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CONTENTS January 2017/ Volume 57, Number 6 PREVIEWS 13 Concert Events and Performers A preview of the sixty-six performing groups. Performers are listed by concert session and include dates/times of performances for both tracks and choir/conductor bios and photos. 57 Interest Sessions A preview of the forty-four interest sessions. Sessions are listed in alphabetical order and include dates/times, a short description of the session, and a bio and photo of the session clinician. 89 Composers Track Interest Sessions A preview of the nine interest sessions that are part of a special composers track. Sessions are listed in alphabetical order and include date/time, a short description of the session, and a bio and photo of the session clinician. NEWS On the Cover This month’s cover blends the bright 6 Alphabetical Listing of Conference Choirs colors used throughout this program book with the 7 Map of Hotels and Venues singer silhouettes that comprise our 2017 National Conference theme. 8 Map of Minneapolis Convention Center Annual dues (includes subscription to the Choral Journal): 9 Map of Other Session Locations Active $125, Industry $135, Institutional $110, Retired $45, 11 Movies at the Conference and Student $35. Library annual subscription rates: U.S. $45; Canada $50; Foreign $170. Single Copy $3; Back Issues $4. 14 Continuing Education Credit Information Circulation: 19,000. Main offi ce: 405-232-8161 15 Robert Shaw Choral Award Winner The Choral Journal (US ISSN 0009-5028) is issued monthly 26 Registration Hours except for July by the American Choral Directors Association. 27 2018 Division Conference Locations Periodicals postage paid at Oklahoma City, Oklahoma, and ad- 30 Advice on How to Obtain Funding ditional mailing offi ce. 32 Exhibit Hall Hours POSTMASTER: Send address changes to Choral Journal, 545 Couch Drive, Oklahoma City, Oklahoma 73102. 37 Regi-ception Information 48 Thank You, Sponsors Since 1959, the Choral Journal has been the refereed, international 52 Julius Herford Award Winners journal of the American Choral Directors Association. Each issue 59 Early Registration Deadline Information features: three scholarly articles, anonymously peer-reviewed by the editorial board; refereed articles on pedagogical or scientifi c issues for the choral conductor; refereed articles with practical advice and ideas for the choral conductor; reviews of books, recorded sound, EDITORIAL and choral works by choral experts; and editorials from association leadership. The January and February issues preview each year’s 2 FFromrom tthehe EExecutivexecutive DDirectorirector divisional or national conference off erings. Articles from the Choral 4 FFromrom tthehe PPresidentresident Journal can be found in the following online databases: JSTOR (Arts & Sciences XI Collection); ProQuest (International Index to Music 5 FFromrom tthehe EEditorditor Periodicals); University Microfi lms International; NaPublishing; RILM (Répertoire International de Littérature Musicale); EBSCO Editor’s note: Material for this issue was submitted by the participants or music index; and WorldCat. Advertising options are available for their representatives and was edited for length and clarity. The editors have members and nonmembers. Cover art by Efrain Guerrero. Interior made every eff ort to ensure factual accuracy; however, since conference art by Tammy Brummell. Musical examples by Tunesmith Music events mentioned in this issue are subject to change, please consult your <www.Tunesmithmusic.com> program book for up-to-date information. STANDING COMMITTEES From the Advocacy & Collaboration EXECUTIVE DIRECTOR Chair Robyn Lana [email protected] As we greet a new year, it is a pleasure to wel- come all our new ACDA members to Choral Journal. Composition Initiatives Our fall Sing Up! Membership Campaign brought Chair us to a new high mark of membership, exceeding Susan LaBarr [email protected] any past ACDA membership level. I would like to particularly recognize Vermont for top active mem- Diversity Issues Tim Sharp bership growth of 21.3% and Montana for top Chair overall membership growth (across all membership Eugene Rogers categories) of 18.7%. [email protected] We welcome our newest members and look forward to engaging in our shared mission of inspiring excellence in choral music education, perfor- Education & Communication mance, composition, and advocacy. A year ago this month, our member- Chair ship voted to change our Constitution by creating new Standing Commit- Lisa Billingham [email protected] tees for the work of ACDA. At that time, we created fi ve new committees and revised the work of two of our ongoing Standing Committees. This International Activities was historic work, since these committees form the idea groups and work Chair force for much of the programmatic activity of our Association. In previ- T.J. Harper ous articles, I highlighted the focus of fi ve of these committees, and this [email protected] month I will continue by shining a spotlight on the revised work of our Repertoire & Resources Repertoire and Resources Standing Committee, led nationally by Amy Blosser. Chair Amy Blosser The Repertoire and Resources Standing Committee represents the var- [email protected] ious doors by which all of us engage in the choral profession. Depending Research & Publications on the type of choir or choirs we direct, those choirs have specifi c voicing defi nitions, literature and pedagogical resource demands, and administra- Chair John Silantien tive structures. To those issues and concerns, this committee is the resource [email protected] for each of the various types of choral voicing or choral mission of the individual ensembles we all conduct. In the revisioned Repertoire and Resources Standing Committee, choirs fall into three categories in our work in the United States and are ADVOCACY therefore represented by these areas: Children and Youth Choirs; College STATEMENT and University Choirs; and Lifelong Community Choirs. We recognize Whereas the human spirit is elevated the diff erent pedagogical requirements for the choirs in these distinct areas to a broader understanding of itself and group them together toward their resource needs. through study and performance in the Further, we recognize some types of composition permeate each of aesthetic arts; and these three areas, and this literature is not unique to only one area. For that reason, we created a fourth area called Repertoire Specifi c that identifi es rep- Whereas serious cutbacks in funding ertoire and resources that permeates and is infused throughout all three of and support have steadily eroded state institutions and their programs through- the primary areas of choir participation. At the national level of ACDA, out the country; these four areas represent all of the choirs that make up the repertoire and resource needs of the great variety of choir types throughout our country. Be it resolved that all citizens of the The second part of the restructuring of Repertoire and Resources United States of America actively voice came with the recognition that choirs cannot be defi ned by past terms affi rmative and collective support for of simply how they are voiced. With the explosion of interest in choral necessary funding at the local, state, and national levels of education and govern- singing, ACDA embraces all choirs and supports all of their directors ment to ensure the survival of arts pro- grams for this and future generations. The 12 Purposes EXECUTIVE DIRECTOR'S of ACDA as they pursue excellence in their LOG educational, performance, composi- tional, and advocacy eff orts. To this • To foster and promote choral singing, which will provide What's on end, our fi fty state chapters are now artistic, cultural, and spiritual Tim's daytimer? encouraged and challenged to iden- experiences for the participants. tify the types of choirs in their states Dec 15 “Glorias” that need help in fi nding repertoire • To foster and promote the finest Tulsa Oratorio Chorus types of choral music to make and resources and to seek repre- Tulsa, OK sentatives for those types of choirs. these experiences possible. Dec 16-17 ACDA Executive These include the categories we have • To foster and encourage Committee Meeting historically defi ned such as elemen- rehearsal procedures conducive tary, junior high/middle school, high to attaining the highest possible Chicago, IL level of musicianship and artistic school, college, community, church Jan 10-18 ACDA ICEP Planning performance. and synagogue, boys choirs, and girls China choirs, but we now open our thinking • To foster and promote the to embrace new and emerging choirs organization and development that may be defi ned by styles of mu- of choral groups of all types in sic outside our former thinking and What's on schools and colleges. Tim's Ipad? activity. The main consideration for all of us should be the amount of ac- • To foster and promote the tivity and resource needs for the vari- development of choral music in the church and synagogue. Creativity in Context: Update to the ous types of choirs that exist in each Social Psychology of Creativity individual state. Likewise, and on the • To foster and promote the Teresa M. Amibile progressive side of things, we should organization and development further consider those areas of cho- of choral societies in cities and The Creative Brain communities. ral work where a state would like to Nancy C. Andreasen grow. • To foster and promote the As we move past defi nition and understanding of choral music now into implementation, it is time as an important medium of What's Tim's for us to embrace a mind-set of in- contemporary artistic expression. Latest App? novation as we continue to service the core of our choral organizations •To foster and promote significant throughout the country while simul- research in the field of choral HBR Tip (Harvard Business Review music. taneously thinking through new mu- Tip of the Day) sical boxes. I am thrilled to see states •To foster and encourage choral embracing new Repertoire and Re- composition of superior quality.