a true pigment of the uni­ and we often end up being intellectual "The man 'born down to Babbitt's versal color, it is a divine quality, it is sl1j)bs by performing only music which Corner' may find a deep appeal in the a part of the substance in art - not of we know is good church music according simple but acute Gospel hymns of the manner." to our sense of musical judgment. We New England 'Camp meetin" of a There has been much said and written all too frequently forget the man in the generation or so ago. He finds in them in recent years about the church not be­ pew and his musical illiteracy as com­ - some of them - a vigor, a depth of ing relevant to today's society. In the pared to our own sense of musical judg­ feeling, a natural-soil rhythm, a sin­ magazine, "Church Music", 67-2, Carl­ ment. And. all too often the man in the cerity - emphatic but inartistic - ton Young in an article titled, "The pew is untouched by our choice of good which, in spite Of a vociferous senti­ Changing Shape of Parish Music", church music. mentality, carries him nearer to the writes: Richard R. Gilbert, who is head of the 'Christ of the people' than does the Division of Radio and Television of the Te Deum of the greatest cathedral. "We've found also that the church has United Presbyterian Church in the The tunes have, for him, a truer ring been a fallout shelter, musically speak-

MAY-JUNE 1968 16 NEW SOUNDS- was that the music brought to life the worship service see Revelations, chap­ meaning of the text in a m()re direct ters 4 and 5. Worship in that context ing, when~ Christians can run and hide manner than more traditional musical was a 'real ball!' Those elders, and from the assaults of 20th-century settings have done. angels, and archangels cut loose with sounds, rather than an aid in making Father Joseph Gelineau, the noted everything they had and the heavens worship more relevant to the day in French church musician, in his book, jumped with all those 'hosannas,' but which we live. But this is a. comment­ P salmod'y in the Vernacular, writes in lees face it, they would have been ary on the church and its ministry and this connection: tossed out of most of our Christian mission as well as its music." "Attempts have been made to create services on their ear if they made all The minister of the Nauraushaun liturgical chants based on j a z z - that noise in praise of the Creator." Presbyterian Church in Pearl River, rhythms. Theoretically, nothing is op­ hen living musicians of the caliber New York, had this to say in a recent posed to a liturgical chant thus in­ of Duke Ellington and Dave Brubeck sermon: spired, if the syncopated rhythms are turning to the church to offer their "It has been said that the coming great bring the text out into the limelight; gifts of music, can we turn them down • separation within society will be the and this is truly the origin and spirit and say the church has no place for their _ separation between the generations: of rhythm in African Bantou chants kind of music? Mr. Brubeck is quoted the old and the young. Already a defin- accompanied with tambourines, or in in an issue of the Christian Science 1re-sttb--culture has emerged within our Negro Spirituals: the word remains Monitor of a few months ago as saying: society and in some areas a full fifty first and foremost." "\Vbyshould religious music always percent of the population is under the The Reverend Howard Moody of the sound like Bach and Handel? . . . age of .21. In this kind of world the Judson Memorial Church, N ew York They were 1,700 years late, right?" church must be a colony of reconcil­ City, has written about the experiments In the preface to "The Confession of iation between age groups. '. . The conducted in that church in the area of 1967" adopted by the General Assembly church must be a place where young worship: of the United Presbyterian Church. in and old can share and love each other the U.S.A. last May is included this in the fellowship of the people of God." "Also the artists (members and non­ believers) were a very significant fac­ statement: How are we going to reach the· young tor in our experi'ment. The artists for "In every age the church has ex­ people' without alienating the older mem­ the most part are not members and pressed its witness in words and deeds bers of the congregation? In my judg­ participants in churches and thus we as the need of the time required." ment, as a practicing church musician, are deprived all too often of the vision This statement is just as applicable to I have no alternative but to investIgate and the critique of these 'shapers of the music of the church as it is to the and select from the large quantity of things.' Samuel Miller has said that confessional statements of the church. new sounds being written for the church 'faith without art is dumb' - that is; To sum up - each one of us, if he those compositions I feel will best meet literally uncommunicative. Without considers himself· a responsible church the needs of my particular church situa­ the arts the church has no language musician, on the basis of his own musi­ tion. This is not to say that I will reject or media adequate for her essential cal experience must sift through the the great literature of past church com­ realities. Around the Judson commun­ quantity of music being written today to posers, for this would be even more ity, our theaters and gallery, we have. find 'which compositions seem to be restrictive than not using any new mu­ been richly blessed with keenly dedi­ worthy of expressing the attitude of sic, but rather it means that by using cated and committed artists and they worship for today's Christians. Much of newer compositions together with' the (God's non-believers) have fed our what is being written seems to be un­ music of the past, the whole horizon of souls with new images and they may worthy for use in the worship of Al­ church music will be broadened. Young yet redeem our over-rational and high­ mighty God, because of its lack of ar­ people are responding in great numbers ly ordered liturgy from a too int~l­ tistic worth, but there is much that in to the new sounds - the new beat - lectual praise of the Creator. I have all probability can be used and used with in church, and a surprising number of seen dance creations and dramas in our good effectiveness. After hav:ing heard older adults are also accepting it .and theatres that were more unashamedly untold quantities of not only second-rate finding in it an aid to worship to which joyful praise of God than a hundred music, but fifth-rate music as well, pat­ they can respond. services of 'divine worship.' It all terened after the works of past great In our campus chapel at Trinity Uni­ started when artists attracted by our composers, I would rejoice in hearing versity, the Trinity Choir has on two theatres began to offer their oblations some of the new sounds in church music occasions performed Frank Tirro's in their own media and like the IJug­ that may on occasion lack some of the "American Jazz Mass" within the setting gler of Notre Dame' they didn't fit artistic qualities of the great masters of of a worship service, and although the into our restricted forms. Hence, we church music. At least it would· be a response from students, faculty, admin­ have been enjoying jazz liturgies based breath of fresh air in the sometimes istration, and guests was not completely on the Psalms of Thanksgiving, dance stagnant volunteer church choir situa­ in favor of this music used in a worship offertories in place of the usual choral tion. None of us will ever know which situation, the overwhelming reaction was anthems; dramatic readings coupled of these new compositional practices enthusiastically positive. I might add with Bessie Smith's blues; and jazz will be suitable for our congregations that on the occasion of the second per­ renditions of the last week of Jesus' until we use them. It is only by active formance of the Jazz Mass the chapel life choreographed for Palm Sunday experimentation that we can either main­ was filled to capacity - the only time worship ... tain or develop a vital force in worship this has occurred for a worship service "Now most of our white middle class music. since the dedication of the chapel almost Protestant services seem more like a I should like to close my remarks by two years ago. True, there was an ele­ 'wake' but not even that vibrant. They reading the concluding paragraphs of ment of novelty involved in this presen­ seem pious, mournful, pretentious, the Editorial Essay, "Church Music and tation, because of the idiom and the in­ sterile, and joyless, and' this is any­ the Sacred-Secular Syndrome", found struments used to accompany the singers, thing but Biblical and' traditional. If in the 67-2 issue of the magazine but the comment most frequently made you want to read about a swinging "Church Music":

16 THE CHORAL JOURNAL "How shall we know when God has given to the church a new and dif­ ferent song to sing? Is the 'folk mass' Choral Programming the answer for our liturgical music? What about electronic, computerized music? What about the music of in Minnesota: chance? What about jazz? We do not know the answers to these questions, A CONSTRUCTIVE APPROACH and we do not know anyone else who does. But these things can, and per­ BASED ON A RAPPROCHEMENT BETWEEN, haps should be said: MUSIC EDUCATION AND MUSICOLOGY 1. 'No music should be rejected out of hand because it has been judged CHARLES G. BOODY intrinsically 'secular' or because it has been used only in other than churchly connotations.' "Secular" music has be­ Discouraged by· the general lack of choral groups in Minnesota, and on the come. "sacred" before now. quality of the music education program attitudes of their directors. Also, an at­ 2. 'The test of the churchly validity in American schools today, musicologists tempt was made to discover the extra­ of a musical style or idiom will con­ are making an increasing number of at­ musical factors which might affect these tinue to be what it has always been: tempts to improve the situation. The practices. This essay gives a brief. re­ the experience of worshipping Christ­ large section of a recent issue of C~trrent sume of the study and a recommenda­ ians.' Mttsicology (Fall-Winter 1966) devoted tion for improvement of the situation. 3. 'Experiments with all sorts of new to music education and musicology is The survey· of choral curricula under­ music need to be made in a spirit of only one evidence of this movement. took to ascertain the amount of perform­ reverence by musically sensitive and Despite the good intentions of these an~e time spent on: devotionally informed Christians.' On­ projects, four points vital to their suc­ ly in this way can the worshipping cess have, to varying degrees, been over­ 1. Music from each of the major periods of music history. Christian community mold new idioms looked: to its. needs and amass the experience 2. Sacred and secular music. necessary to make its historical judg­ 1. Musicologists have often under­ 3. Various types of "light" music. ments. valued the special knowledge and ex­ perience of music educators. 4. Accompanied and unaccompanied 4. 'God continues to give now as He music (as indicated by the published always has, and no one today is able 2. Since many 'music educators lack edition) . the background of musicologists, very to say just where or how or in what 5. The music of various composers. form His next gift will come.' Will it few of them can implement programs be another chant, a new chorale, a developed by musicologists. In addition, a questionnaire was dis­ fresh hymn, or none of these? Will it 3. In many areas, both fields are so tributed to choral directors in order to be jazz, or folk-rock, or something specialized that productive communi­ ascertain the attitudes and opmlOns else? cation between scholars in the two which might have an effect on these "All we know is that God is inex­ disciplines breaks down. items, and to determine some of the ex­ haustible, that He loves to give us 4. Even if the two groups should suc­ tl'a'-musical factors of school and com­ gifts better than our own fathers do, ceed in creating a curriculum which munity situations which might also af­ and that He has told us to sing and would satisfy the aims of .both, the fect the choral programs. pray to Him and to each other in His teacher using such a curriculum will The directors of 164 public high honor." to: have to be sufficiently grounded in schools of Minnesota (one-third of the both disciplines to use it effectively. total schools of the state) were sent the questionnaire and a request for a copy To this writer, the only evident solu­ of their spring concert program for an­ Augsburg to Sponsor tion for this dilemma is to train a new alysis. One hundred sixteen question­ Three Church Clinics type of scholar, who, by his own educa­ naires (71 percent) were returned and tion in both fields, can exemplify the sixty-four programs (40 percent) were Three church clinics featuring lectures, truism that music education and music­ demonstrations, and readings of new received. choral and organ music by outstanding ology work within the same field but Both the questionnaire return and the church musicians, will be sponsored this with different frames of reference. It is program return were well stratified by summer by Augsbur,g Publishing House scholars of this sort who will be able to location and school size. in Eastern, Midwest, and West Coast effectively replace the stereotyped arch­ cities. Certain limitations are obvious in the The Midwest clinic at the First Con­ enemies, "the musicologist as a denizen procedures described above. (1) The gregational Church, Minneapolis, Minn., of the world of ivory-towered intellect­ spring concert program may not ac­ Aug. 12 and 13, will have George Markey, ualism, and . . . the 'educationalist' as curately reflect the entire year's choral New York concert organist, and Dr. Ken­ a naive performer totally ignorant of neth Jennings, director of the 1St. Olaf curriculum. (2) The programs received College choir as clinicians. music history, structure, and style."1 do not reveal some aspects of the music The Eastern clinic, Old Trinity Luth­ This essay offers a small contribution eran Church, Columbus, Ohio, Aug. 19 to this problem from the standpoint of and 20 will feature Dr. Daniel Moe, di­ a person concerned with both positions. rector of choral music at the UniverSity Special permission of the author and Dr. of Iowa. "".; This study is an outgrowth of a re­ Johannes Riedel, general editor of stu­ The West Coast clinic will be at Geth­ ii!1 search project undertaken for the Music dent Musioologists at Minnesota, was semane Lutheran Church, !Seattle, WaSh., Education Department of the University granted for the publication of this ar­ Aug. 26 and 27, with sessions led by i~ii!~ ticle and its conclusion in the next issue PrOf. Weston Noble, chairman of the iii,! of Minnesota. The project gathered in- whioh originally appeared in Volume II music department, Luther College, De­ formation On the programming practices of that publication. Revisions were made corah, Iowa. l!~ of a broad sample of public high school by the author.

MAY-JUNE 1968 17 CHORAL PROGRAMMING - choral curriculum. of works which lacked either educational 10. In general, the respondents felt merit or musical merit or both (for ex­ performed (e.g., foreign languages used, that from sixty to ninety percent of ample, The Holy City by Adams, Now or amount of arrangement in the works their time should be used on music by the Day is Over by Barnby, or AUeluia, used). (3) The amount of performance significant composers (types a and b Alleluia a paraphrase of The Strife Is time may not necessarily accurately re­ above). O'er by Louise Grant). flect classroom emphasis on varIOUS 11. The respondents from the larger S. In total repertoire, directors close­ types of music. schools felt that music by significant ly agreed with their suggested ratio of In spite of these drawbacks, it was composers should make up a somewhat 40 percent sacred to 60 percent secular felt that concerts normally indicate the larger part of the total curriculum than music. For significant composers, this content of the curriculum, and that did the respondents from the smaller ratio becomes 70 percent sacred to 30 spring concerts especially form a cul­ schools. percent secular music. mination of the year's work. 12. The directors from . the smaller 6. There was a tendency for directors Analysis of the questionnaires re­ schools placed a greater emphasis on the to equ~te music by significant composers turned led to these conclusions: "lighter." music (types c, d, and e above) with a cappella; music. than did those in larger schools. 2 7. All of the programs submitted 1. Forty directors (34.5 percent) felt contained many selections of poor quality. the level of musical perception in their From the programs received, a list community was low, fifty-nine (50.9 per­ Since the last of these conclusions is was compiled of the titles and composers both a serious allegation and a value cent) felt it was average, and fifteen of the selections performed by each high (12.9 percent) felt it was high. (Two judgment, some discussion of it is neces­ school's best choir; sary: Among the seventeen composers did not respond.) A sample part of this list is shown 3 whose works received five or more per­ 2. The director in the small school below. formances on the programs studied, only has much less rehearsal time and a much Adams, Stephen - The Holy City, three (Brahms, Bach, and Palestrina) less attractive rehearsal hour than the Belwin, accomp, type F, 205 seconds, were listed as among the one-hundred director in the large school. size IV school "most eminent" in the recent survey of 3. A high degree of positive correla­ Ades, Hawley (Arr.), Class A - Amer­ members of the American Musicological tion is found between the amount of re­ ica Our Heritage, Shawnee, accomp, Society.4 Each of these three appeared hearsal time a group has and the num­ type H, 140 seconds, size V school among the seventeen partially through ber of public appearances it makes. Dear Hearts and Gentle People, performance of works which were not 4. Regardless of the rehearsal limit­ Shawnee, accomp, type E, 125 seconds, truly representative of his typical style. ations, three public appearances seem to size I school Brahms ranks very high in this group be the minimum expected of a high Me and My Shadow, Shawnee, ac­ because of his folk song settings. These school group (presumably Christmas, comp, type E, 150 seconds, size IV are fine settings, but they are not truly contest or festival, and spring). school. representative of Brahms' style or of his. From ,this list these conclusions can best choral works. Palestrina reached S. There is no clear-cut indication of be drawn: preference for accompanied or unaccom­ the list only because of three perform­ panied music. Response ranged from two 1. Most of the programs examined ances of a work entitled Gloria Patri, a respondents who preferred no accompan­ did not contain music by the most im­ brief (4S-second) section in homophonic ied music to six respondents who pre­ portant composers. styl$'! for double choir, "arranged" from ferred all accompanied music. 2. Directors of the larger schools the four-part Magnificat on the Third 6. There was a tendency among the .( Class I and II: over 400 in the upper Tone (Casimiri,Vol. XVI, p. 18). Such respondents to prefer more accompanied three grades) succeeded in meeting the a vertically aligned work, even well ed­ music as the size of the school decreases lower limits of the criteria they set for ited, could not be considered as repre­ and the amount of rehearsal time be­ themselves regarding percentage of time sentative of Palestrina.· Bach was well comes less. to be spent on each category of choral represented with some good selections; music specified on the questionnaire. The but even there poor quality intrudes. 7. Many directors seem unaware of. directors in the remammg (smaller) The fault lies not with Bach, but with or ignore, the vast amounts of music by schools failed entirely to meet the cri­ arrangers of Bach's works, eager· to great composers suitable for voices and teria the''.' set for the amount of time to "cash in" on the master's name. For ex­ small instrumental groups. be spent' on sacred and/or secular music ample: A four voice choral setting (ar­ 8. The directors who preferred to by significant composers. In this latter rangement?) of Bach's solo song J(omm perform more accompanied music tended group fall 77.3 percent of Minnesota's susser Tod (in English, of course) and most to confine their accompaniments to high schools. a three-part a cappella women's arrange­ keyboard instruments. 3. It was necessary to add three ment of the Bach setting of Break Forth 9. The five categories suggested by categories to the five previously men­ o Beauteous Heavenly Light. (The the writer, tioned to describe properly the compo­ writer can imagine nothing more ludi­ a. Sacred music by significant com­ sitions performed. These categories were: crous than a Bach chorale without a posers, "Sacred music by insignificant compos­ bass line!) Other significant composers b. Secular music by significant com­ ers," "Patriotic songs" and "Other mu­ are equally poorly represented. Already posers (including opera and folk song sic" (this consisted mostly of very sec­ mentioned was the poor quality of music settings), ond-rate "novelty" selections, e.g., Thank in the "Sacred music by insignificant c. Broadway show music and operetta, the Good Lord It's Friday by Del Bar­ composers" category. Similar examples d. Folk music and Negro spirituals oni). of useless music can be found in all of (excluding settings by significant com­ 4. The catego)."y"Sacred music by the· other categories. If it is the job of posers) , and insignificant composers" took up much music educators to produce musically e. Popular choral arrangements, of the time which respondents to the literate people, how can they hope to suc­ were accepted by 96.5 percent of the questionnaire had allotted to sacred or ceed using such music? respondents as containing .all the cate­ secular music by significant composers. It is evident from the above discus­ gories of music needed for a complete This category contained a preponderance sion that there is much to deplore in the

18 THE CHORAL JOURNAL choral curriculum in Minnesota (and could. not be performed by an average will stimulate persons eXp'ert in either perhaps elsewhere as well). What can Class III school (upper three grades area to become sufficiently knowledge­ be done to improve the situation? The contain a total of from 250 to 399 stu­ able in the other discipline so that dia­ primary agent of improvement must be dents). Many of the works are simple logue between the members of both dis­ the director himself. Only by perform­ enough for even the smallest schools. ciplines may become extensive and val­ ing music literature of lasting quality 4. Inclusion of ·a translation of the uable. text if the original is in a foreign lan­ can he justify choral music as a part of FOOTNOTES the high school curriculum.5 Many of guage. This is, unfortunately, a necessity 1. F.rederickD. Mayer and Jack Sach­ the respondents seems to recognize this for most c:iirectors. Most of the faults of er, "Toward a Rapprochment of Musicol­ fact, for they admit intending to spend the list can be traced to this qualification, ogy and Music Education: Some Prac­ 60 to 90 percent of their time on sacred which isolates the average director from tical Consid-erations," Current Musicol­ and secular music by significant com­ all of the. major choral editions and ogy, Fall and WihteT 1966, p; 140. 2. Space allows only a summary of re­ posers. That they fail to carry out this scholarly editions published in Europe. sults. Persons interested in further ex­ intention seems indicative of inability on 5. Relative accuracy of the edition. amination of the methodology and con­ their part to find music of this sort which 6. Accuracy and usefulness . of the clusions may consult the writer's complete is suitable for performance by their own editor's remarks if any are included. report, on file with Dr. ATnold F. Cas­ well of the University of Minnesota groups. 7. Usefulness of the work as a rep­ Education Department. All periods of music history offer resentative of the composer and style of 3. The completed list is 0'l1 file in the pieces which are appealing, vary widely which it is an example. Music Education office of the University of Minnesota, as are the programs from in difficulty, and cover almost any con­ These criteria represent the concerns w.hich it was drawn. The rem!l!rk of one ceivable combination of voices with in­ of musicology and of music education. terrified musicology professor upon ex­ struments. It follows then, that one ex­ It seems doubtful that a person without amining the fist, "This ought to be pub­ cellent way for the music educator to im­ study in both disciplines could success­ lished under the title, 'The Awful Truth!'," is i-ndicative of its overall prove his program is to train himself in fully locate and use a selection of music content. applied musicology,6 including polyphon­ similar to that in the following list. This 4. Paul R. Farnsworth, "Musicological ic vocal and instrumental notation and in itself argues in favor of such broader Attitudes on Eminence," Journal of Re­ collegium musicum experience.7 The mu­ training. search in Music Education, Spring 1966, _p.43. sic educator badly needs courses that While this essay emphasizes the need 5. For furlher diSCUSSIon s-ee: Bennet could make him aware of: for music educators to become know­ Reimer, "Performance and Aesthetic ledgeable in the discipline of applied Sensitivity," Music Educators Journal, 1. The wide variety of useful and or­ musicology, it does not imply that the LIV (March, 1968), 27. iginal choral music available;. musicologist can remain unaware of mu­ 6 ..Applied musicology may be defined 2. The original sources of older kinds as that .part of the fruits of musicology sic education. Musicologists must realize which {)an be usefully !l!pplied in compo­ of this music and their scholarly editions; that a knowledge of curriculum, psy­ sition, education, and performance. 3. The usefulness of these sources for chology of learning, philosophy ofedu­ 7. The University of Minnesota Col­ checking the accuracy of practical edi­ cation, and the place of music in the to­ legium Musicum, for example, read tions; through approximately four hund-red vo­ tal curriculum is necessary if they ar.e cal and one hundred instrumental works 4. The performance practices of vari­ actually to communicate with the music during the last year. ous eras, countries, or kinds of music; educator or aid in improving his situa­ 8. That this background is lacking (and 5. The role played by music in so­ tion. A project which attempts to im­ needed) can be seen by the "stop-gap" ciety at different times and in different approach of the Yale Project. They will prove the quality of music education, provide intensive eight-week courses in places; without understanding the other educa­ music theory, history, form and analysis 6. The development of musical styles, tional problems contributing to the sit­ for the instructors selected to test their forms, performing organizations, and uation. and/or without attempting dia­ curriculum. :-: other aspects of historical musicology, logue with the music educator concerning including study of popular and folk these problems, may be doomed to re­ styles as well as the "serious" reper­ MISS SPENCER WINS SCVA AWARD jection by music educators regardless of The Southern California Vocal AssoCia­ 8 toire. . the quality of their end products. tion is pleased to announce to readers of Once the musicologists are aware of The Choral Journal that the winneT of If given in sufficient depth, these ou.r Choral Composition Contest is At courses can improve the quality of the the approaches, goals, and needs of the the Round Earth's Imagined Corners by music the director will use and under­ music educators, there is much they can Miss Williametta Spencer of the Music stand, the accuracy of his performing offer: ( 1 ) They can develop courses Department of Rio Hondo College, Whit­ designed to give the music education tier, California. Miss Spencer is the re­ style, his ability to sort out poor editions cipient of a $250.00 -cash award. Her com­ from good ones and to adapt works to student the thorough grounding in ap­ position will be published by Shawnee his own groups' needs without violating plied musicology he needs to develop an Press and will be performed by the 1968- the intent of the composer. effective music education program. (2) 69 SCVA Honor Choir and by 8111 (high They can contribute published materials school choirs .participating in SCVA fes­ The list in the next issue is a small tivals during the 1968-69 season in which example of some of the music available. useful to the music educator. (3) They it will be a combined number. This list does not pretend to be complete can accelerate their research in the so­ Ciology of American music education. in any area of choral literature. Each The question of influence of the school work in the octavo section has been The General Words & Music Company of Park Ridge, Illinois, is pleased to an­ evaluated according to these considera­ music program upon community or na­ tional musical taste yields a wide variety nounCe the 8Icquisition of the Pallma Mu­ tions: sic Company, formerly of Beaumont, of problems for study by musicologists California. General Director of the Pall­ 1. A vailability of the edition. acquainted with music education. ma Music Company is now Neil A. Kjos, 2. Accessibility of the work to the This essay attempts to illustrate the Jr. All PaUma Music Company publica­ understanding of the performer and the need for persons trained in both musi­ tions will be distributed, along with the General Words & Music Company pub­ listener. cology and music education, and able to lications, through the Neil A. Kjos Music 3. Technical difficulty of the selec­ cope with the area of overlap between Company at 525 Busse Highway, Park tion. No works have been selected that the two disciplines. Hopefully, too, it Ridge, Illinois 60068.

MAY-JUNE 1968 19 subject were the approaching bicenten­ many with a, degree in music. Moreover, nial of the nation, the present national this pop group has contributed signifi­ climate, and the writer's own proclivity. cantly to mass culture. The procedure for selecting the music For those directors who 'might wish was two-fold for the composers had tO'be to extend their horizons now, provoca­ chosen first (see program appended to tive matter from D. N. Campbell's "Ed_ this article). Some of these men might ucation for the Aesthetic Experience" seem to be out of their element as not (ME], April 1967), an article in which all are presently thought of as choral the importance of musical "exposure" is composers. Yet when they are viewed stressed, was quoted in the booklet. An­ in historical perspective all share a com­ other article in the same issue of ME], . JAKLIN BOLTON STapp mon experience: early in their respective Alexander L. Ringer's "ry.Iusicology and careers each made' some decided con­ the Future of Music Education," was EXPER'67 was the title of one of tribution, not necessarily quantitative, to simply named because of the obvious im­ the choral reading sessions held this past the continuity of the American choral plications of its title. Next, educationally December by the N ew York State chap­ scene (e.g., Hanson and Harris in the . oriented teasers were appended for the ter of ACDA at its conference. at K,ia­ 1930s). As for the avant garde com­ reader to .relate to the aforementioned mesha Lake. This session germinated posers, their omission was due to the ]ournalmaterial (e.g., Tanglewood Sym­ from a desire to make the reading ex­ limitation of time coupled with the fact posium, Yale Report, creativity, discov­ perience meaningful far beyond' the im­ that so few directors are familiar with ery, spiral learning, the Beatles). mediacy of the day itself. To explicate: the notational procedure and perform­ After this introductory material, the too often a session, regan;1less of geo­ ance practices of this music. nearly two centuries involved in EXPER graphical location, becomes an' endurance As any objective attempt to winnow '67 were outlined from the choral per­ test as the conductor vies with the clock out the best work of each composer spective: in order to insure a reading of all the would have been a naivete, the basic cri­ Introduction: An Aborted Era Theme music. Concomitantly, unless the pub­ teria for selection of the music were the and Variations: William Billings. lishers provide complimentary copies earlier mentioned utilitarian and aesthet­ Movement I: An Illegitimate Era with there is little carryover when the parti~ ic concerns. Another facet of the aesthet­ a Maverick Sonata Style; Exposition - cipants return home. Furthermore, if ic aspect was also recognized in the need Theme A (19 Century German Influ­ there were time to take notes -:- usually for, pladng the numbers on the program ence); Theme B (Charles Ives); De­ hurriedly made on a printed program with the same regard for tension and velopment - Instrumental Emphasis 0 f restricted to the facts of, title, composer, release as for a concert performance. Theme A Composers; Recapitulation - arranger,arran'gement, publisher, and Because of the leverage introduced by Theme B as Introduction to price - such evaluations are too seldom these aesthetic aspects, a few very diffi­ Movement II: An Experimental Era. of much significance after a lapse of time. cult compositions could be included. Ob­ Quodlibet: Postromanticists,: Tettian What, then, was EXPER '67? Broadly viously such works would produce sight Harmonists, Polymeterists, Neoclassi­ speaking, it was a utilitarian as. well as reading problems and therefore required cists, Contrapuntalists, Atonalists, Seri­ aesthetically oriented session. That is, special treatment. For Roy Harris' Song alists, Avant Gardists. consideration of the immediate or short. For All Seas, All Ships, a taped analy­ To expedite the aural emphasis of the range needs of the directors for choral sis of portions of this linearly conceived session, the directors were divided into music was tempered in order to allow work was prepared for the session. First, two mixed choruses (divisi). The first for wide literary and musical exposure. the independent vocal lines .were dis­ selection was sung antiphonally. The Because the reading material was pre­ cussed and sung, then the directors, now participants were also encouraged, via sented chronologically, the normal aural alerted to possible ,pitfalls, were requested the booklet, to make nonmusical obser­ emphasis was reinforced. . Finally, dis­ to sing the work in toto. vations. Therefore, information about covery was encouraged as all aspects of After the reading material was firmed each selection was placed on a page so the session - textural, musical, histori­ up, the approach to its presentation re­ that the eye might readily catch· the cal, sociological - were conceptually mained to be worked out. The approach salient points, e.g., approached. would have to be different than .for a William Billings (1746-1800), Stock­ Specifically, EX PER '67 was dev()ted potpourri of selections and some con­ bridge, SATB, a cap; Isaac Watts (Ver­ to American choral music (English crete means to provide for the desired, sification of Psalm 117; addenda by Bil­ speaking tradition) published from the long range carryover had to be developed. lings?), edited and adapted by Richard Revolutionary period into the present de­ Consequently a sixteen page mimeo­ C. Pisano, published by Walton Music cade. This body of choral literature was graphed booklet was prepared to serve Corporation, 1966. delimited to compositions which em­ both' needs in varying degrees. Probably first performed in Stock­ ployed a text of nationalistic character. The general philosophy of the session bridge, Massachusetts - Revolutionary To complement this delimitation, not was predicated on the currently prog­ period - alliance of God and country in only were the composers native born or nasticated educationaI possibility known, embryo. naturalized Americans, but also the poets, succinctly, as Thursday for thinking. Versification by Englishman eminent with one exception. The anomaly was (See Ole Sand's "Schools for the Seven­ in this field - adoption of his, verses by Isaac Watts, an Englishman famous for ties," ,Music Educators J01trnal, ]une­ Colonies, later, States. his psalm versifications. These poetic ]uly 1966.) In view of the present rate Self-taught Billings - "fuging" tunes contributions, because of their numerous of the knowledge explosion, the predic­ - opening here Vl(as originally B, S, A settings by American composers, can be tion of a day reserved for teachers to do order - Choral sound desired by Bil­ considered a part of America's cultural research and to study is not unreason­ lings: melody in tenor; some sopranos tradition. The decision to investigate able. But why should music educators sing tenor an octave higher; some tenors American choral music was prompted delay until the next decade to expand sing soprano an octave lower; bottom by'the fact that there is too often a lack their horizons? The Beatles, for ex­ heavy chorus (half of membership on of knowledge about this tradition. Other ample, seem to know more about elec­ bass or bass part reinforced by cello). factors accounting for the choice of this tronic music and ethnomusicology than The bottom portion of one of the pages

20 THE CHORAL JOURNAL in the booklet was a questionnaire. The ficant rise in sales (e.g., Carter's Emb­ Elliott Carter (Allen Tate) - Emb­ positive response which it received led lems). lems, TTBB, piano, Music Press, 1949. to the idea of sharing EXPER '67 by Today's choral groups, whether com­ Aaron Copland, adaptor (Shaker Song means of this article. posed·of younger or older singers, de­ arr. Irving Fine) - Simple Gifts,SA/ serve musical contact through the ears TB, piano, Boosey and Hawkes, 1952. Questionnaire: and mind of experienced and know­ Norman Delio Joio (Barbara Ander­ 1. Was this session of value to you? ledgeable directors. Possibly, other EX­ son) - Somebody's Coming from The .... Maybe .... Yes .... No PERs can, be developed to bring musical Tall Kentuckian, SATB, piano, C. Fisch­ 2. Would you like to see one of the exposure and a resulting varied enrich­ er, 1954. reading sessions continued in this man­ ment to the already too busy choral di­ Vincent Persichetti (American Folk­ ner? .... Maybe .... Yes .... No rector. lore) - Proverb, SATB, a cap, Elkan­ Vogel, 1955. 3. Check the subject which you would PROGRAM like for next consideration: Daniel Pinkham (Emily Dickinson) - Part I The Heart Is The Capital Of The Mind A. The Avant Garde from An Emily Dickinson Mosaic, SSA, William Billings (ed., adapt. Richard B. The Influence of Jazz piano or small orchestra, C. F. Peters, C. English Choral Music from Eliz­ C. Pisano), (Isaac Watts), Stockbridge, SATB, a cap, Walton, 1966. 1963. abeth I to Elizabeth II Robert .Starer (Carl Sandburg) - The D. Composers of New York State. Part II Gong of Time from Two Songs from E. Other Suggestions "Honey and Salt', SATB, piano or 2 4. What about today's session could Dudley Buck (Sidney Lanier), . The C enten.nial Meditation of Columbia, or­ trumpets and 2 trombones, Music Cor­ be eliminated? Should anything be ad­ poration of America, 1964. ded? chestra, SATB, G. Schirmer, 1876. Arthur Foote (Henry Longfellow) - Ulysses Kay (Helen More) - What's 5. Further Comments The Farewell of Hiawatha, TTBB, or­ In a Name?, SATB, piano, Duchess, 1966. :{ The returns of the questionnaire rep­ chestra, A. P. Schmidt, 1886. res.ent a sampling of those who attended John Paine (George Woodberry) - the session. Significantly, 95 percent in­ Song of Promise, SATB, orchestra, John dicated that the approach was of definite Church, 1888. ACDA of Ohio to Hold value and should be continued. The sub­ George Chadwick (Harriet Monroe) - Summer Clinic July 29-30 jects of the Avant Garde and of the In­ Ode, SATB orchestra, John Church The American Choral Directors Asso­ fluence of Jazz tied as the preference for 1892. ciation of Ohio will hold its summer a sequel. (Composers of New York State Henry Hadley (G. F. R. Anderson) - State Convention and Ohoral Clinic on followed.) Only one suggestion was Lelawala: A Legend of Niagara, SATB, Monday and Tuesday, July 29 and 30. It written in; namely, a request that the orchestra, A. P. Schmidt, 1898. will be held in the air conditioned facil­ more difficult contest-festival music ities of Capital University in Columbus.. Horatio Parker (Thomas Goodell) - Business meetings of state officers will listed in the New York State School Greek Festival Hymn (MNO take place on ,Sunday, July 28th. Music Association "Manual" be read. AN P N), TTBB, orchestra, G. The general chairman w.ho will be co­ The majority of answers to questions Schirmer, 1901. ordinating facilities and local personnel 4 and 5 revealed that the session was for is Robert Petty. State President Ernest Charles Ives (Charles Ives) - They Hisey of Avon Lake is heading a com­ example, "very helpful and enjoyable." Are There! (A War Song March), uni­ mittee of Nancy Twitchell, George E. A few responses contained the request son, orchestra, Peer 1961. Wilson, Lar.ry Tagg, and John Van Nice that more time. be allowed in the future. Cantata excerpts which were limited in planning the event. The feeling of rush stemmed from a late Topics for the two-day affair wiU be: to 2-3 minutes for performance time. Performance Requirements in Different start which was caused by the arrival of MusiC published before 1907 was photo­ Periods of Music· and, The Use of Instru­ an unexpectedly large number of people. copied when not presently available in ments in Choral Works. The unified approach of future sessions reprinted editions. Choral directors throughout Ohio will could be enhanced and the atsmosphere serve in reading sessions, demonstra­ tions, lectures, and panel discussions. more relaxed if all of the publishers Part III could provide complimentary copies of Randall Thompson (NWCTU Leaflet) the music. - God's Bottles from Americana, SSAA, KODAI,Y WORKSHOPS The intent and approach of EXPER a cap, E. C. Schirmer, 1932. BY ARPAD DARAZS '67 appear to merit consideration as an Numerous clinics and demonstrations Howard Hanson (Walt Whitman) - are being presented on the Kodaly ap­ idea for other reading sessions. Its im­ Beat! Beat! Dmm's t from Drum Taps, proach of musical training and its ap­ plementation was made possible through SATB, orchestra, J. Fischer, 1932. plication to classroom and choral devel­ the cooperation of many people: the Roy Harris (Walt Whitman) - Song opment by Arpad Darazs, a former pupil of Zoltan Kodaly, and now director of carte blanche given the writer by Mrs. for All Seas, All Ships from Symphony choral activities at the University of Dorothea Waddell, ACDA state chair­ for Voices, SSAATTBB, a cap, G. South Carolina. man; the time, energy, and support of Schirmer, 1939. Engagements during the 1967-68 season the conductors (Professor Mary Eng­ William Schuman (Genevieve Tag­ included workshops for classroom teach­ ers and music speCialists in Columbia, lish of the State University College at gard) - Qttestions from This Is Our S.C.; Wellesley Hills, Mass., and Mon­ Potsdam, Carl Steubing of the Scotia Time, SSAA, orchestra, Boosey and treal, Canada; demonstrations and chor­ Public Schools, and Dr. Benjamin Su­ Hawkes, 1940. al clinics at the Louisiana MENC Con­ choff of the Hewlett Public Schools and Ernst Bacon (Emily Dickinson) - vention, the Baptist Musical Retreat, What .Soft, Cherubic Creatures from North Carolina, the All-State High School of the Bela Bartok Archives) and of Ohoral Workshop in ISouth Carolina and the accompanist George Reynolds of the From Emily's Diary, SA, piano with at bhe Ontario Choral Di·rectors Annual Baldwin Public Schools. It also evi­ cello or small orchestra, G. Schirmer, Conference in Toronto, Canada. Also a denced the excellent cooperation of the 1947. special "Kodaly Summer Workshop" will be offered at the University of South publishing houses in providing the spe­ Virgil Thomson (Isaac Watts) - My Carolina in June, 1968 for choral direct­ cifically requested selections, quite a few Shepherd Will Su#ly My Need, SATB, ors and classroom teachers discussing of which would not result in any signi- a cap, H. W. Gray, 1949. the Kodaly-Method and its application.

MAY-JUNE 1968 21 Some Comments on Rhythm HOWARD SKINNER ly the same time as dance forms were being assimilated into Choral Director Colorado State College serious music. It would appear that there is more than just Greeley, Colorado a chronological coincidence between the two phenomena. The use of the bar line would seem to be a concomitant to the employment of the body accent. Both concepts are foreign In writing this article I have two purposes in mind. to the Renaissance sacred style of the 16th century. First of all I would like to get down on paper some general Rhythm in Renaissance sacred choral music consists of ideas about rhythm and the relation of it to historical pe­ subtle interplay between meter, macro, and micro rhythm. riods of music history. Secondly, I feel that inadequacies The function of the meter is usually more concerned with of interpretation often arise due to the choral conductor's the regulation of dissonance treatment than with the group­ lack of knowledge as to disguised rhythmic groupings and ing of beats. Indeed the rhythm of the ensemble (macro types of accents. Thus I will hope to set forth a general rhythm) mayor may not be congruent with the meter. frame of reference with respect to rhythm as well as some The term micro rhythm refers to the rhythmic groupings specific discussion of those rhythmic practices which may of the individual lines in a polyphonic texture. In Ren­ not be too well known and yet the understanding of which aissance music these groupings will show an amazing amount is essential to accurate performance. of variety. In the example below you will note both the lack There are two basic founts of rhythmic thought, the of rhythmic simultaneity between the parts and the often in­ one having its origin in: sacred vocal music, particularly the dependence from the meter (N.B. the bar lines and all ex­ chant and the other deriving from the instrumental dance. pression markings are editorial and are not in the original). The. former takes as its point of departure the inherent You can further see (in the last two measures) where even rhythmic inflections of the text. This results in a supple the full ensemble rhythm (macro) does not coincide with metrical alternation of groups of two and three and avoids the meter. any metrical scheme imposed from arbitrarily conceived mtl­ sical ideas. The type of accent employed is likewise congruent Example 1. Palestrina: Super flumina Babylonis with verbal accents, (i.e. a stress rather than a percussive downbeat). .

Dance rhythms on the other hand are related to body by • 16 nls, n • lie s& • d1. motion exercised. in consistently recurring patterns. There ,.-, (7i!'!C"'t :::::::- is thus a consistency of meter and a strongly articulated accent. .. ml .. na Sa nls,n.lie.6. di· Donald Tovey the great English musicologist refers to >~r;; the two contrasting types described above as "speech rhythm" and "body rhythm". I shall borrow rather heavily by. 16 • niB, n.Ue.~.d1. on this terminology in the discussion that follows. "Speech rhythm" by its very nature lends itself to vocal n.l!os&.d1. music while "body rhythm" is quite obviously mostly as­ sociated with instrumental. However these are only tenden­ Whereas such independence of rhythm from meter is cies and the inter-action of the two rhythmic concepts with not true of all Renaissance sacred choral music, it is non­ varying performance media becomes constant after the 16th theless found extensively. The movement between a strictly century. chordal texture and the linearly free texture shown above It may further be stated that the inherent quality of is also a characteristic of the sacred style. In any event the "speech rhythm" is not in any way mitigated by linearly type of accentuation employed should be one of stress (i.e. independant polyphony. In fact the quality of accent and the speech rhythm). dominance of free groupings is highly compatible with a de­ One of the most significant revolutions in the. history sire for melodic independence. Inversely, strong body of music took place around the turn of the 17th century. Not rhythms rely for their effect upon unanimity of ensemble the least of the changes h~d to do with rhythm as the early groupings. Thus to the degree that the rhythmic groupings Baroque was strongly influenced by the assimilation of are independent there is a corresponding weakening of dance forms into serious music. The resulting instrumental body pulse. style emphasized body rhythm and began to dominate vocal Historically it may be stated that the 16th century is music. I am sure that most readers are aware of the basic exemplary in its use of speech rhythm. It is true that there rhythmic concepts of Baroque music: the strong pulse, the was a good deal of instrumental dance music and choral extensive use of repeated and sequential patterns, etc., so I music which was influenced by it (e.g. villancico, ballatta) won't labor the point. I would simply like to emphasize how­ but in general the emphasis was on sacred choral music of ever the ubiquitous quality of the dance rhythm influence the speech rhythm variety. I believe adequate performance of and its concomitant type of body accentuation. this music is dependent on a knowledge of Renaissance Lesser known aspects of Baroque rhythmic practice but rhythmic practice. Because of time and space limitations I which deserve attention have to do with alternating rhyth­ will not discuss tempi or meter changes (covered quite thor­ mic groupings which vary from the established meter. They oughly in Sachs' book RIz')'thm. and Tempo) but will proceed have their origins in the dance and are found to some de­ to some remarks on accent and groupings. gree in earlier music. However with the Baroque they reach To begin with it seems almost a cliche to state that their full development. I am referring to "hemiola" and 20th century singers are tyrannized by the bar line. How­ what Sachs calls "dochmiac". The former has to do with the ever in music written before 1700 the bar line was not dividing of six beats (or pulses) into alternating groups of utilized. Tts usage came into musical practice at approximate- three and two. This practice most commonly occurs in triple

22 THE CHORAL JOURNAL meter and is often found at points of cadence. With some ient motion, is primarily a classical idea. it may be found composers it becomes almost a mannerism (e.g. Buxtehude). in earlier music but certainly not to the degree that it oc­ curs in the late 18th century. At the other extreme there is Example 2. Handel: The Messiah,' And The Glory. no period where speed seems to be such art important com­ ponent. I don't mean tempo but just pure velocity. The .FHB"t r e:~mlr: quicksilver movement of classical composers is unparalleled. li~lO -ry, the C1o-'lJt I e Lord 5hUl be re - ve/lol - ed. The strong predominance of homophonic texture would point up a greater clarity of ensemble rhythm with the re­ Example 3. Schutz: The Christmas Story: Conclusion. sultant intensification of body rhythm. There is further a use of sfprzandi which broadens the gamut of available at­ ([~~H~.~U.~~i~:~:~.h~~~I~W§.~.~ll~~~~S~.~lhi.•~W~llli~.~.l~1~h~I'~~~~ tacks not typically in use in the Baroque. Incidentally the fr walt. p. ~~ 80t .. Jon wir aJ" Ie mit &01 " nOD use of hemiola may still be found although not in the abun­ dance of the earlier period. Example 4. Buxtehude: Befiel dem Engel. Example 7. Haydn: Lord Nelson Mass: Kyrie Dr' J r I J rl r IF J a~'? tJ ~ 1DCIl, A .. mfD, A-mto, A .. meD, A .. mon, A .. "~t A .. ~OD, It. 41 lei - eon, • - leI _ lon, ~ roC - uge, thou, Lord, art As can be seen in each instance the six beats contained in two triple measures are divided into three groups of two Rhythmic practice in the 19th century has often been rather than the usual two g·roups of three. critized for its lack of inventiveness; its penchant for going "Dochmiac" refers to the grouping of eight beats (or along with established patterns. I believe however that this eight half beats) in the manner of 3 plus 3 plus 2 rather is not entirely the case. Rhythm is closely related to texture than the usual 2 plus 2 plus 2 plus 2. This is a bit more. and dynamics and in this respect the 19th century achieves difficult to discover than hemiola, but the musical results a distinction. There is a certain fluidity brought about by justify the effort. the use of expressive rhythmic devices (e.g. rubato, sosten­ uto, affrettando, stringendo, etc.) which if not altogether Example 5. Hassler: Missa Secunda: Gloria. new is at least a considerable extension of previous prac­ tices. This quality of plasticity is emphasized by extensive IAIT r f ~¥·pMf.~!Mtn'f·r·'r use of expression markings and the tonal malleability which .111. Lac. d~·mua· 1•.. ~m:.:..Ad. o .••a. mao. t •• results. This is further intensified by textural practice which departed drastically from classical concepts of harmonic and Example·6. Leising: Let All the Nations. coloristic clarity. The result is often a rhythmic structure which becomes less "body rhythm" oriented. There is a concomitant shift of emphasis from the clarity of classical accent wherein the loudest sound occurs immediately upon impact to the 19th century practice of swelling after the beat (Ex. 8). This concept may be further expanded in terms of motion where In regard to the Leisring example above, how often the precision of demarcation betw.een staticism and velocity have we heard this passage treated as a syncopation rather gives way to a surging, undulating type of movement. than as a change of grouping. A syncopation implies two juxtaposed accents, or at best accent displacement. Such Example 8. Brahms: Requiem: I concepts occur later in music history and are not relevant. The grouping change would indicate that there is to be no JF .I I it -I t IEmf i 4 1 bl •••• ed thoy, bl .....d t I!)\ tOy ,t'l amourn, accent on the final syllable of the quoted example. Rather a lyrical 6/8 feeling should be maintained for the bracketed This latter concept is related to textural and harmonic rhythms. consid:erations and is a part of a style in which ambiguity It should be noted that hemiola and dochmiac are most and fluidity are emphasized. The constantly undulating tex­ obvious (and effective) when used simultaneously in all tures and expanding and contrasting dynamics may be a voices. All the examples employed in this article are in­ product of what Lang refers to as the Romantic "longing for stances of such usage. It is possible however to utilize the the infinite". In any event the contrast between 18th and devises in only a part of the texture. 19th century rhythmic practices has more to do with a sense It would appear that the dochmiac is more character­ of the outlines of rhythmic movement than with the kinds istic of the early Baroque than of the later periods. How­ of notes, meters or patterns employed. ever the use of hemiola remains a consistent practice through­ Just to keep our record intact I would cite the use of out the entire period. the hemiola in the 19th century. This is a particularly favor­ The classical period is in many ways a direct extension ite device of Brahms. of the Baroque. This is particularly true if we consider the early and middle 18th century Italian opera composers rather Example 9. Brahms: Liebeslieder Waltzes: No.8. than J. S. Bach as the musical ancestors of Haydn and Mozart. With respect to rhythm there is an extension and sub­ sequent exploitation of the extremes of motion. There are examples (particularly in Beethoven symphonies) where Example 10. Brahms: Neue Liebeslieder Waltzes: No. 12. there is a feeling of complete staticism. This may be ac­ complished even when there are many notes being played. It perhaps has to do with harmonic rhythm and dynamics but it is perceived in terms of motion which is essentially a rhythmic concept. This quality of subdued energy, of incip-

28 SOME COMMENTS - triplets and in their constant' mixing is a decided advance over 19th century techniques. There has been, in a sense, a rhythmic explosion in the 20th century. In addition to an extension of techniques of Example 14. Schoenberg: De Profundis. (Piano Reduction.) the recent past, new practices have been consistently exploit­ ed and ancient practices revived. I believe with respect to choral music at least five different elements may be dis­ cerned. (1) Chant (2) Traditional (3) Irregular (4) Ir­ rational and (5) Jazz. Chant rhythms both of Gregorian and more exotic or­ t:,, ,-;~E!J:=~,~", igin may be found in much contemporary' music. Witness these examples. I would also like to cite in passing contemporary usage of some of the unusual but traditional rhythmic devices cited Example 11. Hanson: Cherubic Hymn. in the foregoing. l!J --= =-- = Example 15. Hemiola: Bernstein: West Side Story: America. , meotandright to hymnne.,to..,. ,bless ne.,to_ praise,..--__ Example 12. Durufle: Requiem: Introit. ·· (.1 like I. be In A'· mer- I'· ca, O·kayby me In A. mer· I· ca. tI 2.Au.~to .. mo~bna in A:. mer .. I .. ca-.. Chro-ml .. unlsteelln A .. mer .. i .. ca. do. '. • 1Ilf._ •• 18 __-,- ___ Do. mi. Example 16. Dochmiac: Walton: Belshazzar's Feast.

Example 13. Britten: Festival Te Deum. I' t;1""~ r;:i"'I :>:> P -= _=- ~ ·1: " f brfngthegoJd amhli.vcr ves-Icls,. Yea, thcgotd.-en vCI.-.leiswhlebhls f..... thcr ail. • Je"1f or Th.v 010' ". Example 17. Micro rhythms: Mennin: In The Quiet Night. Traditional rhythmic practice. has to do with those tech­ P ..-----;... I niques developed during the 16th-19th centuries. What has happened' of significance in the 20th century however is ail Lift·lng my _ self to Cound ___ th.t It extension of these techniques in terms of complexity. In the p , , --. Schoenberg example quoted below there is nothing new to rhythmic notation. However the degree of rhythmic com­ 'Lift. ing my _ .elC 'to looli, __ r' Co.;;;;r- ,.;;;;<-' th.t it was plexity resulting from the superimposition of duplets and ---1'- c: Lift. ing my. ;,elf _ ,to look, I found that it _ w.. moon· light, "!I'---.===,.

Lift. ing my.. self _ to look, Cound Ihal II was

The use of irregwar and changing meters is almost a ICE trademark of 20th century music. Although obvious in terms, of recognition, these present problems in execution. The In order to correlate The Choral Journal and fundamental rule unless otherwise specified by the composer is that the rhythmic unit remains constant, not necessarily ACDA fiscal year the new Volume numbers for the beat. The Choral Journal will begin with the July-Au­ Example 18. Stravinsky: Mass: Gloria. gust issue as Volume IX, Number 1. This will per­ mit the completion of audit and reports at the same time. To better serve Choral Journal advertisers Example 19. Stravinsky: Mass: Credo. and to eliminate the problem of summer addres­ ses, the July-August issue of The Choral Journal will be mailed the latter part of August in order Example 20. Bernstein: Chichester Psalms. to reach members at their permanent fall ad­ ~"""O!'O"."':' dresses. This brings The Journal and advertise­ F ii' IIa • rI u IA',do .' nal kat ha .. a ' .. te~ ments of new publications to the immediate at­ Example 21. Britten: Rejoice in the Lamb. tention of choral teachers during fall planning session and the opening of the regular school term. Deadline dates for all issues will remain

unchanged. It is interesting to note that at times the metric and verbal accents do not coincide in the Stravinsky examples above. This would point up the essentially instrumental - dance - body - rhythm source. It also illustrates the fact

24 TJ.I~ c .... nDlll ~1n.IIDIUA. that there is a growing emphasis among contemporary com­ The music must swing. But what that amounts to is diffi­ posers upon the non-semantic aspects of text. (i.e. the use of cult of precise analysis. Certainly notation in this respect is the word for its phonetic properties alone.) Another dimen­ only a relatively accurate portrayal of what the music should sion of this would be the conception of sacred text in terms sound like. of a universal ritual where the meaning is cosmic rather than Finally some observations on the general performing individual. The relationships of this extreme objectiveness attitudes that must prevail in order to achieve accurate and with a lack of accepted syllabification is perhaps devious but vital rhythmic projection. Fundamental of course, is an un­ I believe exists nonetheless. (See my quote of Stravinsky in derstanding of the rhythm: where the beginning of a rhyth­ article "Words and Music", Part I, May-June 1967 Choral mic group is and what type of accent is to be used. Almost Journal.) as basic is a sense of underlying pulse. This emanates from Poulenc's rhythmic - verbal treatment also gives evi­ the conductor but relies for its attainment on excellent phys­ dence of the above. His emphasis however is more on a ical and merital response on the part of singers. I know of dance-like joy than on cosmic ritual. no clearer measurement of a conductor's rapport with his group than the clarity of the rhythmic response which he is Example 22. Poulenc: Gloria. able to elicit. m Given the right attitude and a reasonable vocal technique the next requisite is the ability of the singers to think ac­ A _ do_ ra • mus te Glo. ri _fi _ ca.mus te curately in terms of time measurement. Singers often equate Praise and a. dore Thee, And we {flo-ti-fu Thee, rhythmic singing with accented singing. Obviously this need not be the case. It seldom is in Renaissance music. It should Irrational patterns have to do with the sub-division of be apparent that legato singing can be as rhythmically pre­ units into other than the traditional groups of two, three cise as that which is marcato. and four. Although carried to much greater degrees of sophis­ tication in avant garde instrumental music there is still Translated into precise technical terms this means that sufficient usage in choral music to permit its inclusion here. the singers must know precisely when to change syllable, move diphthongs, or articulate consonarits and must develop Example 23. Thompson: The Peaceable Kingdom: the physical techniques and mental acumen necessary for this Woe Unto Them. to happen. One last point: different kinds of rhythms will gener­ ate differing physiological responses in the singers (and con­ ductor). This perhaps relates to the opening points about the origins of rhythms in the dance and speech. For I be­ Example 24. Stravinsky: Mass: Sanctus. lieve that certain rhythms are cerebral and others visceral with all sorts of shadings in between. For example in a Pal­ ." I estrina motet the rhythm must be finely graded and articu­ lated in a crystalline fashion, even though the lines may be legato. This equates I believe with the rather disembodied The effect of jazz on 20th century rhythm has of course tone that many of us strive to achieve and is essentially a been exceptional. In serious choral music this has taken two head concept, with the feel of articulation in the lips, tongue forms (1) the direct setting of texts in a jazz idiom (Tirro, and head resonance cavities. At the other extreme "work Zimmerman, etc.) and (2) the incorporation of techniques songs" or "shout songs" such as "Dis 01 Hammer'~, "John into works which are not essentially pieces of jazz. Examples Saw duh Numbah" or - "Ain'a That Good News" need a of the latter occurs with some frequency in such composers pUilse that comes from deep within, and is much more re- as Delio Joio, and Bernstein. lated. to body movement and a vicarious empathy of thE:: The difficulty in the performance of jazz is well known. viscera with it. :.: 111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111

ning performance in this evocative and in Merida earned for the group not only UNIVERSITY OF IOWA CHOIR legendary setting was called "brilliant the respect, but also the love of the peo­ TOURS YUCATAN, MEXICO and moving," "a magnificent concert" by ple of Yucatan. We are impressed by the reviewers in the newspapers of Merida. extraordinary way in which these. young From April 13-20, the University of Some 1,500 music lovers traveled the 75 people during i:!heir brief visit here have Iowa Choir was on tour in Yucatan, Mex­ miles from Merida to Chichen Itza for been able to dominate the attention of ico as official good-will ambassadors for the concert and were joined by hundreds young and old, and of educated and un- the Iowa-Yucatan Partners of the Alli­ of farmers who live near the ancient educated." I ance, a cultural and economic exchange ruins. The program was a benefil con­ On Thursday night, a special Mexican program initiated in 1964 by the Agency cert for the Mexican Association for fiesta in honor of the choir, was given for International Development and the Child Welfare. by the government of Yucatan. At the Alliance for Progress. The 66-member The choir gave two other -outdoor eve­ close of the serenade and program, the choir left by charter flight from Cedar ning concerts and sang twice in the ;governor of Yucatan, Sr. Luis Torres Rapids on April 13 and flew directly to Cathedral of Merida during the ·week. Mesias, presented to the choir this cita­ Merida, the capital city of Yucatan. The Tuesday evening concert was given tion: I"The government of the State of The choir's first public appearance in in the Merida public I stadium for over Yucatan honors the choir of the Univer­ Yucatan was in st. Iglesia Cathedral in 3,000 employees of the Cordemex Plant, sity of Iowa for the brilliant concerts Merida, where they sang the music for a major industry in Yucatan.' Comment-·. w.hich they have offered here. These con­ the Solemn High Mass on Easter Sun­ ing on this concert, the Novadades (News certs have further strengthened the day. The Diario de Yucatan said, "From of the Day) De Yucatan said: "Last spiritual bonds which already existed the processional hymn of Gabrielli until evening, before an audience of 3,000 the between the people and the governments the final moment when Bishop Ruiz em­ University of Iowa Choir offered a bril­ of Iowa, U.S.A., ;3.nd Yucatan, Mexico." braced him in congratulation, Daniel liant demonstration of its artistic qual­ The choir returned to Iowa City on April Moe, conductor of the Iowa ChOir, demon­ ities in the acoustic shell of the stadium." 20. strated the integrity of a vocation dedi­ The Diario Del Sureste said of this cated to the nobility of. music." concert: "The beautiful performance On Monday, the choir traveled. to the deeply affected all who were present. Be sure to notify us ancient Mayan ruins at Chichen Itza for We can affirm, wibhout exaggeration, if you have any an unforgettable -concert there. The eve- that the three concerts by the Iowa Choir CHANGE OF ADDRESS

MAY-JUNE 1968 25 HaroW. A. Decker, president 0 f ACDA, sent his congratulations: "The Lauren B. Sykes flonorer! for fifty American Choral Directors Association is proud to have men of your stature in the ranks of its membership." Robert B. Years (ontribution to (hurch Music Walls, Oregon chairman, wrote: "To have served in one's profession for 50 NAN PHILLIPS years is a great accomplishment in itself; to have done so with such steadfast ded­ Fifty years of musicianship is a dis­ sister, Mrs. Wayne Chastain of Spokane, ication to high ideals and perfection as tinguished record, and the many friends an amusing biographical slide film was you have held before your students and and pupils of Lauren B. Sykes, AAGO, presented, followed by the reading of colleagues is the more reason for' pride ChM, of Portland, Oregon, couldn't let letters and telegrams of tribute. Assist­ and deep satisfaction." it go unnoticed. ing as toastmaster was Don McGuire C. Robert Zimmerman, former direct­ A committee was formed: Rick Hardt, Lehmann, pianist who has appeared with or and founder of the Portland Sym­ teacher of English literature at Warner Mr. Sykes in concerts in Portland and phonic Choir, now with California Luth­ Pacific ColIege, where Mr. Sykes is as­ Seattle. It was one of those heartwarm­ eran Church in Thousand Oaks, Cali­ sociate professor of music; Miss Gretch­ ing experiences which at least temporar­ fornia, wrote of Sykes' musicianship ,and en 1. Beutler, organist and pupil; and ily relieves preoccupation with the bit­ wise counsel. Frances Yeend Benner, Charles W. AlIen, designer-installer for ter tensions of today's embattled world. concert and opera singer, sent her warm the Wicks Organ company in Seattle, Portland's Mayor Terry Schrunk, congratulations, and James Sample, as­ who has worked with Mr. Sykes on 13 Oregon's Governor Tom McCall and sociated with Sykes when Sample was organ instalIations and attended 22 dedi­ Oregon's Senator Mark Hatfield sent conductor for the Portland Symphony, catory recitals played by Mr. Sykes on greetings. The Portland, Oregonian's and now director of the Fort Wayne organs which Mr. Allen designed and music critic, Hilmar Grondahl attended, Philharmonic Orchestra, wired his con­ installed. and the Oregon Journal's music critic gratulations, with his "greatest esteem It took considerable ingenuity to build Martin Clark said in his review, "Sykes and affection as a man and a musician." a mailing list of pastors of churches lists himself as Lauren B. Sykes, asso­ Messages came from composer-con­ where Mr. Sykes had played, students, ciate professor of music at Warner Pa­ ductor Dr. Carl F. Mueller, ACDA sec­ and musician friends who would want to cific ColIege, AAGO, ChM . ~ . a mod­ retary-treasurer Dr. Harvey E. Maier, attend a dinner in his honor, all without est description of a man who has prob­ from choral conductor William Klein of either Mr. or Mrs. Sykes knowing ably done as much or more for music in Seattle, from Dr. George Dunbar of about it in advance. . Portland as any individual in the history Cascade College, from A. Verne Wil­ The surprise was complete. of this city." son, supervisor of music for the Port­ On the night of December 29, at 8 :00 From their home in Paris, Marcel land Public Schools. t·: p.m., the Sykes' son-in-law and daugh­ Dupre and his' wife penned individual ter, Mr. and Mrs. Stephen Binney, congratulatory notes. From New York His family and friends who arranged brought the musician and his wife to the City, Clarence Dickinson, now nearing sUl'prise dinner honoring his fifty doorway of the Benson Hotel dining 100 years of age, sent his regrets that years as organist, musician and room where 100 smiling men and women he could not be present, signing his let­ teacher in P.ortland, Oregon, surround were seated at candlelit tables waiting ter in a determined but spidery hand. 'Lauren B. Sykes. From left, son-in-law Stephen Binney and Mrs. Binney to break into a welcoming song. Word came from Flor Peeters in Bel­ (Laurelee Sykes) of Albany, Calif.; With the cooperation of Mr. Sykes' gium, from Cyril Warren in Victoria, Mr. Sykes and his wife Ruth. Back B.c., from Dr. Eric Thiman, organist­ row, Committee members Rick Hardt, director of City Temple in London. his wife Eleanor. Miss Gretchen Music critic of the Portland "Oregon­ Beutler and Oharles W. Allen, Seattle. ian" newspaper, Hilmar Grondahl, right, congratulates Lauren B. Sykes on his 50th year as organist, musician, teacher in Portland. Grondahl made special mention of "the integrity of the man and of the musician".

26 THE CHORAL JOURNAL Reprinted by special permission of the author and publisher from The American T Music Teacher, official Journal of the Music Teachers National Association, Cincinnati, Ohio.

, , ~ IG CH C S R. CEDRIC COLNESS

o the discriminating listener, aday sultant average chest position. Anyone of his voice. The posture leads logi­ T spent at a high school choral fes­ putting the aforementioned to use will cally to the use of a breathing tech­ tival prompts much thought re­ no doubt understand quickly the nique known simply as "belly breath­ garding the creation and maintenance meaning behind the word "down." ing." It must be said from the outset, of valid choral tone quality concepts. Functional relaxation is the key to that the diaphragm (as a basis for One can often applaud a director's this kind of singing posture. Ob­ breath support) has virtually no place handling of intonation problems, blend viously, overuse of the down sensation in a young singer's understanding of and balance, stylistic considerations will only create an inert, useless physi­ a useful breathing process. It is almost and the like, but missing, too often, cal condition. The choral director solely the abdominal area to which his is the aural excitement generated by must be alert to those singers who attention must be directed. young voices producing vocal color will slump in an effort to achieve the Any carefully spoken words about founded on meaningful vocal pro­ result, and to those whose suoulder the need for deep breathing are quite cedures. The need, then, is for more and chest positions indicate a tension useless unless a singer develops a res­ high school choral directors to be ac­ which will not allow a lowering of ervoir for the air. If nothing impedes tively concerned with the instillation the body weight. Simplicity is the the descent of inhaled air, it is per­ of maturity and depth in individual hallmark of this posture technique - fectly reasonable to feel that the air voices. It is hoped that the following a simplicity which promotes a physical has been allowed to reside in the information will aid those choral di­ readiness for what must necessarily whole of the abdominal area. Expan­ rectors who realize a need for a dif­ follow. . sion and a sense of fullness are, of ferent direction in the pursuit of de­ Answers to queries directed to a course, the reasons for assuming the sirable vocal technique for their young greilt many young singers concerning air location. If the shoulders and the singers. their knowledge of a proper breathing greater chest/rib cage are allowed to The advancement of any singing process for singing purposes are remain quiet during inhalation, and if technique necessarily must begin with widely varied and almost always in­ the singer promotes a mental image of the creation of a useful and comfort­ dicative of much confusion about a breathing into his belly with a down­ able posture, a posture which provides singer and his breathing. It has been and-out sensation, then the idea that a strong sense of physical direction. interesting to note that the most com­ the air is contained in the belly is The writer believes that some of the monly uttered response has had some­ readily accepted. In recapitulation commonly accepted posture practices thing to· do with "breathing from the then, the need is to send the air down do not benefit young voices properly; diaphragm." At first thought, such a tube which extends into the ab­ a reference here is directed toward the response to questioning is quite ac­ dominal area. It is a rare individual high chest and high suspension con­ ceptable and certainly the result of who cannot rather quickly accomplish cepts. Rather, it is felt the lower the someone's teaching. However, further the physical sensation implicit in this posture concept, the better will be ~uestioning and the asking of the stu­ breathing process. During the earliest the breathing and vocal result. There­ dent for a breathing demonstration stages of instruction, the singer Will fore, the feeling of being comfortab~y most often reveals nebulous under­ find it beneficial to place both hands "down" becomes of paramount im­ standing. It can only be suspected, over as much of the ·abdominal area portance. The word down refers to then, that too many high school choral a'l is possible, and then "breathe into the sensation of being firmly attached singers are not properly exposed to a his hands." It will be noticed that to the floor or chair as a result of a breathing technique which is easily expansion takes place from "backbone lowered point of gravity. The con­ understood, easily accomplished. to belly button," as the saying goes. cept does not imply a postural slump, If the singer's success with the rather it negates martial suspension above described posture provides a The above constitutes a rather sim­ through well relaxed shoulders and good sense of physical purpose, then ple physical process, but complica­ arms, comfortably straight spine, re­ he is ready to accept a breathing proc­ tions can and do result from postural laxed abdominal muscles and a re- ess which will ultimately aid the sound -Continued on next page

MAV-JUNE 1968 27 TONE QUALITY - any student with singing ability will affcct the throat in like fashion, as develop a more meaningful tone qual­ well as preventing meaningful articu­ ity if that truth is ever present. A lation of certain consonant and vowel rigidity. If the shoulders arc pulled properly open throat is not a difficult properties. Also, the tongue must be back or held too firmly, or if there physical state to achieve. The simple allowed to function in a normal, active is rigidity in the chest and ahdominal yawn serves admirably as the basis for manner. It must never be allowed to muscles, the singer will feel that the quality improvement. For those who lie fallow, nor must it contract into air has not properly descended; and have never used the yawn technique, the back regions of the mouth. The indeed, the instructor wilI note the a brief sensation analysis of a com­ lips too must be ready to, function with general "up" appearance of the chest. fortable yawning feeling will reveal alert mobility. Too, the singer must suddenly develop some interesting things. First, there The realization of the ideal condi­ the notion that his physicale/forts are is an obvious enlargell1ent of the tion lies with a harmoniously function­ to be directed in a downward fashion, mouth (provided that one does not at­ ing sense of exaggeration throughout and not upward as is the natural tend­ tempt to be too polite); secondly, there the whole of the vocal mechanism. ency. It should be noted that a posture is a noticeable deepening sensation in Wise use of the yawning technique which holds the singer too high will the greater throat area (achieved by results in desirable tone color change. not greatly aid the air descent. the slight descent of the larynx); and, The listener will note a darkening of In order to become increasingly one will note the increased sensation the basic quality, and the vowels will familiar with the belly breathing proc­ of width in the oropharynx. In the have developed an obvious depth - ess, the singer must be' instructed to simplest of terms, then, a singer mak-' both aspects are vitally necessary to practice the technique at any moment ing use of the xawn is manufacturing good choral tone quality. of his waking day. Slow breaths as a means by which his voice will gain There can be no question that too well as' quick gasps should be used added quality through a new-found much yawn causes a mumed hootiness for purposes of improving his ability room for the sound; and, he is shaping in all of the vowel sounds - espe­ with the 'deeply held air. Also, the the two primary sources of vocal cially the ee and ay. It is imperative, instructor should stress the need for quality - the throat and the mouth. then, that the director be fully pre­ )ractice during a variety of physical At this point, it is perhaps wise to pared to loosen and adjust the tech­ lctivities: sittting, standing, walking, qualify the meaning of the word yawn. nique of any singer displaying ex­ lying down, etc., For singing purposes, the wide open, cessive physical and tonal traits. And, The support or the foundation for fully achieved yawn has nothing to it is certain, that the director will dis­ the voice, as achieved by thi! breathing offer it singer. The reasons are obvious cover that a healthy percentage of his technique,is dependent now o.n the if the reader will but attempt to sing singers will not achieve enough throat singer's ability to maintain expansion through that gross physical condition. and mouth shape. The result, of with just. the right amount of strength. However, the feeling of "beginning to course, is little alteration in the singer's To~ much bearing downwiII only pro­ yawn" and an accompanying breath usual quality. Those who fear that the duce rigidity and a lack of proper air descent into the abdominal region will described, technique will blunt vowel flow, while too little wiII provide no. promote an excellent beginning. For i)rillance should soon discover that supP,ort and a resultant strain on the one thing, the singer is now ready to proper use will promote additional and vocal mechanism itself. Although accept the concept of singing from more mature brilliance through in­ breathing success (from the singer's where the breath is. Logically, if the creased resonation capacity. Finally, point of view) is never achi<;ved over­ breath is in the belly, then the voice perseverance on the part of all, .con­ night, a feeling of well-being must be must seem to originate from that cerned will lead to a choral tone which the goal toward which the singer location. Such thinking is the result reflects depth, increased maturity and works - a well-being, born of bal­ of an imaginative process, but the in­ warmth, as opposed to the thin, color­ anced, useful. tension. Once students dividual using it soon becomes. ac­ less and shallow sound too often heard begin to become comfortable with the quainted with the idea of, singing in school choirs. sensatio.n of low, comfo.rtable breath through the throat; of allowing, and As must always be, the successful support, the stage is set. for the in­ not squeezing, the tone out. development of valid choral tone qual­ clusion of information leading to de­ The, act of singing all vowels and ity is totally dependent on the work of sirable changes in vocal quality.' The consonants through the newly opened the director involved. Words and task then becomes connection of the throat and mouth is not difficult if the rules, suggestions and dogma are low held breath with the singing mech­ singer js keyed to several necessities. worthless to a group of singers without anism in such a way as to create the First and most important: the yawn the constant attention and good judg­ idea of singing through the throat and must neve~ become a rigidly set ment of the director. He- or she - not with the throat. Most young' physical condition. The throat and must be ever ready to provide the singers will see the logic behind such the mouth must adjust in an uncom­ physical and .vocal model so necessary insistence if it is repeatedly pointed plicatedway in order to properly to young singers. The director must o.ut that the low held breath is de­ articulate every vowel sound. The be demanding, and his demands must signed to minimize the strain on the yawn is used to expand the quality be born of confidence in the expansion vocal mechanism. potential inherent in increased throat! of his own vocal horizons. An old and valid vocal adage states mouth shape, but not to force the that a properly open throat will pro­ singer to struggle. with a firmly held Cedric Colness is a memher 0/ the duce beneficial changes in the vocal mold. Secondly, the jaw must not be­ staff 0/ the Department 0/ Music 0/ Cen­ tral Michigan University, Mt. Pleasant. quality. With the help of his instructor, come tense. That condition will only ~

28 THE CHORAL JOURNAL C:h()r-al Ve iewl'

CAPT. R. L. LANDERS. 8718 Elmwood Lane. Tampa. Fla. 33615 KENT A. NEWBURY. 5826 North 70th Place. Scottsdale. Arizona 85~57 (Bourne: Canyon Press: Concordia: H. Flammer: Hal Leonard.: {Belwin: Chappell; FitzSimons: Kios; Ludwig; Music Pub!. Holding Mercury: Plymouth. Walton: Skidmore: Shapiro. Bernstein & Co.) Corp.; C. F. Peters; Richmond Music Press: Schmitt. Hall & McCreary: Summy-Birchard} PAUL E. PAIGE. Cazenovia College. Cazenovia. N. Y. 13035 BRYAN E. LINDSAY. Okaloosa-Walton Junior. College. 423 Gregory {Boosey & Hawkes: Brodt: Elkan-Vogel: Frank: MCA Music: E. B. Avenue. Valparaiso. Fla. 32580. . Marks: T. Presser. E. C. Schirmer: Shawnee Press: Staff} {Associated Music Publishers; Boston; C. Fischer;. Franco-C::0.lom­ scon S. WITHROW. George Peabody College for Teachers. Nash­ bo; Lawson-Gould; E. H. Morris; Pro-Art; G. Schirmer; Willis} ville. Tennessee 37205. BOB BURROUGHS. First Baptist Church. Box 85 Abilene. Texas 79604 {Augsburg: J. Fischer: Galaxy: Lancer: Mills: Oxford University {Abingdon; American Educational Music; Pride; Tempo; Adver­ Press: Sacred Music Press: Volkwein} tisers not listed above wishing reviews}

BROADMAN PRESS tune, "Man of Sorrows, What A Name". "average" junior 'choir pianist and the an­ Baptist Hour Choral Series Group II, Gordon Young. the brilliant young com­ them is basically unison. It is well worth arr. by T. W. (Jack) Dean, edited by poser f.rom Detroit, has woven a very attention for festivals, special programs. Miss J·oe .Ann Shelton. 25c ea. (nine titles). nice, brief and to-the-point Easter work Jesus Christ Is Born Today, Jacqueline Southern Baptists have a nation-wide that is easy and yet. worth the effort. Hanna McNair. soprano-baritone, YF 028. program called "The Baptist Hour". A youth choirs could do this one very well 25c (Christmas). Here is a winner! This popular feature of this program is the with a minimum of rehearsal. delightful Christmas anthem has piano excellent music used consistently on Sing Joyfully!, a collection of easy hymn and handbells and it will be a favorite of these shows. So many requests came into anthems for SATB voices, by William L. your youth choir! The handbell part is headquarters in Fort Worth for copies of Hooper, 451-768, $1.25. 40 pp. Here is a optional and can be played on the piano, the arrangements that Broadman Press collectio.n of eight hymn arrangements but chimes, glockenspiel, or handbells published Series I. Now Series II is avail­ that are written quite well, with interest­ would be effective! You should see this able. Dr. T. W. (Jack) Dean is currently for next Christmas! ing harmonies and accompaniments. The I Will Sing of Thy Might, Eugene But­ Chairman of the School of Music, Har­ voice leadings are good and the collection din-Simmons University, Abilene. TexaS. as a whole is quite good. Good for re­ ler, SAB. YF 029. 25c. The -prolific Mr. and was previously Head of Graduate vivals, Sunday evening hymn-anthems, Butler. Minister of Music, First Methodist Studies, Southwestern Baptist Theologi­ and the life. the collectio.n should find Churc'h, Wichita. Kansas, has written an cal Seminary, Fort Worth, Texas. These good use. excellent SAB anthem! It is interesting, hymn-arrangements are usable in al.most exciting and will hold interest. It has New 'Life Anthems" 35c ea.• six (6) in variety and excellent accompaniment! every church situation, for reVIvals, the collection. Included in this title se­ church services, and the like. They are Send Thou, 0 Lord, arr. by James D. ries are perhaps as interesting and un­ Cram, SAB, YF 032, 25c. There are not for the most part easy and can be pol­ usual collection of anthems. as you will ished rather quickly. T>here ·are nine in too many good missionary hymns - and ever see. all very good. Of course, with even fewer good missionary hymn-an­ the series and are worth your attention. such writers as A. P. Van Iderstine, Mary Titles include: Face to Face With Christ, thems! Mr. Cram, knowing tihis no doubt, Elizabeth Caldwell, and John Timothy took an. excellent old hymn by E. D. I Saw the Cross of Jesus. I Will Arise Laverty, the result nIust be worth looking and Go to Jesus, Whiter Than Snow, and Dewett and set it beautifully for SAB at! The anthems are 35c each and they choir. This one is not easy and will take others. Miss Joe Ann Shelton, editor. is are excellent! You should write for copies Music Consultant for the Southern Bap­ some real polish before it is ready to of each one. They are medium difficult, sparkle, ,but it will be worth your while! tist Radio and Television Commission, tastefully done, and very usable! Fort Worth. Texas. In Christ There is No East or West, o Sing A Song of Bethlehem, English ar.r. Jacqueline Hanna McNair, SATB, Trilogy On the Passion of Christ, Jo.hn Traditional MelodY, arr. by Robert David­ MF 892, 25c. Using the familiar hymn Timothy Laverty, soprano. alto, bariton~, son, JF 061, 25c (unison and two part). tune by Alexander Rein8!gle. Mrs. McNair piano or organ, 451-767, $1.00, 19 p.p. ThIS There are not too. many anthems that comes through with a magnificent mis­ is a most unusual and interesting work! you can sing either for Ohristmas ~r sionary hymn-anthem. Now I must warn It is a well-written set of three anthems Easter- but this is one of the few. It IS you'- this one is tough! But it is a thrill written especially for the SAB voicing. as adaptable for one season as the other. to perform and would be a great climax Texts include "He Was Despised," "Sure This arrangement is easy and the ac­ to anything - missionary or not! He Hath Borne Our Griefs", and "He companiment mo.ving. This is' a beautiful Was Wounded for our Transgressions". English melody made popular by Ralph HERITAGE MUSIC PRESS T>hey are excellent and very usable. This Vaughn Williams. Concert Canon Choral Series, arranged writer highly recommends these three in AllelUia, from "Exsultate, jubilate", and edited by Walter Ehret. six in the the Trilogy! Mozart, arr. and ed. by Max Lyall, unison series. 30c ea. From the prolific pen of Man of Sorrows, Gordon Young, an Eas­ and two part. 25c. JF 062. This setting of Mr. Ehret comes a delightful set of six ter Cantata for SATB, with solos and the -popular "alleluia" is well done by Mr. canons from the master composers. All narration. 451-407, $1.00, 18 pp. USing as Lyall. The piano accompaniment is re­ are accompanied and very well done. a basis for this short work the hymn duced a bit to make it easier for the These would be excellent to include in

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MAY-JUNE 1968 29 CHORAL REVIEWS - with us for a long time to come. Reper­ does not grow with time. One character­ cussions will reach even to the world of istic that tended to repel me was the spring or formal concerts. I list alI six music. No doubt a reassessment will be mania for fortissimo singing: a total of for your benefit: made of his words, which now' take on 86 pages .ranging from mf to fif, com­ Come, All Ye Saints, George Philipp an added significance, and musical set­ pared to only 59 measures of piano mu­ Telemann, H2, tingf:j of appropriate texts will be in great sic or softer. Alleluia!, Philip Hayes, Hl, demand. While it is hoped many major The three-movement (slow-fast-slow) When Jesus Wept, William Billings, H3, composers will consider choral works composition by Pinkham, although trans­ Alleluia, Alleluia, William Boyce, H4, based 011 this great man's writings and parently written in a rather strict 12-tone Didst Thou Suffer Shame?, Georg speeches, some efforts in this direction idiom, remains an engaging and romantic Philipp Te1emann, H5, and have already been made - most notably work. The chorus is employed in a syl­ Grant Us Peace, Walter Ehret,H6. Siegmeister's cantata I Have a Dream. labic and chordal manner throughout. Man and His 'World, Robert J. Hughes, The folIowing short analysis is offered The soprano solo is much more flexible SATB, 30c, H2151. This anthem is the for those considering a work such as (and demanding), and for the most .part theme of Expo 67, with words by Frank this for performance next year. appears without the chorus. Reinforcing Cross. It is a very exciting composition, The cantata, whiph takes 25 minutes the vocal forces is the instrumental en­ well written and with increasing interest to perform, is divided into ten brief semble, which supplies the occasional till the climax. Band arrangement is movements. Each movement, with but miSSing notes needed to complete a 12- available as well as TTBB. three exceptions, concludes with the nar­ note tone row ·before a new one is begun. rator and/ or soloist serving as a connect­ Composed in 1952, Nonsense is appar­ THE BIG THREE ing link to the one following. Throughout ently now available through their Ameri­ (Robbins, Feist, Miller) the work chorus, soloists, and orchestra can agent for the first time. It is superb Music Through Literature (The Edgar provide a continuous commentary to Dr. music by a master composer; unfortun­ Allen Poe Series), words' and music by King's words, which are intoned by the ately the words are unadulterated corn. Edna Lewis and John Mitri Habash. narrator. Some thematic material ap­ Sample: adapted from the works by Edgar Allan pears more than once, giving the whole There was a Young Lady, whose Nose Poe, SATB, 30c, 12 in the series. This is a more unified structure. Movements 1 Continually .prospers and grows; perhaps some of the most clever publi­ and 9, for example, end with the chorus When it grew out of sight, cations to come across this writer's desk singing triumphantly, "We are free." The She exclaimed in a fright, thus far this year! Lewis and Habash chorus re.peats "The sound of freedom "Oh! farewell to the end of my Nose!" have taken twelve of the Edgar Allan comes with the moving sun... "in move­ If I had to choose my favorite among Poe literature classics and adapted them ments 2 and 10, evoking the atmosphere the six cantatas reviewed, I think it to music - and they are great! Granted, of America in a most Copland-like, and would be Bucci's The Wondi-ous King­ all twelve on one program would be a thoroughly acceptable manner. This stir­ dom. Bucci is a choral director's delight: little much, you could do two-four and ring theme, with its refreshing breath of in 9 brief pieces ("The Sun Flower," "The get great response. They are: consonance, is also used as the basis of Lamb," "The Rose Tree,'" etc.) he man­ Morella (AMI 001); The Cask of Amon­ the orchestral commentary in movement ages to portray many moods with a vari­ tillado (AMI 002); The Raven (AMI 003) 7. The climax of the cantata, however, ety of textures and a wealth of carefully - very clever!; The Tell-Tale Heart (AMI is reached in movement 8, where not chosen choral effects. What impresses 004) Writer's opinion: by far, the best of only the narrator, but also the soloist most, .however, is that the composer's the lot!; The Masque of the Red Death and chorus take up the unforgettable and conside·rable technique is used not to daz­ (AMI 005) quite 'good; The Oblong Box moving passage of Dr. King's which be­ zle, but to enhance the message of the (AMI 006) very exciting and keeps in­ gins, "I have a dream. . . ." text. Choirs and audiences alike should terest; Eleanora (AMI 007); The Fall of Siegmeister's music, while difficult, is enjoy this menagerie. the House of Usher (AMI 008); Annabel by no means impossible for a competent -Pa'lll Paige Lee (AMI 009); The Bells (AMI 010); high school or college chorus. Harmonies Never Bet the Devil Your Head (AMI tend to be incisive and uncompromising, From Alfred Music Co., 75 Channel 011); The Pit and the Pendulum (AMI even a shade astringent. The Hofstra Drive, Port Washington, N.Y. 11050: 012). -Bob Burroughs University professor's favorite intervals When Johnny Comes Marching Home - seem to be the minor 9th and 2nd, and Lambert, arr. W. A. Palmer, SATB, acc., CANTATAS. Elie Siegmeister, I Have the major 7th - diminished octave. The 94500, 40c. Considerable divisi, expo tenor, a Dream, text by Edward Mab1ey based first simple triad for both chorus and a pianist of some facility and rhythmic on the famous 1963 Washington, D.C. orchestra occurs midway in the second control is needed. Effective arrangement speech of Martin Luther King Jr.; MCA movement. The writing for orchestra and of this "warhorse", particularly for high Music, S(S)ATB, baritone soloist, narra­ soloist (range: F above middle C to the schools. tor, and orchestra; 64 pp. (vocal score C below) is interesting, varied, challeng­ Take Me Along - Merrill, arr W. A. with piano reduction), $2.50; medium­ ing. and effective. But it is the chorus Palmer, SATB, piano, 85100, 30c. FTom difficult. Norman Delio Joio, Proud Mu­ which plays the major role: from the the Broadway musical of the same name. sic of the Storm, text adapted from Walt speaking parts of "Exile" (m. 2), the Not a great tune, even by Broadway Whitman; Marks Music, S('S)A(A)T(T) rhythmic blues of "There Comes a Time" standards, but a good arrangement of B(B), soprano and optional baritone so­ (m. 4), through the slow a cappella fugue moderate difficulty for h}gh schools. loists, organ and brass; 53 pp. (vocal of "No Man is an Island" (m. 5), to the The Sloop John B. - Folk Song arr. score with piano reduction), $2.50; medi­ crashing chords of "We Are Not Satis­ Larry Cansler, SATB, piano, 82500, 40c. um-difficult. Norman DelIo Joio, Years fied" (m. 6). There is little of the Negro Lively Folk Song arrangement that could of the Modern, text adapted from Walt idiom in this music. As the appeal of easily be a show stopper. :Some jazz syn­ Whitman; Marks Music, SA(A)TB, sop­ Dr. King's words is not restricted to one copation and nonsense syllables. rano and baritone soloists, brass and race or creed, the composer has chosen For women's voices: percussion; 47 pp. (vocal score with pi­ a universal, albeit abstract, mode to con­ Hava Nagila - Israeli Folk Song, arr. ano reduction), $2.00; medium-difficult. vey his message. Willard A. Palmer, SSA, .piano, 33950, 30c. Daniel Pinkham, Canticle of Praise, text Norman DelIo Joio has turned again Arrangement contains real "flavor". from The Song of the Three Holy Chil­ to the poems of Whitman for his two ,Some clues as to pronunciation would dren; E. C. Schirmer 2694, S(S)A(A)T most recent cantatas. In these works have been helpful, i.e., is it na-gee-Ia or (T)B(B), soprano soloist, brass and per­ the choral writing is predominantly lla-jee-Ia? Once this is established, text cussion; 40 pp. (vocal score with key­ chordal - triadic with added notes - is repetitious enough to be little prob­ board reduction), $1.50; chorus, medium­ with numerous unison-octave passages; lem. Music has considerable charm. easy; solo, difficult. Goffredo Petrassi, moments of melodic independence are The Old Lady Who Swallowed the Fly - Nonsense, text is five limericks by Ed­ not only rare, but brief. The instruments, American Folk Song, arr. Ron Howard, ward Lear; Zerboni (Milan), S(S)A(A) on the other hand, alternate with the SA, piano, 51500, 35c. Old joke, old song, T(T)B(B), a cappella; 30 pp., no price choir, and in other ways -remain rela­ new arrangement, and a good one! given; difficult. Mark Bucci, The Won­ tively free. Effects are created by cres­ All Aboard the Ark (An Animal Med­ drous I{ingdom, texts from Blake (6), cendos and by repetitions of assorted ley) - arr. Ron Howard, SA, piano, Ou502, Emerson (1), Herbert (1), and the New rhythmic, melodic, and chordal patterns. 30c. Tunes used include "Who Built the Testament (1); MCA MUSiC, ,S(S)A(A) The cantatas are not divided into formal Ark?", "The Fox," "Kookaburra," "Barn­ T(T)B(B), SATB soloists, a cappella; 51 movements, but consist of a sequence of yard Song," "Old MacDonald," "Blue Tail pp., $2.25; medium-difficult. fast-slow-fast sections, imparting a sense Fly," "The Old Grey Goose," Cleverly The aftereffects of the Rev. Dr. Martin of ebb and flow to the music. Yet, un­ combined to make a good light, humor­ Luther King Jr.s assassination will be like the Siegmeister work, their appeal ous number. -Scott S. Withrow

30 THE CHORAL .IOUI>N41 CHAPPELL tains only 15 pages of singing. Very good! Daniel Pinkham (66100, SATB, optional Chappell continues to release film and Worship and Adore, Remick, SSA, $1.50. accomp.,) 1 minute, 25c. Psalm 36: 7-9. show .tunes in new voicings. This time This is a collection of 12 anthems, with One of a series of six Psalm-Motets. it's "Georgy Girl," th:e fine song by Dale suggested subjects and occasions listed Premiered in 1963, for speaking voice, and :Springfield, arranged by Chuck Cas­ for flach. ,Some are a cappella, and some mixed chOir, and orchestra, Ross Lee sey and adapted by Carl Miller for TTBB with piano. Most of the anthems are ar­ Finney's Still Are New Worlds, (6553, 28 chorus and piano (No. 1300, 25c). Also ranged, but two are K. K. Davis originals. minutes, $2.00 for vocal score). The text available is the SSA Choral Selection of Shepherd, Awake!, R3487, 2 choirs: is based on writings of such names as "On a Clear Day You Can See Forever," SATB and SA, piano or organ, 25c; and Marlowe, Donne, Milton and Henry More. the show by Lerner and Lane, the ar­ R3488, SA only piano or organ, 25c. One Mr. Finney "selected quotations from rangement by John Cacavas (adapted by of K. K. Davis' early works in ne,w writers and scientists of various times Carl Miller), No. 3299, 75c. "dresses," this delig>htful joyous Christ­ who were concer,ned with vastness and The company has also released a new mas piece is welcome in any version. meaning of the universe. These ... have group of 16th through 19th century chor­ Come, Singing Noel, R3485, SATB with been set to a vigorous score" quoting al publications called Mastersinger Series descant, 30c. Reiterating the tit I e from the ,publication. And it is "vigorous." for Choir, edited by Walter Ehret. This throughout, this spirited, qui·ck-moving RICHMOND PRESS series includes: anthem, sung with or without accompani­ Absalom, SSATB, a cap., Tomkins, ment, is arranged from the finale to her A work that certainly deserves men­ 6140; Holy, Holy, Holy, ,SSATB, a cap., SSA cantata, "This is Noel," and reaches tion as a concert opener or possible sec­ A. Scarlatti, 6141; In Thee, 0 Lord, Do a stirring climax at the final chord! tion closer is the brief GlOria (Gloria in I Put My Trust, SATB, accomp., Schutz, These Things I've Known, Willard S. Excelsis Deo) by Darrell Church. It is 6141; Jesu, Word of God Incarnate, SATB, Fest, arr. by Joe Fortune, W3789, SSA marked "A triumphant fanfare for mixed a cap., Liszt, 6143; Jesus, Once For Our with guitar, 25c. On the series called voices," Latin text only is provided, and Salvation, SATB, a cap., Bruckner, 6144; Contemporary American Folk ,Songs, this there is some divisi. (MI-l0, 25c). It is LOl'd, Have Mercy Upon Us, SATB, ac­ pretty tune, with 3 verses, is given a an excellent vehicle fo'r teaching Latin comp., Beethoven, 6145; Lord, I Love the simple setting, and may be done with to the choir. Place Where Thou Dwellest, SATE, ac­ harp or piano. Also from Richmond, By the Waters of comp., Graun, 6146; Swell the Full Chorus Who's Looldn' for Glory, Euge·nie R. Babylon, Kent A. Newbury, (MH6, 30c). (from "Solomon"), SATB, accomp., Han­ Rocherone, W3784, SATB with piano, 30c. A general anthem for SATB a cappella del, 6147; Thou, Lord, All Praise and On the series caHed American Spirituals, choir with a tuneful, rhythmiC center Honor Commandeth, 'SATB, a cap., F. J. this original "rocks" along nicely, with section. Haydn, 6148; We Adore Thee, SATB, a some of the fine but unexpected, har­ KJOS MUSIC CO. cap., Lotti, 6149. All are priced at 30c, monic changes remindtng one of those Maynard Klein has done a great deal and all but the Tomkins, Handel and used in contemporary folk or Tock-n'­ of arranging of the masters" choral workS Haydn have two languages provided. etc. The text is well done. Good work! in recent years, and here are three more The SATE Choral Selection of David Available also for SSA. in the Kjos catalog. Heneker's show Half a Sixpence, 2316, Holy Father, John L. Zaumeyer, W3787, Thou Art the King of Glory (5481A) with piano, 75c, is off the press. Di·ck SSATB, 25c. Written with simple voice and 0, Lord, In Thee Have I Trusted Thompson has done a fine arranging job parts, but ·the 5 parts give a fullness (5481C), G. F. Handel, SSATE with piano of th:e catchy tunes, Flash, Bang, Wal­ throughout. A few changes of meteT are or organ, each 25c. These are Festival lop?, If the Rain's Got to Fall, She'S Too employed. Sequences Nos. 1 and 3 from "Utrec:ht" Far Above Me, and the title tune. Be Te Deum, and are good, strong, not sure to look it over. SCHMITT, HALL & McCREARY lengbhy works. Songs for Today, unison voices with Just off the press is an anthem based Save Us, Lord Jesus, Anton BTuckner, piano, piano score, $2.00, voice parts only, on verses 1 and 2 of Psalm 130, Lord, (5478), SSATTBB a cappella, 25c. The $1.00. This is a collection of twelve cute Hear MY' Cry, Kent A. Newbury, (8031, original text wa;s "Ave Maria." Includes tunes, many folk-like in character, all SATB a cap., 25c). Fairly simple 4-part some alte.r.nating between the S,SA and but one of which are originals by a va­ chorale style. TTBB sections of the choir. riety of English composers (it is assumed, PETERS pome' Unto Me, Ye Weary, Ralph E. as the collection was published in Eng­ For the discriminating director, here Williams, 5477, SATB acc'omp. ad lib, 25c. land). Titles include The Crooked Man, are some interesting and important Simple, easy to learn, one change of key. The Headless Gardener, Cat! and The Old works in a variety of styles, voicings and Reflections in Space, Ralph E. Wil­ Sailor. harmonic idioms. Lift Up Your Heads, liams, 5476, SATB piano and lib, 30c. Mr. Williams shows here a fine facility for Come and Let Us Join the Dance, 2320, o Ye Gates, Heinrich: Schutz, (edi,ted by the contemporary style in his up-to-date a cappella, 30c and Israeli Lullaby, 2319, Denis Stevens), 6592, for ,SATB double text and music about "soaring satellites, a' cappella, 30c. A set of two traditional chorus a cappella, 6 minutes, 50c. A collection of delightful Two-and searching for knowledge to digest," etc. Israeli .Songs for SATB chorus ar.ranged It calls for a bass voice ,narrator. T.here by Heskel Brisman. Three-Part Choruses for Women's or Children's Voices, Franz Schubert, (66158, is a little divisi in soprano and bass MUSIC PUBLISHERS HOLDING CORP. a cap., 30c). This contains nine short parts. Only 10 pages of music: Very well The Pete King sound on paper is as songs, with titles like "Maying Song," done! good as the recorded one. In addition to "The Spring with Youthful Blossoming," Christus, Felix Mendelssohn, arr. and the fine SATB "'''bat Now My Love men­ etc. The English ve.rsion is by Jean Lunn. edited by Oh. Ziemer and Walter Rodby, tioned in a .previous issue, the same tune Four Brahms a cappella pieces (Eng­ SATE with piano or organ, $2.00. This is now arranged for ISSA (R 3497, 35c). lish versions by Jean Lunn, with Ge,rman work is a Passion Cantata from Men­ And along with this release are other or Lati·n also given): delssohn's unfinished oratorio "Obristus." great old standards, all with piano and The Son of God is Come to Earth, It calls for tenor or baritone solo recita­ for the fairlY mature, challengeable 66133, motet for SATB, 5 minutes, 40c, tive. Approximate perfo·rmance time is mixed choir: What's New?, Bob Hag­ (Christmas). 30 minutes. gart, (W 3788, 30c), Lover Come Back to T,hree Sacred Choruses for SSAA ("0 Nonsense Song, Gordon Young, 5475, 1\ie, Sigmund Romberg, (H 2162, 35c), Bone Jeu," "Adoramus" and "Regina SATB with piano, 25c. This is exactly and Strike Up the Band, the Brothers Coeli"), 66141, 30c. what the title says, but it's cute, swingy, GershWin, (H 2163, 35c). For that r.hyth­ Malte Thou in Me, God, 66134, motet for easy, fun and should be an audience mic, tasteful, fresh sound, try the Pete SATBB, 7 minutes, 40c (Lent). pleaser on your "fun" concert section. King sound. \Vhy Then Has the Light Been Given, Think, Thou, On Me, 0 Lord, Haydn Synonymous with tuneful, quality mu­ 66135, motet for SATB, 8 minutes, 40c. Morgan, 5474, ,SATB with accomp., 25c. sic is the name Katherine K. Davis. Pre­ Twentieth century writings: A ni·cely flowing, tuneful, short and easy sented here are some of her recent re­ A brief Mass for 3 equal voices (either anthem in e minor with a few metric changes. leases, showing her continuing good SSA or TTB), including Kyrie, Gloria, taste and versatility. Credo, Sanctus and Agnus Dei, English BELWIN Easter Is A Song, W3782, SA with or­ text only, by A. Tcherepnin, (66162, a Blow the Wind Southerly, arr. by Mar­ gan or piano, 75c. Termed a Cantata for cap., 30c). Very nicely done! garet Shelley Vance, 2168, 'SATB with Junior ChOir, it has 5 brief, meaningful o Lord, Rebuke Me Not, Alan Hov­ piano, 25c. This charming English folk sections: Gethsemane, The Cross, Night, haness, (66191, 'SATB and organ), 5 min­ song, on the Music for Young Choirs Morning, and Tale of Glory. It is meant utes, 30c (Lent). Psalm 6: 1-4. series, employs the technic of giving por­ to be sung without interruption, but con- How Precious Is Thy Lovingkindness, tions of the melody to each voice part

MAY-JUNE 1968 31 (

throughout the arrangement. It's simple, Franco Colombo, 16 West 61st St., NYC, but effective. 10023, NY2591, 30c). All three are med­ Record of the Month . . . On the Chorus Builder Series, we men­ ium easy to medium difficult. Picaflor is tioned 2 new releases, each with distinct­ the most vivacious, Ahay Tuburan is the Anthony C. Cappadonia ive styling, but vocally not demanding. most lyrical, and Sleepy-Head the most State University of New York Au Clair De La Lune (Pierrot), Lully, rhythmically "predictable." Box 564, Alfred, New York 14802 arr. by Leonard stone, 2156, SATB with Going along with last issue's coverage piano, 25c. 'Dhis can be sung a cappella. of verse anthems (from Stainer & Bell SONG OF DEMOCRACY. Mark Morris French and English texts are provided. by way of Galaxy Music in the U.S.) High School Choir. Lawrence B. Everybody Loves Saturday Night, arr. comes a set of four from MCA Music Marsh, Director. 33LP, 12", Monaural. by Leonard stone, 2157, SATB with piano, (543 West 43rd st., NYC, 10036). Lord Longview, Washington. 25c. A good, rousing, foot-stomper, this Let Me Know Mine End by Matthew African folk song, with a swinging ac­ Locke (No.1, 50c) uses five soloists The Choir and Madrigal Singers of companiment. Indications for some rhyth­ (,SSATB) but usually only two at a time Mark Morris High School ·present an al­ mic clapping and foot tapping are given. interspersed with and concluding with bum of diversified and challenging choral and one cha:nge of key is used. short bursts of ,SSATB choral work. An­ music. These singers are well trained o Praise the Lord, Brent Heisinger, other in the set is William Croft's 0 and obviously, ,have worked many long 2165, SATB with .piano or organ, 30c. Praise the LOl1d, All Ye Heathen (No 2, hours to offer this album of music to Brass ensemble parts (3 trumpets and 3 aOc), with the same general format as directors who are interested in good trombones) are available from the pub­ the above (alI verse anthems follow this choral literature. lisher. Based on Psalm 117, this Kjelson plan or they wouldn't be verse anthems!) Side one begins with an excellent set­ Choral 'Series piece ,represents some' good except only ATB soloists are used, the ting of With A Voice of Singing by Ken­ strong, imaginative contemporary writ­ chorus being SATB and the whole piece neth Jennings. Directors who are search­ ing. It is divided into 3 sections, there is shorter (the price would tell you that). ing for an excellent opener with rhyth­ is some a, cappella work, and the voice Decent editorial notes, the accompani­ mic vitality and contrasting textures parts and accompaniment are indepen­ ment is for organ, and both pieces are should order a copy of this very fine dent of each other for the most part. easy to medium easy. work published ,by Augsburg, Octavo No. The Music for Advancing Choirs Series Going a trifle farther back in history, 1379. The choir sings this composition presents one ,new original and three ed­ with a feeling for the rhythmic pulse. itions by Lee Kjelson of 16th and early Galaxy Music Corp., 2121 Broadway, NYC, 10023, has a Christmas madrigal by The middle section, a unison passage for 17th century music: meris' voices is monophonic and chant­ Sing to the Lord, Margaret ,Shelley T,homas Morley which trips 'right along. The sections are quite short and are like. The final four measures is scored Vance, 2169, SATB with piano or organ, very full and is exciting. 'Dhe Osanna by 25c. A fanfare-type of piece, with unison mostly homophonic but is certainly isn't stodgy. Instead of a Fa-Ia-Ia refrain it John Ness Beck and published by G. or 2-part singing much of the way and Schirmer includes many divisi passa:ges parallel triads in the accompaniment; has Lirum-lirum for a sort of balletto or ballet effect. Lirum Lirum is its logical and is a rather complex work that re­ Designed to be forceful. The text is from ceives a fine performance. I was parti­ Psalms 148 and 149. title (GMC-2403, SSATB, 25c). Hugh Wood has written a set titled cularly impressed with the various dy­ She Is So Dear, Praetorius, 2171, SATB namic levels of this work by the choir. a cappella, 25c. Latin and English lyriCs Three Chol'uses which is a fairly sober­ sided cognomen f6r three such frisky Excerpts of the Bach Cantata No. 142 provided. with a fine harpsichord accompaniment Hosanna In Excelsis, Palestrina, 2147, pieces. One is a fine ,piece for chamber choir (All We, 312-40706, 25c), one is a is included on side one. Part 2, 4, and 8 SATB a cappella, 25c. Latin a:nd English are recorded and sung in English. This text prOVided. fine piece but probably too big for cham­ particular translation is not the G. Schir­ Tomorrow the Fox Will Come to Town, ber choir because of the divisi and vol­ ume requirements (The Hawk in the mer edition which this writer prefers. Ravenscroft, 2170, 'SATB a cappella, 25c. No matter what translation is used, the A real cute nonsense song. Rain, 312-40704, 25c), and one didn't make work loses it's basic sound when per­ -Kent A. Newbury it to this reviewer for some reason (Si­ rens, 312-40705). They are Universal formed in English; I prefer the original Edition publications sold through Theo­ German text. dore Presser, Bryn Mawr, Pa., 19010. The Agnus Dei from the Missa Dixit Chamber Choir . .. Check them all out. A group of 20 solid Maria by Hans Leo Hassler receives a voices might be able to do all of them. good performance although the sopranos JACK BOYD Medium-difficult to difficult to hairy. flatted slightly on some .phrase endings. 709 Fifth Avenue Place Going to the easy pieces which you The 0) vowel is wide and piercing in a Coralville, Iowa 52240 will need to examine first because I'm few passa:ges and I also hear the con­ not quite sure of them, try the .set titled sonant g of Agnus. The g in this case, One of the most onerous plagues of Prayers from the Ark by Ivor R. Davies. should be silent. I feel the group achieves working with a chamber choir is finding They are quite simple but moderately the necessary sustained flow of this work decent arrangements of folk songs (or interesting. They are 'unaccompanied and and they are to be commended for the popular songs) without resorting to the have a modestly contemporary sound, smooth phrases. One notices a slight hackeneyed abominations we know ,so and would probably be good pieces for rumble and hum on the disc and is quite well. Even the good arrangements are a beginning group. The Prayer of the evident in the softer passages of this often not applicable to the small en­ Mouse (OCT 5635, 25c), The Prayer of work. semble, an example being those spirituals tbe Little Bird (OCT 5633, 25c) and The In Mirth ~nd in Gladness by Niedt which require pure power for proper real­ Prayer of the Dove (OCT 5637, 25c) seem (1674-1717) is sung with much vitality ization. to be the best. Boosey & Hawkes, Ocean­ and motion. This work deserves more There is always a problem in arrange­ side, NY, 11572. performances by choral groups. No pub­ ments of knowing where the arranging Two pieces with religious texts come lisher is available for this work. stops and the original composition be­ from Marks Music Corp., 136 West 52nd 'Phe Madrigal Singers conclude side gins. A glance at many arrangements by St., NYC, 10019. Philipp Heinrich Erle­ one with two delightful works; Now Brahms, Vaughan Williams, Kodaly and bach's motet Give Us Joy for This New Spring in all Her Glory by Jac.ques Ar­ Bartok will show that the melodic basis Year uses anSSATB chorus in two sec­ cadelt and 0 Mistress Mine by Ralph for the arrangement is rather sparse, tions, the first in 2/2 and the last in a Vaughan Williams. Except for some very but the composed understructure puts it . dance-like 12/8. Separating them is a sec­ weak consonant sounds, the group per­ in a considerably higher artistic sphere. tion for soprano and bass soloists. An forms these works very well. Three arrangements along this line cover altogether fine piece. The other is Don Side two opens with the title of this the gamut from basic-melody-with-hum­ Malin's editing of a series titled Madri­ album, Song of Democracy by Howard ming (Ahay 'l'uburan, a folk song from gali Spirituali, or sacred madrigals. You Hanson. The performance is an ambi­ the Philippines arr. by Gregg Smith, G. know what a 16th-century madrigal tious effort, but the presentation does Schirmer, 609 Fifth Ave., NYC, 10017, No. sounds like. Well, these have sacred not have the necessary feeling for the 11297, 25c) to some changing of the basic texts. Write Marks for a sampling. I music and text; and it lacks the con­ rhythmic structure (Picaflor, a Peruvian Would, 0 Lord, by Andreas Pevernage trasts and forward motion needed. Piano song about a hummingbird, arr. by Ni­ (4424, 25c) is a good example. 'Dhe singers accompanists Melody Hall and Carol cholas Chirinos, Lawson-Gould Music, 609 had better be able to count beyond three Kirkpatrick deserve much praise for a Fifth Ave., NYC, 10017, No. 51304, 35c). without taking off their socks if they job well-done. The over-all sound of the In between is a Mexican folk song· titled want to read these pieces. The perform­ group leaves me with the impression that Sleepy-Head (no arranger indicated, ance notes are sketchy but helpful. to: the microphone may be placed too far

32 THE CHORAL JOURNAL from the group. Consequently the dic­ balance the voices in a few passages. to basic regional expansion of orches­ tion suffers, .particularly in the lower This may be an engineering problem; tras within the past twenty years. Many ranges and in the softer dynamic levels the microphones should be placed closer faSCinating developments come to the of the piece. The ,choice of vowel sound to the choir since the diction suffers in reader as a surprise, broadening concep­ of the first syllable of the word democ­ the pianissimo passages. tions about the history and organization racy should not be d(i)mocracy, but Side two includes a variety of octavo of the American symphony orchestra. d(I)mocracy. The choir sings the word music opening with Cains' Music, Glor­ Colorful and interesting personality with a long e (as in the word be). This ious is Thy Sound. It is a fine opening highlights of the book's contributors is incorrect. Song of Democracy is a de­ number, but it lacks a truly spirited lend fascination to topics such as fifty manding work for high school voices. It sound; perhaps the tempo is too slow years - personal vignettes. There is mu­ is this writer's opinion that the group and the voices sound forced in some sic education content in chapters on the did not capture the feeling and meaning passages. A Litany by Walton receives composer as conductor and performer, of the work. a very adequate performance and the education of the orchestra musician, in­ The beautiful Lament by Sven Lekberg madrigal, Fair Phyllis by Farmer shows novatious, orchestras on television, status features soprano Celesta Rose. Fine bal­ fine quality oJ tone, especially in the of the composer and cultural exchange ance exists between soloist and choir. mens' section. with other countries. Miss Rose ends the first phrase sharp New Christmas MOrning by MacGim­ Complex iuterrelationships of govern­ but recovered for the balance of the sey is an unusual work and in this per­ mental and private assistance for the work. She sings with a fine lyric quality formance the group gets into the spirit arts are in the material of the book. It and the total impression of the .perform­ of the work. Some of the "jah's" of the is rewarding to observe the boosts by ance is one of polish and proper balance. word "Hallelujah" are clipped and the corporations, foundations, and private Black Is The Color arranged by WH­ word "anger" sounds like an(jell). donors in support of symphonic organi­ housky is a very difficult setting for The next track features Larry Wood, zations. Direct refere·nces to the well­ high school choirs. The h~g.her tessituras tenor, singing the >scotch folk song, Flow known orchestras and music centers of are very demanding and the sopranos Gently, Sweet Afton. Mr. W·ood has a the United States give the topics a "here sound tight-throated. For high school pleasant voice which seems to fit the and ·now" awareness of realistic advances voices, this writer prefers the J. Fischer solo part. The instrumental accompanist so essential to the American symphony publication, a cappella, or the accompan­ overbalances the voi·ces. Again, this may orchestra's well-being iu all seasons, sug­ ied score published by Shawnee Press. be a mi·crophone .placement problem. An gesting an outlook for future growth. to: T·he familiar Dawson spiritual Soon-ah excellent arrangement by Anita Kerr of Will Be Done completes side two. John Heruoy is 'Sung in good style, but The {)Ver-all performance of the group this writer prefers a male glee club -- RECORD EXCHANGE -- is above average. Some of the music sound for this type of music. sung on this disc is more difficult than The final track is Haydn Morgan's The following .recording is available the group could perform with sureness An Instrument of Thy Peace. The text for exchauge. and ease. TJ:Jirty-five to forty minutes of of this selection is the weH-known prayer Works: Joseph Haydu, Missa In An­ recording is no easy task for any choi.r of st. Francis of Assisi. Many musical gustiis (Mass in Time of Fear, or Lord so we must be aware of extreme ranges, settings of this beautiful prayer have Nelsou Mass, H. C. Robbins - Londo'll length of selections and other factors been written and this writer prefers the edition.) Plus shorter works by Vivaldi, related to recording. TJ:Je engineering is Sven Lekberg score published by Neil A. Bartok, W. Schumau, etc. adequate on this disc. Directors should Kjos Company. The M.Y.I. Choir sings it Performed by the Bel Canto Chorale, write to Mr. Marsh and secure a copy tastefully although the tenors dropped Leon Thurman, conductor, Ernest E. of this disc. It is well worth the time pitch in the .phrase "to love as to be Root High School, 14713 Ridge Road, and effort. loved." North Royalton, Ohio 44133. Directors can secure this very com­ Guest conductor was Clayton Kre

MAY-JUNE 1968 cs '."!. ., MASS IN TIME OF WAR (Paukenmesse)

Edited by Michael R. Miller for 4-part chorus of mixed voices an.d solos with piano accompaniment. , " '.' 'Unlike some oLHay~n',s, othe'r works, the title of this mass

1. ,. comes from Haydn himself. He termed it M,issa in T~mpore Belli/and dated it 1796. His use of prominent timpani pas­ sages suggests distant cannon fire and the, trumpet fanfares have a definite l11i1itary character. The clOSing section, "Dona Nobis Pacem," is not only a prayer for peace, but for victory. " ... what lY!ay well be the most glorious of all the Haydn masses, the iMass in Time of War,' a grand symphonic fresco with voices - and without a single patch of less than splen­ TWO did music." -NEW YORK TIMES. $1.50 GREAT

HAYDN M,ISSASOLEMNIS INS/FLAT MASSES (Harmoni~messe) NOW Edited and vyith keyboard reducfion by William Herrmann for 4-part chorus of mixed voices with organ or piano ac­ IN A companiment. The Harmoniemesse was the last major work FIRST completed by Haydn, written when he was 70 years old and CLASS I at the very height of his creative powers. William Herrmann, AMERICAN in his Foreword, says, "In preparing this edition I was con­ EDITION fronted with two problems. One was the matter of various expressive markings and signs of ornamentatio'n, many'of them no longer in current use. The other was the task of making a keyboard reduction of the orchestra score which would be as faithful to the original as poss'ible without be­ ing impossibly difficult to perform. With aHthis in mind I have thought it best to preserve Haydn's original notation and offer, by way of footnotes, my own suggested realization of each appoggiatura, leaving the performer free to alter these as he sees fit. It is my hope that the present edition will help to restore the Harmoniemesse to its rightful place in the choral repertoire." SCHOOL MUSICIAN says liThe music is ric~ly scored, dramatic, and full of the greatness that is Haydn. Even excerpts of this work would be a worthy "effort." $1.50

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