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800-627-2141 ACFEA Tour Consultants Photos: University of Nebraska-Lincoln Chamber Singers performs in the Lady 110 Third Avenue North, Suite 202 Chapel of Ely Cathedral in England; Northwest Chamber Chorus performs in St. Stephen’s Basilica in Budapest, Hungary; Head Royce Colla Voce with the Edmonds, WA 98020 Oprah Winfrey Leadership Academy School Choir in Henley-on-Klip, www.acfea.com . [email protected] South Africa; Heinz Chapel Choir at Lake Titicaca in Peru CST 2063085-40. WST 600 470 812 March 2014 CONTENTS Vol. 54 • no 8
Cuban Choral Music: VENEZUELAN CHORAL COMPOSERS Historical Development OF THE 20TH AND 21ST CENTURIES: and Modern Infl uences A CATALOGUE 6 18
CANADA’S CHORAL MUSIC DEVELOPMENT MEXICAN CHORAL COMPOSERS: A BRIEF HISTORY 34 42
ARTICLES INSIDE 6 Cuban Choral Music: Historical Development and Modern Influences 2 From the Executive Director 4 From the Guest Contributor by José Rivera 5 From the Editor 48 Call for Interest Session Proposals 18 Venezuelan Choral Composers of the 20th and 21st Centuries: 49 Audition Guidelines for Performance A Catalogue at National Conferences 71 Treasure Chest by María Guinand 83 ACDA Constitution and Bylaws 96 Advertisers’ Index 34 Canada's Choral Music Development The Choral Journal is the official publication of The American by Hilary Apfelstadt Choral Directors Association (ACDA). ACDA is a nonprofit professional organization of choral directors from schools, colleges, and universities; community, church, and profes- 42 Mexican Choral Composers: A Brief History sional choral ensembles; and industry and institutional organizations. Choral Journal circulation: 19,000. by Jorge Cózatl Annual dues (includes subscription to the Choral Journal): Active $95, Industry $135, Institutional $110, Retired $45, and Student $35. One-year membership begins on date of dues acceptance. Library annual subscription rates: COLUMNS U.S. $45; Canada $50; Foreign $85. Single Copy $3; Back Issues $4.
53 Repertoire & Standards edited by Amy Blosser Permission is granted to all ACDA members to reproduce The Formula for a Healthy Men’s Choir articles from the Choral Journal for noncommercial, educa- tional purposes only. Nonmembers wishing to reproduce by Timothy Peter articles may request permission by writing to ACDA. 545 Couch Drive, Oklahoma City, Oklahoma 73102. Telephone: 57 On the Voice edited by Sharon Hansen 405/232-8161. All rights reserved. Why Do We Sing So Loud?— The Choral Journal (US ISSN 0009-5028) is issued monthly except for July by the American Choral Directors Assoica- Reflections on Reflexes That Deceive and Tendencies That Can Harm tion, 545 Couch Drive, Oklahoma City, Oklahoma 73102. by Rebecca Sherburn, Greta Stamper, and Tiffany Johnson Periodicals postage paid at Oklahoma City, Oklahoma, and additional mailing office. POSTMASTER: Send address changes to Choral Journal, 545 Couch Drive, Oklahoma City, Oklahoma 73102. 65 Book Reviews edited by Stephen Town
69 Recorded Sound Reviews edited by David Puderbaugh Cover art by Efrain Guerrero, graphic artist, Austin, Texas Interior art by Tammy Brummell 77 Choral Reviews edited by Steven Grives Musical examples by Tunesmith Music
Community Choirs were a part of the ACDA/North Dakota State University Choral Music of Ron Sayer Marshall Community Chorus the Americas symposium held in Fargo in May of 2013. We all felt that the 660-831-5197 [email protected] symposium was an affi rming and instructive example of successful collabora- tion involving the shared goals of ACDA and its members. Ethnic and Multicultural Perspectives JosÉ Rivera After the glow of the symposium had settled, our debriefi ng sessions University of North Carolina identifi ed the following positive outcomes: 910-521-6290 [email protected]
Junior High/Middle School 1. Intensive exposure to a focused area of choral music Gretchen Harrison Frontier Trail Junior High 2. A developed network of colleagues interested in choral music across 913-780-7210 [email protected] the Western hemisphere
Male Choirs 3. Exposure to cutting-edge resources, including scores and recordings Christopher Kiver Penn State University not readily accessible 814-863-4400 [email protected] 4. Development of permanent legacy archives and documents that
Music in Worship can benefi t the entire ACDA membership—such as this focus Terre Johnson Vestavia Hills Baptist Church edition, the upcoming monograph, and archived videos of [email protected] the CMotA proceedings
Senior High Choirs 5. Opportunities for choral scholars to present their research at an Daniel Bishop Clovis East High School academic conference 559-478-1785 [email protected] 6. Performances of new and unusual repertoire Show Choirs 7. The cultivation of new and ongoing relationships with colleagues from Randi Carp Phoenixville Area High School around the world 484-927-5145 [email protected]
Two-Year Colleges I encourage our membership to brainstorm with state and regional of- Dianna Campbell fi cers, with national R&S chairs, with your national executive board members, Seminole State College of Florida 407-708-2644 and with one another to create events that will address what you are pas- [email protected] sionate about. The American Choral Directors Association is an organiza- Vocal Jazz tion that is willing and able to encourage and support your endeavors. I Patrice Madura Ward-Steinman Indiana University look forward to the next Choral Music Symposium at NDSU, already in its 812-855-7738 [email protected] planning stages, which will focus on twenty-fi rst-century century American
Women’s Choirs choral composers. Iris Levine Vox Femina Los Angeles [email protected]
Youth and Student Activities Amanda Quist Jo Ann Miller Westminster Choir College, Rider Univ. 616-901-3846 [email protected] Editorial Board In the November 2013 issue of the Choral Journal, Tim Sharp presented an exciting vision to engage our FROM THE Editor Amanda Bumgarner colleagues in North, Central, and South America to ACDA National Office 405-232-8161 broaden and more fully diversify our “American” Choral EDITOR [email protected] Directors Association. This month, I am pleased to help Managing Editor bring part of that vision to life with a special focus issue Ron Granger highlighting the historical development, current achieve- ACDA National Office 405-232-8161 ments, and future aspirations of our neighbors to the [email protected] north and south. Contributing Editor Carroll Gonzo The following articles were chosen from a monograph [email protected] that was edited by this issue’s guest editors and will be Board Members published by ACDA. The monograph is a collection of Hilary Apfelstadt papers from the 2013 North Dakota State University Amanda Bumgarner University of Toronto 416-978-0827 Choral Symposium titled “Music of the Americas.” Char- [email protected] lette Moe and Michael Weber, along with Jo Ann Miller, director of choral activities Terry Barham University of Missouri - Kansas City at NDSU, spent many hours choosing and editing the feature articles for this [email protected] issue, and I thank them for their effort on this project. Kristina Boerger University of Illinois [email protected] From the Guest Editors Philip Copeland In This Issue Samford University 205-588-4794 José Rivera has written a fascinating article on the his- [email protected]
torical developmental and modern infl uences of Cuban James Daughtery University of Kansas choral music. Although Cuba has a rich choral legacy, Rivera [email protected]
reminds us that most choral conductors in the United States J. Michele Edwards are not familiar with the history of this tradition. He discusses 651-699-1077 [email protected] Charlette Moe popular contemporary works and important genres in the Lynne Gackle Cuban repertoire, some well known and others perhaps Baylor University 254-710-3654 obscure, such as the Cuban son, bolero, and the cha cha cha. [email protected]
Next, Maria Guinand has compiled an excellent catalogue Steven Grives Depaul University on Venezuelan composers from the twentieth and twenty- 773-325-1039 fi rst centuries. The eighteenth century saw an initial fl ower- [email protected] ing of composition in Venezuela, and now a new generation Sharon A. Hansen University of Wisconsin-Milwaukee of composers has risen to the challenge of preserving and 414-229-4595 [email protected] enhancing Venezuela’s musical traditions. Guinand discusses Michael Weber Edward Lundergan these talented and prolifi c men and women, and her cata- SUNY-New Paltz 845-257-2715 log will surely serve as an important resource for new repertoire in the United [email protected]
States and beyond. David Puderbaugh University of Iowa Hilary Apfelstadt’s incisive offering then enlightens us about the history and 319-335-1627 development of Canadian choral music. Over the last century, Canada’s musi- [email protected] cal growth has fl ourished in university music degree programs and professional Jason Paulk Eastern New Mexico University organizations, and has led to the founding of the Association of Canadian Choral 575-562-2798 Communities in 1980. The article also discusses three primary infl uences on [email protected] Ann R. Small Canadian choral composition—folk music, references to nature, and trends as- Stetson University 386-822-8976 sociated with art music. [email protected]
Finally, you will fi nd Jorge Cózatl’s brief history of Mexican choral composers. Magen Solomon The rich tradition of Mexican choral music spans centuries, and this compilation San Francisco Choral Artists 415-494-8149 will become a valuable resource. [email protected] We are delighted to have participated in this seminal initiative to deepen the Richard Stanislaw understanding of choral music of the Americas, and we look forward to even [email protected] Stephen Town more exciting future activities! Northwest Missouri State University 660-562-1795 [email protected]
Cuban Choral Music: Historical Development and Modern Infl uences José Rivera
Cuba has a rich choral legacy full of musical traditions that extend across centuries, yet most choral conductors in the United States are not familiar with Cuba’s choral tradition. This is due in part to the historical political tension between the two countries and limited professional exchanges. Fortunately, today’s conductors have more opportunities than ever to expand their knowledge of this rich tradition. In fact, Cuban choirs have delighted their North American colleagues with performances at various divisional and national conventions, and in 2012 con- ductors from both countries participated in the first Cuba/US Choral Symposium in Havana, Cuba. The summit was a cross- cultural exchange between composers, José Rivera, Ph. D University of North Carolina at Pembroke directors, and students from the United States and Cuba, showcasing the distinct choral music styles of Cuban tradition and American genres.1
6 CHORAL JOURNAL Volume 54 Number 8
Cuban Choral Music: Historical
In response to the opportunity to chapel of the Catedral de Santiago de collected works, which include pas- broaden the awareness of and familiar- Cuba in 1682. During that period, choral sion settings, cantatas, Stabat Maters, ity with Latin American choral literature, music was performed primarily by boys hymns, sequences, antiphons, psalm this article provides a brief overview and clergy.3 The performance practice of settings, canticles, motets, vespers, and of the development of Cuba’s choral choral music at the time was unaccom- villancicos (carols, primarily written for tradition, featuring the contemporary panied with the use of continuo. three voices).5 His music refl ects the folk and popular music elements from If one considers the early music be- European tradition of the Baroque style, an historical perspective. ing performed today, it stands to reason although in Latin America it is referred that Cuba’s choral history began with to as music of the Colonial period. The the arrival of Esteban Salas y Castro music of Salas was discovered in 1945 by Historical Developments (1725–1803), a Cuban musician, com- Alejo Carpentier, a Cuban novelist and The origins of Cuban ecclesiastical poser, and ordained priest who revital- musicologist.6 His complete catalogue music can be traced to the appoint- ized the decaying music conditions at of works is currently published in eight ment of Miguel Velazquez. Velazquez, the Catedral de Santiago in 1764.4 Salas volumes under the auspices of El Centro the fi rst Cuban-born choir master of the began working at Parroquia Mayor in de Investigación y Desarrollo de la Música Catedral de Santiago in 1544.2 Records Havana before being appointed to La Cubana and the work of musicologist from the second half of the seventeenth Catedral de Santiago, where he served Miriam Escudero. century show the contributions of Do- as chapel master for forty years until his Another notable composer whose mingo de Flores, who became the fi rst death in 1803. works were conceived on Cuban soil appointed Maestro de Capilla (choir- His legacy as one of Cuba’s fi rst was Juan Paris (1759–1845). Paris fol- master) at the newly constructed music great composers lives through his 189 lowed Salas’s footsteps at the Catedral de Santiago (1805–1845), composing mostly sacred vocal music following the European tradition of the late Baroque and early Classical styles. Under Paris’s leadership, the church became a library, academy, a rehearsal and concert hall, and a venue for diverse musical events.7 Paris’s discovered choral works include: Misa a tres, con violines fl autas y bajos (Mass for three voices with vio- lins, fl ute, and bass); and several carols, including Respirad mortals, Parió María en Belén, Oid cielos piadosos, Produzca DISCOVER s ic la tierra, and Villancico de kalenda for orld of mu a nnewew worldw of music four voices, four violins, viola, bass, and hrough TRAVEL oboes or fl utes. Paris’s instrumentation ——throught n ether to pla changes from his predecessor’s (Salas) t’s work tog Let’sLe work togetherable tr toip planand times. unforgett In his villancicos Albricias Pastores and anan unforgettableform tripers andthe ve your ppeer Vamos Presto a Belén, Paris introduces givegi your performersf a lifeti mthee. eexperiencexperience ofo a lifetime. idiophones (cymbal and triangles) and membranophones (timpani) to sacred Meet us at your ACDA Regional compositions in Cuba.8 Paris’s fi rst sets Conference and enter to win of villancicos, written in 1805 and 1807, $200 of FREE sheet music were recently transcribed by the Cuban www.performingtravel.com/ACDA1 musicologist Claudia Fallarero. In the summer of 2013, a concert in Havana
8 CHORAL JOURNAL Volume 54 Number 8 Development and Modern Infl uences
featured premiere performances of mu- several symphonies and chamber music century, María Muñoz de Quevedo was sic by Juan Paris and Cayetano Pragueras, written in classical style. an infl uential choral fi gure who made two composers of Spanish origin born Later, Laureano Fuentes Matons signifi cant contributions to the devel- at the end of the eighteenth century (1825–1898) continued the sacred opment of choral music in Cuba. The who remained working in the island tradition in Santiago de Cuba. Matons’s Spanish-born musician, educator, and through the nineteenth century. works refl ected the changing composi- cultural icon arrived in Cuba in 1919. Soon after Paris’s departure, Cratilio tional styles in the country. For instance, She eventually became a naturalized Guerra Sardá (1835–1896), consid- his Stabat Mater was written in a more Cuban citizen and was responsible for ered another important musician and classical style, while Misa de Difunctis founding and directing Havana’s Choral liturgical composer of the nineteenth for three voices and orchestra, two Re- Society, an important organization of century, followed in Paris’s footsteps quiems, and Liberame Domine for choir its time. at the Catedral de Santiago. Guerra’s and orchestra all resembled music of Muñoz’s choir performed classic works include a Mass in C and a Mass the Romantic style. The Misa Nupcial by repertoire of the western European in D, each for three-part chorus, fl ute, Gaspar Villate (1851–1891) and a Misa choral tradition and new music written clarinet, and strings (no viola). In addition, Solemne written by Cristobal Martinez by Cuban composers. Her vision for Guerra composed a Misa de pastorella Corres (1823–1842) were other impor- the art of choral music marked a new (mass for nativity), Misa sobre motivos del tant masses written during this period. era in the advancement of choral music Himno de Santiago, several Stabat Maters, It is almost impossible to ignore the in the island. She fi rst sought help from and carols. apparent disparity between the exist- her friend Alejandro García Cartula, an Much of what is known today about ing timeline delineation of the Baroque infl uential orchestral composer who Sardá’s music stems from the work and Classical periods in western clas- became the fi rst to write a polyphonic initiated by musicologist Pablo Hernán- sical music and the dates these styles work for choir in son style.13 dez Balaguer in 1961. Presently, Sardá’s of music actually reached Cuba (Latin The son is a sung and danced musical works are being performed because America). This chronological disparity— genre born in the eastern provinces and of the work of musicologist Franch- likely caused by the distance between transformed in Havana. Today, it is known esca Perdigón Milá. Her recent book on both continents and the time it took as salsa and is a widespread dance form Sardá’s sacred works reveal traces of to reach the masses—can account for practiced throughout the world. The popular rhythmic idioms in his Mass in the type and style of music being heard son exemplifi es the mixture of Spanish C, including mazurkas, vals, salon songs, in churches across Cuba during this infl uences (melodies and guitar accom- and operatic themes.9 This practice is still Colonial period. paniment and African rhythms) and is observed by contemporary composers, By the end of the nineteenth cen- considered one of the major types of including Villa-Lobos, Alberto Ginastera, tury, several sacred and secular musical popular music of Cuba. Cartula’s Canto Osvaldo Golijov, Roberto Sierra, and entities began to emerge in Cuba. These de los Cafetales and Caballo Blanco, along Cuba’s own José María Vitier in his Misa included opera and zarzuela, religious with Amadeo Roldan’s Curujuey, were Cubana (Laudamus te).10 choirs, provincial Spanish choral societ- both premiered by La Coral de la Ha- Cuba’s sacred choral tradition contin- ies of Basque, Galician, Asturian, and bana in 1932.14 ued to fl ourish at other chapels in and Catalonian descent (dissolved by 1915), Cartula’s and Roldán’s unaccompa- around Havana, including the Parroquia and several amateur choirs organized nied compositions became the turning Mayor de la Habana and at the Capilla throughout Havana and the interior point in the evolution of Cuban choral de Música de Bayamo. One of the most provinces of the island.12 By the begin- music. Other composers to follow were recognizable nineteenth-century Cuban ning of the twentieth century, national- Harold Gramatges, Nilo Rodríquez, and composers, Antonio Raffelin (1776– istic infl uences began to make their way Gisela Hernández. Since then, many 1882), composed many sacred works, through music. There is a similar quest in folk and popular melodies of diverse including several masses, motets, and the music of Spanish nationalistic com- popular genres, originally conceived for hymns. According to Suzanne Tiemstra, posers (Albeñiz, Granados, and de Falla). popular music, have gradually become Raffelin’s compositions best represented We also fi nd these traits in the music of part of the standard choral tradition in the music of the classical period in Alejandro Cartula and Amadeo Roldán. Cuba. This is particularly the case if we Cuba.11 His instrumental works include In the fi rst half of the twentieth consider the current choral music being
CHORAL JOURNAL Volume 54 Number 8 9 Cuban Choral Music: Historical
performed in concert halls worldwide. thousand Afro-Cubans were living on of the music in Cuba. Other forms of vo- the island by 1534.15 cal musical expression were later carried As was the case in other countries, into secular music. African Infl uences slaves brought with them their language, The rich music of Cuba is a result of music, and traditions. Some African a merger of two distinct and infl uential slaves became an integral part of the Coros de Clave cultures from the Old World on an is- church choral tradition, singing and play- Coros de clave were vocal groups land in the New World. African rhythms ing traditional European sacred music developed by Afro-Cubans in the late and Spanish melodies merged to cre- at music chapels. Others ultimately nineteenth century for the purpose of ate an extraordinary musical tapestry assimilated their native Yoruba systems celebrating major festivities. They were immersed in the island’s history and of worship, adapting old religious be- comprised primarily of male and female folklore. By 1513, African slaves began liefs with Catholic divinities known as vocalists who sang two- or three-part to arrive in Cuba, primarily from Nige- Santería (Reglas de Osha).16 Traces of songs in 6/8 time with simple European ria. It is estimated that as many as one African infl uences can be found in much harmonies, accompanied by instrumen-
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10 CHORAL JOURNAL Volume 54 Number 8 Development and Modern Infl uences
talists playing the “viola” (a banjo with Infl uence of Folk and Popular Styles infl uences from the eastern and western the strings removed and played as a in Cuban Choral Music parts of the island. percussion instrument), guitar, clave, and By the 1950s, Cuban popular mu- The genre became widely popular occasionally the botija, harp, or other sic—the cha-cha-chá, son-montuno, bo- with dance couples in the 1920s and 17 instruments. lero, guaguancó, canción, guajira, mambo, 1930s. Soon after, it would permeate A clarina (lead female singer) would rumba, and conga—had already fl our- Cuba’s musical folklore. This music was typically begin with a solo, followed ished in mainstream popular culture. also felt in choral compositions, where by responses from the chorus. These Today it represents the heart of Cuban it fused the island’s native musical styles groups, comprised of up to one hundred secular choral repertoire. Some of with traditional European classical forms. fifty members, primarily performed Cuba’s most recognizable personalities The son, guaguancó, rumba, and other 18 lyrical songs. By 1902, there were be- in these popular styles include Manuel Cuban popular music genres have, in tween fi fty and sixty coros de clave in Corona (1880 –1950), a Trova musician some sense, gradually become “choral- 23 black, working-class barrios. Numerous who wrote Mercedes; Eliseo Grenet ized” over time. coros de clave developed in the late nine- (1893–1950); Emilio Grenet (1901– The catchy song Chan Chan, originally teenth century and remained popular 1941), who composed Negro bembón, composed by bandleader Máximo Fran- throughout the following decade. Chivo que rompe tambó, and Tu no sabe cisco Repilado (aka Compay Segundo), African infl uences in contemporary Inglé; and Moisés Simons (1844–1944), is an example of a popular son arranged Cuban choral music settings refl ect who wrote El Manisero.20 for choir. This song revolves around two strong rhythmic and textural elements In addition, Miguel Matamoros is central characters: Juanita and Chan of Afro-Cuban musical idioms like Chivo considered one of Cuba’s most prolifi c Chan. The choral arrangement of this que rompe tambó by Moisés Simons and composers of the Cuban bolero and song, written by Jorge Martínez, intro- arranged by A. Ramírez; Yambambó by son genres.21 Matamoros’s music has duces each vocal line in layered fashion, Emilio Grenet and arranged by Octavio been adapted to choral settings, many beginning with the basses’ repetitive Marin; Afroritmos by Yaniel Fernández; of which have become staples of the rhythmic motif. Sin Palabras by Wilma Alba; Babalú en Cuban choral tradition (such as Lágrimas This distinct syncopated pattern la Habana Vieja by Roberto Valera; and negras, Son de la loma, Dulce embeleso, features an anticipated upbeat (typically Tríptico de Cantos Yorubá and Misa para Juramento, Triste muy triste, and El que heard in the bass line in the instrumen- Yarini (Osun Requiem) by Calixto Alvarez. siembre su maíz). This last song features a tal version) followed by the tenor part In one of the movements (Lacri- trait commonly found in the Cuban son: carrying the clave pattern. The clave is mosa) of Calixto Alvarez’s Requiem, the a call-and-response section between the underlying rhythmic pattern heard composer juxtaposes two languages soloist and choir, accompanied by wood throughout the song. Later, the alto and sung simultaneously, representing the sticks playing a repeated clave pattern. soprano vocal lines imitate the guageo, duality between European and African a syncopated accompaniment pattern heritages. This duality is stated by jux- typically played by the guitar (tres). taposing the melody sung by a female The Cuban “Son” (Figure 1) voice in Yoruba—the language spoken The son has become the very expres- Together these voices create the by East African slaves—above the chant- sion of Cuban identity.22 This popular distinct rhythmic flavor of the son like mantra sung by the male voices in genre was developed in the eastern before the melody is introduced and 19 Latin. rural communities, where it was highly harmonized in thirds or sixths. However, One of the most important traits of infl uenced by the trova (a rural genre the most anticipated point in the song the Cuban choral performance practice that featured im- is that most music is performed unac- provisation) be- companied. Vocal lines contain a variety fore it migrated to of rhythms and musical nuances of this western Cuba. The type and other genres of popular or son also reflects folk music. Therefore, one will seldom Cuba’s ancestral fi nd instrumental parts in choral works; African and Span- composers leave it to the director’s dis- ish infl uences and cretion for any addition of instruments.
CHORAL JOURNAL Volume 54 Number 8 11 Cuban Choral Music: Historical
occurs at the improvisatory montuno this particular arrangement is typical in Guaguancó section, where the soloist (typically a choral son arrangements, variations of The guaguancó is a derivative from tenor) alternates in a call-and-response styles and forms are found across the the rumba. Its Afro-Cuban secular music section with the choir, creating the cli- western Caribbean, Colombia, Mexico, roots stem from the regions of Havana max of the work. The intervention of Puerto Rico, and Venezuela. and Matanzas.24 The guaguancó’s rhythm the chorus in the refrain estribillo can Table 1 provides a sample of choral and instrumentation vary from the ones go from a single phrase to an entire compositions or arrangements in son utilized in the son. It uses the rumba verse. While the treatment of voices in style. clave instead of the clave used in the tra-
Table 1
“Son” Titles Style Arranger Composer
La Mujer de Antonio Son-Pregón Conrado Monier Miguel Matamoros Son de la Loma Son-Montuno Conrado Monier Miguel Matamoros El Que Siembre su Maíz Son Electo Silva Miguel Matamoros Canto de los Cafetales Son Alejandro G. Cartula Caballo Blanco Son Alejandro G. Cartula Curujuey Son Amadeo Roldán Son Mercedes Son Leo Brower El Manisero Son-Pregon Conrado Monier Moisés Simons Chan Chan Son Jorge Martinez Francisco Repilado Este Son Homenaje Son Conrado Monier A. Almeida Lágrimas Bolero-Son Conrado Monier Miguel Matamoros Todo a tus Pies Bolero-Son Graciano Gómez René Baños Chivo que rompe Tambó Son Amauris Ramirez Moisés Simons Me Bendo Caro Son Conrado Monier Laudamus te (Misa Cubana) Son José Maria Vitier Manisero Son in 5/4 Yaniel Fernandez Moisés Simons Tiempo para un Tiempo Son Conrado Monier Roberto Valera Negro Bembón Son Electo Silva Eliseo Grenet Iré a Santiago Son Roberto Valera Mulata Son Conrado Monier Todo a tus Pies Bolero-Son Rene Baños Graciano Gomez El Almuerzero Son Conrado Monier Pedro L. Ferrer Chanchullo Son Marialys P. Campos Ruben González y Cachao López Cuba, Que Linda Es Cuba Cancion-Son Eduardo Saborit Electo Silva
12 CHORAL JOURNAL Volume 54 Number 8 Development and Modern Infl uences
ditional son. A spirited example of this characteristics style is exemplifi ed in Roberto Valera’s of the Cuban Guaguancaglia or Quisiera (Guaguancó). bolero are of- Another prominent Cuban com- ten associated poser whose choral arrangements can with themes challenge any choir’s rhythmic and tech- related to nical skills is Guido López Gavilán. His love, betrayal, choral works are known for transcend- bliss, yearning, ing conventional popular musical idioms. rejection, or El Guayaboso (featuring the polyrhythms suffering. Electo Silva’s 30 Canciones Lágrimas Negras (Black tears) of a guaguancó), Pak-kin-kin, Pa ti Pa ti (in Populares de Cuba is considered an im- translated text: mambo style), Que Rico É (mambo), La portant collection of arrangements of Aporrumbeosis (inspired by rhythmic various popular genres, including boleros Verse 1 (Section A) elements and melodic gestures of the such as Ausencia by Prat and Dulce Em- rumba) are some of his works. (Figure 2) beleso and Juramento, a bolero composed Although you have left me in the by Miguel Matamoros. Other choral set- abandonment tings include La Rosa Roja, arranged by Although you have killed all my The Cuban Bolero Oscar Hernández. (Figure 3) illusions The bolero derives from the Span- Over time, the bolero has evolved Instead of cursing you with fury ish seguidilla fi rst heard in Andalusia in into variations or combinations of In my sleep I fulfi ll you, 1780. It existed in Cuban salons from styles. Matamoros’s Lágrimas Negras, in In my sleep I fulfi ll you with the early nineteenth century; however, an arrangement by Conrado Monier, is blessings the bolero that arose in Santiago in 1883 a classic example of a bolero-son. Here, was a particular type that was danced two distinct musical styles are combined Verse 2 (A’) by couples in a simple 2/4 meter. The to create a new genre. The song begins I suffer the immense sorrow of Cuban bolero is more closely related in bolero style (A section) and begins its your loss to African dance rhythms and Cuban B section in son style. I feel the deep pain of your game melodic styles than to the Spanish bolero. This B section also serves as the re- And my crying Performed in duple meter (most often frain within a bolero-son. The bolero’s (A Carries black tears, 2/4, in contrast to the Spanish bolero in part) underlying rhythmic pulse is driven Carries black tears of my life 3/4) in a moderately slow tempo, the by repeated two-measure phrases bolero features passionate lyrics and containing a cinquillo pattern (Figure 3) memorable melodies.25 followed by four eighth notes, while the Son (Section B) refrain: Its melody and guitar accompaniment son (B part) rhythmic pulse is driven by You want to leave me were marked with the presence of the the son clave. The result is a song that Yet, I do not want to suffer cinquillo rhythmic pattern and was often begins slow and develops in a spirited, With you I go away, my saint combined with a tresillo pattern. The dance-like section. Even if it costs me death melody in the Cuban bolero is often heard harmonized in thirds. The textural Trova and Canción Trova is a genre of Cuban song closely associated with working-class singer- songwriters. Primarily self-accompanied on the guitar, its early form (known as vieja trova) was popular in the late nineteenth century. It is credited with the creation of the Cuban bolero. Com- posers including Pepe Sánchez, Manuel Corona, Chicho Ibañez, Rosendo Ruiz,
CHORAL JOURNAL Volume 54 Number 8 13 Cuban Choral Music: Historical
and Sindo Garay are considered the texts by Nicolas Gulién, founders of Cuba’s proponent of this Silvio Rodríguez, Jose Martí, genre. An example of a trova is best seen Mirta Aguirre, and Pablo in Electo Silva’s 6 Canciones de homenaje Milanés. Other notable a la Trova, a set of songs arranged for works include Suite Choral choir that pay tribute to the trova. Dur- by Gisella Hernández, with ing the latter part of the twentieth cen- text by Federico G. Lorca; tury, a new wave known as nueva trova and Canciones amatorias by emerged as a popular genre, refl ecting Leo Brower, with text by the political “protest song” movement Federico G. Lorca and José throughout the Americas. Hernández. Canción is another popular genre of music heard throughout Latin America. Its roots stem from Spanish popular Cha Cha Chá El Bodeguero forms, Italian operetta and Neopolitan The cha cha chá originated from the songs, slow waltzes, and French romanza. danzón, a form related to the mambo. Always at her (his*) house, In Cuba, it was highly infl uenced by This genre of music has distinct rhythmic present are, the trova movement. This genre is best characteristics due to the fact that, unlike the grocer and the cha cha chá, known for its beautiful and memorable most other Cuban styles, it is not rooted Go to the corner and you’ll see him, lyric melodies combined with heartfelt in the clave. The text used in this style and in a friendly way he will lyrics. One of the most recognizable of music is typically of a humorous or always assist you, works in this genre include Mercedes by jovial nature. Richard Egües, composer go now, run over there, the grocer, Manuel Corona. of El Bodeguero and many of today’s the one with the money you will Today, the choral music of this genre classics of this style of music, was a well- fi nd him, is exemplifi ed in Beatriz Corona’s works, known Cuban musician and fl autist. El on the other side of the counter, including Corazón Coraza, Penas, Entre el Bodeguero, nicknamed by Egües as “the helpful and service oriented Espanto y la Ternura, Solo de Guitarra, No magic fl ute,” became a popular song in es Preciso, Triptico, and Aire Nocturno, with the 1950s.26 (Figure 4) Grocer what’s going on, why so happy I think it’s a result, of what is in the grocer, dancing he goes in the store the dance goes like this, with beans there is potato here, the new rhythm of the cha cha chá he drinks chocolate, he pays what magine … Sing Where Inspiration Was Born. he owes I singing in the venues in the store the dance goes like this, of the great composers, in awe with beans there is potato here, inspiring cathedrals and charming village churches, in the store the dance goes like this… for appreciative audiences around the world. Let us take you there. Movement and Dance For years, Cuban professional choirs have been international ambassadors of their native folk and popular musical CULTURALULTURA TOUR CONSULTANTS It Starts With An Idea... forms. In Cuban popular music genres, movement and dance are natural re- (866) 499-3799 |www.CulturalTourConsultants.com | [email protected] | 259 E. Michigan Ave., Kalamazoo MI 49007 sponses to music and are considered
14 CHORAL JOURNAL Volume 54 Number 8 Development and Modern Infl uences
symbiotic. It is almost impossible to listen V; and the well-recognized unaccom- international recognition include Electo to songs as Afroritmos, El Guayaboso, panied work by Calixto Alvarez, Osun Silva, Conrado Monier, Beatriz Corona, Chanchullo, Chan Chan, or Guantanamera Requiem. and Frank Fernández. Today, a wave of without allowing the body to move to Other infl uential choral composers emerging choral composers such as the highly syncopated rhythms of this and arrangers whose music has won Monica O’Reilly, Keila Orozco, Yaniel music. In recent years, several profes- sional Cuban choirs—including Schola Cantorum, Vocal Leo, and Entrevoces— have introduced creative and innovative choreographies to performances of their native music.
Other Popular Genres There are other distinctive genres within the popular music spectrum in Cuba. Cuban secular choral music is fi lled with the musical fl avors found in popular styles, such as the conga, guara- cha, bilongo, and guajira. A variety of dance rhythms and contemporary har- monic sonorities are featured in works such as Cimarrón (a conga) by A. Agra- monte/arr. Calixto Alvarez; Conga by Announcing the new Guido Lopez Gavilán (specially written for the VI World Symposium of Choral Weston Noble Endowed Music in Minneapolis); Guantanamera (a guajira) arranged by Conrado Monier; Chair in Music and Variaciones sobre la Guajira Guanta- namera arranged by Electo Silva. Other Allen Hightower (center), Luther College professor of music and director works within these genres include Me of choral activities, has been installed as the Weston Noble Endowed Quiero Casar Contigo (guaracha) by An- Chair in Music. The Weston Noble Chair is named in honor of Weston Noble ’43, professor emeritus of music, whose service of teaching and gel Aldae/arr. Monier; La Negra Tomasa conducting at Luther influenced the lives of thousands of students for (bilongo) by Guillermo Rodriguez/arr. more than 50 years and whose dedication and service to the college also Monier; Rumbamban (danzón) by Rafael witnessed to the Gospel. Established by Ervin and Phyllis Johnson, the Inciarte/arr. Miguel García; and Cofrecito award recognizes the value of Christian higher education and the quality de dudas (habanera) by Roberto Valera. of the academic and music programs provided by Luther. The Luther campus is alive with the sounds of six choirs, three bands, Contemporary Choral Works three orchestras, two jazz bands, and nearly 1,000 student musicians. Within the last twenty years, there Our student musicians participate in large ensembles, faculty-coached has been an emergence of extended chamber groups, private lessons, and master classes. More than 300 music majors study music theory/ear training, history, education, choral works by Cuban composers, in- composition, jazz, church music, and performance. It all adds up to one cluding works by Güido López Gavilán; of the largest collegiate music programs in the world! Leo Brower’s Salmo de las Américas; Ro- berto Valera’s Cuantro Poemas de Nicolas Photo: Luther choral conductors Jennaya Gullien; José Maria Vitier’s Misa Cubana; Robison; Weston Noble, professor emeritus; Allen Hightower; Linda Martin; Electo Silva’s Misa Caribeña and Misterios and Andrew Last www.luther.edu de Nuestra Señora; Beatriz Corona’s Misa
CHORAL JOURNAL Volume 54 Number 8 15 Cuban Choral Music: Historical
Fernández, Luis Ernesto Peña, Tania Leon, choral tradition stems primarily from these infl uences merged with Spanish and Wilma Alba continues to delight early sacred European infl uences and and native secular idioms, giving birth audiences with new choral works. the musical rhythms brought by African to new musical genres such as son, The rich history of choral music of slaves (syncopated rhythms, ceremonies, guaguancó, cha cha chá, guajira, danzón, Cuba spans over four centuries. Their and musical instrumental). Consequently, trova, bolero, and canción. Since the turn of the twentieth century, choral music has given a voice to these native musical genres, and they continue to live in the mass settings, song cycles, sacred, and secular compositions written by Cuban composers in unaccompanied style.
NOTES
1 José Rivera, “Choral Symposium 2012: Building Cultural Bridges in the Twenty- First Century,” Choral Journal 53, no. 9 (2013): 69. 2 Alejo Carpentier, Music in Cuba (Minnesota: University of Minnesota Press, 2001 [1945]): 71. Ed. Insituto de Libro, Havana, Cuba. 3 Pablo Hernández Balaguer, Breve Historia de la Musica Cubana (1964), 6. Ed. Universidad de Oriente, Santiago de Cuba 4 Pablo Hernandez, “Panorama de la Musica Colonial Cubana,” Revista Musical Chilena 16, no. 81– 82 (1964): 202. 5 Miriam Escudero, Esteban Salas: Maestro de Capilla de la Cathedral de Santiago de Cuba (1764–1803). Eighth Book. Ed. Boloña, Universidad de Valladolid, España, 2011. 6 José Ardevól, Introducción a Cuba: La Musica. Instituto del Libro, Havana, Cuba (1969). 7 Alejo Carpentier, Music in Cuba (Minnesota: University of Minnesota Press, 2001 [1945]): 181. 8 Claudia Fallarero, Juan Paris; Maestro de Capilla de la Catedral de Santiago de Cuba, Villancicos de Navidad, Habana, Cuba (2011). 9 Francesca Perdigón, Cratilio Guerra Saldá; Santiago de Cuba (1835–1896) Repertorio Religioso. Ed. Cidmuc (Havana, Cuba, 2011). 10 José Rivera, “Roberto Sierra’s Misa Latina (Pro Pace).” Choral Journal 50, no. 8 (2010): 6.
16 CHORAL JOURNAL Volume 54 Number 8 Development and Modern Infl uences
1989). 24. 11 Suzanne Tiemstra, The Choral Music of Latin Jersey: Weiner Publishers, 2002). 17 23 Iliana Garcia, Lo coral y lo popular, un vincuo America: A Guide to Composition and Helio Orovio, Diccionario de la Musica necesario. (Revista Clave, 1999): 13. Research (New York: Greenwood Press, Cubana, Biografi co y Technico Ed. Letras 24 Maya Roy, Cuban Music. Markus (New 1992). Cubanas, Havana, Cuba, 1992. 18 Jersey: Weiner Publishers, 2002). 12 Tamara Martin, La Musica Choral en Cuba. Helio Orovio, Diccionario de la Musica 25 Beth Gibbs, Exploring Cuban Music through Editorial Pueblo y Educación, Havana, Cubana, Biografi co y Technico Ed. Letras the Choral Arrangements of Electo Silva. Cuba (1987). Cubanas, Havana, Cuba, 1981. 19 (Florida: Open Access Dissertation, 13 Irene del Rio Iglesias, María Muñoz Portal: Calixto Alvarez, Misa de Osun (Requiem University of Miami, 2010). Su Obra Musical en Cuba. Ed. Arte y por Yarini), Havana, Cuba (1988). 20 26 Gerardo Arreola, “Nunca Creí que El Literatura, Havana, Cuba (2009). Helio Orovio, Diccionario de la Musica Bodeguero fuera a tener tanto éxito: 14 Ibid. Cubana, Biografi co y Technico Ed. Letras Richard Egues,” La Jornada (October 15 Alejo Carpentier, Music in Cuba (Minnesota: Cubanas, Havana, Cuba, 1992. 21 23, 2005). Accessed September 12, University of Minnesota Press, 2001 Ibid. 22 2012.
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CHORAL JOURNAL Volume 54 Number 8 17 18 CHORAL JOURNAL Volume 54 Number 8 VVENEZUELANENEZUELAN CCHORALHORAL CCOMPOSERSOMPOSERS OOFF TTHEHE 220TH0TH AANDND 221ST1ST CCENTURIES:ENTURIES: A CCATALOGUEATALOGUE MARÍA GUINAND
The eighteenth century was a prolific time of composition in Venezuela with the presence of composers grouped under the name School of Chacao (1770–1820). Once Venezuela was liberated from Spanish rule in 1821, it was impossible to rescue the tradition of composition at the School of Chacao due to the profound changes in Venezuelan culture. The only light in choral composition was José Angel Montero, who composed religious music and was the Chapel Master of the Cathedral of Caracas. After the death of Montero in 1881, and until 1920, Venezuelan choral activity remained submerged in an unfortunate period of obscurity and neglect.1 The nineteenth and early twentieth centuries were periods of great musical poverty. In 1920 initial steps toward a renewal of compositional and performance activity occurred with the creation of arts societies and organizations that brought new artistic trends to Venezuela from Europe. The Círculo de Bellas Artes was a group of painters and writers who studied the most recent European artistic trends. Monseñor Ricardo Bartolini was one of the patrons and pro- moters of the arts who helped to boost the young generation of musicians. In 1887 the National Academy of Beaux Arts was created. It was renamed in 1915 as the School of Music and Declamation and again in 1945 as the Superior School of Music. María Guinand is the artistic director of Due to its location near an old church—the Holy Chapel—the Schola Cantorum of Venezuela. email: [email protected] Superior School of Music became known as the School of the Holy Chapel.
CHORAL JOURNAL Volume 54 Number 8 19 VVENEZUELANENEZUELAN CCHORALHORAL CCOMPOSERSOMPOSERS OOFF TTHEHE 20TH AND 21ST CENTURIES: A CATALOGUE
Over the past one hundred years, was also a great lover of painting and Sacred Music there have been many Venezuelan literature. He was self-taught until he Regina Caeli Laetare (1914–18) composers offering signifi cant contribu- was twenty-three years old, when he Dominus Iesus (1920) tions to choral music. As we continue became a student at the School of Music Ave María; Alma Redemptoris Mater to move into the twenty-fi rst century, and Declamation. Ave Regina Caelorum (1920) our desire is that we will continue to In 1921, Sojo became professor of Sub tuum praesidium (1920) stimulate young composers and choral Music Theory, and in 1936 he was ap- Ave, Verum Corpus (1926–27) ensembles to be creative and innovative pointed director and created the Chair O Sacrum Convivium (1926–27) for years to come. of Composition. In 1930 he founded Recordare Virgo Mater (1926–27) Following is a catalogue of the most both the Orfeón Lamas (mixed choir) Tantum ergo (1926–27) relevant and infl uential Venezuelan com- and the Venezuelan Symphony Orches- Tantum ergo y Genitori (1926–27) posers, listed in order of birth, starting tra. Sojo wrote a large amount of sacred Tres fabordones (Confitebor, Laudate with the earliest and moving to present and secular choral music, and instru- Dominum Omnes gentes, Miserere mei day. mental music. His musical style can be Deus) (1926–27) considered classical from a formal and Maitines de Navidad (Christus natus est harmonic point of view, and he was un- nobis, Iesu Redemptor Omnium) (1935) SCHOOL OF THE HOLY CHAPEL: questionably infl uential on the compos- Christus Factus est FIRST GENERATION ers that are discussed below. Infl uenced Uxor tua by Debussy, he explored chromaticism, Villancico-Una inmensa alegría In 1929 the Orfeón Lamas was an expanded harmonic language, and tamborilera 2 founded: the fi rst mixed-voice and es- the use of exotic scales. Laudate Dominum tablished choir since the colonial days. This ensemble inspired all composers Masses Madrigals and Choral Songs— from the fi rst half of the twentieth cen- Misa Coral (1915) Lin, Lin, Lin; Diez Canciones de Ronda tury to write new madrigals and choral Misa Cromática (1922–23) (1927) songs based on Hispanic poetry. They in- Misa a Santa Eduvigis (1925) Romance del Tirano Aguirre (1934) tegrated contrapuntal Italian techniques Requiem in Memoriam Patris Patriae La Carreta del Malojero (1935) and incorporated musical elements de- (1929–1930) Cuatro Canciones Corales sobre poesías rived from popular traditions, becoming Misa Breve (1934) de Jacinto Blanco Fombona (Fresco; La the so-called Nationalists. Misa a cappella en honor a Santa Canción de las mañanas; Al nacimiento This group of composers also cre- Efi genia (1935) de Cristo Nuestro Señor; La Canción de ated sacred music with new harmonic Misa en honor de Santa Cecilia (1954) Ayer) (1942); and melodic languages, following the Hay luces entre los árboles; Solo de Ma- traditions that they inherited from the Sacred Music— rimba; Margarita, girasoles; Canción de eighteenth century. They also copied and Choral-Orchestral cuna; Laetitia; Zapatitos de Lluvia; Hacia arranged hundreds of popular songs and Domine ad adjuvandum me festina Cíteres; Epitalamium (1954) folk tunes, thus preserving and recreat- (1914–18) Epitalamio; Balada de los Tres ríos; Cántico; ing the musical traditions in Venezuela. Letanías Lauretanas (1914–18) Introito Profano; Lay; Rondó (1957) However, their musical style was not Christus factus est (1920) Other: Cantilena; El Amo; Canción Otoñal; homogeneous. There were marked Venite Adoremos; Ave María (1922) Paisaje; El Dragón; Bordoneo; Pífanos y Co- stylistic differences, which reflected Ecce Panis (1923) bres; Amanecer; El Bailón; Rosal; El Jilguero; their contrasting personalities and ap- Te Deum Laudamus; Tota pulchra es Al Parque Niña; Villancico; El Portal; Por la proaches to composition. Maria; Bone Pastor (1923) Cabra Rubia; Postludio; El Cambao; En Alta Palabras de Cristo en el calvario (1925) Mar; Serenata Vicente Emilio Sojo (1887-1974) Tres Motetes para la Festividad del 3 de Born in the town of Guatire, Miranda Mayo; Cantata de Navidad Hodie super State, Sojo began his musical life sing- nos fulgebit lux (1935) Juan Bautista Plaza (1898–1965) ing contralto in the church choir. He Tres Motetes para la Festividad de Santa Plaza began his musical education in learned several instruments such as the Cecilia (1953 –1954) 1915 under the guidance of the com- guitar, fl ute, violin, and trombone and
20 CHORAL JOURNAL Volume 54 Number 8 VENEZUELAN CHORAL COMPOSERS OF THE 20TH20TH ANDAND 21ST21ST CENTURIES:CENTURIES: A CCATALOGUEATALOGUE
poser and pianist Jesus Maria Suárez at Turbas de la Pasión según San Mateo Tantum ergo (1921) the School of Music and Declamation. In (1925) Pange lingua corporis (1921) 1920 he continued his musical studies at Christus factus est (1925) O salutaris (1922) the Pontifi cal Institute of Sacred Music Benedictus Dominus (1926) Beata viscera Mariae (1922) in Rome. He returned to Venezuela in Responsorios, en fabordón, para el Ofi cio Flores apparuerunt (1923) 1923 and assumed the posts of organist de Tinieblas del Miércoles, Jueves y Vox in Rama audita est (1923) and choirmaster at the Cathedral of Ca- Viernes Santo (1926) Deus Israel (1928) racas. There he composed a large body Dextera Domini (1929) Ave María (1929) of works for male voices following the Nos autem gloriari (1929) O sacrum convivium (1936) guidelines for sacred music instructed Dextera Domini (1931) by the papal encyclical Motu Proprio Dominus Jesus (1931) Mixed Choir—organ/strings (1903). Ubi caritas (entre 1920 y 1935) Iste confesor (1921) In 1924, Plaza became professor of In Monte Oliveti (1937) Nisi Dominus (1923) harmony at the School of Music and Vexilla Regis (1937) Ave María (1924) Declamation and in 1931 established Terra tremuit (1937) Cantata de la Epifanía (1950) the History of Music Chair and the Benedictus (1940) Aesthetics of Music Chair. Between Responsorios para el Ofi cio de Tinieblas Male Voices—organ 1933 and 1944, Plaza’s passion for his- del Miércoles, Jueves y Viernes Santo Tantum ergo Nº 7 (1926) tory led him to assume the important (1940) Illuminare Jerusalem (1927) task of classifying and restoring all the Turbas de la Pasión según San Mateo Tantum ergo Nº 8 (1928) manuscripts of the Venezuelan colonial (1941) Peccatem me quotidie (1930) music fi les that were in the archives of Domine, secundum actum meum the School of Music. Motets and other religious works (1930) Plaza’s catalogue consists of over Ave verum (1931) three hundred titles, including choral, Mixed Choir—sacred Jam non dicam (1936) chamber, symphonic, and choral-orches- Sex (Sic) Motetta in Honorem S.S. Tantum ergo Nº 15 (1948) tral works. Many of his compositions Sacramenti (Roma, 1921) Tantum ergo Nº 16 (1961) contain strong nationalist features, while others use traditional western harmonic and melodic language. Juan Bautista Plaza harmonized the offi cial version of the National Anthem of Venezuela.3
Masses—Male Voices, organ Misa de Requiem (1923) Misa a 3 voces (1936) Misa Popule meus (1937) Misa en Fa (1937) Misa en honor de San Juan de la Cruz (1947) Misa Litúrgica de la Esperanza (1962)
Easter Responsories—Male Voices Responsorios de las Tinieblas (1924) Miserere (1924) Miserere a 4 voces (1924) Benedictus (Cántico de Zacarías) (1924) Responsorios para el Ofi cio de Tinieblas del Jueves y Viernes Santo (1924) Attende Domine (1924)
CHORAL JOURNAL Volume 54 Number 8 21 VVENEZUELANENEZUELAN CCHORALHORAL CCOMPOSERSOMPOSERS OOFF TTHEHE 20TH AND 21ST CENTURIES: A CATALOGUE
Male voices—organ/orchestra Para que mi amor pasara (1933) José Antonio Calcaño (1900–1978) Tantum ergo (1920) Ruinas (1934) Calcaño began his musical training Ave verum (1921) Playas Caribes (1941) at an early age. Along with his cousin Te Deum (1923) Salta con la ondinas de las ondas (1944) Miguel Angel Calcaño and Vicente Emilio Reges Tharsis (1923) Un aire de arpas fl ota (1946) Sojo, Calcaño is one of the pioneers Dilectus meus (1925) En la Ascensión (1948) of the art movement called renovación Veni de Libano (1925) Rosa de melancolía (1949) musical (musical renewal), which meant Magnifi cat anima mea (1925) Preguntas (1951) a new trend of music making in the Ego sum panis vivus (1925) Me voy (1951) country. He was a renowned writer and Stabat Mater speciosa (1925) Atardecer (1951) music critic and a professor of music ap- Ave Maria (1927) Noches Ideales (1952) preciation and conductor of informative Himno a Nuestra Señora Cestillo de Cristal (1952) musical programs on television. Calcaño de Coromoto (1938) Los Lagartos (1957) was also founder of the Orfeón Lamas Tantum ergo Nº 11 (1942) Dafne (1958) and the Venezuela Symphony Orchestra. Dolorosa et lacrimabilis (1942) Agua a dónde vas? (1960) In addition to his music career, he was Tota pulchra es Maria (1943) Vitrales (1963) active in diplomatic service and held Himno del Primer Congreso various important positions in foreign Catequístico Nacional (1943) Villancicos delegations, including the United Na- Te Deum (1947) En la mañanita (1931) tions. Himno a 3 voces oscuras y orquesta; Gloria a Dios (1931) Calcaño founded the Conservatorio Ave María (1959) Venid a Belén (1931) Teresa Carreño in 1951, the Coral Cróele Regina Coeli laetare (1959) (workers from the Creole Petroleum Salve Regina (1959) Male Voices Corporation) in 1953, and the Mad- Pico, Pico, Zolorico (1927) rigalistas. He composed many choral Mixed Choir—secular La ronda de la Navidad (1927) works and arrangements. He also au- La lloviznita (1927) Carnaval (1928) thored a book about the musical life of A Venezuela (1928) Los piratas (1928) the city of Caracas, Crónica Musical De Primavera (1928) Cantilena Pastoril (1928) Caracas (The City and Its Music), which Ríe que ríe (1928) El Curruchá (1928) has been the main reference for musi- El garrapatero (1928) Canción China (1928) cological research. Canto a Bolívar (1928) La Picazón (La Pulga) (1928) Tres canciones de amor (1928) Una, dona, tena, catona (1928) Choral-Orchestral El reposo (1928) El desvelado (1928) De Profundis (Motet) Nocturno de la laguna (1928) Espinito, pura Espina (1934) Canto triunfal (Cantata) Cogeremos Flores (1928) Recuerdos (1938) Sonetillo (1928) Golpe (1946) Madrigals Geórgica (1930) Cancioncilla romántica venezolana Evohé Rosas Frescas (1930) (1946) Cara bonita Columpio (1930) Suspiros (1930) Female Voices Eras a la luna (1930) El cuento (1927) Moisés Moleiro (1904–1979) Noche de Tormenta (1931) La Noche (1931) At the School of Music and Declama- La Mariposa (1932) Sendas de la tarde (1931) tion in Caracas, Moleiro studied piano Vespe (1932) El ratón Pérez; with Salvador Llamozas and graduated Soneto a San Juan de la Cruz (1932) El reloj de los gorriones (1951) in 1927. Along with Vicente Emilio Sojo, Presagio (1932) Horas Muertas (1958) he was a founder of the Orfeón Lamas Todo el día fue nuestro (1933) and wrote several works for this en- La tristeza del Angelus (1933) semble. His main compositional interest Crepuscular (1933) was for the piano, and his catalogue for
22 CHORAL JOURNAL Volume 54 Number 8 VENEZUELAN CHORAL COMPOSERS OF THE 20TH20TH ANDAND 21ST21ST CENTURIES:CENTURIES: A CCATALOGUEATALOGUE
this instrument is extensive. Much of his Cantemos alegres con este pastor Letanias Lauretanas music is based on popular rhythms, but (1939) his harmonic and melodic languages are Niño divino (1939) Choral-Orchestral refl ective of his individual style. Vamos pastorcillos (1939) El Tirano Aguirre Nació, Nació (1939) Mixed Choirs—secular Canción de la niebla (1941) Endecha San José Bendito (1941) Antonio Estévez (1916–1988) Tantum Ergo (1941) Compae Facundo Estévez was born in Calabozo, Credo (1942) Vigilia Guárico State. Estévez studied composi- Cancioncilla Sevillana (1956) Vuelas al fi n tion, oboe, and clarinet at the School of Canta (1965) Campanas Music and Declamation, where he later Gavilán Cuá (1965) Pastorela became a professor of counterpoint. He Padre Nuestro (1974) was a member of the Caracas Military Tarde del Trópico; Abri; Invocación; Male Voices—secular Band, Venezuela Symphony Orchestra, Retablillo de Navidad (1974) El Perro and Orfeón Lamas. In 1944, Estévez Sol Amarill graduated and earned a scholarship to Choral-Orchestral Works Rataplán continue his training in the United States Ed Gobernación del Estado Aragua, Jehová Reina (1945–48) and Europe. He founded the choir Casa de la Cultura (1973) A la gloria de Andrés Bell (1951) Orfeón Universitario at the Central Uni- Cecilia Mujica (1957) versity of Venezuela in 1943. In 1971 he Canto de libertad (1983) created the Phonology Music Institute. Angel Sauce (1908–1995) Estévez is considered one of the Sauce was born in Caracas and studied most important representatives of music at the School of Music and Decla- Evencio Castellanos (1915–1984) Venezuelan musical nationalism. His mation. After graduating in 1944, Sauce Castellanos was born in Cúa, Miranda extraordinary work La Cantata Criolla traveled to New York on a scholarship State, and was a pianist, composer, and has become a paradigm of nationalism for the graduate program in composi- conductor of choirs and orchestras. and a signifi cant Venezuelan composi- tion, choral, and orchestral conducting at Pablo Castellanos, an organist and choir- tion of the twentieth century. Later in Columbia University. He was a member master, was his father and his fi rst music the 1960s, after time spent in Europe and later conductor of the Venezuela teacher. He graduated from the School and his meeting with kinetic artists such Symphony Orchestra and also a mem- of Music and Declamation in 1944 and as Jesus Soto, Estévez ventured into ber of the Orfeón Lamas. He founded was a member of the Venezuela Sym- electronic music. the Coral Juan Manuel Olivares, later phony Orchestra and the Orfeón Lamas. named Coral Venezuela, in 1943, which Between 1947 and 1949 he lived in New Motets-Mixed Voices became one of the most important York City, where he began developing Ave Maria (1984) groups of its kind. He founded other his brilliant career as a concert pianist. choirs in the “Electricidad de Caracas,” He was also choirmaster, organist, and Mixed Choir Universidad Católica Andrés Belló, choir member in the Caracas Cathedral. Canción de la Molinera (1943) among others. The repertoires of his Rosalinda (1943) ensembles were constituted by works of Masses Canciones Ancestrales (1955) his contemporaries and Venezuelan folk Misa Ave Maris Stella (Arrunango, Habladurías, El ordeñador) music arrangements, but he pioneered Misa Jesu Corona Virginum in programming many choral symphonic Male Voices: works. Madrigals and Choral songs Despertar (1943)
Mixed Choir—secular Mixed Choirs—secular Mixed Choir, soloists and orchestra Justicia de Rey (1939) El Bambú La rauda novia del aire (1944) La morena va a la fuente (1939) Tota Pulchra es Maria Cantata Criolla (1954) Miserere
CHORAL JOURNAL Volume 54 Number 8 23 VVENEZUELANENEZUELAN CCHORALHORAL CCOMPOSERSOMPOSERS OOFF TTHEHE 20TH AND 21ST CENTURIES: A CATALOGUE
Antonio Lauro (1917–1986) School of Music and Declamation. Espera, In memoriam, Lauro was born in Ciudad, Bolivar, and In 1940, Carreño began his teaching El día de tu ausencia (1975) his family moved to Caracas in 1926. and conducting career. He composed Canción desvelada (1975) In 1931 he began to study music at tirelessly for his choirs, voice, piano, and Conservas de coco (1975) the School of Music and Declamation. various instrumental ensembles. Ca- Contrapunto (1975) Beginning in 1933, he was a member rreño has extensive knowledge of his Mis canciones ya viejas (1986) of the Orfeón Lamas, where he excelled country’s folklore, which has led him to Era una tarde; El velero perdido; No as a baritone. He worked in radio as make many arrangements of popular me sueltes la vida ni la man (1986) a guitarist, accompanying various pro- music. Besides arrangements, he incor- Octavillas de la vigilia y la melancholia grams, which allowed him exposure to porates folk music into his composi- (1987) popular music. He formed a vocal and tions in a personal and successful way instrumental ensemble called Cantores with expressive lyric lines and colorful Female Voices—secular del Trópico, for whom he wrote many of harmonies.4 El despertar de una isla (1955) his compositions and arrangements. He In Memoriam (1975) actively fought against the dictatorship Mixed Choirs—sacred of Marcos Pérez Jiménez and suffered Ave María (1949) Male Voices—secular imprisonment for almost two years, Ave María (1955) Cabellera nocturna (1975) where he composed some of his best Canto a Jesucristo, tríptico coral (La señal, works for guitar. Cristo en el Olivar, Jesucristo) (1972) Choral-Orchestral Fuga aleluyática (1980) Misa de Requiem (1985) Sacred Music Aleluya (1986) Kyrie (1944) Female Voices—sacred SCHOOL OF THE HOLY CHAPEL: Mixed Choir—secular Ave María (1951) SECOND GENERATION Occidente (1944) Te Deum (2000) Crepuscular (1944) The three decades between 1920 Allá va un encobijao (1945) Mixed Choir—secular and 1950 are the founding years of the Canta (1945) Por entre hierbas (1941) musical movement that exists today Sembrador (1948) Niebla (1941) in Venezuela. In the fi rst generation of Canto miliciano (1951) Epifanía (1943) composers and musicians, all were either Endecha (1964) Gota de breve rocío (1945) colleagues or students of Plaza and Sojo. Pregúntale a ese mar (1945) They had a wide variety of personalities Female Voices El Sauce y el arroyo (1945) and were accomplished musicians who Azul (1947) Ave María (1943) created the conditions for a musical Ave María (1947) Kyrie (1943) explosion. The second generation of Hoy me acordé de tu nombre (1948) La Mañana (1943) composers of the School of the Holy Cuerpo del mar (1952) Viento (1944) Chapel followed the footsteps of their Una canción con triste ofrecimiento mentors and continued to enrich the (1955) Choral-Orchestral choral repertoire by incorporating new Nocturno (1956) Cantaclaro (Poema Sinfónico) (1947) harmonic languages, vocal sounds, and En el eco doliente de su llanto (1956) Misterio de Navidad (1952) effects. El mirlo (1956) El colibrí (1956) Andrés Sandoval (1924–2004) El mar inquieto (1956) Inocente Carreño (b. 1919) Sandoval was born in Caracas and Diafanidad (1961) Carreño was born in Porlamar, Nueva received his early musical training from Canción de la sabana (1962) Esparta State, and began his musical his father, Avelino Sandoval. In 1930 Tres canciones románticas: (Novia de studies with Lino Gutierrez. In 1932 he entered the School of Music and abril, Eternidad del canto, Tu nombre) he settled in Caracas and entered the Declamation. Between 1936 and1947, (1970)
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he was a clarinetist and an invited con- Miserere (1948) Dos canciones corales (1962) ductor of the Caracas Military Band. He Misa de Requiem Canto a la vida (1967) worked as a violinist in the Venezuela Canto de paz (1969) Symphony Orchestra and in various Choral-Orchestral Velero Mundo (1969) other orchestras and served as director Te Deum (1949) La Mañana ajena (1971) of several music schools in Venezuela Tantum ergo (1950) and also conducted university choirs. His Ave María (1956) catalogue of works includes symphonic, chamber, choral, band, choral-orchestral, Madrigals and Choral songs and solo instruments. Mixed choir—secular Madrigals and Choral Songs El amolador (1949) “The Art of Performance – El Molinero (1954) Al Santo Niño de Belén (1950) The Power of Education” El Trompo (1954) Cancioncilla de Floraligia (1950) La Huella Perdida (1954) Al mar anochecido (1963) MARCH HIGHLIGHTS Canto a Bello (1957) Monday, March 10 at 7:00 pm Despedida (1958) Female Voices—secular Avery Fisher Hall, Lincoln Center Besábase en su Boca (1967) La fuente del día (1953) Lust & La Femme Mystique Carmina Burana El Juego (1969) Imagen de los sueños (1990) Carl Orff: Vance George, Conductor Laureate Los Pescadores (1969) V. G e o r g e Music for Women’s Voices Canción de Cumpleaños (1983) Hilary Apfelstadt, Conductor Laureate Modesta Bor (1926–1998) Choral-Orchestral H. Apfelstadt San Cristóbal (1954) Bor was born on Margarita Island. In Friday, March 21 at 8:00 pm Región de la Niebla (1958) 1942 she traveled to Caracas to study J. Johnson Los Andes (1972) at the Conservatorio de Musica José Angel Weill Recital Hall, Carnegie Hall a cappella NEXT Réquiem N° 2 (1991) Lamas (earlier the School of Music and Declamation) and graduated in 1959. Featuring: Ad Astra Singers, John Paul Johnson, Director; NOTUS: D. DiOrio Bor was appointed professor of Music IU Contemporary Vocal Ensemble, Gonzalo Castellanos (b. 1926) Theory and director of the children’s Dominick DiOrio, Director; and choir in the Escuela de Música Juan UC Berkeley Chamber Chorus, Castellanos was born in Canoabo, Marika Kuzma, Director Manuel Olivares and later founded a M. Kuzma Carabobo State, and began his musical female choral ensemble, Arpeggio. studies with his father, Pablo Castellanos Sunday, March 30 at 2:00 pm In 1973 she chaired the composition Avery Fisher Hall, Lincoln Center Almenar. He graduated from the School class at the José Lorenzo Llamozas School Defying Gravity: of Music and Declamation in 1947 and of Music and worked as the head of the The Music of Stephen Schwartz and Eric Whitacre became professor of music theory at the Department of Culture and Arts at the Escuela de Música Juan Manuel Olivares E. Whitacre Eric Whitacre, Central University in Caracas. Later on Composer/Conductor and the Escuela Normal Miguel Antonio she moved to Mérida, where she taught Stephen Schwartz, Caro. In addition to being the organist composition at the School of Music at Special Guest Artist S. Schwartz Wicked Godspell and choirmaster at the church of San the Universidad de Los Andes.5 Composer of , and José de Caracas, he was also the choir many other Broadway legends. director at several universities. Castel- Mixed Choirs—secular AUDITION NOW FOR 2015 lanos was a member of the Venezuela Canción Lejana (1950) Contact us now for ACDA Symphony Orchestra and later became Balada de la luna, luna (1954) member ticket discounts! the director. 212-707-8566 x 307 Locerita (1954) 250 W. 57th St., Ste 1610, New York, NY 10107 Arco Iris (1956) Mixed Choir—sacred [email protected] www.DCINY.org La Cabrita (1956) Turbas del Viernes Santo (1948) Velorio de Papá Montero (1960) #DCINY
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Sin vinos ni hallacas (1972) Venezuela and has written many works Cuatro piezas en idioma Eukerra, Anai Manchas sonoras (1975) for the children and youth choirs of txiki berri bat, Kirio Mirio, Tirtiriccu Basta, Basta, Basta (1981) the program Construir Cantando. These tarrapatari tulumpé, Elefantea nun Prisma sonoro (1981) works are based on Venezuelan and da? (1998) Barco de la media noche (1982) Latin American poets and incorporate Ríete (1998) Con esta parrandita (1986) eurhythmics as an important feature. Ciclo de Canciones sobre poemas de Los tres reyes magos (1986) Grau received First Prize in the 1974 Jesús Rosas Marcano (1999) Parranda margariteña; Guido d’Arezzo International Competi- Opereta Ecológica en 4 actos El Viento, Por un camino arenoso (1986) tion in Italy. El Mar, El Río, El Arbol (1999) Son Venezolano (1986) His ballet La Doncella—for mixed 4 Canciones Catalanas (2000) La Palabra en la calle (1990) choir, speaker, and chamber ensemble— (El seu cor bat com el nostre, Vou veri Mundo del hombre; Nana; Para mi was awarded fi rst prize at the Dia vou, El riu I el mar, El cant del pinsa); corazón basta tu pecho (1991) Internacional del Canto Coral de 1978 Brujas y Hadas (2001) Aquí te amo (1993) competition in Barcelona, Spain. In 1999 Su corazón bate como el nuestro (2001) Espectro sonoro (1995) he won the Composition and Choral Pata pacá (2002) Bajaste del cielo con luz primorosa Expression Prize (6th edition), granted La otra orilla (2004) (1996) by the government of the Canary Islands La ronda que nunca se acaba (2004) En atisbo de azules (1996) for his Opereta Ecológica.6 Paraguas de Navidad (2005) Es la mañana llena (1996) Rumex Crispus (2006) Mixed Choirs—sacred El burro fl autist (2006) Female Voices—secular Dies Irae (1983) Qué Barahúnda (2007) Los gallos (1960) Pater Noster (1987) Funda, Junda, Tunda (2007) Mariposa del aire (1960) Padre Nuestro (1995) A un panal de rica miel (2008) Tal vez mañana me vaya (1960) Doxa Patri (1996) Qué barahúnda (2009) A una niña (1966) Stabat Mater (1998) La balada del Retorno (2009) Arbol de canción; Cantar de muchacho Confi temini Domino (2001) Once Canciones Infantiles (2012) de piel de noche (1982) Magnifi cat-Gloria (2007) (Los capitanes de la comida, Arriba Coplas de cuna (1982) Fecit Potentiam (2008) Cosmonauta, Si en este momento te Ribereñas; Si vas de prisa (1982) Abraham (2010) duermes, Marranidad Cumpleaños, La Brisa (1986) Sicut erat in principio (2011) Las cuatro tablas Marcha de la La Perla insomne (1996) Tu es Petrus (2012) Creatividad) Luna del malecón (1996) Female Voices—sacred Female Voices—secular Choral-Orchestral Dolorosa (1988) La Flor de la miel (1983) Eso era cuando Castro; Cantata Hiro Suscepit Israel (2009) Ananaynany (1988) shima; Cantata-Jugando a la sombra Como tú (1989) de una plaza vieja (1973) Children Choirs—various Fiat Mundus Iustus (1989) Cantata-Necesitamos la paz; El Maíz Fiat Mundus Iustus (1989) Ciclo Los Duendes (1993) (1994) Mi barquito de papel (1993) (Ya todo es tiniebla, Son los duendes que Cruje-Silba (1993) ya salen, Qué Batahola,Echemos el Junda, Junda, San Antón (1994) cerrojo) Alberto Grau (b. 1937) San Antón Chiquitín (1994) Kasar mie la Gaji (1998) Grau was born in Vic, Cataluña (Spain), Ay, San Antón (1994) Caracolitos Chicos (2002) and arrived in Venezuela when he was El Barquito (1995) Pierda quien pierda (2003) eleven years old. In 1967, Grau founded La Cucaracha (1995) Suite Las Lamias (5 canciones) (2010) the Schola Cantorum de Caracas. He is Ciclo de El San Pedro (5 canciones) the composer in residence of choirs (1996) Male Voices—secular at the Fundación Schola Cantorum de Como compongo poco, yo toy loco Fiat Mundus Iustus (1989) (1996)
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Hola, Ola (2012) corporate melodies inspired by Spanish Misa de tribulatione ecclesiase (1978) traditions and utilize audacious harmo- Salmo 50 (Miserere) (1978) Mixed Choir—secular nies and effects derived from contem- La Epopeya de la espiga (1979) Duérmete apegado a mi (1965) porary compositional techniques. Himno al Santísimo Sacramento (1983) Canción de Cuna (1966) Mi delirio sobre el Chimborazo (1983) Aria Triste (1967) Mixed Voices—sacred Salmo 150 (1989) Niñito Jesús (1976) 89 Masses for voices and organ Te Deum laudamus-Himnus Niño chiquitico (1976) (composed 1963–1992) Ambrosianus (1989) Amunt, amunt (1977) Cantiga de la Pasión (1991) Cruz del Avila (1980) Mixed Voices—secular Stabat Mater (Sequientia B.M.V. Ananaynany (1980) 55 Ave Marías (composed 1965–1999) Perdolentis) (1995) Fiat Mundus Iustus (1989) La Conversión de San Agustín (1996) Cantad Coros del Mundo (1990) Madrigals and Choral Songs Angostura, Cantata (1999) Kasar mie la gaji (1990) 76 choral songs unaccompanied Despierta América (1991) (composed 1958–2001) Que pase, que pase (1993) Juan Carlos Núñez (b. 1947) Cómo sucedió (1993) Selected titles: Núñez was born in Caracas and El (1993) Madrigal (1969) began his musical studies in the Escuela Bin-nam-má (1999) Toledo (1970) Superior de Música José Angel Lamas. In Mi Patria es el mundo (2001) Casi Alegría (1970) 1973 he traveled to Warsaw to study Hermana Lluvia (2002) Rima (1970) composition and conducting with Stani- Como busca el tierno infant (2006) Pórtico (1970) slaw Wislocki. Upon his return to Ven- Salve al celeste sol sonoro (2008) Soneto al Cristo de Velázquez (1972) ezuela, he became one of the fi rst young Tendido esté a la sombra (2012) Dos melodías vascas tradicionales conductors of the Venezuelan Youth Nao Mais (2012) (1973) Orchestra movement, known today as ¡Ay! (1979) El Sistema. Núñez is the Latin American Choral-Orchestral Tonada de la loba parda (1979) Chair of Composition Antonio Estévez. La Doncella (1978) Querellas del alma enamorada (1980) Balada del Retorno (2009) Sagaren Usaiñe agertude (1980) Mixed Choirs—unaccompanied Olivos de eternidad (1981) Suite de Lorca El Greco (1982) Derecho a la Paz (1987) Francisco Rodrigo (b. 1938) Choral-Orchestral Díptico avileño (1992) Más música del hombre en otra historia Rodrigo was born in Valtierra, Na- Dos nocturnos (1996) (1978) varra, in Spain. He began his musical Díptico gerbasiano (1997) studies at the Conservatory of Granada Réquiem a la memoria de don Simón Bolívar (1986) and moved to Venezuela in 1964. Later, Choral-Orchestral he became a professor of harmony Poeta en Nueva York (1991) Ruth y Noemí (1970) and counterpoint at Escuela Superior de El árbol de Chernobyl (1992) Misa campus Stellae, in honor of Apostle Música José Angel Lamas. Música para los espacios cálidos; Santiago (1970) Rodrigo’s prolific compositional Misa de los trópicos (1994) Hoy nos ha nacido un Salvador (In me catalogue includes over six hundred moriam Mtro. Vicente Emilio Sojo titles, most of which are sacred. He has on his ninetieth birthday) (1977) works for orchestra, choral-orchestral, Federico Ruiz (b. 1948) Lamentación en el mar (In memoriam voice and piano, piano solo, and chamber Ruiz was born in Caracas and studied of the tragically disappeared Or ensembles. Rodrigo’s musical language is composition at the Escuela Superior de feón UCV) (1977) eclectic, as he uses traditional counter- Música José Angel Lamas. His catalogue Tres Antífonas de Santa Cecilia (1977) point and a classical harmonic language includes symphonic, chamber, elec- Misa El Señor es mi luz (1978) in the works that are performed in troacoustic, lieder, choral works, two Missa Mane nobiscum, Domine (1978) religious services. Other works of his in-
CHORAL JOURNAL Volume 54 Number 8 27 VVENEZUELANENEZUELAN CCHORALHORAL CCOMPOSERSOMPOSERS OOFF TTHEHE 20TH AND 21ST CENTURIES:
operas, including Los Martirios de Colón, Alfredo Rugeles Asuaje (b. 1949) of Culture’s Prudencio Esáa Music School. and music for fi lm, television, and theater. Rugeles is a well-known composer Bilbao is currently professor at the Insti- Ruiz was the director of the vocal and distinguished conductor. He was tuto Universitario de Estudios Musicales ensemble Quinteto Cantaclaro, for whom the artistic director of the Orquesta in Caracas, where she founded the he produced many choral arrangements Sinfónica Simón Bolívar of Venezuela and Contemporary Music Ensemble. of Venezuelan and Latin American popu- has devoted much of his career to the lar music. His works have received nu- dissemination of contemporary Latin Mixed Choirs merous awards and honors in Venezuela American music. Since 1991 he has been La Lluvia (1975) and have been recorded by various so- the artistic director of the Latin Ameri- Fiesta de San Juan (1993) loists and groups. His musical language can Music Festival of Caracas. Trilogía aborigen (Relato goajiro, combines twentieth-century European Rugeles was a pupil of the Escuela Aparición del Agua, Melodía del traditions with the national languages of de Música Juan Manuel Olivares in Ca- Cielo) (1993) Latin America and Venezuela. racas. In 1976 he entered the Robert La Saeta (1993) Schumann Hochschule in Dusseldorf, Encore un Mystère Mixed Voices—sacred Germany, where he obtained diplomas (1994. Rev. 2008– 09) Ave María, Laudate Dominum in Composition (1979) and Conducting Nueva Cádiz Ancestral (2009–2013) (1981). He also studied conducting with Cordillera de Luz (trilogía) (2011–2013) Female Voices—sacred Sergiu Celibidache and Franco Ferrara Manchas Sonoras y Variaciones para un Magnifi cat in Italy. His catalogue is mainly devoted Tema Wahari (2013) to orchestral and chamber music. His Madrigals and Choral songs musical language incorporates, in an El Santiguao eclectic manner, many elements from Josefi na Punceles de Benedetti Madrigal the twentieth-century compositional (b. 1953) Que fácil es volar techniques. Benedetti is a Venezuelan composer Oígale la voz perdida who was born in the United States. She Mixed Choirs studied piano in Caracas and London; La guitarra (1976) choral conducting at the University THE NEW GENERATIONS Canto a la Paz (1976) Institute of Musical Studies, Magister Sci- entiarum, in Latin America; and received The last decades of the twentieth Choral-Orchestral a musicology degree from the Universi- century witnessed the creation of im- El Ocaso del Héroe (1983) dad Central de Venezuela in Caracas. She portant choral organizations such as the directed several school choirs and was Schola Cantorum de Venezuela (1967), the founder of the Pequeños Cantores de music/academic programs such as the Beatriz Bilbao (b. 1951) la Schola in 1988. She was president of Chair of Choral Conducting (1971), the Bilbao is a Venezuelan composer, Jeunesses Musicales (Venezuela). Cur- Music Conservatory Simón Bolívar (1980), rently, Benedetti is a professor of Music the University of the Arts (1983), the choral conductor, researcher, pianist, and teacher. She obtained her degree in Aesthetics in the Universidad Central de Graduate Music Program at the Uni- Venezuela in Caracas. versidad Simón Bolívar (1996), and the 1976 and continued studies in conduct- ing with Emil Simon at the Conservatorio vast musical/social program El Sistema Mixed Choirs (1976). George Dhima in Cluj Napoca, Romania. She completed her musical studies in Cantar (1988) Composers traveled and studied Palabreo (1989) abroad, bringing new ideas and tech- 1982 at Jacob School of Music at Indiana University in Bloomington, Indiana. Guatopo (1993) niques that infl uence their choral com- Requiem por un siglo (1993) positions into the twenty-fi rst century Her catalog includes music for or- and beyond. chestra, chamber ensembles, choir, vocal, solo instruments, electroacoustics, and Female Voices electronics. Between 2001 and 2008, Ode to women (2006) she served as director of the Ministry
28 CHORAL JOURNAL Volume 54 Number 8 VENEZUELAN CHORAL COMPOSERS OF THE 20TH20TH ANDAND 21ST21ST CENTURIES:CENTURIES:
Children Voices Galope (1980) La canción del pirata (1990) Joropo (1980) La llegada de los Reyes (1980) EXTENSION PROGRAMS Choral-Orchestral No quiero este silencio (1980) Macuro (1998) Partamos a Belén (1980) Vaqueros del viento (1980) Vespertino (1980) César Alejandro Carrillo (b. 1957) Has crecido en la tarde como la lluvia Since 1981, Carrillo has been active (1982) as a choral conductor and composer, 5/8 (1984) winning several national and interna- Cantares (Quién es ésta que se muestra tional choral competitions. He has been como el alba, Mi amado es blanco invited as a guest conductor, clinician, y rubio,Levántate, amiga mía, ven) Vocal/Choral Intensive speaker, and judge to participate in dif- (1987) ferent choral festivals, competitions, and Monte Avila (1991) July 6–19, 2014 events in Latin America and Europe. Aguinaldo (1992) For high school students (ages 15–18) Carrillo was assistant director and di- Elegía (1992) who are serious about singing musical De los cielos y del mar (1993) theater or classical music and who rector of the Orfeón Universitario-Univer- want to strengthen their musicianship sidad Central de Venezuela (1992–2012) Encuentro (1996) and work intensively on technical and and is the present director of the cham- Oiga Compae (1996) performance skills. ber ensembles Cantarte (1991), Coral Seis canciones mínimas (2006) William Cutter and Patty Thom, directors Antiphona (2010), and the vocal en- Application deadline: May 31, 2014 semble Bolanegra. Currently he teaches Tuition: $2035 choral conducting at the Conservatory Albert Hernández (b. 1956) of the National Youth Orchestra and at Hernández was born in Caracas and Vocal Pedagogy the University of the Arts.7 started his musical life at an early age. Professional Workshop His formal musical training began in Mixed Choirs—sacred 1999 when he became a pupil of Mod- July 18–20, 2014 Ave Maria (1983) esta Bor and later obtained a master’s A three-day workshop designed to degree in composition in the Universidad provide collegiate and private voice Regina Mundi (1986) instructors and vocal music educators Salve Regina (1990) Simón Bolívar. His musical style derives with unique learning opportunities in Crux Fudelis (1991) elements from jazz, popular, and folk both musical theater and classical voice Salve Regina (1991) music. pedagogy. 18 Professional Development Missa sine nomine (1991–1994) Points (PDPs) available. O Magnum Mysterium (2000) Mixed Choir Kevin Wilson, director Magnifi cat (2010) Bienvenida Alegría (2000) Registration deadline: July 1, 2014 Tuition: $650 O vos omnes (2013) Goza mi calips (2011)
Female Voices—sacred Choral-Orchestral Ave María (1999) Cántico de Navidad (1990) Misa del Oriente Venezolano (1995) Mixed Choirs—secular Canto a la Paz (2006) Camino Invisible (1979) Canción de Cuna (1980) Cual diminuta gota de mar (1980) Miguel Astor (b. 1958) EXTENSION PROGRAMS OFFICE: (617) 912–9203 Danza (1980) Born in Caracas, Astor studied [email protected] Epitafi o para un caballero andante composition, choral conducting, and WWW.BOSTONCONSERVATORY.EDU/EXTENSION (1980) piano. He obtained degrees in choral
CHORAL JOURNAL Volume 54 Number 8 29 VVENEZUELANENEZUELAN CCHORALHORAL CCOMPOSERSOMPOSERS OOFF TTHEHE 20TH AND 21ST CENTURIES: A CATALOGUE
conducting and composition from the Masses Liberame Domine (2004) Universidad Simón Bolívar and the Juan Missa Papael Joannes Paulus In Paradisum (2004) José Landaeta National Conservatory of (1980–2000) Confutatis (2004) Music, respectively. Astor also obtained Misa del Sur (2000–2005) Magnifi cat en si (2010) a degree in Latin American studies and Misa por la Paz (2001) O Magnum Mysterium (2010) musicology from the Universidad Central Misa Gótica (2001) O Sacrum Convivium (2010) de Venezuela in Caracas, where he is Dona Nobis Pacem (2010) currently a professor in the arts depart- Motets Lux Aeterna (2011–12) ment and director of the Coral Venezuela. Tota Pulchra es (1985) Pacem in Terris (2011) Astor is a tireless and devoted Caro Mea (1987) Pie Jesu (2013) composer, especially of sacred music, Crucifi xus (1992) and his works have won national and Ave Maria (1992) Mixed Choirs—secular international awards. His style shows a Regina Coeli (1996) Los Pollitos (1977) good command of counterpoint and a Cuatro Piezas Sacras (1999–2005) Día Claro (1979) rich harmonic language. (Lacrymosa, Pater Noster, Ave Maria, Verde Soledad (1993) Gratias agimus tibi) Variaciones Corales (2000) Fuga Trágica (2005) Tres Estudios Corales (2008) Cancioncilla de Navidad (2009) Dormi Jesu (2010)
Female Voices—sacred ADULT CHOIR CAMP Pequeño T Salve Regina (2009) June 23 - 28, 2014 Choral-Orchestral Sinfonietta de Navidad (1988) Cántico Espiritual (1986) La Pasión de Nuestro Señor Jesucristo según San Juan (2010 – 2013)
Pedro Antonio Silva (b. 1961) Born in Caracas, Silva studied compo- sition, choral conducting, fl ute, and piano. He graduated in choral conducting from the Music Conservatory Simón Bolívar and was a member of the Schola Cantorum de Venezuela. He conducts the Orfeón from the Universidad Simón Bolívar and several Sing with Jerry Blackstone and enjoy daily vocal warm-ups, sectional rehearsals, afternoon discussions and the opportunity to sing in a full other choirs. At present, he teaches ensemble. The experience will culminate in a public performance. in the Escuela Superior de Música José Angel Lamas and Escuela de Música Music director and conductor: Jerry Blackstone, Director of Choirs and Chair of Conducting Juan Manuel Olivares. His compositional at the University of Michigan School of Music, Theatre & Dance style utilizes traditional harmonies that accompany inspired melodies, which college.interlochen.org/adultchoir in many occasions derive from popular
231.276.7387 sources.
30 CHORAL JOURNAL Volume 54 Number 8 VENEZUELAN CHORAL COMPOSERS OF THE 20TH20TH ANDAND 21ST21ST CENTURIES:CENTURIES: A CCATALOGUEATALOGUE
Masses Composition and a master’s in Compo- En un lugar Misa brevis en Do Mayor sition and Latin American Music from Nuestras Navidades Pequeña Misa para Coro Infantil the Catholic University of America in Parrandón Tradicional Pequeña Misa en Fa Mayor Washington DC. She also received the Misa Criolla Venezolana “First Prize in Analysis” and the “Diplôme Supérieur de Composition” from L’Ecole Cristian Grases (b. 1973) Mixed Voices Normale de Musique in Paris. Arismendi Born in Caracas, Grases started his Jubilate Deo is currently professor of composition at musical studies at the Juan José Landaeta Tríptico the Universidad Simón Bolívar and is the National Conservatory of Music. He ob- Ave María executive director of the Latin American tained his master’s degree in choral con- Padre Nuestro Music Festival of Caracas.8 ducting at the Universidad Simón Bolívar in 2001 and his doctor of musical arts Female Voices Mixed Choir at the University of Miami. Puer Natus Tríptico (1991) From 1996 to 2002, Grases conduct- Un aguinaldo para niños Paz (2012) ed the Second Level Choir and Cantoría Din, Don, Dan Juvenil of the project Pequeños Cantores El Tuqueque Choral-Orchestral de la Schola, and in 1995 founded the Ejercicios espirituales (2005) vocal ensemble Cíncopa. Grases has Mixed voices—sacred been involved in many international Calma concert tours with his former youth Canto Negro Jesús Ochoa (b. 1963) choir, Cantoría Juvenil of the Schola Can- Igual que el mar torum de Caracas, and the Iowa Youth Ochoa was a member of the Schola Nocturno Chorus. Grases is a guest speaker and Cantorum de Venezuela. He directs sev- Canto a la Paz clinician on Latin American music and eral choral ensembles and possesses Preludio, Golpe y Fuga serves on the Board of the International keen knowledge about popular music. His compositional language follows a With Instruments traditional path, and he is widely rec- Dios te Salve América ognized as an arranger. He obtained his degree at the University of the Arts in CChoralhoral BuzzBuzz Caracas. Diana Arismendi (b. 1962)) A ddailyaily educationaleducational outreachoutreach providingproviding eenrichment,nrichment, iinspiration,nspiration, aandnd mmotivationotivation Arismendi is one of thee most im- MixedMixed Voices—sacredVoices—sacred portant Venezuelan composersosers ofof thisthhisi AveAvA e MaríaMaMaríría ffromrom AACDA'sCDA's vvastast mmediaedia hholdings.oldings. generation. Her catalog alreadyady exexceedsxceceededs MisaMiMisasa BBrevisrer viis fifty works and includes orcheorchestralsttrar l AlleluiaAlAlleleluuiaia music, solo concertos, an operaoperra forfofor CultoCuCultlto EsEEspiritualspipiriritutualal children, chamber music, vvariousariouss ssoloolo o VVisitisit CChoralBuzzhoralBuzz ddailyaily aatt instruments, vocal music, oorganrgan wowworks,rkr s,s, ChoralChChororalal SongsSonongsgs several works for percussion,ssion, pipianoanano CantoCaC nto del PiPilónllón <
CHORAL JOURNAL Volume 54 Number 8 31 VVENEZUELANENEZUELAN C CHORALHORAL C COMPOSERSOMPOSERS O OFF TTHEHE
Federation for Choral Music. He teaches Female voices—secular 2
Bibliography
1) Vicente Emilio Sojo Yellice Virgüez Márquez, Biblioteca Biográfi ca Venezolana Vol. 116, El Nacional, Fundación Caribe 2010 Caracas, Venezuela.
2) Historia del Movimiento Coral y de las Orquestas Juveniles en Venezuela Cuadernos Lagoven. Ana Mercedes Asuaje de Rugeles,María Guinand, Bolivia Bottome. 1986 Caracas,Venezuela.
3) Vida y Obra del Maestro Juan Bautista Plaza. Felipe Sangiorgi. CD-ROM. Fundación Juan Bautista Plaza, Caracas, 2002.
4) Juan Bautista Plaza -Una vida por la música. Miguel Castillo Didier Consejo Nacional de la Cultura/ILIENVES 1985
5) La Cantata Criolla de Antonio Estévez Conac/Ilves 1987
6) Antonio Lauro, Un Músico Total Alejandro Bruzual Ed. CVG SIDOR 1995
7) Angel Sauce Una Vida por la MúsicaJosé Peñín 2006 Ed. Fesnojiv
8) Cuadernos de Madrigales Venezolanos Instituto José Angel Lamas 1956
9) Enciclopedia de la Música en Venezuela www.musica.coord.usb.ve/svmc/a
32 CHORAL JOURNAL Volume 54 Number 8 SUBMITTING MANUSCRIPTS TO THE INTERNATIONAL JOURNAL OF RESEARCH IN CHORAL SINGING The Scientifi c Research Journal of the American Choral Directors Association
The International Journal of Research in Choral Singing publishes refereed research reports that advance knowledge and practice with respect to choral singing, choir sound, choral pedagogy, and related areas. The editorial board welcomes manuscripts that reflect well-executed research employing quantitative, philosophical, historical, or qualitative methodologies. Score studies, choral literature reviews, composer biographies, or purely anecdotal speculations will not be considered.
All quantitative studies must conform to the manuscript style of the Publication Manual of the American Psychological Association (6th edition, 2009). Other studies may use either APA, A Manual for Writers of Term Papers, Theses, and Dissertations, Seventh Edition: Chicago Style for Students and Researchers (Kate L. Turabian, 7th edition, rev. by Wayne C. Booth, Gregory G. Colomb & Joseph M. Williams, 2007), or The Chicago Manual of Style (15th edition, 2003). Authors may not mix styles within a single manuscript.
Submission of a manuscript for review indicates that the material has not been published previously and is not currently submitted elsewhere for consideration, either wholly or in part. Manuscripts that address previously published material by re-analysis of data in light of new theories or technologies, additional data, or substantial revision will be considered. Article length reports of dissertations or theses, provided the full document has not been published previously in other institutional or electronic dissertation-thesis databases, will be considered. The author should inform the editor of all such details when submitting the manuscript for review.
Data that can be combined meaningfully within a single publication should be presented together. Piecemeal publication, whereby a single investigation has been broken up into separate manuscripts for no reason other than maximizing the number of potential publications, constitutes a violation of research publication ethics. Manuscripts reporting significant portions of longitudinal or very large scale investigations as they are completed across time do not constitute piecemeal publication. However, authors should inform the editor of this circumstance.
Authors of studies that employ human participants must indicate that they obtained appropriate IRB (Institutional Review Board) approval.
Please write in succinct, clear English. Limit use of the passive voice. Avoid jargon. Indicate the study's potential implications for or applications to those persons who sing in, work with, or research choirs.
To submit a manuscript, attach it as a document (.doc or .docx) in an email addressed to the editor at jdaugher@ ku.edu. The title page should include author name(s), institutional affiliation(s), and email address(es). The editorial staff will delete all such information prior to forwarding the manuscript to three members of the IJRCS Editorial Board for blind review. Include an abstract of 200-250 words. Neither the abstract nor the manuscript should contain clues to the author's identity or institutional affiliation. Manuscripts from Editorial Board members undergo the same blind review procedures required for all submissions.
Place tables and figures at the end of the manuscript. Involved tables, graphs, figures, or historical documents may be attached as separate files. Web sites or interactive materials cited or referred to in the body of the manuscript should include current URL addresses.
As applicable, the IJRCS encourages appropriate use of sound or video files that support or illustrate research. Authors must obtain permission from any persons featured to publish author-submitted photographs, audio-video footage, or audio recordings. In order to include any copyrighted materials, authors must submit documentation verifying that they have permission to use such materials.
Please address correspondence concerning editorial matters to:
James F. Daugherty, The University of Kansas School of Music, Suite 448 Murphy Hall, Naismith Drive, Lawrence, KS 66045-3103; e-mail:
CHORALCHORAL JOURNALJOUO RNALL VolumeVolume 54 NumberNumbumu err 8 3333 CANADA’S CHORAL MUSIC DEVELOPMENT HILARY APFELSTADT
Hilary Apfelstadt is the director of choral activities at the University of Toronto and conductor of Exultate Chamber Singers of Toronto. email: [email protected]
34 CHORAL JOURNAL Volume 54 Number 8 Until the mid-nineteenth century, Canada’s music reflected Marius Barbeau, W. Roy Mackenzie, Helen Creighton, and the stylistic elements of traditional musical periods because Maud Karpeles, among others, contributed to a vast resource emigrants were trained outside the country and brought their of folk materials. In time, their work led to arrangements and traditions with them, as well as the influence of their own new compositions by a variety of Canadian composers, such training. Singing schools developed, as in the United States, as W. H. Anderson, Claude Champagne, Sir Earnest MacMil- beginning around 1800 in the Maritime Provinces and eventu- lan, and Healey Willan. Many English-speaking composers ally moving west over the next hundred years. The movement were influenced by church music styles and wrote in the British contributed to the development of church choirs. Together tradition (e.g., MacMillan and Willan), but French-speaking with singing societies such as the New Union Singing Society composers like Claude Champagne tended to reflect more (1809) in Halifax, Nova Scotia, these singing schools enhanced the influence of their contemporaries further afield, such as the growth of choral music. Publishing followed and libraries Debussy and Scriabin. grew. School music education began officially in 1850, and The Canadian Broadcasting Corporation (CBC) was an the Toronto Conservatory of Music, recognized widely for its ardent supporter of choral music, sponsoring an annual CBC national system of graded examinations, was founded in 1886. Radio competition for amateur choirs and generating Cana- In 1903, Canada’s national music festival movement began dian choral compositions. That event is now cosponsored by and continues to this day with annual competitive festivals the Association of Canadian Choral Communities (ACCC), the throughout the country. Canada Council for the Arts, CBC Music, and Festival 500.
Author’s note: The first part of this paper is based on a chapter written for Conducting Women’s Choirs: Strategies for Success (ed. Debra Spurgeon), which was published by GIA Publications, Inc. in 2012. See “Canadian Repertoire for Women’s Choruses,” pp. 69 – 102.
CHORAL JOURNAL Volume 54 Number 8 35 CANADA’S CHORAL
Since the mid-twentieth century, important contributor to the develop- outside the country certainly show Canada’s musical growth has skyrock- ment of Canadian choral repertoire evidence of those external infl uences, as eted. Examples include (1) university of the last century. Elmer Iseler was a would be expected. There is no point in music degree programs; (2) the founding champion of Canadian composers and denying those infl uences; everyone is a of professional organizations and their a standard bearer of fi ne performance product of background. subsequent journals; (3) the develop- in general. He shared a Grammy Award At the same time, composers whose ment of professional organizations for with the composer for his recording of education and infl uences are largely Canadian composers, including the Stravinsky’s music. Walter Pitman’s book Canadian may be the ones in the fu- Society of Composers, Authors and Elmer Iseler: Choral Visionary1 provides a ture to set the parameters for what Music Publishers of Canada (SOCAN), detailed history of the Festival Singers becomes known as “Canadian music.” the Canadian League of Composers and of Iseler’s infl uence, which has been In the meantime, there are a number (CLC), and the Association of Canadian now passed on to Lydia Adams, who of characteristics that seem to relate to Women Composers (ACWC); (4) the conducts the Elmer Iseler Singers and Canadian choral composers, and those founding of the Association of Cana- actively commissions and promotes will constitute the focus for the remain- dian Choral Communities (formerly Canadian works. der of this discussion. known as the Association of Canadian The proliferation of children’s and Choral Conductors, 1980). Eight of ten youth choirs throughout Canada is a provinces have a choral federation that major infl uence on the development of ESSENTIAL INFLUENCES ON supports choral events, including work- Canadian choral music. One prominent CANADIAN CHORAL MUSIC shops, choral festivals, and annual youth example is the Toronto Children’s Cho- Three infl uences seem predominant choirs and camps. rus, founded in 1978 by Jean Ashworth in Canadian choral music composition: Professional choirs such as the Van- Bartle, and accompanied by Ruth Wat- folk music, nature references, and com- couver Chamber Choir (Jon Washburn, son Henderson. For many years, Gordon positional trends that are incorporated conductor) and the Elmer Iseler Singers V. Thompson, a Canadian music publish- into so-called “art” music. (Lydia Adams, conductor) are also an er, produced a series edited by Bartle, to essential part of the Canadian choral which Henderson and other prominent scene. Ensembles such as these contrib- Canadian composers contributed. Much 1) FOLK MUSIC ELEMENTS ute in multiple ways, serving as cham- of that music is suitable for performance Folk music is the music of ordinary pions of Canadian composers and the by older treble voice choirs and is still people: songs and tunes that are passed choral art in general. Music Intima, based available through other publishers. on from one to another by ear rather in British Columbia, is a professional The Canadian Music Centre (CMC) than by print and thus over time take ensemble that has garnered high praise now has over eight hundred associate on different forms. Canada has a rich both locally and internationally for its members—composers who are invited variety of folk music, and The Canadian innovative programming and repertoire. to membership on the basis of submis- Encyclopedia3 is a helpful resource both The infl uence of Canadian choral sion review. Many of these composers for a general description of folk music conductor the late Elmer Iseler deserves write for the choral idiom. The CMC in Canada and also for information particular mention. For many years provides numerous resources for choral on both Anglo-Canadian and French- he conducted the Toronto Mendels- conductors and singers who wish to Canadian folk music. sohn Choir and the Festival Singers borrow or purchase scores, or simply which, in the 1970s, set the standard to investigate the wealth of Canadian Anglo-Canadian Folk Music for professional choral singing in the repertoire housed there.2 The largest number of Anglo-Cana- country. Because of his infl uence, other Canadian music represents a wide dian folk songs came to this country conductors formed professional choirs, variety of genres and styles, some based with the early settlers from Britain the best known of which is the Van- on folk idioms, some paying homage to and Ireland, who initially settled on the couver Chamber Choir, still led by Jon historical elements or the landscape of East Coast. Many of these songs were Washburn, as mentioned above. Wayne nature, some simply representing cur- passed from generation to generation. Riddell’s ensemble, the Montreal Tudor rent techniques that are evident in other Newfoundland is especially rich in its Singers, now defunct, was another countries. Canadians who have studied folk songs, and there is a strong choral
36 CHORAL JOURNAL Volume 54 Number 8 MUSIC DEVELOPMENT
culture in that province. In addition to dia, “the most notable characteristic of dancing. The fi ddle was by far the ditties and ballads, the music comprises the native Anglo-Canadian songs is their most popular folk instrument, lullabies, love songs, sea shanties, and predominantly Irish quality… Both sea followed by the accordion and tin whistle. The most common fi ddle music-hall songs. ballads and lumbering songs fall into the tunes were Scottish and Irish, and Nearly all the native Canadian songs typical ‘come-all-ye’ pattern and nearly all some were composed by local 5 use melodies from Old World sources. are set to Irish tunes.” fi ddlers.6 Texts were about the occupations of the Author Edith Fowke, a well-known early settlers—the two largest groups Canadian folk song collector, continues: “Mouth music,” or “chin music,” as it being men who earned their living on was sometimes called, is referenced in the sea or in the woods. Thus, Nova Traditional folksingers always sang the use of nonsense syllables in Somers’s Scotia and Newfoundland have sea unaccompanied until very recently, “Feller from Fortune” and “The Old shanties, or songs about whaling, seal- and “mouth music” or lilting was sometimes used to accompany Mayfl ower,” for example, where the ing, and fi shing, as well as ballads about maritime disasters such as shipwrecks. In New Brunswick and Ontario, most of the folk songs came from the lumber camps. Other songs came from sailors on the Great Lakes, coal miners in Cape Breton and British Columbia, and home- steaders and cowboys on the Prairies. In the Maritimes and Newfoundland (all four comprise the Atlantic Prov- inces), there is a good deal of music that honors these folk roots. Famous among the Newfoundland examples are Harry Somers’s arrangements of “Five Songs of the Newfoundland Outports,” in particular, “Feller from Fortune,” with its rollicking theme and characteristic mixed meters that bring it into con- temporary terms. This particular song also references Newfoundland parties. Also part of Somers’s set is a haunting arrangement of “She’s Like the Swallow,” one of Newfoundland’s best-known folk songs. Western Canada produced few Anglo-Canadian songs but adopted MPulse Vocal Arts Institute a number of American songs, such as July 20 - August 2, 2014 “The Little Old Sod Shanty” and “Bury Me Not on the Lone Prairie.” The most U-M Faculty Director: Eugene Rogers widespread Prairie song was a form U-M Faculty Instructor: Julie Skadsem of American verses based on “Beulah Voice Lessons: U-M Voice Faculty Land.”4 Energized and challenging experiences focused on both choral and solo vocal training. For students grades 9-12.
Characteristics music.umich.edu/mpulse According to the Canadian Encyclope-
CHORAL JOURNAL Volume 54 Number 8 37 CANADA’S CHORAL
“daddle-diddle” syllable combinations songs, which are archived in the Cana- Music of the indigenous peoples is in mixed meter challenge singers and dian Museum of Civilization. usually social (public) or ceremonial delight audiences. One of Quebec’s best-known com- (private). Public, social music may be In Canadian Folk Songs: A Collec- posers was Lionel Daunais, a Canadian dance music accompanied by rattles and tion7 one fi nds a variety of songs and singer and composer who devoted his drums, whereas private, ceremonial mu- references that further elucidate char- professional life to both domains. He sic includes vocal songs with percussion. acteristics of this music. There are rich spent time in Paris studying counter- Many First Nations people consider resources available to musicians seeking point with a student of Darius Milhaud. song and dance to be sacred.11 information on Anglo-Canadian folk During this time in France (1926–1930), songs, thanks to the work of W. Roy he performed with Opera of Algiers, and Mackenzie in Nova Scotia and Elisabeth upon his return to Canada, pursued op- Inuit Music Greenleaf in Newfoundland, among era singing and composition in Montreal. Approximately twenty-fi ve thousand others. Although he wrote only eighteen choral Inuit live in Northern Canada, primarily Again, from the Canadian Encylo- pieces (compared to one hundred songs spread across Nunavut, the Northwest pedia: for solo voice), he is still known today Territories, and Nunavik (northern Que- for his composition “Le pont Mirabeau,” bec). Originally, Inuit music used drums Other native songs reflect and choirs auditioning for the national but has evolved to include fi ddles and outstanding events in our history. choral competition frequently use it as accordions. One popular element of The Battle of the Plains of Abraham their French language selection. Inuit music is Katajjaq, or “Inuit throat inspired the earliest known Anglo- singing.” Canadian ballad, “Brave Wolfe” or Sir Earnest MacMillan, former con- In this traditional singing style, female “Bold Wolfe.” The War of 1812 ductor of the Toronto Symphony Or- produced such lively songs as “Come chestra, arranged a French-Canadian singers produce melodies from deep in All You Bold Canadians” and “The folk song titled “Blanche Comme La their throats. To the outsider, it looks as Chesapeake and the Shannon.” Neige” for TTBB in 1928 and for SATB though the women are facing each other Other ballads recall the Rebellions in 1958. This, too, has developed a repu- and singing into each other’s throats; the of 1837–38 and the Fenian raids of tation as a standard in Canadian choral sounds merge and the “contest” ends 1866, and Confederation inspired repertoire. when one singer runs out of breath, some anti-Confederation songs in begins to laugh, or the voices lose dis- Newfoundland.8 Donald Patriquin, a composer from the province of Quebec, is known for tinction and sound like one.12 his setting of “Ah, Si Mon Moine Voulait In Newfoundland and Labrador, as Franco-Canadian Folk Music Danser,” arranged for mixed and treble well as in Nunavit, there is some re- search being conducted with music of Beginning with the Conquest of choir. Like Somers’s “Feller from For- the Inuit peoples. Dr. Lori Ann Dolloff, 1759–60 until well into the twentieth tune,” Patriquin’s work also celebrates Coordinator of Music Education at the century, rural French communities the community party or dance and tells University of Toronto, works with the maintained a sense of isolation from of life in a Canadian community. schools in Iqualit (the capital of Nunavit, the surrounding culture, which helped previously known as Frobisher Bay) on a to “maintain the vitality and strength of Indigenous People: regular basis. Kellie Walsh, who conducts their traditional culture.”9 First Nations and Inuit Newfoundland’s Lady Cove Women’s Just as with the Anglo-Canadian folk First Nations people are aboriginals Choir and Shallaway Youth Choir, is songs, Franco-Canadian texts refl ect who are not of Métis (mixed First Na- working to document music traditions both the life of the people singing and tions and European background) or in Labrador; at Festival 500 in 2011 in St. those listening. Numerous research- Inuit (indigenous peoples who live in the John’s, Lady Cove presented a concert ers studied French folk songs, most Artic areas of Canada, the United States, featuring two throat-singers from Labra- notable among them Earnest Gagnon Greenland, and Russia). There are more dor. Later that summer, they presented and Marius Barbeau. An anthropologist than six hundred groups of First Nations the same program at the International with the National Museum of Canada, people throughout the country, with Federation for Choral Music (IFCM) Barbeau collected over ten thousand more than half of those living in Ontario World Symposium in Brazil. and British Columbia.10 Several Canadian choral composi-
38 CHORAL JOURNAL Volume 54 Number 8 MUSIC DEVELOPMENT
tions use elements of aboriginal music. 2) NATURE ELEMENTS landscape elements. New Brunswick Lydia Adams’s “Mi’kmaq Honour Song,” As is the case in the United States, poet Bliss Carman wrote “Vestigia,” set for example, includes a chant that refers Canada is a country of great con- for treble voices both by Imant Raminsh to a creator fi gure and incorporates trasts, ranging from beaches and rocky and also by Eleanor Daley. Both Ruth a drum accompaniment and animal shores on the East Coast, forested Watson Henderson and Jeff Smallman sounds that are evocative of nature. areas throughout the country, and great have set texts by First Nations poet E. Harry Freedman’s “Keewaydin” uses mountains in the west. The music of Pauline Johnson. Ontario places names in Ojibway. It also several composers in particular honors As an example of refl ecting nature, features a recording of a loon call. In the geographical features of the north, we will consider R. Murray Schafer’s many respects, this kind of music over- the sense of openness and space, as well “Epitaph for Moonlight.” laps with the second essential element as drawing on some of the folk music Schafer wrote the music using words of Canadian choral music: the infl uence roots cited earlier. Not only in musical that grade seven students invented in of the landscape, or the sense of the terms but also through poetry choices, response to an assignment he gave “great white north.” the composers acknowledge these them to create synonyms for the word
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CHORAL JOURNAL Volume 54 Number 8 39 CANADA’S CHORAL
moonlight: e.g. noorwahm, malooma, groups. In the 1960s and 70s, Schafer’s and urban planners who worked music was considered very innovative to consciously construct the sound shalowa, and shiverglowa. In the com- 13 poser’s words, included in the score and remains thus to this day. It was universe in which we live. itself, “Moonlight is a study-piece for Schafer who invented the term “sound- youth choir. It is an ear-training exercise, scape.” According to Robert Harris, a In speaking of Schafer’s style and for the singers must learn to pitch their critic for the Toronto Globe and Mail: penchant for combining music refl ective notes by interval from any note given.” of nature with more traditional forms, Rather than using conventional notation, [The invention of “soundscape”] Harris says, Schafer used graphic notation, another vaulted Schafer to prominence Schafer remains one of the few standard feature of his work, showing in the late 1970s, when his book, The Tuning of the World, became an Canadians to have spread his dynamic changes by thickening or thin- international sensation, attracting imaginative view of the world ning the lines, and indicating pitch range the attention of everyone from beyond the borders of his own by using numbers to show intervals (e.g. budding environmentalists to famed country. Open and alive to the + 2 = major 2nd; – 3 = minor 3rd). concert violinist Yehudi Menuhin, traditions of other cultures, but Schafer has a unique place among eventually creating a new intellectual supremely rooted in the spiritual Canadian composers. His music is dis- and musical discipline—acoustic space of his own land, he is someone tinctive and frequently uses multimedia. ecology: which noted the relationship who has allowed whatever Canada between people and the sounds of means to be heard throughout the Some of it is written to take place out- 14 the urban environment, and which world. doors and to be performed by multiple led to a movement of architects
3) ART MUSIC The third essential infl uence is that of standard compositional trends that ex- ist in a culture or region. Compositions CONDUCTORS’ SURVEY “TOP TEN” RESULTS refl ect their writers’ past training and current experiences. Although Healey Willan emigrated from Great Britain to Schafer, R. Murray Epitaph for Moonlight* Canada, we claimed him as our own. Henderson, Ruth Watson Missa Brevis** His musical style refl ected that of English church music of the time and, due to its Raminsh, Imant Ave verum corpus** popularity, infl uenced that of contempo- rary composers such as Eleanor Daley Somers, Harry Songs from the Newfoundland Outports and Stephanie Martin who, until 2012, (especially “Feller from Feller from Fortune”)** was music director at Willan’s former Willan, Healey An Apostrophe to the Heavenly Host; church, St. Mary Magdalene’s in Toronto. Rise Up, My Love** Willan’s motets, such as “Rise up, my love,” are still revered in Canada. Glick, Srul Irving The Hour has Come Eleanor Daley, a church musician for Estacio, John Eulogies—in manuscript—CMC most of her career, has written numer- ous pieces for her adult church choir Healey, Derek Various folk song arrangements at Fairlawn Avenue United Church in Daley, Eleanor “In remembrance” from the Requiem Toronto. This fi ne ensemble comprises numerous singers, anchored by a core Chatman, Stephen “Remember”; folk song arrangements; of nine section leads, with the ability to and various cycles sing divisi repertoire with excellent tun- ing and pure tone.15 **frequently cited *most cited Although it was written in 1974, Ruth Watson Henderson’s Missa Brevis is still regarded as a landmark piece of
40 CHORAL JOURNAL Volume 54 Number 8 MUSIC DEVELOPMENT
Canadian choral composition. Hender- fi ne composers and compositions to be anglo-canadian-folk-music/> son was accompanist for the Festival explored and a wealth of performance 5 Ibid. Singers, conducted by Elmer Iseler. In- opportunities to be had from singing this 6 Ibid. spired by the fi ne singing she heard on music. Starting with the Canadian Music 7 SELECTED BOOKS ON CANADIAN MUSIC AND CONDUCTORS de Quadros, André, ed. The Cambridge Companion to Choral Music. Cambridge University Press, 2012. (See chapter 7.) Jonas, Holly Higgins, ed. In their own words: Canadian Choral Conductors. Dundurn Press, 2001. Keillor, Elaine. Music in Canada: Capturing Landscape and Diversity. McGill-Queen’s University Press, 2006. McGee, Timothy. The Music of Canada. W.W. Norton, 1985. Pitman, Walter. Elmer Iseler: Choral Visionary. Dundurn Press, 2008. CHORAL JOURNAL Volume 54 Number 8 41 MEXICAN CHORAL COMPOSERS: A BRIEF HISTORY JORGE CÓZATL Jorge Cózatl is artistic director of Choir Kantorei Cedros - Universidad Panamericana and conductor and baritone of Concierto Latinoamericano. email: [email protected] Mexico has a long and rich musical tradi- tion. Preconquest Mexico was a place in which fine arts flourished, and indigenous Mexican music eventually gave way to forms with heavy European, mainly Spanish, influences. Concert music has been performed in Mexico since the sixteenth century, and both folk mu- sic and early concert music heavily influenced contemporary music. Today, Mexican music reflects a wide range of global influences while retaining traditional elements. CHORAL JOURNAL Volume 54 Number 8 43 MEXICAN CHORAL COMPOSERS Pre-Hispanic Period cidental, for example, the Huichol even Colonial Composers today hold on to many of their ancient Evidence of the Olmecs, Mexico’s rites. Other groups like the Otomi of Hernando Franco “mother culture,” has been found on central Mexico and the Tarahumara of both the Atlantic and Pacifi c coasts, but (1532 – 1585) the Copper Canyon have blended their Spain none of their settlements can be visited own rituals with those introduced by in situ. A precursor to the Mayans, the Spain. Gaspar Fernández Olmec civilization reached its apogee The earliest composers in Spanish a thousand years prior to the Christian (1566 – 1629) colonial Mexico were not usually native Portugal era. to that part of the world but came from Culturally speaking, Mexico is pre- the Iberian Peninsula, either Spain or Juan Gutiérrez de Padilla sented as a convoluted quilt of languages, Portugal. They were employed as chapel dialects, and customs. In addition to the (1590 – 1664) masters at the cathedrals of Mexico Spain best-known groups—the Mayans and City, Oaxaca, and Puebla. The cathedral the Aztecs—dozens of ethnic groups at Puebla became more important than Francisco López y Capillas have contributed to the complex fabric the Mexico City cathedral during certain of which Mexico is made. (1615 – 1673) past eras. The chapel masters’ responsi- Mexico Under Spanish colonialism, many eth- bilities often included providing music for nic groups were assimilated and gradu- masses and other church celebrations, Antonio de Salazar ally adopted Catholicism, European law, training and directing choristers, playing and social structures. Others fl ed to the (1650 – 1715) the organ, and in general making sure Spain realm’s least hospitable places. Isolated that all of the musical demands of the for centuries in the Sierra Madre Oc- cathedral were met. Manuel de Sumaya (1678 – 1775) Mexico Ignacio de Jerusalem y Stella (1707 – 1769) Italy Manuel de Arenzana (1762 – 1821) YALE SCHOOL OF MUSIC NORFOLK CHAMBER MUSIC FESTIVAL YALE INSTITUTE OF SACRED MUSIC t Mexico Robert Blocker, Dean t Paul Hawkshaw, Director Martin D. Jean, Director Chamber Choir & Choral Conducting Workshop led by Musicologists Simon Carrington R August 10 – August 17, 2014 Deadline Materials must be received by 4:00pm, Thursday, March 27, 2014 Juan Manuel Lara Cardenas Mexico A workshop of coachings, masterclasses, rehearsals Tesoro de la Música Polifónica & seminars for advanced singers & choral directors en México Repertoire from the Renaissance to the 21st century Sessions and final concert will be recorded on DVD Aurelio Tello Conductors will have the opportunity to conduct Peru instrumental as well as choral ensembles Tesoro de la Música Polifónica Simon Carrington Enchanting location in the northwest hills of Connecticut en México Volumes 3, 4, 7, 8, and 10 [email protected] | 860.542.3000 Apply online at norfolkmusic.org 44 CHORAL JOURNAL Volume 54 Number 8 A BRIEF HISTORY Craig H. Russell Contemporary Composers USA “Mexican Rose: Early Music from the Arturo Valenzuela Conservatory of the Roses,” Cecilia Rosillo CD audio Diana Syrse Federico Ibarra Robert Stevenson Gerardo Cárdenas USA TRINITY LUTHERAN Christmas Music from Baroque Mexico Guillermo Alvarez SEMINARY University of California Press, 1974 Javier Díaz Columbus, Ohio Jesús López Summer Music Courses 2014 Thomas Standford Jorge Córdoba USA WEEK ONE: June 2 - 6 Music and Liturgy, 1:00 – 4:30 p.m., May Catalog of Live Acervos Schwarz, Professor of Church Music and Metropolitan Cathedrals of Mexico Arrangers Director, M.A. in Church Music and Puebla from the National J. S. Bach: Organist, Composer, Library of Anthropology and His Ramón Noble Theologian, 1:00 – 3:15 p.m., Paul Thornock, Cathedral Director of Music; Diocesan Music tory and Other Minor Collections Gabriel Saldivar Consultant. St. Joseph Cathedral, Columbus, National Institute of Anthropology Jorge Pérez Ohio and History, 2002 Children in Worship, 4:45 – 7:00 p.m., Sally José Galván Beske, Assistant Organist and Director of Youth Marcos García Cacho Choirs. First Community Church, Columbus, Ohio. War of Independence and the Jorge Cózatl Julio César Morales WEEK TWO: June 9 – 13 Nineteenth Century Vocal Masterclass, 1:00 – 3:15 p.m., Sharon Lilia Vázquez Stohrer, Voice Faculty, Capital University, During the Independence war and María Granillo Columbus, Ohio Perspectives in Choral Conducting, 3:45 – through the middle of the nineteenth Novelli Jurado century, cultural activity was not the 6:00 p.m., James Gallagher, Church Musician, Rodrigo Cadet Díaz Emeritus Director of Choral Activities, The main interest in Mexico. There was a Ohio State University, Columbus, Ohio Sabina Covarrubias huge absence of support and creation Music & Worship in the African-American not only in music but also in most ex- Tradition, 3:30 – 7:00 p.m., Raymond Wise, Affiliated Professor of Church Music, Trinity pressions of the fi ne arts. It wasn’t until Lutheran Seminary, Columbus, Ohio the presence and infl uence of France Pioneer – Institutional Choirs WEEK THREE: June 16 – 20 that a new generation of important Creating Relevant Worship, 1:00 – 3:15 composers and choral conductors p.m., Glenn Hecox, Lead Team, Abiding Hope emerged. Those composers and choral 1938 Lutheran Church, Littleton, Colorado conductors founded the fi rst choirs. Coro de Madrigalistas de Bellas Artes Music Technology, 1:00 – 3:45 p.m., Fine Arts Madrigal Choir Justin Riley Class Guitar, 3:45 – 6:00 p.m., Bret Burleson, Adjunct Instructor, Trinity Lutheran Seminary, Ohio Wesleyan University, Twentieth-Century 1944 and Captial University Choral Composers Niños Cantores de Morelia Handbells, 3:45 – 6:00 p.m., Jane McFadden, Morelia Children’s Choir Director of Handbells, Christ Lutheran Church, Bexley, Ohio; composer and arranger Gustavo E. Campa 1863–1934 1950 Course fee is $479 per semester hour. Manuel M. Ponce 1882–1948 Coro de la Universidad de Veracruz Luis Sandi 1905–1996 For further information contact: Veracruz University Choir Professor May Schwarz Miguel Bernal Jiménez 1910–1956 Director, M.A. in Church Music Blas Galindo 1910–1993 2199 East Main Street Columbus, Ohio 43209-2334 Carlos Jiménez Mabarak 1916–1994 [email protected] 614-235-4136 ext. 4622 www.TLSohio.edu CHORAL JOURNAL Volume 54 Number 8 45 MEXICAN CHORAL COMPOSERS Cultural Government Institutions CONACULTA – Consejo Nacional para Culture State Secretaries and Institutes la Cultura y las Artes Mexico has several institutions that National Council for Culture and Arts UNAM – Universidad Nacional promote and generate choral activity Autónoma de México not only in their internal structures but INBA – Instituto Nacional de Bellas Artes National Autonomous University of also providing sources and support to Fine Arts National Institute Mexico encourage this art—teachers, conduc- tors, repertoire, facilities, and more. SNFM – Sistema Nacional de Fomento IPN – Instituto Politécnico Nacional Musical National Polytechnic Institute Following is a list of the main institu- National Sistem of Musical tions in Mexico. Furtherance PCU – Programa Coral Universitario University Choir Program Secretaría de Educación Pública Secretarías e Institutos de Cultura Public Education Secretary Estatales ENM – Escuela Nacional de Música de la UNAM National School of Music ESM – Escuela Superior de Música www.choralnet.org del INBA College of Music RESOURCES AND COMMUNICATIONS FOR THE GLOBAL CHORAL COMMUNITY CNM – Conservatorio Nacional de Música National Conservatory of Music ESMDM – Escuela Superior de Música y Danza de Monterrey Monterrey College of Music and Dance U de G – Universidad de Guadalajara University of Guadalajara Universidad Veracruzana University of Veracruz Conservatorio de las Rosas Roses Conservatory Top International Choral Festivals Festival Internacional de Coros Jalisco Canta Festival Internacional de Coros Tlaxcala Canta 46 CHORAL JOURNAL Volume 54 Number 8 A BRIEF HISTORY Festival Internacional de Coros “Con Niños Cantores de Morelia Coros de Cámara Flor y Canto” de Morelos Morelia, Michoacán (Chamber Choirs) Festival Internacional de Coros del Niños Cantores de Tepotzotlán Altus Estado de México State of Mexico Xalapa, Veracruz Festival Mundial de Coros de Puebla Niños y Jóvenes Cantores de la Capella Cervantina Escuela Nacional de Música (ahora Capptella Barroca) Festival Internacional de Coros Yucatán Mexico City Mexico City San Luis Gonzaga Capilla Virreinal COR-ATL MÉXICO Guadalajara, Jalisco Mexico City COR-ATL MÉXICO is an organiza- Schola Cantorum de México A.C. Fuenteclara tion dedicated to the Mexican Choral Mexico City Mexico City Activity’s documentation and diffusion of it in our country and overseas. Coro Infantil Conarte de Monterrey Melos gloriae COR-ATL MÉXICO’S Collection is Monterrey, Nuevo León Mexico City the fi rst project and was released in late 2012. This material integrates thirty-four Voce in tempore choral ensembles from thirteen states Coros Universitarios Mexico City and more than seven hundred singers. (University Choirs) Ensambles Vocales Canto Libero Coros Infantiles I y II (Vocal Ensembles) (Children’s Choirs I and II) Universidad Autónoma de Tamaulipas Tampico, Tamaulipas A capella de Jalisco Coro Infantil Voces de la Ciudad Coro de la Universidad Guadalajara, Jalisco Cuauhtémoc, Chihuahua Autónoma del Edo de México Toluca, State of Mexico Mexicalia Coral Ensamble México Mexico City Mexico City Coro de la Universidad de las Américas Muna zul Ensamble Coral Cáritas Puebla, Puebla Mexico City Mexico City Coro de la Universidad Panamericana Octeto del Instituto Mexiquense Kantorei Cedros UP Mexico City de Cultura Mexico City Toluca, State of Mexico Coro Femenino de la Esc. Sup. de Niños Cantores de Chalco Mús. y Danza Tumben paax State of Mexico Monterrey Nuevo León Mexico City Niños Cantores de Colima Coro Universitario Estudiantil Vocal Magic Colima, Colima Sttaccato Cancún, Quintana Roo Mexico City Niños Cantores de Hidalgo Voz en punto Pachuca, Hidalgo Mexico City Niños Cantores de Morelos Ars Viva Cuernavaca Morelos Monterrey, Nuevo Leon CHORAL JOURNAL Volume 54 Number 8 47 CALL FOR INTEREST SESSION PROPOSALS 2015 ACDA Nati onal Conference February 25-28, 2015 Salt Lake City, Utah We’re looking for your best interest session ideas for ACDA’s 2015 Nati onal Conference to help America’s conductors reach their full potenti al, be challenged and inspired, and advance their art. We encourage sessions of all shapes and sizes that address the diversity of our membership and that acti vely engage parti cipati ons. Brainstorm and submit proposals that are rich and creati ve. Approximately 35% of the 2013 Dallas att endees were student members of ACDA, with choral professionals representi ng all areas of educati on and performance making up the remainder. Meeti ng att endees are looking for high-level content that opens their minds to new possibiliti es for how they grow in their profession and how they connect back to the fi eld. Some possible topics are: • How are you using innovati on to move your organizati on forward, and what can others learn from you? • Do you have a unique approach to helping choral programs be more socially responsible and of service to your community? • Have you tried a new membership model? • Do you off er a fresh look on a leadership topic? • Have you created an original approach to pedagogy or to improving rehearsal techniques? • Have you found ways to generate positi ve results by using social media? • Do you have technology soluti ons for varying choral ensembles? • Have you discovered a breakthrough on working more effi ciently with changing voices? REGISTRATION AND TRAVEL INFO It is understood that ACDA will not assume fi nancial responsibility for travel, food, lodging for presenters or interest session parti cipants. This applicati on implies that the above-menti oned presenter is prepared to travel and perform at the conference if accepted. SESSION PRESENTER EXPECTATIONS Presenters must be current members of ACDA and willing to grant ACDA rights to record their presentati on and use such recordings to advance the mission of ACDA. Please note that all accepted pre- senters are expected to meet ALL posted dates and deadlines. We reserve the right to make adjustments to any session that does not meet deadlines. SELECTION PROCESS Submit your session ideas along with headshots and bios by March 30, 2014. At the end you will receive an automati c confi rmati on number of your submission. Keep this confi rmati on in your fi les. Each submission will be reviewed by an ACDA nati onal Repertoire & Standards chair and by the conference committ ee. You will be noti fi ed in July 2014 on the status of your submission. IMPORTANT! We suggest that you fi rst develop your submission proposal in Word to save your work and then copy and paste the informati on into the appropriate secti ons in the online form. The online form does not have spell check, so editi ng your informati on in advance and then copying and pasti ng will ensure greater accuracy. View and download the RFP form at EQUIPMENT: With the excepti on of one regular microphone, all requests for additi onal audio visual equipment will be evaluated by the conference steering committ ee. AV equipment is limited. ACDA cannot assume costs for AV equipment for all proposals. Please include a brief biographical paragraph (no vita). Applicati ons without this will not be considered. ELIGIBILITY: Presenters must be current members of ACDA. It is understood that ACDA will not assume fi nancial respon- sibility for travel, food, lodging for presenters or interest sessions parti cipants. This applicati on implies that the above- menti oned presenter is prepared to travel and perform at the accepted conference if accepted. Applicati ons must be submitt ed online at Invitati ons to choirs for ACDA Nati onal Conference performances are based solely on the quality of musical performances as demonstrated in auditi on recordings (uploaded mp3 submissions). I. PREPARATION OF MP3S ACDA will consider only mp3 fi les prepared in compliance with specifi cati ons listed below and accompanied by requested materials in pdf form: 1. Proposed repertoire for the 2015 conference 2. Copies of three representati ve programs sung by the auditi oning group, one each from 2011-2012; 2012-2013; and 2013-2014. (For further informati on, see Secti on V. ) The uploaded mp3 fi les should contain only complete pieces. If a longer work is excerpted, several minutes should be included on the fi le, and the repertoire from all three years’ examples should be essenti ally the same kind as that proposed for the conference performance. II. AUDITION PROCEDURES All mp3, pdf, and choir/conductor informati on will be submitt ed and uploaded through the link provided at Submissions must fi t into the following Repertoire & Standards committ ee areas as clarifi ed below: • Children’s and Community Youth 1. Children’s choirs are defi ned as unchanged voices and may include school choirs, auditi oned community choirs, boychoirs, and church choirs. 2. Youth choirs are defi ned as community groups including singers ages 12-18, pre-college level, and may include (a) treble voicing, (b) mixed voicing (including changed voices); (c) male voices (including changed voices). Note: School ensembles need to submit in the Junior High/Middle School or High School categories. • Junior High/Middle School • Senior High School • Male Choirs • Women’s Choirs • Two-year College: community college (2 years) • College and University (4 or 4+ years) • Vocal Jazz • Show Choir (Show Choirs will need to submit both audio and video uploads.) • Community Choirs: ages 18+, adult-mixed groups, or single-gender choirs in either category: (a) volunteer amateur groups with a maximum of one paid leader per secti on, or (b) semi-professional or professional ensembles with paid members. • Music in Worship: ages 18+ adult choirs (treble, mixed, or men’s), including gospel choirs, even those sponsored by a community or school organizati on. (Note: children’s and youth church choirs can enter in the children’s choir and youth categories). • Ethnic and Multi cultural Perspecti ves: groups that represent various ethnic backgrounds (excluding gospel choirs that will be considered under Music in Worship). III. SCREENING PROCESS There are two levels of screening: 1) an initi al or prescreening level at which fi nalists will be selected; and 2) a fi nal screen- ing level at which only those recommended from the preliminary round will be considered. All auditi ons are “blind,” that is, done with no knowledge of who has submitt ed the materials. For level 1: In consultati on with the Nati onal R&S Chair, nati onal chairs for each R&S area will appoint two other people, representi ng diff erent divisions, to prescreen the category. It is recommended that auditors be chosen from among conductors who have performed at divisional or nati onal conferences. Each nati onal area chair will be responsible for correlati ng responses from the listeners in their respecti ve committ ees and will prepare a list showing the collecti ve top ten submissions, plus fi ve alternates, for the Nati onal Auditi on Committ ee. In areas where fewer than 10 auditi on, the Nati onal Committ ee will hear all submissions. For level 2: Nati onal Auditi on Committ ee members will hear only the top 10 in each category, unless fewer than 10 are submitt ed in that area. The auditi on committ ee will meet as a group to listen to all qualifying mp3s, as recommended by the prescreening committ ees. Aft er scoring is complete, the results will be tabulated and submissions ranked by area in order of excellence. At the end of the auditi ons, the Nati onal Auditi on Committ ee Chair will submit auditi on results to the Nati onal Conference Chair, who, together with the Steering Committ ee, will decide which of the eligible groups to invite in the interests of planning the most eff ecti ve conference. Every eff ort is made to represent a broad range of excellent performing groups, and there is no quota in any area. Auditi on committ ee members will not know identi ty of groups unti l aft er fi nal decisions are made so as to maintain the integrity of the blind auditi on process. Nati onal Auditi on Committ ee members will be selected from the following: • Division Presidents, past presidents, and/or past divisional and nati onal offi cers • Nati onal and/or division R&S Chairs in the area of auditi on • Outstanding choral directors of groups in the R&S areas being auditi oned that performed at previous nati onal conferences • The Nati onal R&S Chair and Conference Program Chair will be nonvoti ng members of the Nati onal Auditi on Committ ee. No person submitti ng auditi on materials for the forthcoming conference may serve on either the prescreening or fi nal auditi ons committ ees. 50 CHORAL JOURNAL Volume 54 Number 8 The ACDA Nati onal Conference Chair will noti fy all choirs of their auditi on results no later than June 30, 2014. IV. Eligibility Conductors must be current members of ACDA and must have been employed in the same positi on since the fall of 2011. No choral ensemble or conductor may appear at successive nati onal conferences. It is understood that ACDA will not assume fi nancial responsibility for travel, food, or lodging for performance groups. This applicati on implies that the submitt ed ensemble is prepared to travel and perform at the conference if accepted. V. Items Required for Applicati on Submission: 1. Director’s name, home address, phone, e-mail address, ACDA member number and expirati on date. 2. Insti tuti onal address, name of choir, number of singers, voicing, and age level (See Secti on II for clarifi cati on regarding Repertoire & Standards area clarifi cati on of choir categories.) 3. PDF #1 – Proposed program for performance at the nati onal conference. Please include ti tle, composer, and approximate performance ti me in minutes and seconds. The total program ti me may not exceed 25 minutes including entrance, exit, and applause. The use of photocopies or duplicated music at ACDA conferences is strictly prohibited. Accompaniment in the forms of mp3/tape/CD may not be used on the auditi on recordings or on ACDA conference programs. ACDA encourages conductors to program a variety of styles from various eras unless proposing a concert by a single composer or genre. Only one manuscript (unpublished) piece may be included. 4. PDF #2, #3, #4 – Programs – Applicants must upload one program page as proof of conducti ng and programming for each year represented on the recordings, i.e. from 2011-2012; 2012-2013; and 2013-2014 5. Non-refundable applicati on fee of $50 by credit card only. 6. Recordings in mp3 format based on the following specifi cati ons: The total length of the three auditi on uploads should be 10 to 15 minutes, one selecti on each from from 2011-2012; 2012-2013; and 2013-2014. The fi rst upload mp3 must be from 2011-2012, the second upload mp3 from 2012-2013, and the third upload mp3 from the current year, 2013-2014. The following informati on must be provided for each upload: Title, Composer, Recording locati on (live, studio, rehearsal), Producti on (edited, unedited) All materials must be submitt ed in full no later than April 30th via VI. Schedule of Dates By April 30, 2014 Auditi on applicati on, uploads, and payment completed By June 20, 2014 Nati onal auditi ons completed By June 30, 2014 Applicants noti fi ed of auditi on results CHORAL JOURNAL Volume 54 Number 8 51 Amy Blosser, Editor In recent years, there have been citing and challenging. It can be simply MaleMale ChoirsChoirs articles, essays, and DVD resources on stated, “If you build it, they will come.” Christopher Kiver men’s choirs, which provide an oppor- The key action word is build. How do National R&S Chair tunity for education and inspiration in we build from small beginnings? How CHORAL JOURNAL Volume 54 Number 8 53 sacred and secular. Joy in singing is • It’s about relationships conductor develops a relationship with paramount for its conductor and There is no greater force than the the males in the choir, relationships with members in the ensemble. ability to relate personally to the male one another grows at an even greater singer, regardless of the conductor’s gen- and deeper level. Invest energy and attention to include der. Consider the singer fi rst and the en- Additionally, broadened ensemble same-gender ensembles by any defi ni- semble second. This is a sea change for activities are extremely successful. These tion in this mission. Clarify the role of many conductors. One must be positive activities can be as simple as a volleyball a men’s ensemble in your program and genuine with them at all times while match between sections scheduled in regardless of the size of membership or thoughtfully constructing conversations lieu of a rehearsal or a bowling tourna- prominence. Do not limit your dreams and attitudes of sincere interest in who ment after a performance. This can ap- or scope. Enthusiasm for the men’s choir they are, why they are there, and what pear simple and possibly trite, but these genre in a mission statement will be a gets them excited about their lives. Being types of planned activities positively psychological asset for the current male positive, sincere, and gracious is not the affect the way men sing together, estab- singers. same as lowering standards or catering lishing camaraderie and building trust to those lowered expectations. As the outside of a routine choral rehearsal. An exceptional opportunity for boys and men’s choirs, or individuals to participate in rehearsals and concerts with world-renowned conductors Hirvo Surva and Julian Ackerley. The 8-day festival is headquartered in the cool mountains of Flagstaff with concerts in Flagstaff and Tucson. Hirvo Surva Julian Ackerley Enjoy the many social activities Estonian National National Boychoir including visits to the extraordinary Opera Boys’ Choir Repertoire and Revalia Male Standards Chair Grand Canyon and scenic Sedona. Chamber Choir Make your reservations today. Monday, July 14 through Monday, July 21, 2014 Festival information: International Boys and Men’s Choral Festival 5770 E Pima, Tucson, AZ 85712 . (520) 733-0927 EMAIL: [email protected] www.internationalchoralfestival.com. 54 CHORAL JOURNAL Volume 54 Number 8 • Establish trust and promote process. Immediately after a pause in use of unison singing is very successful freedom singing, rather than telling them what in men’s choirs. Successful and effective conductors you want, consider asking one singer a As pitch issues arise, use solfége at a are the same person and personality question related to a musical concept moment’s notice and immediately ask in all environments and situations, and and improvement. Make sure you know them about the breath sensation and consistency in the director’s personality the answer you are after before you ask. what sounds they heard. Frequently develops a sense of loyalty. Singers will Carefully craft the question, as you want request half of the group to sing while appreciate knowing what to expect ev- the singer to answer it correctly for the with the other half is listening. The listen- ery day and will respond positively in this sake of pacing. ers know they will be accountable with a even-keeled atmosphere. Additionally, A clear and simple question is very question from the conductor regarding this trust will anchor the conductor and effective. Give two choices for a re- what just occurred related to breathing, singers when high demands are placed sponse. It can be humorously obvious listening, pitch accuracy, and beauty of on them for their attention and effort in such as, “David, given the joyful text and tone. It is now their own sound. Imme- rehearsals and performances. The sing- rhythmic nature of this section, should diately, the men become more focused ers will begin to trust one another, which your consonants be strong, clean, and and invested. fosters a spirit of openness and risk- accurate, or weak, long, and fl abby?” taking. The attitude of the conductor and No student should learn through fail- • Recruiting is personal the positive atmosphere in a rehearsal ure and public humiliation. A correct Recruitment of new singers in a room is directly related to the freedom and successful answer from a selected men’s choir is related to success of the in a young man’s spirit and voice. male singer motivates everyone. Other ensemble and a genuine interest in the Men’s choirs have great potential singers will be either relieved the ques- person. Do not limit your ranks by other for vocal and artistic growth through tion didn’t come their way or anxious academic, social, or athletic interests. In the concept of freedom rather than to answer the next question correctly. fact, celebrate those different interests control. Examples in sound production This will keep the men engaged without and inform that individual of what they through freedom will often be a louder slowing down the pace of the rehearsal. will add to the group. This has proven and more open quality with a natural to be one of the most successful tools spin in the voice or a deepened sense • Fill the room while communicating with potential of ring and resonance with acoustical Work on a sound that is rooted in members. Additionally, current mem- overtones in the rehearsal room and physicality, freedom, and air. If possible, bership is the best task force in recruit- on stage. Occasionally the rehearsal space the men around the room during ment. They are the ambassadors. Their can become raucous; however, when warm-ups and parts of the rehearsal. positive experiences is the message that you demand a softer and more elegant For warm-ups, there is nothing wrong circulates around a school or campus. singing style, the contrast can be very with some light calisthenics—a few Bright and talented men will be more exciting for men to experience together. squats or burpees really does the trick! receptive to a gracious yet persistent It can be a rowdy roomful of men at Physical exercise gets everyone breath- invitation to sing if they have heard from times, but this is a critical investment ing and the blood fl owing. Let them sing others that the men’s choir is worthy and small price to pay for the incredible with gusto and spirit for the sake of their of their time and commitment. Mission sounds and vibrant singing as a result of free and unbridled enthusiasm. Fill the accomplished. trust and freedom. room with their presence and sound. Nuance will follow as you command • Keep it a fast-paced world that spectrum of sound and dynamic NOTES Engage them physically, musically, and changes from fortes to pianos. Use breathing techniques related to listening academically in every minute of the re- 1 Patrick Freer, ed., Special Focus Issue: The and tuning. The concept of more air and hearsal. Pacing is one of the most impor- male choral singer—from Adolescence tant elements in working with a group more ears is very effective. Keep asking to College, Part I and II, Choral Journal 52, of men together in a room. When they them, “Are you breathing?” and, “Are nos. 9 and 10 (April and May, 2012). are not singing, make sure you are not you listening?” Also ask them if they are the only one talking during the learning contributing to that amazing sound. The CHORAL JOURNAL Volume 54 Number 8 55 Co-Host Site: Texas Woman's University, Denton 56 CHORAL JOURNAL Volume 54 Number 8 Why Do We Sing So Loud? — Refl ections on Refl exes That Deceive and Tendencies That Can Harm by Rebecca Sherburn, DMA; Greta Stamper, AuD; and Tiffany Johnson, PhD There are many factors that can pulses that the brain interprets as sound suspended by muscles. These bones contribute to the extremely com- (Illustration 1: page 56). and muscles have a number of functions, mon phenomenon of over-singing. The pinna (wing) and the auditory but most important to this discussion These include: the acoustic refl ex, the canal make up the outer ear. Because is the protective contraction called the Lombard effect, one’s perception of the pinna is attached at approximately acoustic refl ex. sound while singing, and the acoustics a thirty-degree angle, it collects sounds The vibrations from the eardrum of rehearsal and performance spaces. arising from the front and sides but are conducted through the middle ear’s Conductors and voice teachers must partially blocks sounds coming from the bones into the inner ear. The inner ear understand these issues and educate back. Sound waves vibrate through the contains both the cochlea (shell) and the their singers in order to help them sing auditory canal, a small, funnel-like tube vestibular system and is housed in the with healthy and appropriate intensity. that boosts sound waves in the most im- temporal bone of the skull. The vestibu- portant hearing range for humans.1 The lar system is involved in balance, and the The Ear – So that’s how it works! auditory canal leads to the eardrum, the cochlea translates sound vibrations into outermost surface in the middle ear. nerve impulses. The ear consists of three parts: outer, The cochlea looks like a tiny snail shell middle, and inner ear. Our sense of Behind the eardrum, in the middle with a bony center and three narrow, hearing, however, requires coordinated ear, is an air-fi lled chamber where three fl uid-fi lled chambers or scalae. The fl oor function of both the ear and the brain. tiny bones (the ossicles), commonly of the scala media (the middle chamber) The ear detects sound waves and referred to as the hammer, anvil, and is called the basilar membrane. Spaced converts them into electrochemical im- stirrup because of their shapes, are along the length of the cochlea are thou- Rebecca Sherburn is an associate professor of voice at the University of Missouri-Kansas City Conservatory of Music and Dance Greta Stamper is a Ph.D. candidate in the Hearing and Speech Department at the University of Kansas Medical Center Tiffany Johnson is an associate professor in the Hearing and Speech Department at the University of Kansas Medical Center CHORAL JOURNAL Volume 54 Number 8 57 sands of hair cells. The hair cells (along Outer ear Middle ear Inner ear with other structures) sit on top of the Anatomical (auricle and external (drum membrane (vestibular system basilar membrane. The movement of the division auditory meatus) and auditory and cochlea) basilar membrane and the hair cells pro- ossicles) duces an electrical impulse in the nerve Ossicular chain Vestibular fi bers connected to the base of a subset apparatus of hair cells. The central nervous system transmits these electrical impulses to the brain’s auditory cortex where the brain Structures 2 interprets the impulses as sound. Auditory nerve Drum The Acoustic Refl ex – Sorry, I can’t Meatus membrane Cochlea hear you. I’m singing! Tensor tympani muscle Also known as the stapedial refl ex, the acoustic refl ex is an involuntary Auricle response in the middle ear that inhibits Auditory the movement of the stapes (stirrup) tube and malleus (hammer) bones. The Form of Mechanical stapedius and tensor tympani muscles energy Acoustic (longitudinal wave) vibration and Hydrodynamic wave motion transmission acoustic contract bilaterally when the human ear Impendance is exposed to loud sound 80 to 90 dB Protection matching, Transduction of mechanical above the threshold for hearing.3 (The Function resonance energy and hydrodynamic energy transmission transformation into neutral impulses threshold for hearing is approximately limited 0 dB SPL, while an intensity of sound protection that would cause pain is 140 dB SPL.) As a result, the middle ear bones can- Illustration 1. The Human Ear. Zemlin, Willard R., Speech and Hearing Science, 2nd edition, copy- not vibrate as readily. This leads to an right 1981, p. 544. Reprinted by permission of Pearson Education, Inc., Upper Saddle River, NJ. increase in impedance and a decrease in the transmission of sound through the middle ear for frequencies between can provide sound protection, both a sure of the physical sound level, while 250 and 4000 Hz.4 sudden onset of loud sound and pro- dBA better refl ects the hazard level of One proposed functional role of the longed sound exposures can cause a the noise as perceived by the human acoustic refl ex is to protect the cochlea decrease in the ability of the middle ear ear.6 by weakening high-intensity sounds muscles to protect the inner ear from For reference, some commonly before they can reach the cochlea. The damage. encountered sounds and their average acoustic refl ex is a graded response, When phonating or hearing sound at intensities include: meaning there is a greater degree of a level that triggers the acoustic refl ex, muscle contraction (leading to more singers’ hearing might be somewhat • Normal conversation—60 dB SPL attenuation) at higher sound intensities. diminished by the acoustic refl ex, which However, a latency delay of 25 to 100 in turn could contribute to over-singing. • Vacuum cleaner—70 dB SPL milliseconds exists between the onset of the sound and the contraction of the How Much Sound Is Safe? • Lawn mower—90 dB SPL middle ear muscles. Extended exposure Ear plugs, Seriously! to high-intensity sound can also lead to • Rock concert—110 dB SPL fatigue of the muscles, decreasing their The human ear has a large, dynamic ability to soften the sound.5 hearing range. A decibel (dB) is a relative • Jet plane (takeoff)—120 dB SPL Therefore, while the acoustic refl ex unit of measurement. dB SPL is a mea- 58 CHORAL JOURNAL Volume 54 Number 8 • A customized car stereo full volume horn at 81– 96 dBA, and trombone intensities exceed 90 dBA for 8 hours. —130 dB SPL at 78–95 dBA.9, 10 A mature operatic For each 5 dB increase in sound inten- voice at one meter can be as loud as sity, the duration of “safe” listening is • A gunshot—140 dB SPL7 110 –115 dBA.11 halved (e.g., 95 dBA for 4 hours, 100 Digital portable listening devices have dBA for 2 hours, etc.).13 As a result of Musicians in particular fi nd them- been shown to be capable of producing safety laws in the occupational sector, selves exposed to a wide range of sound sound intensities ranging from 97 to 107 industrial hearing loss has been greatly intensities from different instruments dBA, with average levels of 101.5 dBA reduced in the United States. However, and in various performance venues. for earbud style and 97 dBA for supra- it remains a prevalent problem despite A loud musical passage played by a aural earphones.12 these regulations. symphony orchestra could easily reach According to standards set by the Exposure to loud sound does not 90 dBA.8 Some common instrument Occupational Safety and Health Ad- only occur in the workplace. For musi- sound levels include: violin at 77–91 ministration (OSHA), hearing protec- cians, exposures to potentially damaging dBA, clarinet at 80–94 dBA, French tion should be utilized when sound loud sound are encountered during CONNECT WITH YOUR CHOIR - ONLINE, ANYTIME Photo Credit: Jonathan Cervantes ACDA Members receive an extra 2 weeks on your free trial. “We wanted things to make our lives easier, more effective and provide our artistic Sign Up Now! Use coupon code ACDA14 director with Riser Placement, etc. We also wanted a more “social media-like” interface for our members. Last but not least we needed a more robust set of permission GroupanizerSing! members-only websites controls for the diverse roles we have in the help world-class directors like you to chorus. Groupanizer has delivered that. plan rehearsals, manage riser placements A short few weeks into the process I knew I could always rely on Groupanizer to provide and more... ALL-IN-ONE-PLACE me with accurate and speedy solutions to my questions. Organize. Manage. Connect. Our Director is thrilled with the features and is constantly asking questions on how to do things (a great sign)...” groupanizer.com/acda Cassio Cappelossa Executive, Site Administrator San Diego Gay Men’s Chorus CHORAL JOURNAL Volume 54 Number 8 59 rehearsal and performance situations on A temporary hearing loss, also re- to high-intensity sound increase the risk a regular basis. Especially vulnerable are ferred to as a temporary threshold shift, of developing permanent, noise-induced wind players seated in front of the brass. can occur following musical situations hearing loss. When permanent damage Therefore, sound exposures encoun- when there is prolonged exposure to occurs, high frequencies are affected tered by musicians in both practice and high-intensity sound. Other accompa- fi rst, making the consonants of speech performance settings have the potential nying auditory symptoms can include diffi cult to hear.14 In order to compen- to exceed what is considered to be a tinnitus (ringing in the ears) and/or a sate for those frequencies where a hear- “safe” level. Depending on the duration feeling of fullness or pressure in the ears. ing loss is present, a singer might increase of the listening session(s), these sound The temporary hearing loss can last their vocal effort and over-sing. intensities can be damaging to the ear. from a few minutes up to several days. Some musicians choose to wear Hopefully, hearing returns to normal and specially designed musician’s earplugs the symptoms resolve soon after the to protect their hearing. These earplugs Temporary Threshold Shift in Hearing exposure to loud sound. However, lon- are custom fi t to the individual’s ear with – I went to a rock concert last night, and ger durations and repeated exposures the assistance of an audiologist. Sound my ears feel numb. heard through musician’s earplugs de- creases the intensity of the incoming sound while preserving the frequency spectrum. It is common practice for rock musicians using amplifi ed sound to wear ear protection. To date, it seems there is no such tendency among classical sing- ers, teachers, or choral conductors (per- haps it is believed to be unnecessary). Should one’s ears ring regularly after rehearsing, performing, or teach- ing, the ear is sending a danger signal Let your music that should not be ignored. If one’s ears are indeed ringing, a potentially hazardous listening environment can be heard… be addressed by utilizing musician’s earplugs, working in a larger room, in France! increasing the distance from the sound source, and reducing the intensity and/ “After 30 years of traveling and or the length of the sound exposure. touring around the world, I can honestly say that I am Lombard Effect – Excuse me, could you so fortunate and pleased please speak up? WRKDYHÀQDOO\IRXQGD tour company like Witte!” In 1911, Étienne Lombard, a French – William R. Adams Founder/Artistic Director otolaryngologist, observed that the in- The Fort Bend Boys Choir tensity level of the voice is involuntarily France Tour 2012 raised in the presence of high-intensity sound. The Lombard Effect is largely automatic and occurs when noise levels go up and the level at which we hear our Witte has been arranging exceptional own voice goes down.15 The Lombard concert tours through France and the 800 GO WITTE Effect has been studied in animals and rest of the world since 1975. wittept.com humans. Birds16 and even whales expe- rience it, both in nature and as a result 60 CHORAL JOURNAL Volume 54 Number 8 of man-made noise pollution.17 pathways: bone conduction and air con- listener hears and the recording device When speaking or singing in any duction. According to Paula Henry and registers are accurate, but a singer’s per- setting with competing sound, people Tomasz R. Letowski, “Every human hears ception of his or her own sound while tend to increase the intensity of their through air and bone conduction when singing is skewed. Our voices generally utterances. Although it is highly variable talking since the vibrations of the vocal sound brighter to us on a recording than from person to person, most have ex- folds vibrate the bones of the skull.”21 It they do as we speak and sing in real time perienced this refl ex while riding in cars seems odd to listen to a recording of because we cannot hear our own entire and planes, talking over the television, our voice, because we experience the high end (high frequencies). or singing with others (in an ensemble, sound primarily through air conduction Psychologically, we are used to feeling with an orchestra, or even singing solo absent the bone conduction contribu- and hearing our voice at approximately with a piano). tion. Bone conduction is more effec- the same time. When we hear it re- Intensity levels coming from en- tive at transmitting the low-frequency corded it seems strange or foreign to sembles could cause singers to sing portion of our voice: as a result, we get us because we are only hearing it, not too loudly. In addition to intensity level more low frequency cues from actually feeling it simultaneously. changes, the untrained speaker may raise singing and talking than just listening to the pitch, extend the duration of vowels, a recording.22 The lack of high frequen- Hearing your recorded voice signifi es stress content words, and use exagger- cies transmitted through bone as we a major disconnection in time and ated facial motions in an ability to be sing may be a contributing factor to space: a dislocation in time because you are not aware of speaking those understood. While over-singing can be over-singing. words at the time you are hearing a negative result of the Lombard Effect, Acoustically, the portion of our them, and a dislocation in space increased intelligibility may be a positive voice that reaches the pinnae via sound because you can hear that the sound 18 aspect of this refl ex. traveling in air (air conduction) also has is coming from some other place than In a study published by the Acousti- more low-frequency emphasis than the where you happen to be, because cal Society of America, researchers sound we would hear from a recording. all of your voice in a recording is found that verbal instructions given to High frequencies, because they have perceived externally, whereas in speakers had minimal impact on the short wavelengths, do not bend around normal speech the voice is mostly located inside your head.25 Lombard Effect. However, when verbal objects. Low frequencies have longer cues were combined with visual cues, wavelengths and bend well around ob- If the singer’s hearing is not accurate, speakers were not only able to lower jects. As a result, the sound that reaches how do singers monitor the sounds the intensity of their voices, but the our pinnae and is conducted into the they make? Sundberg explains that effect lasted after all verbal and visual auditory system through the air will be 19 singers learn to control their sound in instructions ceased. low-frequency emphasized, transmit- part through what they feel, memoriz- In his 1990 dissertation, The Lombard ting more low- than high-frequency Effect in Choral Singing, Steven Tonkinson information. found that when instructed to maintain When a car drives by with its stereo a consistent level of vocal intensity, blasting, it is primarily the low end of trained singers were successful in doing the sound that reaches the ears of so. He therefore encouraged choral other drivers. The high frequencies are conductors to inform singers of this re- defl ected by metal and passengers in fl ex. Depending on skill level, both verbal the vehicle with the loud music, while explanation and visible cues (conducting the low frequencies travel through the gestures) could have a major impact on offending car into other cars. the tendency to over-sing resulting from This occurs while singing as well: low the Lombard Effect.20 frequencies travel well; high frequencies do not. When singers cup their ears, they are trying to catch the higher frequen- A Singer’s Perception of Their Sound cies they cannot hear as readily.23, 24 Low – That’s not my voice! frequencies are dominant in both our internal and external hearing. What the Sound reaches the inner ear via two CHORAL JOURNAL Volume 54 Number 8 61 ing secondary vibrations in the head, singers to inadvertently increase the intensity, which can drive the pitch up neck, and chest area. He further states, intensity of sound. Then there are those and cause fatigue. If the space is too dry, “research on the perception of singing voice students who come to lessons singers may push because there is not is not as well developed as the closely vocally fatigued after having pushed their enough sound refl ecting off the walls. If related fi eld of speech research.”26 voices to get something back in a small, it is too reverberant, they may push to intentionally dry practice room. In large hear more of what is refl ecting off the and small rooms, acoustics can affect walls. Either way, poor acoustics affect Performance and Rehearsal Space – I vocal behavior. performance and performers. Johann am going to have to sing as loud as I can Good acoustics allow singers to hear Sundberg states that hearing in a choral to fi ll this space! themselves and each other, at the same setting affects intonation, and the acous- time allowing the audience to hear tics of the room infl uence hearing.28 It can be intimidating to stand on the well. According to Vennard, “Pitch and Before the modern age, concerts stage of a large, carpeted concert hall loudness are controlled by the ear.”27 If were held in small theaters and knowing there will be no amplifi cation. acoustics do not allow for proper hear- homes. In fact, much of the repertoire Such visual stimulation alone could lead ing, singers may inadvertently increase performed today was written to be performed in moderate- or small-sized rooms. Obviously, wall-to-wall carpeting or acoustic tile did not exist before the twentieth century. Generally, in theaters with less than 600 seats, the human voice carries fairly well regardless of surface. But today, a newly built perfor- mance space with less than 600 seats is Conductors Workshop rare, and carpeting and acoustic tile is with Rod Eichenberger commonplace. Because of poor acous- Master Teacher, Conductor, Innovator tics, some of the larger halls around the Choral Professor Emeritus, Florida State University world have installed amplifi cation for the performance of what is meant to be unamplifi ed music.29 This solution takes Workshop Locations A five-day professional development away part of the temptation to over- workshop for choral conductors at all levels sing, but it is in sharp contrast to the Alexandria, Virginia acoustic intent of the composers who July 14-18, 2014 wrote vocal music before the invention of amplifi cation. Cannon Beach, Oregon During performance, choral en- Aug.4-8, 2014 sembles frequently use a choral shell to aid in hearing. A physical space between singers of as much as three feet from shoulder to shoulder and row to row can help with personal hearing and For more information, contact: group sound, as does singing in a circle George Fox University’s or facing each other while rehearsing.30 Department of Music Alterations of choral seating are com- 503-554-2620 mon ways to adjust individual voices to [email protected] each other and to the acoustics of each space in which ensembles rehearse and Information is also available at perform. choralconductorsworkshop.com All of these ideas help, but educating 1321 10.13 singers not to over-sing in acoustically 62 CHORAL JOURNAL Volume 54 Number 8 challenging environments may be the 2013. CHORAL JOURNAL Volume 54 Number 8 63 CONTENT THAT DOESN’T QUIT Come back to your chorus full of new strategies for making your organization the best it can be. Learn 2014 from industry leaders and colleagues at sessions that deal with what’s relevant today: digital technologies, audience development, repertoire, education, community engagement, CHORUS board involvement, and much more. CONNECT WITH YOUR COMMUNITY AMERICA Consult one-on-one with veteran choral leaders, meet your peers, and talk to potential business partners. Year after year, attendees say that connecting with CONFERENCE colleagues is a Conference highlight. | Washington DC June 11–14 IN PARTNERSHIP WITH THE JOHN F. KENNEDY CENTER Co-hosted by FOR THE PERFORMING ARTS Conference events go hand-in-hand THE CHORAL ARTS SOCIETY OF WASHINGTON with the Kennedy Center’s Voices of our Nation Scott Tucker, Artistic Director choral celebration. A special closing event features a massed THE WASHINGTON CHORUS choir, conducted by Julian Wachner, Music Director Eric Whitacre, ©MEGAN GREENLEE performing on the steps of the REGISTER U.S. Capitol. NOW chorusamerica Lead Conference With generous .org Sponsor funding support from 64 CHORAL JOURNAL Volume 54 Number 8 Stephen Town, Editor [email protected] Reviewer’s note: Many developing Weston Noble’s foreword speaks to the subsequent event. conductors, like the reviewer, have a book’s applicability toward choral music. Thurmond’s second fundamental thirst for understanding what makes Thurmond challenges the common concept is that the barline impedes mu- a great conductor. Breaking into the assumption that moving performances sicality. Before the advent of the barline field can be difficult, and by tracing are due to sheer musical talent and around 1600, melodies were not visu- and emulating established conductors’ footsteps, one hopes to replicate others’ suggests a listener’s impression of a mu- ally divided by the barline. Developed success. In somewhat of a departure sically played performance is produced for dance, which required a clear fi rst from this column’s typical format of by the performer’s mastery of technical beat, the barline created a hierarchy of discussing new books, this installment skills. At fi rst, this may strike readers as beats within a measure and secured the reviews two older books. Although each an austere approach to music. However, fi rst beat’s supremacy. More complex has existed for over twenty years, they the romanticizing of a moving perfor- polyphony and the development of the contain thought-provoking, practical, and mance as being derived from innate score (rather than part books) secured inspiring ideas. talent in a way negates the performer’s the functionality of the barline by allow- years of dedicated practice. Thurmond’s ing performers to see points of congru- premise that calculated technical deci- ence and how individual parts related Note Grouping: A Method for sions are the root of the highest level to one another. Before barlines, musi- Achieving Expression and Style in of music making bears signifi cance and cians performed according to phrasing, Musical Performance warrants further inspection. not simply a rhythmic unit contained James Morgan Thurmond Thurmond suggests that expres- within a single measure. Unfortunately, Meredith Music, 1991 sive music making is centered on two the tyranny of the barline has become 144 pages fundamental concepts: 1) the relation- systematized. Students are constantly ISBN: 978-0942782004 ship between arsis and thesis and 2) advised to isolate one measure at a the negation of the barline. The arsis- time in their practice. While this may An expanded version of James Mor- thesis relationship (arsis, meaning the improve technical ability to sing or play a gan Thurmond’s master’s thesis, Note weak upbeat; and thesis, the stressed measure, this common method uninten- Grouping: A Method for Achieving Expres- downbeat) has existed for centuries, tionally encourages students to develop sion and Style in Musical Performance, and elements of the relationship can an understanding of their repertoire as attempts to intellectualize the abstract be found in chant and ancient Greece. a collection of disparate words rather concept of musicality. Rather than view- When spoken, ancient Greek had no than a series of sentences or paragraphs. ing expressivity as an innate gift too dynamic stress; rather, accented syllables Thurmond’s theory of note grouping mystical to analyze, Thurmond dissects were given approximately twice the combines the thesis-arsis relationship elements of phrasing in a logical manner. length of unaccented ones. The terms with the negation of the barline. Rather By doing so, he promotes an analytical arsis and thesis themselves are derived than viewing rhythm as a “succession framework and empowers the reader from Greek drama, wherein the dance of thumps,” Thurmond suggests view- to consciously perform more musically. leader marked time by tapping his foot. ing rhythmic units as progressions of Although he is himself a horn player, Thurmond’s entire theory of note stressed and unstressed occurrences Thurmond’s text is of general interest to grouping (discussed below) is based on (theses and arses). Because musical all musicians and includes familiar musical the assumption that expression does phrases are rarely conceived of in one- examples with references to well-known not come from the arrival of the thesis measure units, it is, therefore, neces- musical analyses and philosophies. but the motion of the arsis toward a sary to gain the ability to disregard the CHORAL JOURNAL Volume 54 Number 8 65 barline in order to comprehend the from conducting class: the preparation phrasing and articulation issues, choral totality of these strings of stresses and (arsis) moves toward the tactus (thesis). musicians naturally look to text to de- unstresses. Like spoken language, music The most active part of a single note or termine phrasing, so much so that other is conceived of in phrases comprised of phrase, therefore, occurs in its second indicators of musical line (harmony, smaller components. Both the whole half: expressivity resides within the note. agogic and tonic accents, scalar refer- of the phrase and its individual parts Thurmond argues that musical playing ences, historical and/or geographical contain an arsis-thesis relationship. (A stems from a performer’s awareness of considerations) may be overlooked. sentence and its component individual the difference between phrases’ active- While each conductor may interpret a words both contain points of stress ness and passiveness. phrase differently, the benefi t of Thur- and unstress.) The guiding principle of Thurmond’s in-depth musical analysis mond’s theory is the process, not the Thurmond’s concept is that a phrase al- is certainly benefi cial to choral conduc- result. By experimenting with phrases’ ways begins with an arsis, which actively tors. Unlike string players, who mark musical stresses, conductors will be moves toward a thesis, which is passive. bowings before the fi rst rehearsal and challenged to discover different inter- Conductors will recall this concept are thereby forced to grapple with pretations than what might fi rst occur 66 CHORAL JOURNAL Volume 54 Number 8 to them. Note Grouping: A Method for into a few adjectives. He also argues discovery and appreciation of beauty. Achieving Expression and Style in Musical that conductors should fi nd differences Swan describes himself as an “optimistic Performance strikes a diffi cult balance within eras based on time, location, realist”: someone who realistically ac- by using concrete ideas to discuss an and specifi c composers. In these essays, cepts his own limitations but continues abstract concept, and the book issues Swan establishes that conductors must to have faith in one’s self, students, and a challenge to all musicians to be more be knowledgeable not only about music most of all, music. analytical and intentional. but also social relationships, history, the- Conscience of a Profession is certainly ology, poetry, and diction. Swan earned overlooked but would benefi t both John C. Hughes degrees in history and psychology, which emerging and established conductors. Iowa City, Iowa were fundamental to his effectiveness as Swan’s ideas will not improve the rudi- a conductor. ments of being a conductor, such as Perhaps the greatest takeaway from gesture, repertoire selection, or score Conscience of a Profession: this book is Swan’s philosophical discus- study. This book focuses on why people Howard Swan, Choral Director and sion of the role of the conductor. To enter the choral profession. Gestures Teacher Swan, the conductor is a servant to and rudiments are extremely important Charles Fowler, editor music and beauty, who balances the and can make one a more effective and Hinshaw Music, Inc., 1987 technical components of music with effi cient conductor, but few fall in love 197 pages artistry. Successful conductors are fun- with singing because of technical com- ISBN: 978-0937276075 damentally educators and communica- ponents. Swan reminds us to balance the tors who work with people. At this most heart and mind so that performances Conscience of a Profession: Howard basic level, conductors rely on others for are technically sound and still inspire Swan, Choral Director and Teacher is a success; motivation, therefore, comes others—after all, is that not the point? tribute to Howard Swan (1906–1995). from communication, not dictatorship. Swan is, indeed, the conscience of our After a foreword by Swan’s granddaugh- Another key to Swan’s philosophy is profession. ter and a brief but insightful biography, the idea that conductors are teachers the book is a collection of essays and of beauty. Swan argues that students do John C. Hughes speeches by Swan spanning his long and not intrinsically know how to appreciate Iowa City, Iowa noted career. He taught at Occidental the multitude of beauty around them, College for three and a half decades, and both within and outside of music. Con- at California State University, Fullerton, ductors, then, guide students toward and the University of California, Irvine. The 1987 ACDA National Conference in San Antonio, TX, was dedicated to Swan. The essays contained in this book cover a range of topics—Bach, Classical/ Romantic interpretation, and the func- tion of church music. Swan’s interest in history is seen in his essays about Mormon music from 1830 to 1865, the American premiere of La bohème, and the history of music education in ACDA wouldn’t exist without its members. southern California. But the most in- teresting essays contain Swan’s insights We thank you for your support into choral techniques. Swan advocates of our organization and the choral art. pragmatic approaches to the rehearsal and discusses how to listen critically. In terms of performance practice, Swan suggests that conductors distill eras CHORAL JOURNAL Volume 54 Number 8 67 Choirs of America 2015 SIGNATURE EVENTS 2013 COA Nationals | Stern Auditorium | Perelman Stage © Chris Lee | Choirs of America WELCOME TO THE REVOLUTION NEW YORK | CARNEGIE HALL NEW YORK | CARNEGIE HALL COA NATIONALS FOR TOP CHOIRS COA NATIONALS FOR MIXED CHOIRS MARCH 26 - 28, 2015 APRIL 23 - 25, 2015 • Adjudication | Clinics | Workshops | Rehearsal • Adjudication | Clinics | Workshops | Rehearsal • World-Class Faculty | André Thomas, Conductor • World-Class Faculty | Z. Randall Stroope, Conductor • Premiere! Composer: Ola Gjeilo • Premiere! Composer: Ola Gjeilo • Massed Choir Concert in Carnegie Hall • Massed Choir Concert in Carnegie Hall ANAHEIM | CALIFORNIA NEW YORK | CARNEGIE HALL COA FESTIVAL FOR CHOIRS COA NATIONALS FOR YOUTH CHOIRS APRIL 10, 2015 JUNE 25 - 27, 2015 • Adjudicated Performances | One-Hour Clinics • Adjudication | Clinics | Workshops | Rehearsal • Premiere! A Massed Choir Event • World-Class Faculty | Henry Leck, Conductor • World-Class Faculty & Venue • Premiere! Composer: Ola Gjeilo • Open Invitation • Massed Choir Concert in Carnegie Hall 1001 E. Harmony Rd, Suite A-300 | Fort Collins, CO | 80525 | 800.284.2177 | David Puderbaugh, Editor [email protected] The Cranmer Legacy wrote this setting in the early years of EndBeginning Choir of St Michael at the North Gate, World War I and leaves a memoriam for New York Polyphony The City Church of Oxford England’s honored dead. The seventh BIS Records SACD-1949 Tom Hammond-Davies, conductor and ninth movements dwell on those (2012; 67:58) Regent Records REGCD389 who do not “fear the trump that soon (2012; 72:32) shall all before the throne of judgment With EndBeginning, New York Po- call.” While not as well known as How- lyphony continues to take the profes- Celebrating the 350th anniversary ells’s Requiem, this setting has much to sional early music scene by storm. This of the Book of Common Prayer, this CD commend it both to performers and disc includes sacred music primarily presents Henry Walford Davies’s audiences. by Franco-Flemish composers active (1869–1941) Short Requiem in D, The Fir- The Sanders is a large-scale work in the sixteenth century (Antoine mament by John Sanders (1933–2003), celebrating the millennium and com- Brumel, Thomas Crecquillon, Clemens and fi rst recordings of Let not your heart bines texts from the Book of Common non Papa, and Josquin Desprez) that be troubled by Paul Spicer (b. 1952) and Prayer and Joseph Addison’s Ode. The explores themes of desperation, loss, Vaughan Williams’s (1872–1958) Christ’s piece alternates between large clusters and mortality. Hospital Service in D. of sound and gentle, ephemeral mo- The disc opens with one of the The Vaughan Williams service is a ments. The Spicer was commissioned in earliest known settings of the Missa pro complete setting of the morning and memory of the patron’s parents and is defunctis, a work by Antoine Brumel evening canticles and the communion a warm, meditative piece. (c.1460–c.1515) that does not stray service. Rarely heard are the responses The Choir of St. Michael at the North far from the original chant material. to the Ten Commandments. Vaughan Gate is a mixed professional choir. Following an interjected plainsong is Williams wrote three settings of the Notably, the altos are comprised of the fi rst known recording of Lamenta- responses (“Lord, have mercy upon us, both female singers and countertenors, tiones Jeremiæ by Thomas Crecquillon and incline our hearts to keep this law”) who blend very nicely. The solo voices (c.1505–1557). New York Polyphony with full choral settings after the third, are quite lovely and sparkle out of the brings to life the anguish and suffering sixth, and ninth commandments. These choral texture. At times, the choir’s of the prophet Jeremiah’s text. Also beautiful settings contrast sharply with blend is marred by unfocused vowels, included in this recording are two the priest’s reading of the command- unsettled balance, and unclear diction. works by Jacobus Clemens non Papa ments. This is highly recommended for This occurs mostly in the Sanders and (c.1510–c.1556) and Josquin Desprez use during Lent. the Spicer, where the text becomes (c.1450–1521). According to Ralph Composed in 1915, the Walford unintelligible. The Vaughan Williams and Buxton’s CD notes, Clemens’s work, a Davies Short Requiem is a simple set- Walford Davies, on the other hand, are setting of martyr Girolamo Savanarola’s ting in nine movements. The text is highly polished, beautiful performances. meditation on Psalm 31, Tristitia obsedit primarily in English, with two settings The choir balances with the organ, and me [Sadness has besieged me], was of the Requiem aeternam text in Latin. the acoustic is just right. The choir ap- part of his “reaffi rmation of faith in the The “De profundis clamavi” and “Levavi proaches this music with reverence and face of imminent and certain death and oculos” movements are beautiful set- renders the music wonderfully. a direct appeal to God for mercy and tings of Psalm 130 and 121, respectively, forgiveness.” Josquin’s motet Absolon fi li set to Anglican chant. Overall, the texts Richard A. A. Larraga mi makes the perfect partner to the are set homophonically with numerous Holliston, Massachusetts Clemens; it is a work also immersed short solo passages. Walford Davies in loss and mourning, with the text CHORAL JOURNAL Volume 54 Number 8 69 derived from three biblical experiences: nity at the end of the album provides audiences. The year 2012 marked the David yearning for his son Absolon, Job curious juxtaposition to the previous fi ftieth anniversary of Ireland’s death, mourning the death of his son, and Jacob track of plainsong, In paradisum, which and this CD, as well as The John Ireland mourning the death of Joseph. New liturgically ends the Requiem mass. Hill’s Companion, edited by Lewis Foreman York Polyphony gives this well-known piece is the perfect ending for this disc (Boydell & Brewer, 2011), was released Renaissance motet new life and creates and seems to refl ect on every moment at an opportune time, as it not only heightened interest at cadential points, of music preceding it, highlighting New commemorates the composer but also eventually leading to a dramatic and pic- York Polyphony’s ability to interpret provides musicians with greater insight torial close on the text “Non vivam ultra musical phrase like no other vocal en- into Ireland’s profound music. sed descendam in infernum plorans” [I semble. Ireland enjoyed the rich musical cul- shall live no longer, but descend weeping EndBeginning was recorded at the ture of late nineteenth- and twentieth- into hell]. picturesque fourteenth-century Länna century England. From 1897 to 1901, The album concludes with a contem- Church, north of Stockholm, Sweden. It he studied with Charles Villiers Stanford, porary commissioned piece by Pennsyl- gives the ensemble an enhanced sonic who would have a lasting infl uence on vania composer Jackson Hill (b. 1941), palate through the close refl ection of his style. Musical attributes associated Ma fi n est mon commencement [My end sound in the room. The space in which with William Walton and Hubert Parry is my beginning], based on a rondeau they record seems to transform the are also evident in Ireland’s music. As a by poet and composer Guillaume de singers from four voices to one singular faculty member of the Royal College of Machaut (ca. 1300–1377). According state of consciousness, yet each singer Music, Ireland would teach many pupils, to the CD notes, “Hill’s composition is is able to bring their own true vocal most famously Benjamin Britten. a fantasy on Machaut’s original in which color to the overall sound, creating a Forty children (twenty girls and fragments of the source composition’s breathtaking experience for the listener. twenty boys) comprise the Lincoln two upper voices become the primary Listening to New York Polyphony Cathedral Choir’s treble voices. Adult melodic material in the new setting, with on this Super Audio CD is the closest members sing the alto, tenor, and bass the borrowed phrases being couched in thing to experiencing them in a live parts. Aric Prentice, director of music at modern harmonies.” The work’s moder- performance. While nothing can surpass Lincoln Cathedral and Lincoln Minster hearing New York Polyphony in con- School, and Charles Harrison, assistant cert, EndBeginning provides a sublime director of music and sub organist, have experience and further establishes this each held their respective positions ensemble as a key player in vocal cham- since 2003. Together, they have recorded ber music. a defi nitive collection of Ireland’s church music that will certainly serve as a useful Cameron F. LaBarr resource for years to come. Included on Cleveland, Tennessee the CD are Ireland’s well-known works My Song is Love Unknown, Greater Love Hath No Man, The Holy Boy, and Ex ore John Ireland–My Song is Love innocentium. Beyond these pieces, the Unknown: Church Music recording contains several extended Lincoln Cathedral Choir works (Communion Service in C, Four Aric Prentice, conductor Unaccompanied Carols, and Evening Ser- Charles Harrison, organ vice in F). Harrison beautifully plays two Naxos 8.573014 (2012; 77:05) organ solos on the CD. The purity of the children’s voices With the exception of the an- is not only true to what Ireland would them “Greater Love Hath No Man” have been accustomed but also lends and possibly some hymns, the choral a sense of transparency to Ireland’s music of the English composer John sometimes thick textures. Throughout Ireland (1879–1962) remains largely the recording, Prentice chooses bright unknown to American conductors and tempos, which is refreshing, as many 70 CHORAL JOURNAL Volume 54 Number 8 conductors are tempted to luxuriate Requiem, performed with period instru- this record is superb. Recorded in the in the music’s depth and lushness. The ments and boy trebles, in his words, “to Chapel of King’s College, the grandeur of organ registrations chosen by Harrison bring the piece a certain strain of au- the Requiem is equaled by the magnifi - offer tasteful contrasts to the purity and thenticity.” Though the use of ecclesiasti- cence of the space. Cleobury effectively homogeneity of the Lincoln Cathedral cal Latin, instead of German Latin, seems uses the room to great dramatic effect Choir’s tone. The recording is a good to contradict that statement, the rest of (including a grand pause at the end of reference for Ireland’s church works and also has a pleasing sense of pacing. The programming and order of pieces retains the listener’s interest throughout the CD. Listeners will enjoy it both as a whole or when consulting individual ACDAA T REASURE CHEST tracks. It is hoped that conductors with no familiarity or merely cursory knowledge A Take a Slice to Go of John Ireland’s choral music will consult by Scott W. Dorsey this CD, as it contains expert renditions of works worthy of more frequent performance. The archive of the American Choral Directors Association is fi lled with immensely valuable educational resources. However, many of the educational tools produced by John C. Hughes ACDA are not limited to the shelves of the archive but can be obtained for a daily use. Iowa City, Iowa Perhaps primary among these resources are the books in the ACDA Monograph Series. Launched in 1972 with “Guide for the Beginning Choral Director” (coauthored Mozart: Requiem Realisations by the members of the Committee on High School Choral Music), the series has The Choir of King’s College, included texts on choral history, pedagogy, and various bibliographic documents. Cambridge; Academy of Ancient Music Later volumes in the series have focused increasingly on choral repertoire, a topic Stephen Cleobury, conductor of profound interest to conductors. Elin Manahan Thomas, soprano; Christine Rice, mezzo-soprano; Recently, the series has moved from producing printed books to making the James Gilchrist, tenor; monographs available in a digital format. This allows for a greater number of Christopher Purves, bass-baritone documents to be produced more quickly. One volume in the series is currently King’s College KGS0002 available in both print and digital formats: “Singing in English: A Manual of English (2013; 2:08:48 [2 discs]) Diction for Singers and Choral Directors,” by Richard Cox. Another recording of Mozart’s Re- Another valuable resource is the “ACDA on Location” series. Though short lived, quiem may not seem to be signifi cant. this series featured discussions of choral music by signifi cant fi gures in the art.The But in a crowded fi eld, this new release titles in the “ACDA on Location” collection include: “Doreen Rao: The Children’s by The Choir of King’s College, Cam- Choir,” “Howard Swan (Interviewed by Gordon Paine), ” “Jester Hairston (interviewed bridge, offers a high-quality performance of the Requiem (Süssmayr’s completion); by Gene Brooks),” and “2009 National Conference Peace Event.” a variety of completions of fragmented All the publications in the ACDA Monograph Series are available for purchase at movements by Maunder, Levin, Beyer, the ACDA store at CHORAL JOURNAL Volume 54 Number 8 71 the “Kyrie” fugue that left me breathless these spacious moments, moments just as enlightening. In one comparison, for the fi nal phrase), so much so that requiring clarity, such as the “Hosanna” the difference between Süssmayr’s and the Chapel itself might be considered and “Quam olim Abrahae” fugues, are Maunder’s completion of the “Agnus one of the performers. In contrast to performed with vitality and vigor, with a Dei” is illustrated, to great♮ effect, in the unity of articulation between orchestra simple♭ change from G (Süssmayr) to and chorus. The soloists all perform skill- G (Maunder). Hearing these differences fully, with Purves’s booming entrance at adds a level of insight that simply cannot “Tuba mirum” a particular highlight. be matched by reading a book. The fi rst disc concludes with comple- Even without the Requiem perfor- tions by Richard Maunder (“Amen”), mance, this two-CD set would be worth Robert Levin (“Sanctus” and “Cum listening to just for the completions and sanctis tuis”), Duncan Druce (“Benedic- audio commentary. It just happens to tus”), and Michael Finnissy (“Lacrimosa”). be of great benefi t to the listener that While the completions by Maunder, Cleobury has put together a perfor- JULY 7–11, 2014 Levin, and Druce have all been recorded, mance that captures the mystique and $GYDQFHG&KRUDO&RQGXFWLQJ this may be the only available commer- magnifi cence of Mozart’s Requiem in Bach:The Motets cial recording of Finnissy’s completion, such a resplendent space. &5$,*+(//$-2+1621:,//,$0:(,1(57 and his “Lacrimosa” is a unique inter- The course will focus on in-depth pretation. Nathan Windt analysis and rehearsal of Bach’s motets. In addition, it will explore recent In an interview on the second Athens, Tennessee research on issues of choral and disc, he describes his completion as instrumental performance practice in the a sort of “What if?” journey, with the Baroque era. Requiem framed in the lens of develop- Valentin Silvestrov: Sacred Songs JULY 14–18, 2014 ing nineteenth- and twentieth-century Kiev Chamber Choir &KRUDO$UWLVWU\ musical styles. In Finnissy’s completion, Mykola Hobdych, conductor Conducting, Vocal Pedagogy, the soprano soloist sings alongside the ECM New Series 2279 (2012; 53:44) Musicianship chorus, soaring expressively in her up- :,//,$0:(,1(57',5(&725 per register, evocative more of Bellini or )$&8/7< 52%(570&,9(5021,&$'$/( Clare Maclean: Osanna Enrollment is limited to 14 conductors Donizetti but still retaining the integrity Sydney Chamber Choir Daily sessions in conducting, singing, of the eight measures composed by Paul Stanhope, conductor musicianship, class performance, Mozart. Tall Poppies TP 218 (2011; 50:08) vocal pedagogy, repertory selection, The second disc features com- and movement-oriented Dalcroze Eurhythmics. mentaries that are informative and We live in an age of unparalleled insightful. While all of this information artistic diversity—a truism made read- AUGUST 3–8, 2014 can be found in separate resources, it is ily apparent by a comparison between 3UDFWLFDO9RFDO3HGDJRJ\ defi nitely convenient to have them so two recent choral recordings from the 52%(570&,9(5.$7+5<1&2:'5,&. [email protected] / [email protected] accessible and written by an authority Ukraine and Australia. Though both An intensive week of vocal pedagogy such as Eisen. More than just a sum- are devoted to unaccompanied choral study designed for singers, teachers, mary of the inception and composition music, their differences are both ex- choral conductors and church musicians. of the Requiem, the commentary fea- traordinary and informative. The Kiev tures comparisons with compositions Chamber Choir gives Silvestrov’s music by Handel, Wilhelm Friedemann Bach, a sympathetic performance, while the Michael Haydn, Gassmann, and Gossec, Sydney Chamber Choir offers persua- HVPURFKHVWHUHGXVXPPHUHVPURFKHVWHUHGXVXPPHU employing excerpts of those works by sive renditions of arresting new pieces Mozart’s contemporaries, recorded ex- by Clare Maclean. While Silvestrov’s mu- clusively for this disc in a lecture recital sic emanates generally from the palette format. Further comparisons between of Orthodox chant, Maclean’s infl uences Süssmayr’s completion and those of are more diverse and intriguing; yet both Maunder, Levin, Druce, and Finnissy are will fi nd admirers among those keen to 72 CHORAL JOURNAL Volume 54 Number 8 acquaint themselves with the unfamiliar of Clare Maclean (b. 1958), a composer “layering” of ideas. Birdsong embel- and beguiling. trained fi rst in her native New Zealand, lishes Vive in Deo, an eclectic collection The Kiev choristers present two and then in Sydney with the “dean” of of inscriptions taken from the Roman major works—Songs for Vespers and Australian composers, Peter Sculthorpe. catacombs. The contemporary cartoon- Psalms and Prayers—by the celebrated Her music has been the subject of two ist Michael Leunig provides a brilliant Ukrainian composer, Valentin Silvestrov discs by the Sydney Chamber Choir, paean to summer, while an intimate (b. 1937), one of the fi rst composers in with whom she once sang. The most verse by the ancient poet Sappho sung the former USSR to move away from recent offers her Osanna Mass and four in the original Greek ends with music as the avant-garde style of the 1960s and motets, and deserves to be heard by enigmatic as the text. Words from the seek inspiration in Minimalism, traditional all who yearn for contemporary music Book of Isaiah, In the Year that King Uz- chant, and even folk song. Thus, he may that moves beyond the cliché of cluster ziah Died, are given a radically different be compared with composers like chords yet fascinates both performer yet refreshing treatment. The Osanna Henryk Górecki, Arvo Pärt, and Alfred and audience. Unlike the Silvestrov, this Mass demonstrates a remarkable fl u- Schnittke. Like Pärt, Silvestrov is clearly is a disc that invites repeat listening, ency with polyphony while incorporat- drawn to tintinnabulation, as well as the especially in order to appreciate her ing unexpected elements of text and hypnotic use of a drone over which women’s voices can dance and weave. The multiplicity of low C chords in the men’s voices is immediately recognizable to those familiar with Rachmaninov’s Vespers and the like. Yet, this very Russian effect is embellished in quite an original manner through superimposition of traditional melodies, sacred and secular. SUMMER If there is a complaint, it is with the ar- rangement of these woks on the disc CONDUCTING itself; the textures of the main works are too similar to be juxtaposed and INSTITUTE would have been happily leavened if later works on the disc had been inter- spersed between them. Certainly, the JULY 14-19, 2014 listener should not miss the concluding OBERLIN Choral conducting intensive culminating in a performance OF MUSIC of Haydn’s The Creation under the baton of Maestro sets of Spiritual Songs, since they are at John Nelson at Cleveland’s renowned Severance Hall. once more animated and engaging. The CD notes by British critic Paul Griffi ths demonstrate how diffi cult it is to de- scribe music in words. They are puzzling to read: “Melodies in these songs are traces dissolving in the waters of eter- CONSERVATORY nity … There is no resolution because Distinguished Faculty: nothing remains to be resolved, which JASON HARRIS means that everything remains to be Oberlin Conservatory resolved, because the resolution … is JANET GALVÁN Ithaca College not enough.” Yet when one encounters PHOT0: CHARLES OSGOOD Silvestrov’s harmonic textures, Griffi th’s JO-MICHAEL SCHEIBE University of Application deadline: comments lose some of their preten- Southern California June 1, 2014 sion. JOHN NELSON More information at guest faculty oberlin.edu/ Far removed, geographically and (pictured) conductinginstitute stylistically, from Silvestrov is the output CHORAL JOURNAL Volume 54 Number 8 73 effect. The “Sanctus,” for example, opens Composed of only sixteen singers, Touched in Hebrew and ends in Latin, while the the Kammerchor Josquin des Préz Calmus Ensemble “Credo” concludes with an “Amen” that tackles this music expertly. Their tone Carus 83.379 (2012; 55:05) verges on the ecstatic. This new mass is clear and focused, devoid of any setting won the 2012 “Art Music Award extraneous acoustic noise. Their impec- Imagine a rendezvous where Freddie for Vocal/Choral Work of the Year” in cable intonation is particularly evident Mercury, Bill Withers, and Sting con- Australia. in the unaccompanied compositions of gregate with Monteverdi, Schütz, and Here, then, are two remarkably di- Calvisius and Kuhnau. I was impressed by Janequin. Touched eliminates boundaries verse recordings from composers not their expressive performance of Tobias of time and place and offers such a yet familiar to many American choral Michael’s Unser trübsal, die zeitlich und convincing comingling of pop song and directors but whose music merits our leichte ist. The variety of shape and style madrigal that one might marvel at the attention and consideration. They re- within such a short motet, paired with congruity of it all rather than question ward our curiosity and assure us that particular attention to shaping the points the compatibility. “Ain’t No Sunshine choral “pioneers” may be found in both of imitation and polyphonic moments, When She’s Gone” is the natural pre- the Old World and the New, and that made for an arresting performance. decessor of “Lasciatemi morire,” and ours is a constantly evolving art form. When performing with basso con- Janequin’s playful birdcalls usher in not tinuo, the choir’s natural tendency to only spring’s arousal but also Mercury’s Philip Barnes shape each phrase is somewhat limited “Crazy Little Thing Called Love.” St. Louis, Missouri by the presence of the organ. Never- The laser-like tonal precision of theless, their attention to an exquisite the Calmus Ensemble (a quintet of sound shines through, leading to beauti- Leipzig musicians Anja Pöche, soprano; Thomaskantoren vor ful performances. Of particular note was Sebastian Krause, countertenor; Tobias Johann Sebastian Bach their performance of Johann Hermann Pöche, tenor; Ludwig Böhme, baritone; Kammerchor Josquin des Préz Schein’s Gott, sei mir gnädig, a relatively and bass, Joe Roesler) and the thematic Ludwig Böhme, conductor signifi cant, multisectional work. The choir trajectory of love, longing, pain, and Carus 83.342 (2012; 66:58) takes their time to breathe between pleasure supply cohesion and stir our each section, allowing the ears to relish imagination. In case one would not yet In their newest release, Ludwig each sound without being overtaken by be convinced of this alliance of songs, Böhme and the Kammerchor Josquin the next unit. The range of expression the union is secured by the novel and des Préz have assembled a unique col- between each section is remarkable. occasional Interlude—brief musical lection of music from the seventeenth From graceful, lilting, triple meter to a bridges between CD tracks that refash- and eighteenth centuries, all compos- solemn and somber performance, the ion Renaissance refrains with inventive, ers who were employed at St. Thomas work is continually interesting and builds modern turns. Church in Leipzig before Johann Se- towards a thrilling and beautiful climax. Whether the strains are deeply bastian Bach. It highlights some of the Perhaps the most arresting moment romantic, as in Elton John’s “Your Song” leading composers of this period and in the recording is the choir’s perfor- and Purcell’s “If Love’s A Sweet Passion,” presents some of their best works on mance of the “Kyrie” from J. S. Bach’s or whimsical, as in Eric Idle’s Monty one beautiful compilation. The order of Mass in G Major, BWV 236. Placing this Python hit, “Always Look On the Bright the composers begins chronologically work at the center of the track list high- Side of Life” and Schütz’s “Feritevi, ferite,” with Sethus Calvisius and culminates lights the differences between Bach and the singing is exact and crystalline in its with two performances of Johann Sebas- his predecessors at St. Thomas Church, clarity. Although there is no attempt to tian Bach. Following the Bach, we hear a leading to a balanced and compelling mask the studio mixing and mastering of second recording of many composers’ recording. sound on Touched, the Calmus Ensemble works who had held the post before shifts from smoldering passions to rever- Bach, fi nishing with the same composer Bryson Mortensen ent simplicity; the journey through sound who began the disc: Calvisius. The tra- Janesville, Wisconsin and time is quixotic and fantastic. jectory of the recording highlights the evolution of sacred music over 150 Natasia Sexton years in a unique way. Jefferson City, Missouri 74 CHORAL JOURNAL Volume 54 Number 8 TThehe PPurposesurposes ofof ACDAACDA TToo ffosterost er andand promotprom ote ...... cchoralhoral ssingininging wwhichhich wwillill pproviderovide aartistic,rtistic, cultural,cultural, andand sspiritualpiritual eexperiencesxperiences fforor tthehe pparticipants.articipants. tthehe ffinestinest typestypes ofof choralchoral musicmusic toto makemake thesethese experiencesexperiences possible.possible. tthehe oorganrganiizzaationtion aandnd ddevelopmentevelopment ooff cchoralhoral ggroupsroups ooff aallll ttypesypes iinn sschoolschools aandnd ccolleges.olleges. tthehe ddevelopmentevelopment ooff cchoralhoral mmusicusic iinn tthehe cchurchhurch andand ssynagogue.ynagogue. tthehe oorganizationrganization andand ddevelopmentevelopment ooff cchoralhoral ssocietiesocieties iinn ccitiesities aandnd ccommunities.ommunities. tthehe uunderstandingnderstanding ofof choralchoral musicmusic asas anan importantimportant mmediumedium ooff ccontemporaryontemporary aartisticrtistic expression.expression. ssignificantignificant rresearchesearch inin thethe ffieldield ofof choralchoral mmusic.usic. iintnteernationalrnational eexcxchhangeange pprogramsrograms iinvolvingnvolving pperformingerforming ggroups,roups, cconductors,onductors, aandnd ccomposers.omposers. TToo ffosteroster andand encourageencourage ...... cchoralhoral ccompositionomposition ooff ssuperioruperior qquality.uality. rrehearsalehearsal pproceduresrocedures conducivconducive ttoo atttainingtaining tthehe hhighestighest ppossibleossible llevelevel ooff mmusicianshipusicianship aandnd aartisticrtistic pperformance.erformance. TToo ...... ccooperaooperattee wiithth aallll oorganizationsrganizations ddedicatededicated ttoo tthehe ddevelopmentevelopment ooff mmusicalusical ccultureulture iinn AAmerica.merica. ddisseminateisseminate pprofessionalrofessional nnewsews aandnd iinformationnformation aaboutbout cchoralhoral mmusic.usic. — AACDACDA ConstitutionConstitution aandnd BBylawsylaws 2014 ACDA DIVISION CONFERENCE EASTERN DIVISION SPECIAL GUESTS SFMCD09 • 614325731428 2564692183 • 825646921836 50888-MCD • 7103965088823 SOUTHWESTERN DIVISION SOUTHERN DIVISION 2564659416 • 825646594160 CN-74578 • 884502386356 BIS-2037 • 7318599920375 FC-001 • 870362000013 NORTHWESTERN DIVISION COV41310 • 4039956413103 WESTERN DIVISION CMCCD 6800 • 773811963528 CLCD-921 • 040888092124 CD709 • 658592070927 G-49284 • 000664928429 AVAILABLE AT: 76 CHORAL JOURNAL Volume 54 Number 8 Steven Grives, editor Editor’s note: The following is a special instrumentation of cornetti and sackbuts Seventeenth-century music, par- extended review by Richard Sparks, (baroque trombones) it requires. The ticularly Venetian opera, is one of the Professor of Music and Chair of Con- year 2010 was the 400th anniversary focuses of Schultze’s scholarship. The ducting and Ensembles at the University of the publication and was marked by editorial process for this edition of the of North Texas. many performances of the work by Vespers was unusual. Schulze created a professional and university ensembles. class for ten graduate students at UNT Vespro della Beata Vergine Bärenreiter, the well-known German with the specifi c purpose to create the (1610 Vespers) publishing house, has recently published new edition. Each of the graduate stu- Claudio Monteverdi their urtext edition of the work that dents became coeditors of the edition, (1567-1643: 1610) includes the Vespers Psalms, the sacred and each had primary responsibility for Ed. Hendrik Schulze (General Editor), concerti, and both versions of the Mag- one movement. Schulze acted as general with 10 coeditors (2013) nifi cat: septimum vocibus (with obbligato editor, looked over the whole work, Voicing: Variable, from SSATTB to instrumental parts) and performed the primary editing on SSAATTBBB; 2 recorders, 3 cornetti, and sex vocibus (for a number of movements. The class con- 3 trombones, 2 violins, 2 violas, cello, 6 vocal parts and tinued beyond one semester to follow organ organ). The edition through the entire process of making Bärenreiter includes both writ- (Bärenreiter Urtext editions) ten pitch and trans- Full score: BA 8794, €59 posed versions of Piano vocal score: the Lauda Jerusalem BA 8794-90, €19.95 and the Magnifi cat, Instrumental parts: €3.95 each; movements written in chiavette, or so- Bassus Generalis €39.95 called high clefs (more about that later). Full disclosure: General editor Hen- Score: CHORAL JOURNAL Volume 54 Number 8 77 the edition, from the initial production of sacred concerti within the context High Clefs the score to participation in proofread- of the Vespers. Continuo Instrumentation ing prior to publication. Figured Bass All parts of the edition are available The Music of the Vespers – a discus- for purchase: a full score (that includes sion, movement by movement, of Meter and Tempo a thorough preface, translations, and the compositional techniques and Obbligato instruments critical notes) in large format (9½ by 12 text setting Monteverdi employed Tuning, Temperament, and Pitch inches) in a paper cover; two piano/vo- in the work. cal scores (one with the transposed ver- Editorial Principles sion of the two movements listed above • Modern Controversies – discusses and one with the original pitch); and a debates about “the original purpose of Accidentals set of instrumental parts. Parts intended the composition, its liturgical and artistic Barring for colla parte doubling of vocal parts by unity, and contemporary and modern Beaming instruments were not part of the initial performance practice.” publication those should be ready by Clefs summer 2014. All the components are • Monteverdi’s Vespers for Modern Edi- Continuo Figures printed with the high quality one would tion: A Source Evaluation – this section Falsobordone expect from Bärenreiter and are clear looks at the Vespers from the following Fermatas and easy to read. perspectives and gives the philosophy The Preface is useful as an intro- behind the edition: High Clefs duction to the Vespers, performance Key Signatures practice issues, and the choices made The Vespers as a Collection of Sa- Mensural Notation within this edition. It will answer many cred Music questions that a fi rst-time conductor/ Meter performer would have. However, for The Vespers as Sample of Compo- Note Values the most thorough background on all of sitional Process Organ Part these issues, I recommend Jeffrey Kurtz- Text man’s The Monteverdi Vespers of 1610: The Vespers as an Application Music, Context, Performance (Oxford Portfolio Ties University Press, 1999). The Preface to the Bärenreiter edi- The Question of Aesthetic Unity There are many minor differences tion is sixteen pages long in the full between this edition and previous edi- score and is comprised of the following Consequences for a Modern Edi- tions of the work. One major difference sections: tion concerns the high clef transposition in the Lauda Jerusalem. Briefl y, research has • Monteverdi and the Vespers – an • Performance Practice – an overview shown that music written in chiavette introduction that speaks to the possible of issues and therefore a starting point (or high clefs) should be transposed purposes for Monteverdi’s composing to a complicated subject for individuals down, normally a fourth. I remember and publishing the Vespers. who have not performed or studied the intense controversy when Andrew much seventeenth-century music. Top- Parrott fi rst proposed this. (“Transposi- • Music and Text ics and subsections within this heading tion in Monteverdi’s Vespers of 1610: An include: ‘Aberration’ Defended” Early Music, 12, Liturgical Contexts – a short 1984, 490-516.) When I fi rst performed the Vespers, no one knew anything about description of the liturgy of the Space Vespers. chiavette, so both the Lauda Jerusalem Ornamentation and Magnifi cat sections had a different The Text of Monteverdi’s Vespers Dynamics character than one hears at the lower – a discussion of the role of the Voices per part pitch. It also put the cornetti in an un- 78 CHORAL JOURNAL Volume 54 Number 8 comfortable—and unnatural—tessitura cultures to superimpose our modern tice conclusions was that instrumental and range. The other editions of the viewpoint, so it is useful to have other doublings of vocal parts in the Vespers Monteverdi extant (Oxford and King’s viewpoints and scholarship on perfor- was not normal practice. A number of Music) all include the lower transposi- mance practices. contemporary sources about doubling tion as an alternative. Today there is One of Schulze’s performance prac- in Psalm settings affi rm that position, little controversy over the transposition, although a few conductors still perform these movements at a higher pitch (and that option is available in the Bärenreiter edition). In a major difference from other editions, Schulze concludes that in the Lauda Jerusalem movement, the printer made a mistake of key signature when transposing the mode up a fourth for the original print, based on looking at the music from a modal rather than tonal standpoint. Where other editions Now offering a indicate F-sharps in the middle section post-master’s certificate of this Psalm, Schulze suggests F-naturals. in conducting Admittedly, having performed and heard the work numerous times with F-sharps, it was an adjustment for my ear to ac- cept this alteration. Ultimately, I found the change con- vincing and preferable. Our complete performance from October is available on YouTube with chapter headings that allow you to go directly to any move- With a program and faculty reflecting Messiah’s ment. I invite you to listen and judge the reputation for academic excellence, Messiah College’s performance for yourself. M.M. in conducting enhances your abilities as an Looking at this music from a seven- effective music educator and conductor. teenth-century perspective has also led to some other decisions, coming from • Three specialized conducting tracks to advance your the source material itself. For example, education and career: wind, orchestral, choral in the hymn, “Ave Maris Stella,” at the • Emphasis on summer and online coursework, fi nal “Amen” the choir holds a D-major chord, while the descending tenor II designed to fit the schedules of busy teachers and part four bars before the end sings a other professionals descending line with an F-natural. I fi rst • Coursework designed to be instantly applicable took this to be a mistake, but Schulze to your everyday work setting insisted that a seventeenth-century musician would not have been bothered by the clash between the F-sharp and New class sessions begin summer 2014. F-natural (much as we see with “cross messiah.edu/conducting 717.796.5061 relations” in Tudor composers). It has always been problematic when looking Online | Flexible | Affordable see anew back at music from other periods or CHORAL JOURNAL Volume 54 Number 8 79 and Schulze concludes, given the source therefore would not have doubled parts doubling. material for the Vespers itself, that Mon- that did not specifi cally call for it. It is teverdi was very specifi c in where he for that reason that the fi rst publication wanted the instruments to play and did not include parts for instrumental A Few Performance Considerations When I performed this edition, I chose to not double the vocal parts (as I have in the past), with the exception at the end of the “Dixit Dominus” and Great congregational singing “Ave Maris Stella,” where the instru- ments are already playing ritornelli in doesn't just happen. those movements. In the “Dixit,” I had the instruments double for the “Gloria It takes leaders who are centered and skilled. Patri,” and in the “Ave Maris Stella” I had the instruments double the fi nal stanza Come see some of the best in the world of the hymn. I found that, in many ways, having the big instrumental pieces at teach their craft. the very beginning (Dominus ad ad- juvandum, based on the toccata from “Orfeo” and “Dixit Dominus”) and the very end (“Ave Maris Stella,” Sonata sopra Sancta Maria, and Magnifi cat), without hearing the instruments for the long set of Psalms and Sacred Concerti in the middle, that the instruments made a bigger impact at the end. But this is up to each conductor’s taste and choice. It is, of course, possible (as Montever- di mentions in his preface) to perform the entire Vespers without the obbligato instruments (which is the reason for the alternative version of the Magnifi cat). I You are invited to exchange ideas with noted composers, have performed individual movements innovative music leaders, and accomplished educators such as the “Dixit Dominus” in that man- ner, meaning you simply leave out the in an environment of sung faith and ecumenical hospitality. ritornelli and directly connect the stanzas. The realization of the basso continuo is one area where we expect various Join world-class masterclasses led by John Bell, Andrew Donaldson, Suzi Byrd, editions of a work to disagree. In the Jorge Lockward, Jan Kraybill, Greg Scheer, Ben Brody and Raymond Wise. seventeenth century, fi gures were rarely printed, and continuo players were ex- Attend enlightening plenary talks Participate in hymn festivals led by pected to know what to do simply by by Christopher Anderson, Marcia McFee John Bell, Swee Hong Lim, Chi Yi Chen, Eric reading the bass line. It is best to un- and Marilyn Houser Hamm. Wall, Amanda Powell and Jorge Lockward. dertake such music with experienced continuo players who are profi cient with seventeenth-century music; it is well Register now: www.thehymnsociety.org worth allocating part of your budget for that. One convention of the period 80 CHORAL JOURNAL Volume 54 Number 8 was to play cadences in a “minor” mode sichord nor the harp were usually used However, Bärenreiter has created an as major chords. In a few places, I opted in church, I chose an organ and two edition that is clean, a pleasure to read against doing this because there was not theorbos. and use, one that gives a scholarly basis enough time for the cadence to feel at There are many decisions an edition for the decisions made by the editor(s), rest, and it was too jarring to suddenly cannot make for you. For example, if and one that is at a competitive and rea- play the chord as a major one. Our con- you perform this work with a chorus, sonable cost. If you plan to perform the tinuo players, both our organist and prin- you must decide what sections of the Vespers, I recommend the Bärenreiter cipal theorbo player, were experienced Psalms can be done with multiple voices edition without reservations. and made suggestions for changes of and with one voice per part. You must choral realization in various places. You realize the falsobordone (chanted text Performance link: Over the years I have been fortunate to have been invited to conduct various honor choirs in the United States and abroad. Several years ago, in preparation to guest conduct, I made a list of some of the choral concepts I had compiled during the course of my teaching career. I present these concepts in rehearsals so students can applyply them to the festival musicmusi and, more importantly, take them back homeme aandnd aapplypply tthemhem ttoo tthehe mmusicus they sing with their choirs. Many students wwouldould jjotot ddownown tthesehese cconceptsoncep arsed. inAvailable the margins to ACDA of their members scores as we rehea a onOften, CHORAL JOURNAL Volume 54 Number 8 81 82 CHORAL JOURNAL Volume 54 Number 8 foster and promote choral singing which wi ces for the participants. To foster and promot periences possible. ToCONSTITUTION foster and encoura g e highest possible level AND of musicianship BYLAWS and ganization and development of choral group CONSTITUTION AND BYLAWS OF THE AMERICAN CHORAL DIRECTORS ASSOCIATION 2013 REVISED EDITION ARTICLE III CONSTITUTION 5. To foster and promote the devel- opment of choral music in the MEMBERSHIP church and synagogue. ARTICLE 1 Section 1. There shall be nine mem- NAME 6. To foster and promote the or- bership classifi cations: (1) Ac- ganization and development tive, (2) Associate, (3) Industry This organization shall be known as of choral societies in cities and Associate, (4) Institutional, (5) the American Choral Directors communities. Contributing, (6) Paid Life, (7) Association, Incorporated. Honorary Life, (8) Student, and 7. To foster and promote under- (9) Retired. standing of choral music as an important medium of contem- ARTICLE II Section 2. Membership eligibility, porary artistic expression. methods of admission, privileges, PURPOSES tenure, and dues shall be as 8. To foster and promote signifi cant prescribed in the Bylaws of the 1. To foster and promote choral research in the fi eld of choral Association. singing, which will provide artis- music. tic, cultural, and spiritual experi- ences for the participants. 9. To foster and encourage choral composition of superior quality. 2. To foster and promote the fi nest ARTICLE IV 10. To cooperate with all organizations types of choral music to make AUTONOMY AND these experiences possible. dedicated to the development ORGANIZATION of musical culture in America. 3. To foster and encourage rehearsal Section 1. This organization shall be 11. To foster and promote internation- procedures conducive to attain- constituted as a non-profi t, edu- al exchange programs involving ing the highest possible level of cational association. musicianship and artistic perfor- performing groups, conductors, mance. and composers. Section 2. The fundamental authority and responsibility of the Associa- 12. To disseminate professional news 4. To foster and promote the or- tion shall reside in the corporate and information about choral ganization and development active membership and shall be music. of choral groups of all types in exercised by the free expres- schools and colleges. sion and vote of each individual CHORAL JOURNAL Volume 54 Number 8 83 To foster and promote choral singing which ences for the participants.CONSTITUTION To foster and AND pro m member by representative leg- Section 7. The ACDA membership in tional Chair for the Commit- islative powers vested in the each state not organized as an tee on Choral Repertoire and Board of Directors, and by the Affi liate State Association shall Standards. executive powers delegated to be designated only as the state offi cers. membership of the Association Section 2. The President-Elect Desig- and shall be governed according nate shall be elected as provided Section 3. Neither any member of to the provisions of the ACDA in the Bylaws. He/she shall serve the Board of Directors, nor any Constitution and Bylaws. a term of one year beginning appointed offi cer or representa- on July 1 of even-numbered tive of the Association, nor any Section 8. Each Affi liate State Asso- years as an ex offi cio, nonvoting member shall be required to ciation shall exercise autonomy member of the Board of Direc- accept fi nancial responsibility for over state association govern- tors. At the end of his/her term, duly authorized activities of the ment and programs and ac- the President-Elect Designate Association carried out in good tivities as provided in the ACDA automatically assumes the of- faith and in pursuit of the pur- Constitution and Bylaws. Each fi ce of President-Elect. In the poses and activities prescribed Affi liate State Association shall event of a vacancy of the offi ce or authorized by the Constitu- have a Constitution and Bylaws of President-Elect Designate, a tion and Bylaws. to determine the organization special election will be held to and government of that associa- fi ll the vacancy for the remaining Section 4. No offi cial action involving tion and for the direction of state length of the term. ACDA membership may be activities. taken without a regularly consti- Section 3. The President-Elect shall tuted or specially invoked meet- Section 9. All publications of Affi liate serve a term of two years begin- ing of the Executive Committee State Associations shall include ning on July 1 of odd-numbered and/or the Board of Directors. the following under or immedi- years. At the end of his/her ately following the name of the term, the President-Elect shall Section 5. The membership shall be Association: Affi liate Association automatically succeed to the organized, as a convenience in of the American Choral Direc- offi ce of President. In the event planning and executing some tors Association. of a vacancy of the offi ce of of the activities and programs President-Elect, the President- of the Association, according Section 10. Affi liation of associations Elect Designate shall assume the to geographic divisions of the as described above shall require remaining length of the term. A United States. The divisions, as the approval of the Executive special election will be held to defi ned in the Bylaws, shall be Committee and Board of Direc- fi ll the President-Elect Designate named: Central, Eastern, North tors of ACDA. vacancy. Central, Northwestern, South- ern, Southwestern, and Western. Section 4. The Treasurer shall be elected as provided in the Section 6. Any state with three hun- Bylaws. He/she shall serve a term dred or more ACDA members ARTICLE V of four years beginning on July may be organized as an Affi liate NATIONAL OFFICERS 1 of odd-numbered years. The State Association of the ACDA if Treasurer may be reelected for this is the desire of the member- Section 1. The National Offi cers of one additional term of four years ship in the state. Any indepen- the Association shall be as fol- but may not serve more than a dent and previously established lows: President, Vice President, total of two terms. In the event state choral directors association President-Elect, President-Elect of a vacancy in the offi ce of may become an Affi liate State Designate, Treasurer, and Na- Treasurer, a special election shall Association. 84 CHORAL JOURNAL Volume 54 Number 8 will provide artistic, cultural, and spiritual e m ote BYLAWS the fi nest types of choral music to mak e be held to fi ll the vacancy for ecutive Director is an employee dents, and the National Chair the remaining length of the term. of the Association who may be for the Committee on Choral remunerated for services and Repertoire and Standards. The Section 5. The President shall serve a who shall serve at the discretion President-Elect Designate, In- term of two years beginning on of the Executive Committee and dustry Associate Representative, July 1 of odd-numbered years. Board of Directors. and Executive Director shall be At the end of his/her term, the ex offi cio, nonvoting members of President shall automatically suc- Section 2. The National Conference the Board of Directors. ceed to the offi ce of Vice Presi- Assistant Chair and Program dent. In the event of a vacancy in Chair shall be appointed by the Section 2. In the event that a Division the offi ce of President, the Vice President-Elect, with the ap- President cannot attend a Board President shall serve the balance proval of the Board of Directors. of Directors meeting, he/she can of the unexpired term. The retir- give written authorization for the ing Vice President shall chair the Section 3. The Industry Associate Rep- division’s President-Elect to vote Past Presidents Advisory Council resentative shall be appointed as proxy. for a term of two years. by the National President with the approval of the Executive Section 6. The National Chair for the Committee for a two-year term. Committee on Choral Rep- The Representative may be re- ertoire and Standards shall be appointed for one additional ARTICLE IX elected as provided in the By- term. PAST PRESIDENTS laws. He/she shall serve a term ADVISORY COUNCIL of four years beginning on July 1 of odd-numbered years. The Na- Section 1. There shall be a Past Presi- tional Chair may be reelected for dents Advisory Council consist- ARTICLE VII one additional term of four years ing of the Past Presidents of the but may not serve more than a EXECUTIVE COMMITTEE Association. total of two terms. In the event of a vacancy in the offi ce of the Section 1. The Executive Committee Section 2. In the event that the im- National Chair for the Commit- shall consist of the President, the mediate past Vice President is tee on Choral Repertoire and Vice President, the President- unable to serve as Chair, the Standards, a special election will Elect, the Treasurer, and the President, with the approval of be held to fi ll the vacancy for Chair of the Past Presidents the Board of Directors, shall the remaining length of the term. Advisory Council. The President- appoint a person to chair the Elect Designate and the Execu- Council. Section 7. Elections shall be conducted tive Director shall serve as ex as provided in the Bylaws. offi cio, nonvoting members of the Executive Committee and the Board of Directors. ARTICLE X DIVISION OFFICERS ARTICLE VI APPOINTED OFFICIALS ARTICLE VIII Section 1. The offi cers for each divi- BOARD OF DIRECTORS sion shall consist of at least a Section 1. The Executive Director shall President, a President-Elect, and be appointed by the Executive Section 1. The Board of Directors a Vice President. Committee, with the approval of shall consist of the Executive the Board of Directors. The Ex- Committee, the Division Presi- Section 2. The Division President- CHORAL JOURNAL Volume 54 Number 8 85 To foster and promote choral singing which ences for the participants.CONSTITUTION To foster and AND pro m Elect shall be elected by ballot, ARTICLE XI term of two years beginning on as provided in the Bylaws. The July 1 of odd-numbered years. Presidents-Elect of the Cen- DIVISION PAST PRESIDENTS At the end of his/her term, ADVISORY COUNCIL tral, Southern, and Western the President-Elect shall auto- Divisions shall serve terms of matically succeed to the offi ce Section 1. There shall be a Division two years beginning on July 1 of President. Past Presidents Advisory Council of odd-numbered years. The in each division consisting of the Presidents-Elect of the Eastern, Section 4. The President shall serve a Past Presidents of the division. North Central, Northwestern, term of two years beginning on and Southwestern Divisions shall July 1 of odd-numbered years. Section 2. In the event that the im- serve terms of two years begin- At the end of his/her term, the mediate past Vice President is ning on July 1 of even-numbered President shall automatically suc- unable to serve as Chair, the years. At the end of his/her term, ceed to the offi ce of Vice Presi- Division President shall appoint the President-Elect shall auto- dent. In the event of a vacancy a person to chair the Council. matically succeed to the offi ce in the offi ce of President, the of President. Vice President or President-Elect shall serve the balance of the Section 3. The President shall serve a unexpired term at the discretion term of two years. At the end ARTICLE XII of the national President-Elect of his/her term, the President with the advice of the Division STATE OFFICERS shall automatically succeed to President. the offi ce of Vice President. In Section 1. The offi cers for each state the event of a vacancy in the Section 5. State Presidents may serve association shall consist of at office of President, the Vice no more than two consecutive least a President, a President- President shall serve the balance terms but may be reelected or Elect, and a Vice President. of the unexpired term. Division reappointed after a lapse of one or more terms. Presidents shall serve as voting Section 2. The President-Elect of state members of the national Board associations with more than Section 6. Upon recommendation of of Directors during their term twenty (20) active members the national President-Elect and of offi ce. The retiring Vice Presi- shall be elected by ballot during with the advice of the Division dent shall chair the Division Past a state business meeting or by President, the Board of Direc- Presidents Advisory Council for mail, as provided in the Bylaws. tors shall have the authority a term of two years. He/she shall serve a term of two to remove a state President or years beginning on July 1 of odd- Section 4. Should circumstances war- President-Elect from offi ce and numbered years. At the end of rant, a Division President may be to fi ll the vacancy thus created his/her term, the President-Elect removed from offi ce upon rec- by appointment until the next shall automatically succeed to ommendation of the National regular election. the offi ce of President. President with the approval of the Board of Directors. Any Section 3. The President-Elect of state vacancy thus occurring shall be associations with fewer than fi lled by recommendation of the twenty (20) active members ARTICLE XIII Executive Committee with ap- shall be appointed by the na- MEETINGS proval of the Board of Directors. tional President-Elect with the advice of the State and Division Section 1. Business meetings of the Presidents. He/she shall serve a Association may be held as needed at a time and place to 86 CHORAL JOURNAL Volume 54 Number 8 will provide artistic, cultural, and spiritual e m ote BYLAWS the fi nest types of choral music to mak e be determined by the Board of at the Division Conferences. Section 2. This Constitution may be Directors. The meeting shall be called and amended or revised by an ap- chaired by the Division Presi- proving vote of two-thirds of the Section 2. An annual meeting of the dent. active members who cast ballots Executive Committee and Board in accordance with stipulations of Directors shall be called by of the Bylaws, provided, however, the President to conduct the that in any case, sixty (60) days’ business of the Association. notice of such contemplated ARTICLE XIV amendment or revision shall be Section 3. Other meetings of the QUORUM given to active members. Executive Committee may be called by the President. Section 1. The quorum of the Execu- tive Committee shall be three of Section 4. Special meetings of the the fi ve voting members of that BYLAWS Board of Directors may be Committee. called by the President or upon ARTICLE I the signed petition of three Divi- Section 2. The quorum of the Board of sion Presidents and four other Directors shall be seven mem- MEMBERSHIP members of the Board. bers of the Board, including two voting members of the Execu- Section 1. ACTIVE. Any person who Section 5. The call for special meet- tive Committee, three Division is engaged as a part-time or ings must state the business to Presidents, and any two of the full-time choral director, or who be transacted, and no business remaining voting members of is responsible for the adminis- shall be transacted except that the Board. tration of a choral program, is specifi ed in the call. eligible for active membership. Section 3. The quorum of the Associa- An active member is entitled to Section 6. Business meetings of a divi- tion for the transaction of busi- all privileges of the Association, sion may be held as needed at a ness shall consist of a quorum of including the right to vote, to time and place to be determined the Board of Directors, as stated hold offi ce, and, upon compli- by the Division and State Presi- above, plus the active member- ance with registration require- dents within that division. ship voting. ments, admission to all meetings and conventions. In addition, Section 7. The Past Presidents Ad- active members shall receive ap- visory Council may meet in propriate publications from the conjunction with the Executive ARTICLE XV Association. Upon receipt of a Committee and/or the Board completed ACDA Application of Directors, or separately, as AMENDMENTS Form and payment of the annual authorized by the President. membership dues, the candidate Section 1. Amendments and/or revi- for active membership shall be Section 8. An assembly of Division and sions to this Constitution may be accepted for a term of one year State Presidents shall meet bien- initiated by the Executive Com- from the date of acceptance. nially at the National Leadership mittee, the Board of Directors, Membership shall be continued Conference. The meeting shall the Past Presidents Advisory each succeeding year on receipt be called and chaired by the Council, or by a petition signed of membership dues prior to National President. by 10 percent of the national or during the month designated membership from no fewer than for membership renewal. Failure Section 9. An assembly of State Presi- three of the divisions of the As- to remit annual payment during dents in each division shall meet sociation. CHORAL JOURNAL Volume 54 Number 8 87 To foster and promote choral singing which ences for the participants.CONSTITUTION To foster and AND pro m the membership renewal period to the Membership Coordinator shall have the same privileges shall result in discontinuation of of the Association. Procedures as active members. Paid-up life membership. Active member- for continuing membership are members shall not be assessed ship shall be renewed on receipt the same as those stated for ac- additional dues. of the current annual dues. tive members. Section 7. HONORARY LIFE. Persons Section 2. ASSOCIATE. Any person Section 4. INSTITUTIONAL. The who have made unique meri- who is interested in the ob- following institutions, or music torious contributions to choral jectives of the Association is departments thereof, may be in- music and to the profession of eligible for associate member- stitutional members: schools, col- choral directing shall be eligible ship. Privileges accorded the leges, universities, conservatories, for honorary life membership, associate member shall be the churches, synagogues, lodges, designated and bestowed by the same as those for the active other professional associations, Board of Directors. Privileges member, except for voting and professional choruses, and choral of honorary life membership the right to hold offi ce in the groups from industry, business, shall be the same as those of Association. Transfer of an as- or community. Privileges ac- active membership, but an sociate member to active may corded to representatives of honorary life member may not be made upon compliance with each institutional member shall vote or hold offi ce unless he/ requirements and procedures be the same as those for the she chooses to maintain active for active membership. The can- associate member. Application membership. Otherwise, there didate for associate membership procedures shall be the same shall be no dues for honorary shall be accepted on receipt of as those prescribed for industry life membership. a completed ACDA Applica- associate members. Procedures tion Form and payment of the for continuing membership are Section 8. STUDENT. Any high school annual membership dues for a the same as those stated for ac- or college student may become term of one year from the date tive members. a student member of ACDA of acceptance. Procedures for with the submission of an ACDA continuing membership are the Section 5. CONTRIBUTING. Any in- Application Form marked “stu- same as those stated for active dividual, fi rm, foundation, institu- dent” and the payment of dues. membership. tion, or other organization that Student members may attend has contributed one thousand ACDA conferences by payment Section 3. INDUSTRY ASSOCIATE. dollars or more for a given year of the prescribed conference Any business fi rm associated to the Association shall be clas- fee. Student memberships may with music and related to the sifi ed as a contributing member. be submitted by individual stu- choral fi eld may become an Privileges of associate member- dents or by the ACDA sponsor- industry associate member. Privi- ship shall be accorded the indi- teacher for a student group. The leges accorded the representa- vidual contributing member or a student shall be a nonvoting tives of each industry associate representative of the contribut- member, ineligible for office fi rm shall be the same as those ing fi rm, foundation, institution, except in a student capacity or for the associate member. Ap- or other organization. in a local student chapter. Stu- plication for membership shall dents actively engaged as choral include an application form Section 6. PAID LIFE. Life membership directors are eligible for active provided by the Association and shall be open to persons who membership in ACDA. fi lled out by a representative of are eligible for active member- the fi rm, or a letter of application ship and who have been active Section 9. RETIRED. ACDA members from such representative, and a members of ACDA for a mini- attaining retirement status may dues payment for one year sent mum of ten years. Life members maintain membership in ACDA 88 CHORAL JOURNAL Volume 54 Number 8 will provide artistic, cultural, and spiritual e m ote BYLAWS the fi nest types of choral music to mak e by payment of reduced annual amount to be charged, and for of the Association by a Certifi ed dues. Privileges accorded retired the fi scal procedures to be used Public Account or by a Public members will be the same as in billing and collecting. Accountant with accompanying those for active members. affi davit by a Notary Public. Section 10. Membership classifi cation, Section 3. The complete financial records of the Association shall requirements, and procedures ARTICLE III of Affiliate Associations shall be examined and approved by not differ from those of ACDA, ADMINISTRATIVE AND the Board of Directors at the which are specifi ed under Sec- FISCAL YEAR annual meeting. A budget for the tion 1 through Section 9 of following year shall be presented this Article, except that the Section 1. The administrative and fi scal to the Board of Directors by the Executive Committee may year shall be from July 1 through Treasurer at the annual meeting. make adjustments as desirable June 30, or such other period and necessary for previously as may be determined by the Section 4. Any fi scal policies and pro- established choral directors as- Board of Directors. cedures needed in the admin- sociations. istration and operation of the Association and not specifi ed in these Bylaws shall be formulated ARTICLE IV by the Executive Committee MEMBERSHIP YEAR and approved by the Board of ARTICLE II Directors. DUES Section 1. Membership dues shall be for one year from the date of Section 1. The Executive Committee acceptance of said dues. shall set the amount of dues ARTICLE VI to be paid for all categories of membership and the amount DUTIES OF NATIONAL OFFICERS ARTICLE V of all other fees. Changes in AND APPOINTED OFFICIALS the amount of membership FISCAL POLICIES dues must be approved by a AND PROCEDURES Section 1. The President shall preside two-thirds majority vote of the at all national business meetings National Board of Directors. Section 1. A verifi ed fi nancial state- and conferences of the Associa- ment shall be prepared by the tion, call and preside at meetings Section 2. ACDA membership dues Treasurer and/or other offi cers of the Executive Committee in each Affi liate Association shall of the Association who have and Board of Directors, make be the same as those specifi ed been empowered by the Consti- appointments as provided in for the National Association and tution and Bylaws and the Board this Constitution and Bylaws, shall be payable to the American of Directors to handle Associa- serve as ex offi cio member of Choral Directors Association. tion funds. Such statements shall all committees, be responsible Each Affi liate Association may be published within the fi scal for implementing the overall charge dues for its purposes year following the audit approval program of the Association, and in addition to those of ACDA by the Board of Directors. perform other duties pertaining with the following qualifi cations: to the offi ce. The President shall approval of the ACDA Board Section 2. The certifi cation of the fi - also serve as Chair of the assem- of Directors must be obtained nancial statement shall consist of bly of Division and State Presi- for the adoption of dues, for the an audit of the fi nancial records dents at the biennial Leadership CHORAL JOURNAL Volume 54 Number 8 89 To foster and promote choral singing which ences for the participants.CONSTITUTION To foster and AND pro m Workshop and shall report all the provisions set down in the R&S Chairs on behalf of the As- recommendations to the Board Constitution and Bylaws. He/she sociation. of Directors for consideration shall appoint State Presidents and action. when necessary. Section 7. National Chairs of Cho- ral Repertoire and Standards Section 2. The Vice President shall Section 4. The President-Elect Desig- Committees, as enumerated serve as an advisor to the Presi- nate shall assist the President- in Section 6, are appointed for dent, Executive Committee, and Elect as requested and shall use a two-year term. A National the Board of Directors. He/she his/her one-year term of offi ce Committee Chair may be reap- shall assume all duties of the to prepare for his/her role as pointed twice, for a maximum of President in the case of resigna- Conference Chair for the bien- six years. The National President tion, disability, or death until the nial National Conference that or National Chair for the Com- President-Elect assumes the of- will take place during his/her mittee on Choral R&S may rec- fi ce of President at the beginning term of offi ce as President-Elect. ommend removal of a National of the next regular biennium. The Committee Chair from offi ce Vice President shall coordinate Section 5. The Treasurer shall be re- to the Executive Committee for all international activities of the sponsible for all fi nancial affairs action. Association and shall undertake of the Association as governed other duties as may be assigned by policies set forth by the Board Section 8. The Executive Director shall by the President. of Directors. With the assistance work with the Executive Com- of the Executive Director, the mittee in keeping a complete Section 3. The President-Elect shall Treasurer shall prepare fi nancial and accurate record of all busi- assist the President as requested. reports and budgets for submis- ness meetings of the Association He/she shall serve as the Na- sion to the Board. and all meetings of the Executive tional Conference Chair for the Committee and the Board of Di- biennial National Conference Section 6. The National Chair for the rectors. The Executive Director that will take place during his/ committee on Choral Rep- shall assist Division Presidents in her term of offi ce. He/she shall ertoire and Standards (R&S) implementing division meetings appoint the National Confer- shall, in collaboration with the and conferences. He/she shall ence Assistant Chair and Pro- Executive Committee, appoint conduct the business of the As- gram Chair with the approval the fourteen National Chairs sociation in accordance with the of the Board of Directors. He/ for each of the following choral Constitution and Bylaws under she shall also serve as the chief areas: (1) Boychoirs, (2) Children the direction of the Executive liaison offi cer to the Division and and Youth Community Choirs, Committee. This offi cer shall also State Presidents and Industry (3) College and University make available the proper re- Representative. In the capacity, Choirs, (4) Community Choirs, cords at all offi cial meetings and it shall be his/her responsibility (5) Ethnic and Multicultural shall submit an annual report to to communicate and implement Perspectives, (6) Junior High/ the Executive Committee. any policies or decisions of the Middle School Choirs, (7) Male Executive Committee or the Choirs, (8) Music in Worship, Section 9. The Publications Editor Board of Directors that directly (9) Senior High School Choirs shall serve as Chair of the affect the administrative proce- (10) Show Choirs, (11) Two-Year Editorial Board. This person dures of division, state, and af- College Choirs, (12) Vocal Jazz, shall be responsible for the non- fi liate associations. It shall be his/ (13) Women’s Choirs, and (14) revenue-related content of all her responsibility to see that all Youth and Student Activities. The publications, in consultation with division and state elections are National Chair coordinates the the Editorial Board, and for the carried out in accordance with work of these National Choral timely publication of such. The Editor shall present an annual 90 CHORAL JOURNAL Volume 54 Number 8 will provide artistic, cultural, and spiritual e m ote BYLAWS the fi nest types of choral music to mak e report to the Board of Directors. and Bylaws. at the division level. This person shall also serve as representative Section 10. The National Conference for his/her division to the Board Program Chair is responsible ARTICLE IX of Directors and as Chair for the for the program of the National assembly of State Presidents at Conference and shall, with the DUTIES OF THE division meetings. He/she shall approval of the National Confer- PAST PRESIDENTS endeavor to work cooperatively ence Chair (the President-Elect), ADVISORY COUNCIL with other previously established appoint all committees and clini- choral and music education or- Section 1. The Past Presidents Advi- cians necessary to implement ganizations within the division. the National Conference. sory Council shall serve primar- ily in an advisory capacity to the Section 2. The Division President shall Executive Committee and the be responsible for the integrity Board of Directors. Unless oth- and soundness of divisional fi scal erwise directed by the Board of ARTICLE VII operations. He/she will appoint a Directors, the following services Division Treasurer, whose term DUTIES OF THE shall be performed by individu- of offi ce will coincide with that EXECUTIVE COMMITTEE als or committees from this of the Division President. A Divi- Council appointed by the Chair: sion Treasurer may be appointed Section 1. The Executive Committee, (1) a continuing review and or reappointed, upon review as the administrative branch of improvement of the Constitu- each time by the incoming Divi- the Association, shall have the tion and Bylaws, (2) preparation sion President and the National power to transact the general and preservation of historical Executive Committee. business of the Association, shall and permanent records of the be responsible for the manage- Association, (3) necrology and Section 3. The Division President- ment and control of its funds, memorials, (4) nominating can- Elect shall serve as cochair of and shall be empowered to didates for honors and awards. the Division Conference, may appoint assistants to any of the appoint appropriate commit- offi cers of the Association. It shall tees as needed for planning and serve in the government of the ARTICLE X executing division activities, and Association as detailed in the shall perform other duties as as- DUTIES OF DIVISION OFFICERS Constitution and Bylaws. It shall signed by the Division President. annually review the performance Section 1. The Division President of Association employees and Section 4. The Division Vice President shall serve as the chief execu- determine all salaries. shall serve as an advisor to tive of the division and shall be other divisional offi cers. He/she responsible for the implementa- shall assume all duties of the tion of ACDA activities in the ARTICLE VIII President in the case of resigna- division. He/she shall serve as tion, disability, or death until the DUTIES OF THE Division Conference Chair and President-Elect assumes the of- BOARD OF DIRECTORS presiding offi cer for the Division fi ce of President at the beginning Conference, as determined by of the next regular biennium. Section 1. The Board of Directors the division election cycle. He/ shall serve as the legislative and she shall be responsible to the Section 5. The Division Treasurer shall policy-making body of the As- National President-Elect for mat- manage funds for divisional sociation and shall serve in the ters pertaining to the Division operations, including disburse- government of the Association Conference and other programs ments to State Presidents and as specifi ed in the Constitution sponsored by the Association CHORAL JOURNAL Volume 54 Number 8 91 To foster and promote choral singing which ences for the participants.CONSTITUTION To foster and AND pro m ARTICLE XII R&S Chairs within the division, MULTIPLE OFFICES Section 4. The Choral Repertoire and in accordance with established Standards Committee shall seek fi scal policies. Accounting of such Section 1. No state, divisional, or na- to improve the quality of choral disbursements shall be submit- tional offi cer or chair or member performance and literature in ted annually to the National of a national standing committee the United States. Treasurer. shall hold more than one of these positions at the same time. Section 5. The Conference Committee is responsible for planning and executing the National Confer- ence. ARTICLE XI ARTICLE XIII DUTIES OF STATE PRESIDENTS COMMITTEES Section 6. The Educational Technology Committee shall explore uses Section 1. The State President shall Section 1. There shall be four stand- of technological resources to serve as the chief executive of- ing committees and an Editorial enhance the work of ACDA and fi cer for the state and shall be Board for the Association publi- the continuing development of responsible for the implementa- cations under the supervision of the choral art. tion of ACDA activities in the the offi cers listed below: state. Section 7. For committees listed as 2 1. Editorial Board – and 5 in Section 1, each com- Section 2. Each State President shall National President mittee shall be comprised of not participate in meetings of the more than six voting members, assembly of State Presidents at 2. Research and Publications – including the chair. The national the divisional and national levels. National Vice President offi cer having supervisory re- sponsibility for each respective Section 3. The State President-Elect 3. Choral Repertoire and committee will serve as an ex of- shall assist the President in the Standards – National Chair fi cio member of that committee. administration of the state as- for the Committee on The National Executive Director sociation and assume other Choral Repertoire and will also serve as ex offi cio mem- duties as assigned by the State Standards ber of each committee. ACDA President. offi ce staff members shall serve 4. Conference – as ex offi cio, nonvoting commit- Section 4. The State Vice President National President-Elect tee members as approved by shall serve as advisor to other the Executive Committee. state offi cers. He/she, or the 5. Educational Technology – President-Elect at the discretion Chair of the Past Presidents Section 8. Chairs for committees listed of the National President-Elect Council as 2 and 5 in Section 1 shall with the advice of the Division be appointed by the Executive President, shall assume all du- Section 2. The Editorial Board shall Committee, with approval by the ties of the President in case of plan and implement publication Board of Directors. The chair for resignation, disability, or death of ACDA publications. each of these committees will until the President-Elect assumes appoint the members of his/her the offi ce of President at the Section 3. The Research and Publica- committee, with approval by the beginning of the next regular tions Committee shall supervise Executive Committee. Chairs biennium. other appropriate publications, and committee members are as approved by the Executive appointed for a two-year term. Committee. A Chair or committee member 92 CHORAL JOURNAL Volume 54 Number 8 will provide artistic, cultural, and spiritual e m ote BYLAWS the fi nest types of choral music to mak e may be reappointed twice, for a approved by the Board of Direc- of National Chair for the Com- maximum of six years. tors at their annual meeting be- mittee on Choral Repertoire fore January 1 of odd-numbered and Standards to the Board of Section 9. The President, with the years. The President-Elect shall Directors at the annual meeting approval of the Executive Com- serve as chair of this committee in even-numbered years. mittee, may appoint other and shall present a slate of nomi- committees for which there are nees for the offi ce of President- Section 6. Election of the National special needs. Elect Designate to the Board of Chair for the Committee on Directors at the National Board Choral Repertoire and Stan- of Directors Meeting in odd- dards shall be completed before numbered years. February 1 of odd-numbered ARTICLE XIV years, with the National Chair Section 2. Election of the National assuming offi ce on July 1 of the DIVISIONS President-Elect Designate shall same year. be completed before February Section 1. The Divisions of the As- 1 of even-numbered years. The Section 7. Nominees for Division Pres- sociation shall be as follows: President-Elect Designate shall idents-Elect shall be proposed CENTRAL – Illinois, Indiana, assume offi ce on July 1 of the by a committee that includes Michigan, Ohio; EASTERN – same year. no fewer than three of that divi- Connecticut, Delaware, District sion’s Past Presidents. of Columbia, Maine, Maryland, Section 3. A Nominating Commit- Massachusetts, New Hampshire, tee of fi ve members shall be Section 8. Election of Division Presi- New Jersey, New York, Penn- appointed by the President dents-Elect shall be completed sylvania, Rhode Island, Vermont; and approved by the Board of before February 1 of the year NORTH CENTRAL – Iowa, Directors before January 1 of in which they assume offi ce on Minnesota, Nebraska, North even-numbered years. The Chair July 1. Dakota, South Dakota, Wiscon- of the Past Presidents Council sin; NORTHWESTERN – Alaska, shall present a slate of offi cers Section 9. For each of the above Idaho, Montana, Oregon, Wash- for the offi ce of Treasurer to the national and divisional offi cers, ington, Wyoming; SOUTHERN Board of Directors at their an- a slate of nominees shall be – Alabama, Florida, Georgia, nual meeting in even-numbered presented to the membership Kentucky, Louisiana, Mississippi, years. through Association publications North Carolina, South Carolina, at least sixty (60) days prior to Tennessee, Virginia, West Virginia; Section 4. Election of the National the election. SOUTHWESTERN – Arkansas, Treasurer shall be completed Colorado, Kansas, Missouri, before February 1 of odd- Section 10. Division Presidents, in New Mexico, Oklahoma, Texas; numbered years. The National cooperation with the National WESTERN – Arizona, California, Treasurer shall assume offi ce on President-Elect, shall be respon- Hawaii, Nevada, Utah. July 1 of the same year. sible for the elections in their division and all states and Af- Section 5. A Nominating Commit- fi liate State Associations within tee of fi ve members shall be their division. Election of the ARTICLE XV appointed by the President President-Elect in states with ELECTION PROCEDURES and approved by the Board of twenty (20) or more members Directors at the annual meet- shall be completed as stated in Section 1. A Nominating Committee ing in odd-numbered years. The the Constitution before January of fi ve members shall be ap- Vice President shall present a 1 of odd-numbered years with pointed by the President and slate of candidates for the offi ce CHORAL JOURNAL Volume 54 Number 8 93 To foster and promote choral singing which w ences for the participants.CONSTITUTION To foster and AND pro m that offi cer assuming his/her post 2. The nominees for special purpose of furtherance of choral on July 1 of the odd-numbered elections shall be presented music in the United States and year. Should no election take to the membership through shall be dispensed by the Execu- place in a state, or no effort Association publications. tive Committee. be made to elect a President- Elect by January 1, the Division 3. Special elections shall be com- President shall be responsible pleted thirty (30) days after for appointing a nominating the ballots are made available ARTICLE XIX committee and conducting the to the membership. RULES OF ORDER election from his/her offi ce. Such action shall not include Affi liate Section 1. Robert’s Rules of Order State Associations. Revised shall be the authority ARTICLE XVI for all questions of procedure in Section 11. Nominees for State Pres- RELATIONSHIPS WITH business meetings not covered idents-Elect shall be proposed OTHER ORGANIZATIONS by these Bylaws. by a committee that includes no fewer than two of that State’s Section 1. Cooperative relationships, Past Presidents. including conferences and other activities, may be exercised by ARTICLE XX Section 12. Ballots of ACDA state, the Association with other na- AMENDMENTS divisional, and national elections tional and international educa- shall include two nominees for tional institutions and/or musical Section 1. Amendments and/or revi- each offi ce. organizations as authorized by sions to these Bylaws may be the Board of Directors. initiated by the Executive Com- Section 13. Election procedures for mittee, the Board of Directors, Affi liate State Associations shall the Past Presidents Advisory be determined by their Consti- Council, or by a petition signed ARTICLE XVII tutions and Bylaws. by 10 percent of the national OFFICIAL ORGAN membership from no fewer than Section 14. Special elections as pre- three of the divisions of the As- scribed in the Constitution shall Section 1. The offi cial publication of sociation. be conducted in the following the Association shall be the manner: Choral Journal. Section 2. These Bylaws may be amended by an approving 1. A Nominating Committee vote of two-thirds of the active of five members shall be ARTICLE XVIII members who cast ballots in appointed by the President accordance with stipulations of and approved by the Board DISPOSITION OF ASSETS the Bylaws, provided, however, of Directors. For the offi ce in IN CASE OF DISBANDMENT that in any case sixty (60) days question, the appropriate of- notice of such contemplated fi cer as designated in Sections Section 1. In the event of disband- amendment or revision shall be 1, 3, or 5 shall serve as chair ment, properties and funds of given to active members. of this committee and shall the American Choral Directors present a slate of nominees Association remaining after all to the Board of Directors at fi nancial obligations have been the earliest possible date. met shall be utilized only for the 94 CHORAL JOURNAL Volume 54 Number 8 American Choral Music without YOU! BE the American Choral Directors Association Take advantage of these benefi ts: CHORAL JOURNAL Volume 54 Number 8 95 ChoralChoral Reviews Reviews ACCDADA Advocacy Resolution Choral Reviewers WHEREAS the human spirit is elevated to a broader understanding of itself Members wishing to through study and performance in the aesthetic arts, and review choral music should contact: WHEREAS serious cutbacks in funding and support have steadily eroded state Steven Grives institutions and their programs throughout our country, 773-325-1039 BE IT RESOLVED that all citizens of the United States actively voice their [email protected] affirmative and collective support for necessary funding at the local, state, and national levels of education and government, to ensure the survival of Book Reviewers arts programs for this and future generations. Members wishing to review books about choral music should contact: Article Submission Information Stephen Town Articles submitted for publication in the Choral Journal should meet established specifications. Although the length of articles varies considerably, submissions 660/562-1795, generally consist of ten to twenty typed, double-spaced pages. Referenced [email protected] material should be indicated by superscript and end- notes. Any artwork and a one- to two-sentence professional identification of the author should also be included. Complete writer’s guidelines can be found on the ACDA Web site at Compact Disc Reviewers Book and music publishers and compact disc distributors send books, David Puderbaugh octavos, and discs for review to: 319-335-1627 Choral Journal [email protected] 545 Couch Drive, Okla. City, Oklahoma 73101 Telephone: 405/232-8161 Advertisers’ Index ACFEA Tour Consultants IFC Knight-Shtick Press 70 Barbershop Harmony Society 16 Lehigh University 66 Boston Consevatory 29 Luther College 15 Choirs of America 6 8 Messiah College 79 Chorus America 6 4 Musicfolder.com 52 Cultural Tour Consultants 14 N a x o s 7 6 Distinguished Concerts Int'l - NY 25 Norfolk Chamber Music Festival 44 E a s t m a n S c h o o l o f M u s i c 7 2 Oberlin Conservatory of Music 73 Ellison Travel & Tours 21 Sing For Joy 39 Euro Arts Tour Inc. 10 Trinity Lutheran Seminary 45 George Fox University 62 University of Michigan 37 Groupanizer 59 Valiant Music Supply, Inc. 61 The Hymn Society 80 Witte Performance Tours 60 Interlochen Center for the Arts 30 Worldstrides Heritage Performance IBC Int’l Boys & Men Choral Festival 54 Worldstrides Intern'l Discovery 8 K I C o n c e r t s B C Your Music is Our Passion! For nearly 35 years, WorldStrides Heritage Performance has been your partner in music education. With over 100 adjudicated festivals in more than 30 cities, we deliver incredible memories to thousands of choral students every year. www.heritageperformance.org 1-877-452-7423 © WorldStrides PO 128955507 12/13 American Choral Directors Association 545 Couch Drive Oklahoma City, Oklahoma 73102