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Dr. Robert M. Istad Dr. Christopher Peterson Director of Choral Studies www.arts.fullerton.edu Choral Music Educator

2 • Cantate • Vol. 24, No. 2 • Winter 2012 California ACDA Contents Articles 5 The President’s Pen: High School Repertoire (Food for Thought) by Jonathan Talberg, President 8 Just Something to Think About... by Lori Marie Rios, President-Elect 12 Musings on the Changing Boy’s Voice by Steven Kronauer, Male Choirs R&S Chair 14 Lessons from Kenya by Christopher Borges, Central Region Representative 16 Rallying Church Choir Commitment (Is There an App for That)? by Julie Ford, Music in Worship R&S Chair 21 “Bay Area and Beyond” Features Local Composers by Peggy Spool, Children’s and Community Youth R&S Chair 22 A Top Ten for Your Men by Jeffrey Benson, Director of Choral Activities, San José State University

WHEREAS, the human spirit is elevated to a broader understanding of itself through study and Of Note... performance in the aesthetic arts, and 4 Calendar, Advertisers Index WHEREAS, serious cutbacks in funding and support 9 2011 Regional Honor Choir Reports have steadily eroded state institutions and their programs throughout our country, 10 For Your Information... 2012 All-State Honor Choirs Information BE IT RESOLVED that all citizens of the United States ac- 11 2012 All-State Honor Choir Conductor Bios tively voice their affirmative and collective support for necessary funding at the local, 18 Building a New History of Collaboration state, and national levels of education and by Anna Hamre, Community Choirs R&S Chair government, to ensure the survival of arts 20 Daniel Hughes Honored by The American Prize programs for this and future generations. 23 California ACDA Directory CALIFORNIA ACDA MEMBERS ARE ENCOURAGED TO PRINT THIS ACDA ADVOCACY RESOLUTION IN ALL PROGRAMS.

Leading the Way Cantate • Vol. 24, No. 2 • Winter 2012 • 3 Official Publication of the California Chapter American Choral Directors Association Calendar CANTATE Volume 24, Number 2 2012 ACDA Western Division Conference...... Feb. 29-Mar. 3 David Scholz, editor Reno, NV [email protected] CSU, Chico Music Dept. All-State Honor Choirs...... Mar. 22-24 400 W. 1st St. Pasadena, CA Chico, CA 95929-0805 530-898-6127 California ACDA Summer Conference...... Jul. 29-Aug. 1 SUBMISSION DEADLINES Oakhurst, CA (ECCO) Dr. Joe Miller and Dr. Doreen Rao, headliners Fall Issue — August 1 (mailed September 1) Winter Issue — December 1 (mailed January 1) Regional Conferences...... Sept. 8 Spring Issue — April 1 (mailed May 1)

GUIDELINES FOR SUBMISSIONS The editor welcomes the submission of articles, announce- ments, reports, music and book reviews, job vacancies, and any other item of interest to the California ACDA mem- bership. Articles should reach the editor no later than the “Music expresses that which established deadline and should include the following infor- mation: cannot be put into words 1. Title 2. Author’s name and phone/email address yet which cannot remain silent 3. Name of school, church, or organization 4. Author biography (50 words) 5. A good full-face photo - Victor Hugo The manuscript should be limited to a maximum of two typewritten pages. Electronic text is preferred and may be emailed to the editor at the above address. The editor reserves the right to edit all submissions. GUIDELINES FOR ADVERTISING Advertisers Index Charges listed are for camera-ready copy only, submitted electronically by TIFF, PDF, JPEG, or GIF. Cantate is pro- CSU, Fullerton...... 2 duced in black ink. Western Division Convention...... 6 Advertising copy is subject to editorial approval. The Edi- tor reserves the right to head and/or box any advertisement USC, Thornton...... 7 bearing confusing resemblance to editorial content. Concordia Choir...... 9 ADVERTISING RATES CSU, Fresno...... 13 Size...... Single Annual Tuning at Tahoe...... 15 1/6 page (2.5”x5”)...... $55 $110 CSU, ...... 17 1/4 page (3.75”x5”)...... $75 $150 Chapmann University...... 19 1/3 page (2.5”x10” or 3.33”x7.5”)...... $95 $190 South Bay Children’s Choirs...... 21

1/2 page (3.75”x10” or 5”x7.5”)...... $140 $280 CSU, Long Beach...... back cover 2/3 page (5”x10” or 6.67”x7.5”)...... $190 $380 Full page (7.5”x10”)...... $275 $550 Cover photo: The Golden Gate Bridge at sunset

4 • Cantate • Vol. 24, No. 2 • Winter 2012 California ACDA The President’s Pen: High School Repertoire (Food for Thought)

here are some standard repertoire So, with deep humility, I offer you five choral pieces that should not be sung by a high pieces I’ve come to believe cannot be per- Tschool choir no matter how good the formed artistically by a high school choir. I’ve ensemble, how skilled the conductor, or how heard each of these works at least three times enticing the occasion. With 1500 or so years of in a festival settings over the last decade. The choral music available to us, we must continu- conductors were well-meaning and had a good ally be willing to look beyond pieces we love reason for programming each. But, one way or hearing on recordings, enjoyed singing in col- another, they fell short of an artistic perfor- Jonathan Talberg lege, or have “always wanted to perform” and mance. Following each are some alternatives focus on outstanding, high-quality repertoire that might achieve the same sort of program- Dr. Talberg is director that is suitable, educational, and attainable matic consideration with a better, more musi- of choral, vocal, and for high school choirs. We should challenge cal outcome—without strain on the adolescent opera studies at CSU our singers, but those challenges must never voice. Long Beach’s Bob Cole endanger their vocal mechanisms. We owe it to Conservatory of Music, our kids and to our audiences to look for and music director at First Congregational Church to program the best repertoire available—as 1. Joshua Fit the Battle of Jericho long as that music is physically performable to Moses Hogan of Los Angeles, and a high artistic quality by the group that is stand- artistic director of the Los Angeles Bach Festival. ing in front of us. Hogan left us some of the greatest spiritual When programming for your elite ensembles arrangements of all time, and many of his it’s prudent to avoid works that were writ- almost 100 published spirituals and gospels ten for professional choirs, works composed work beautifully for high school. But Joshua, with specifically to challenge outstanding collegiate its screaming repetitive f-minor chords, tenors groups, or pieces commissioned for all-state on A-flats, and huge dynamic contrasts (while choruses, unless you have both a compelling the choir is singing a spread of over three reason to do so and a choir that can do it jus- octaves) has proven to be simply impossible tice. Frequently, an octavo (especially a new to pull off with a high school choir. In fact, one) will state the occasion for commission I believe it’s the most difficult spiritual I have or to whom the dedication was intended on ever performed with my top ensemble, which the title page. If it says “For the Dale Warland is made up of 36 voice majors with a mean Singers” remember that the “DWS” was a age of 21, every one of whom is taking private professional ensemble of 40 singers. When lessons on a weekly basis. If you’re in need it says “Dedicated to Chanticleer,” don’t lose of an up-tempo spiritual that your choir can track that those 12 professional artists all have sing well, I suggest you look at other pieces in college degrees in music. All-State Choirs are the Hogan catalogue, or go back to the music big affairs; music written for 200 singers usu- of Jester Hairston, Robert de Cormier, Alice ally doesn’t translate well for a chamber choir Parker or Hall Johnson. Or, consider one of (and, of course, vice-versa is also true!). Keep our contemporaries like Rosephayne Powell, ensemble size in mind as you program. Rollo Dilworth, or André Thomas. Speaking of Dr. Thomas, I can’t recommend highly And one additional problem I’ve noticed in enough that you read his book, “Way Over in many festivals is the programming of reper- Beulah Land,” for more suggestions. toire from the high romantic period—which may have some of the most beautiful music - continued on page 6 ever written. But the combination of tessitura, dynamic extremes, and slow tempi coupled with long phrases makes it nearly impossible for high school choirs to sing.

Leading the Way Cantate • Vol. 24, No. 2 • Winter 2012 • 5 - continued from page 5

2. Alleluia 3. O magnum mysterium Randall Thompson Morten Lauridsen

Written for the Tanglewood Music Festival, Alleluia was composed for 400 Lauridsen wrote some pieces that sing beauti- musicians (mostly instrumentalists, members of the Boston Symphony fully for high school—especially those works Orchestra and BSO Chorus) to sing at the opening ceremonies of the written for chamber choir like the Rose Songs, Boston Symphony’s first Berkshire Music Festival. That being said, it was Madrigali, and some of his early church works. written for a huge group including a lot of ‘section leaders.’ Its 5 minutes of That being said, O Magnum Mysterium was writ- a cappella singing is difficult for the finest college choirs to sing in tune, and ten for the Los Angeles Master Chorale, a vocally tiring for any group. It’s simply not meant to be sung by high school professional ensemble with some of the finest students—well, unless they have members of the Boston Symphony and and most highly trained choral singers in the Tanglewood Chorus singing alongside them. Yes, it’s doable by an all-state world. O Magnum is long and slow and sus- choir. It has proven disastrous to many elite high school ensembles. If you tained. It’s also a cappella with a principal theme want to expose your students to Thompson, take a look at The Last Words of that descends after the leap of a perfect fourth. David, Frostiana, The Peaceable Kingdom or Glory to God in the Highest—one of my It can be sung well by a great church choir. It favorite Christmas pieces of all time. can be glorious when performed by a collegiate chorale or a fine community ensemble. But, high school singers just don’t have the stamina, breath support, or years of technique to make it work. If you’re hankering to do some legato, a cappella sacred Lauridsen, please consider O Nata Lux from his Lux Aeterna instead. It’s equally beautiful but it’s almost 2 minutes shorter—and those two minutes make a world of difference to the adolescent voice.

4. Agnus Dei Samuel Barber

Samuel Barber is considered by many to be the most important American composer of vocal music of the twentieth century. But the issue for us choral conductors is this: all of his great vocal music is for solo singers. Besides his art songs, opera and oratorio, he is most remembered for his instrumental music. His Agnus Dei (the most performed choral piece) was written for string quartet in 1936. The quartet, that most sublime of musical genres where truly great instrumentalists get together to make intimate, glorious music was not only the original medium, but I believe the most F e b r u a r y 2 9 - M a r c h 3 , 2 0 1 2 F e b r u a r y 2 9 - M a r c h 3 , 2 0 1 2 beautiful. The movement was expanded the

K e y n o t e S p e a k e r same year for string orchestra.K e y n o t e SThirty-onep e a k e r D e n n i s S h r o c k years later, the composer agreedD e n n i s toS h rrewriteo c k it for 8 part a cappella chorus, but as anyone who’s I n v i t e d C h o i r s I n v i t e d C h o i r s T r i o M e d i a e v a l O s l o , N o r w a y attemptedT r i o M e diti a ewillv a l attest, it’s excruciatingly dif - O s l o , N o r w a y T h e R o s e E n s e m b l e S t . P a u l , M i n n e s o t a ficultT h e toR o ssinge E n s well.e m b l e The Dale Warland Singers S t . P a u l , M i n n e s o t a

H o n o r C h o i r s and Robert Shaw Chorale Hhaveo n o rlovely C h o i rstudio,s W o m e n ’ s , g r a d e 1 0 - a d u l t L y n n e G a c k l e , B a y l o r U n i v . editedW o m erecordingsn ’ s , g r a d e of 1 0 the- a d worku l t (as do numerous L y n n e G a c k l e , B a y l o r U n i v . J u n i o r H i g h G i r l s , g r a d e s 7 - 9 J a n e t G a l v á n , I t h a c a C o l l e g e others)J u n i o r and H i g ha G igreatr l s , g 80-personr a d e s 7 - 9 semi-profes J a n e t G a l-v á n , I t h a c a C o l l e g e J u n i o r H i g h B o y s , g r a d e s 7 - 9 R a n d y P a g e l , L a s V e g a s J u n i o r H i g h B o y s , g r a d e s 7 - 9 R a n d y P a g e l , L a s V e g a s M e n ’ s , g r a d e 1 0 - a d u l t P a u l R a r d i n , U n i v . o f M i c h i g a n sionalM e n ’ schoir, g r a dcane 1 0pull- a d uitl t off; but, ultimately, P a u l R a r d i nI , U n i v . o f M i c h i g a n

- continued on page 7

6 • Cantate • Vol. 24, No. 2 • Winter 2012 California ACDA - continued from page 6 don’t believe it’s meant to be sung at all. For fun, listen to the Leonard Bernstein/ Philharmonic recording back to back with the Shaw or the Warland. It’s a string piece. It just is. Cello players can pull off a 14-second phrase without breathing; high school aged cannot. So here’s the conundrum; I Among the bright lights of Los Angeles can’t think of another piece for the high school Los Angeles Philharmonic, Los Angeles Master Chorale, Los Angeles director who wants an 8- minute a cappella piece Chamber Orchestra, LA OPERA, the GRAMMY Foundation®, The to substitute in place of the Barber Agnus Dei. Recording Academy® and USC Thornton School of Music I guess if it were me, I’d do the Agnus Dei from See yourself learning, studying, and networking with the trend-setting arts ON the Pope Marcellus Mass instead. It’s imminently organization in Los Angeles. Since its founding by Charles Hirt in 1946, the T singable, it teaches the same lessons about arsis USC Thornton Department of Choral and Sacred Music has blazed a trail for

training in scholarship and research, performance and conducting. Our faculty N and thesis, each voice has a wonderful, inde- set the global standard for choral conducting, literature, and composition: pendent line, and the challenges of maintaining intonation for 8 minutes are mitigated by the Jo-Michael Scheibe • Nick Strimple • Cristian Grases R exciting independence of voice parts without Morten Lauridsen • Donald Brinegar • Mary Mattei • Suzi Digby being dramatically difficult or overly taxing in 2012–13 performances by USC Thornton’s Choral Artists O terms of range and dynamics. stand out among L.A.’s exciting music lineup:

• Joan Catoni Conlon , a USC Vision and Voices Guest Lecture on H the Music of Claudio Monteverdi. September 2012.

5. The music of Anton Bruckner T • Helmuth Rilling and Los Angeles Chamber Orchestra, (except Locus iste a Deo factus est) performing Wolfgang A. Mozart’s Requiem. January 2013. My absolute favorite octavo I sang as an • Carl St.Clair, conducting Igor Stravinsky’s Symphony of Psalms. April 2013. undergraduate in our 80-person college choir • James Conlon, conducting ’s War Requiem , marking the 30th Aniversary of the Assassination of John F. Kennedy, USC was Bruckner’s Os justi. So, when I started at Walt Disney Hall Concert Hall. November 2013. teaching high school, I waited until I had “enough” men (it took me 3 years), and then I BA in Choral Music, MM and DMA in Conducting programmed it. We worked it into our voices, tuned the triads, played with moving it up a Now accepting applications for 2013–14! half step, or down a step, but we could never Deadline for Admissions is December 1, 2013 (preferably by November 1, 2013) For more information please contact Erin Winchester at 213-821-5756 make it work. Why not? Because it’s not [email protected] • www.usc.edu/music/go/acda meant to be sung by teenagers. There’s too much range, too many dynamic requirements, the chords are too thick, and high school men can’t put out enough beautiful, healthy sound to balance the women in the loud parts. The Listen closely and you will hear the future same is true with his Ave Maria, Christus fac- tus est, or most of the movements from his eight masses. On the other hand, Locus iste is WONDERFUL! Program it if you want to Successful teachers understand that choosing repertoire is the most impor- do Bruckner. Otherwise, look at Brahms, or tant decision they make each semester. They also know that it’s an art and Holst, or Schumann, Schubert, von Weber, not a science. You must be passionate about your repertoire choices, you Vaughan Williams, Mendelssohn, or some of have to learn to make music relevant to your students’ lives, and you have the newly published Glinka, Tchaikovsky, or to choose octavos that are both of a high artistic quality and performable Rachmaninoff. But, please, don’t make the by the ensemble in front of you. By sharing my experience as a clinician, same mistake I made as a young teacher and I hope to encourage you to look far and wide for the best music for your expect your singers to do choral music writ- choirs and your audience. Frequently, these pieces are not the ones you ten to sound like a German romantic pipe sang in college, the ones you love from a professional recording, the one organ just because you like the repertoire so you’ve always wanted to conduct, or the ones sent to you by the music much. It’s just not possible for them. If the publishing companies. May you be open to new repertoire and to the work requires fortissimo low ‘G’s, you should wealth that is our inheritance as the conservators of the oldest musical art. probably look elsewhere. Happy New Year! ■

Leading the Way Cantate • Vol. 24, No. 2 • Winter 2012 • 7 Just Something to Think About...

t is hard to believe that we are all finished It dawned on me that we speak of develop- with our fall semester. After working so ing talent, but talent may be little more than Ihard, the holiday gigs, concerts and ser- finding the answers to our questions. Asking vices are all over. As I take my winter break a question is always a way for a singer to take and relax with my family, I’m finding time to a step toward becoming a better musician. For reflect on the last few months now that they’re example, what does the song look like? What behind us. shape does it have? Why does the piece start Lori Marie Rios in a minor key instead of a Like many of you, my fall major? How do the tuning semester was busy, busy, Mrs. Rios is Associate and harmonics fill in the busy! Between recruiting, Asking a question missing pieces? Professor of Music at meeting new students, College of the Canyons, getting them enrolled in Once these technical Valencia where she is is always a way the music director of the all the classes they need in questions are addressed, Chamber Singers and order to transfer as music students are free to ask the Voices of the Canyons majors—and in addition for a singer to take really big ones: How does Community Chorus. to the rehearsing and per- the music affect me? How forming and rehearsing—I does it affect the people had my hands full. In every a step toward next to me? What are the semester, I try to structure music and text teaching my classes and lessons becoming a me? And, once it’s all over, around a central idea I like the singer may ask him- or to call “respecting the pro- better musician... herself, what did I learn cess,” and central to this is today? the choral rehearsal. This, I believe, is one of the I often use the phrase, “Just something to think things I hope to pass on to all of you readers: about.” I started using it as a way to help myself providing answers is the easy part. The more learn, as it made it easier for me to remember difficult, but more rewarding part, is encourag- new lessons and talking points, but I found ing them to ask the questions that will allow that something about the phrase resonated them to grow. As you enjoy your holidays with with my students. In short order, I began using friends and families, I hope it will be another it in my music fundamentals and choir rehears- one of the small “somethings” in your life to als. Having thought about what makes the think about. ■ phrase so powerful, I find that it gives people a deliberate moment in time to evaluate what they know and what they do not. And, while they were thinking, it also created a space to d ask lots of questions—often, critical questions that needed to be answered in order to create and re-create the composers’ intentions.

“Truly to sing, that is a different breath.” - Rainer Maria Rilke

8 • Cantate • Vol. 24, No. 2 • Winter 2012 California ACDA Regional Honor Choir Reports

SCVA Southern Region “If any of their concerts John Hendricks, Chair are near you, you MUST see them – it’s an unforgettable he SCVA/ Southern Region Honor Choir event was experience.” a resounding success—a musical experience that our Thigh school choral musicians will remember for a – Eric Whitacre lifetime. Representing 76 schools, 268 singers converged on Santa Monica High School during the weekend of November 18 and 19 for two days of incredible music mak- René Clausen, Conductor ing, including a performance in the stunning Barnum Hall, a renowned Art Deco building with superb acoustics. The top choral students in the Southern Region were treated to an inspiring set of rehearsals and a performance under the exhilarating direction of Cristian Grases (University of Southern California) for the 123-voice Mixed Honor Choir, Anna Hamre (California State University, Fresno) for the 78- member Women’s Honor Choir, and Randolph Stenson (St. Mary’s International School, Tokyo) for the 67-voice Men’s Honor Choir. From their first moment at Santa Monica High School, our students sought to build upon the musical The Concordia Choir performed with The King’s Singers in 2010. foundation that they first experienced as members of these choirs several weeks earlier—at the rehearsals on October 29 Hear The Concordia Choir at Irvine High School. The spirit of camaraderie amongst on tour in California! the vocalists and the response to the work of the students with the conductors was palpable and truly inspiring. The San Diego – Saturday, March 3 repertoire presented at the performance spanned centuries Palm Desert – Sunday, March 4 and cultural influences and included a piece specifically Thousand Oaks – Tuesday, March 6 written for the Men’s Honor Choir. More than one parent San Luis Obispo – Wednesday, March 7 commented via e-mail about the weekend, “This was (my Fresno – Thursday, March 8 student’s) greatest experience ever.” Many thanks to Jeffe San Francisco – Friday, March 9 Huls and Santa Monica High School for hosting our choirs so superbly, and to Tina Peterson for so generously offering View all tour locations at her facilities at Irvine High School and for her expertise as www.ConcordiaTickets.com. our SCVA Assistant VP for Senior Honor Choirs. * Watch future issues of Cantate for reports on the Central Buy our new CD! and Coastal Region Honor Choirs “High Flight” featuring The King’s Singers and The Concordia Choir is now available. Order at www.ConcordiaRecordings.com d or call (800) 801-4564.

Leading the Way Cantate • Vol. 24, No. 2 • Winter 2012 • 9 For Your Information...

2012 All-State honor choirs information

For participation in the 2012 California All- Conducting the All-State Men’s Honor Choir State Honor Choirs, 468 singers requested con- will be Daniel Bara, University of Georgia. sideration. Three hundred thirty singers were Bruce Rogers from Mt. San Antonio College selected to gather in Pasadena March 22-24, will be conducting the All-State Women’s 2012, for the All-State Honor Choir weekend Honor Choir, and Jefferson Johnson, University rehearsals and performance. These singers of Kentucky, will be conducting the All-State represent 127 high schools and two commu- Mixed Honor Choir. nity choral organizations from throughout the state of California. The Men’s Honor Choir The California ACDA board has commissioned registration and rehearsals will take place at the a choral work to be sung by the 2012 All- Pasadena First United Methodist Church while State Mixed Honor Choir. Richard Burchard, the Women’s and Mixed Honor Choir registra- head of the Music Department at Bellarmine tion and rehearsals will take place a block away University, Kentucky, was chosen to com- at the Pasadena Presbyterian Church. The pose the commissioned work. Ubi Caritas, an 2012 Honor Choirs’ performance will be held unaccompanied piece for 8 parts, will receive on Saturday afternoon, March 24 at 2:00 p.m. its world premiere at the March 24 All-State in the sanctuary of the Lake Avenue Church. Honor Choir concert. ■

Honor Choir Audition Process & Singer Selection

There are 5 sections in the singer’s audition When selecting the members of an honor choir process which receive numerical scores: the chairperson determines how many singers are needed in each choir and how many singers Solo Interpretation/Musicality/Preparation are needed in each part. With those numbers Tone Quality in mind the chairperson sorts the auditioned Triads and Scales singers by part and then by raw score. (At this Tonal Memory point the audition score becomes a relative Sight-reading score.) Beginning with the highest raw score All directors and singers know exactly what is received in each part the chairperson moves expected in the first three sections and have down the score column until the appropriate the opportunity to prepare for those sections number of singers has been selected. The beforehand. All sight-reading examples used change in difficulty level of the tonal memory in the audition process were “kid”-tested and and/or sight-reading example from one year considered viable by a group of second semes- to the next does not change the fact that all ter seniors who had previously participated in scores are relative when singers are chosen for an honor choir. This year the audition forms the honor choirs; i.e., All-State - 2011 cutoff received for the singers wishing to be consid- scores: Soprano 83, Alto 77, Tenor 73, Bass ered for the All-State honor choirs show 20 71; 2012 cutoff scores: Soprano 81, Alto 78, singers who received a score of 20 points, out Tenor 71, Bass 75. of a possible 20 points, for their sight-reading.

10 • Cantate • Vol. 24, No. 2 • Winter 2012 California ACDA 2012 California All-State Honor Choir Conductors

Daniel Bara is the Director of Choral Activities and Professor of Music at the Hugh Hodgson School of Music at the University of Georgia, having served as Associate Professor of Music, Director of Choral Activities at East Carolina University, in Greenville, North Carolina. While at ECU, his university choirs were invited to perform for state, regional, and national conventions of ACDA and MENC, and the ECU Chamber Singers completed two professional recordings for the Gothic Records label (Greater Love, 2007; Eternal Light, 2010). His conducting students have consistently advanced into the live rounds of the ACDA National Conducting Competition, and several of his former MM conducting students now hold collegiate conducting appointments at New England Conservatory, Miami University of Ohio, University of Idaho, and William Jewell College. Dr. Bara holds the DMA degree in conducting from the Eastman School of Music, organ and con- ducting degrees from the University of Michigan, and is a graduate of Interlochen Arts Academy. He is the Youth and Student Activities Chair for the Southern Division Chapter of ACDA. At Daniel Bara UGA he oversees the graduate choral conducting program, and conducts the UGA Hodgson Singers and the UGA Men’s Glee Club.

Jefferson Johnson is Director of Choral Activities at the University of Kentucky where he con- ducts the University Chorale and Men’s Chorus. He also teaches advanced choral conducting, choral methods and literature, and directs the graduate program (MM and DMA degrees) in choral music. A native of Atlanta, Johnson received the bachelor of music degree from the University of Georgia (magna cum laude, 1978), the master of music from the University of Tennessee (1981), and the doctor of musical arts degree from the University of Colorado (1992). Dr. Johnson’s recently released video “Ready...Set...Sing!” is published by Santa Barbara Music Publishing. It has been featured at music educators’ conventions from Ohio to Hawaii. In addition, Johnson maintains an active schedule as an adjudicator and guest conductor for high school and collegiate choirs throughout the United States. He has conducted honor choruses in 30 states. University of Kentucky choirs under Johnson’s direction have performed at fourteen conventions of choral music educators. Most recently the UK Men’s Chorus was featured in performance at the 2011 ACDA National Convention in Chicago. Jefferson Johnson

Bruce Rogers is the Director of Choral Activities at Mt. San Antonio College, in Walnut, California. In this role, he oversees the department’s various vocal and choral programs, which span the entire spectrum of music – from classical to jazz. He personally directs Mt. San Antonio College’s award-winning Chamber Singers and the elite vocal jazz ensemble, Singcopation. Mr. Rogers’ choirs have had the honor of performing at five California State Conventions, eight American Choral Directors Association (ACDA) Regional and National Conventions as well as performing at three International Association of Jazz Educators (IAJE) National Conventions. In the year 2001, Mr. Rogers became the first choral director in United States history to have two dif- ferent choirs perform at both the IAJE National Convention and the ACDA National Convention, and in 2005, he achieved this special honor once again. His choirs have won top rankings in national and international competitions throughout the world.

Bruce Rogers

Leading the Way Cantate • Vol. 24, No. 2 • Winter 2012 • 11 Musings on the Changing Boy’s Voice

reetings! It is a pleasure to be the I believe it is vitally important to help young Repertoire and Standards chair for male singers feel the support they need to G Male Choruses and to dedicate myself persevere and keep singing throughout their to the growth and continuance of this repertoire. vocal developmental stages rather than give up I conduct the Young Men’s Ensemble of the in frustration. It is important for these young Los Angeles Children’s Chorus, where we men to know that as in all things in life, the strive to aid young men through the voice one thing we can count on is change. Never Steven Kronauer change. I provide these young men with is change more evident than for singers during voice lessons and the LACC provides them a the awkward teenage years. I know this was Dr. Kronauer presently venue in which to put into practice the proper my experience as a professional boy soprano teaches voice at California vocal techniques they learn in lessons. The until my voice changed. They need to know State University, Long Young Men’s Ensemble provides an excellent that whatever range they can sing within during Beach, and conducts the opportunity for these young men to practice this time is perfect--whether they can only Young Men’s Ensemble singing in the treble range that best preserves sing 5 notes or whether they can sing across 3 of the Los Angeles and fits their evolving voice. In addition to octaves. These young men need the support of Children’s Chorus learning proper vocal techniques, our ensemble knowledgeable adults who can help them take work and lessons focus a great deal on language, pride in their singing, confident in who they IPA, and on gaining a deeper understanding of are and where they are in their developmental various genres of music, music theory and of process. I believe it is absolutely essential to sight-reading. openly identify what is healthy for men of this age and to find the integrity to place men in When I am not working with the young men’s the correct vocal role in the ensemble, even if chorus, I serve very proudly as a member of that means choosing repertoire with less range. the faculty at California State University, Long Far too often I hear a young or even Beach, where I teach voice to university-level a bass who is being placed in the tenor section students. I also maintain a busy private voice because he can somehow manage to squeeze studio in the Los Angeles area. I am pleased and raise his larynx to compensate in order to to say that I have students singing successfully produce what is at least an unnatural sound and all over the world in many genres including is often a potentially damaging sound. I also musical theater, jazz, pop and opera . feel it is important to instill in the young singer My love of the male chorus stretches back to a sense of ownership in his unique instrument, my university days, having spent 7 years with so that he can know his limitations as to range The University of Michigan Men’s Glee Club, and dynamics so that his voice can develop three years as the assistant conductor under Dr. healthily at its own pace. Jerry Blackstone. I strive in my work as a voice I hope to create a dialogue on the subject teacher and conductor to share healthy singing of vocal health, repertoire and great male technique and I often call upon my days singing chorus singing, and I look forward to any professionally at the Munich State Opera and of your thoughts on this subject. I welcome the many years I had the honor of studying the opportunity to engage with any of you voice and vocal pedagogy under the guidance regarding any facet of this genre. I know of Dennis O’Neill CBE., Sir Donald McIntyre, that I have much to learn and I believe these John McCollum, Lorna Hayword and Peter dialogues are vital to the on going development Schreier, among others. I have specialized in in the pedagogy focused on singing in the male Bach’s repertoire performing oratorio all over chorus. Please feel free to contact me any time Europe and have sung in over 200 operas over at [email protected] ■ my ten years in Munich. I earned my doctorate in choral/operatic conducting at the University of California, Los Angeles, and studied operatic conducting while assisting William Vendice.

12 • Cantate • Vol. 24, No. 2 • Winter 2012 California ACDA Leading the Way Cantate • Vol. 24, No. 2 • Winter 2012 • 13 Lessons from Kenya

his past June I had the exciting opportu- Kenya has more than forty ethnic groups, each nity to travel to Kenya for three weeks, with their own “mother-tongue” and traditions, Tat the invitation of the parents of a for- songs, dances, costumes, and cultures. When mer student. While their daughter was singing these students come together at the festivals, in our choirs, they had repeatedly invited me, a large amount of the music they perform encouraged me, prodded me to make a trip to is from their ethnic background, obviously Kenya. But it wasn’t until I was at ECCO in because this is what they (and their teachers, Christopher Borges 2010, listening to Julie Dana talk about her trip assistants, etc.) know best. I found it to be to South Africa, that I finally realized I’d been a celebration of each tribe’s unique “color” Mr. Borges is choral coming up with “excuses” not to go. while working toward forging a unified people out of so many different ethnic backgrounds director at Bakersfield Taking someone up on a personal invitation to High School and con- (and in light of the violence which broke out visit another country is probably the best way after national elections in 2007, this remains no ducts the choir at Grace to travel and see a new place, and this trip to small task). Episcopal Church in Kenya proved no exception. It was my first Bakersfield. trip to Africa, and having performed countless Additionally, the festival encourages com- African pieces over my fifteen years teach- posers to write new music through various ing choirs, I knew that a trip to Africa would “Contemporary Composition” categories. not only help me grow as a choral conductor The most enjoyable piece I heard was entitled but also heighten my understanding of the “Zawadi” (“Gift”), written by one of Kenya’s world--something I’ve been doing since I most talented high school directors, Humphrey was an exchange student to Germany in high Kisia (see below for a link to the YouTube school. So with the help of Anne and Morris video). “Zawadi” was written to celebrate Lwenya (my student’s parents), arrangements “Vision 2030”, a national effort launched in were made to visit several high school choirs 2008 “to transform Kenya into a newly indus- and their directors and to attend local music trializing, middle-income country providing a festivals. high quality of life to all its citizens by 2030 in a clean and secure environment”. “Zawadi” is Each year, Kenya sponsors the National Music a joyful celebration of that vision, encouraging Festival, which is a competition of school musi- Kenyans to support development, discourage cal ensembles (nearly entirely vocal music) from corruption, and celebrate the “gift” that God all over the country. This competition begins has given them in their country, Kenya. Sung at a regional/county level, then moves up to in Swahili, it is an a cappella piece for SSA with a provincial stage, and finally to the nationals, percussion that my intermediate girls’ choir usually held in late July (a wonderful docu- performed just this past week at our Winter mentary, “WarDance,” shows a nearly identical Concert. type of competition in next-door Uganda, and features a compelling story of children making Finally, the highlight of the Kenyan Music music in the midst of terrible violence). Festivals (and not surprisingly, saved for the end of the festival) is the “Popular Music While I was visiting, most of the schools were Category,” where students (mostly boys--the engaged in the competitions at the regional/ majority of high schools in Kenya are single- county level, and I was able to watch school sex) perform popular tunes arranged for a after school come to represent their commu- cappella chorus and feature outstanding danc- nity in traditional folk songs and dances, popu- ing, choreographed usually by the students lar music, oral language, “set pieces” (where themselves. Watching the boys in their colored all groups sing the same piece), and traditional uniforms (helping to identify each school) Western classical music.

- continued on page 15

14 • Cantate • Vol. 24, No. 2 • Winter 2012 California ACDA - continued from page 14 sing and dance was truly a moment to cher- Yet in this struggle to establish itself, Kenya is making a concerted effort ish. The audience cheered to the creativity of to encourage its youth to build the future, to stabilize and modernize, and their singing and moves, and each school took develop a national identity beyond ethnic loyalties. To some, it might seem a spot near the end of their piece to showcase that performing local ethnic traditions would not build unity but engender their best dancers in a bit of choreographic competition (indeed, even in this “competition” at the national festival). But personality. almost every student, teacher, director, and administrator I spoke with felt not ethnic pride in these performances, but national pride. They celebrated But what impressed me most about the these local colors but also their contribution toward the honor and beauty ensembles, their performers, and these fes- of their country. And I couldn’t help thinking that these young musicians tivals was the feeling that perhaps they are and their teachers were doing the great, brave work that we perhaps take for doing the most important work of bringing granted; that we, too, are building up people to walk with pride and convic- the country together--of acknowledging each tion and encouraging and teaching them to take responsibility in making their ethnic group’s beauty and cultural contribution country and this world a better place. ■ to the patchwork of a unified Kenya. Since overthrowing the British in the middle of the For more information, visit: 20th century, Kenya has struggled to unify its Deborah Amoi Foundation: www.dafinternational.org people beyond their ethnic ties. People from certain tribal backgrounds have repeatedly To view videos from my trip to Kenya: held the “power,” while people from other http://www.youtube.com/playlist?list=PL0F2BA4DF563C282E smaller and more remote tribes have been (or visit YouTube and search for “christojb”) more removed from the national political and “WarDance”: www.wardancethemovie.com economic discussion. This has, of course, brewed resentment and discord over time, and any political action is always subject to “ques- tion” due to ethnic loyalties and remains one of the underlying reasons for high levels of corruption.

Photo from the Kenya Music Festival

Leading the Way Cantate • Vol. 24, No. 2 • Winter 2012 • 15 Rallying Church Choir Commitment (Is There an App for That?)

ur Choirs in Worship Round Table dis- I find that asking for when singers can sing cussion during last summer’s ECCO rather than when they cannot has changed O conference revealed much frustration the dynamic considerably. This method forces over how to deal with unreliable attendance. people to open up their calendars and mark in While choirs in every environment face chal- their commitment – such accountability helps lenges in obtaining singer commitment, within me to help them consider more seriously every faith communities there is a particularly high date, and clarifies in advance just what exactly Julie Ford value placed on including people of many is their commitment. Doodle can produce a list generations/life stages, which bring stressors by date of everyone, and I can check this list on Ms. Ford, a classical and on weekend availability. In my church commu- computer or with my smart phone (there IS a jazz conductor and vocal- nity, Sundays are simply not great app for Doodle, and the ist, is Choral Director at sacred days: worship services free version is all you need). Saint Mary’s College and are competing with organized This method has allowed serves as the Director of youth sports, work demands, Affirmative me to predict Sundays with Music at Lafayette-Orinda and the pull to get away to low choir attendance more Presbyterian Church. visit or care for extended attendance sets a accurately than ever before, family. Rather than trying to and adjusting plans accord- work against this dynamic, I ingly has seemed to be a decided to try to work with new standard... logical and not demoralizing it by setting a standard of or frustrating step. On days “affirmative attendance,” and with poor balance between when needed, embracing different kinds of the sections foreseen, I have been able to plan choral solutions for low attendance Sundays. creative solutions such as a men only feature, singing unison choral literature, or an SSA fea- Affirmative attendance sets a new standard; ture. The trade-off is that when the full choir that is, rather than accepting regrets only, I now does sing, numbers are up and having 1-2 less ask singers to check in online and make note mixed choir pieces in our planning tends to of every rehearsal and worship service they allow for more time to get them polished and will be attending. I use a free online tool called finely tuned. The ebb and flow of participation “Doodle Scheduling”: To use, you set up a free now feels reasonable and collaborative: this in account, enter in every choir date, and then turn builds morale and keeps musical standards send a link to this “poll” asking your singers high, which is appealing to participants and to go online, type in their name & email, and listeners alike - a Gloria Deo! ■ check off either a “yes,” “no,” or “maybe” (if checking “maybe” there is a slot to leave a note of explanation). If a singer’s plan changes, he/ she must go online and change his/her com- mitment and that change is emailed instantly to d the person who set-up the account. Everyone covenants to what is a mutually agreed amount of time to change their status, and since changes are emailed instantly, this is quite easy to keep in check.

16 • Cantate • Vol. 24, No. 2 • Winter 2012 California ACDA Leading the Way Cantate • Vol. 24, No. 2 • Winter 2012 • 17 Building a New History of Collaboration

hile ACDA serves a wide spectrum In addition, other sessions will include: of choral conductors, a significant portion of our membership teaches “Singing in Motion: Incorporating Kinesthetic Exercises W into the Choral Classroom and Voice Studio” (with public school. Therefore, the California ACDA chapter has decided to join forces with the L. William Sauerland of Lick-Wilmerding High California Association for Music Education School in San Francisco and Audrey B. Luna and other music-education agencies in build- of Miami University in Ohio); Anna Hamre ing a new history of collaboration. ACDA will “Teaching Musical Literacy in the Choral Classroom: join CBDA, CODA, CAJ and CMEA at the The Secrets to Training Singers to Read Music” (with Dr. Hamre is Director new CASMEC conference in Fresno, February Forrest Madewell from Bakersfield Frontier of Choral Activities at 16-19, 2012. High School); CSU, Fresno and Artistic At this conference we will have the opportu- Director of the Fresno “Amazing Repertoire that Works: High Quality Community Chorus. She nity to hone our skills, increase our teaching Literature for Middle School and Beginning/ also serves as the Choral repertory, and recharge our musical batteries. Intermediate High School Choirs” (with Jonathan Chair for the California The new CASMEC conference, featuring leg- Talberg of CSU Long Beach, Chris Peterson Association for Music endary conductors Charlene Archibeque and of CSU Fullerton, and Anna Hamre of CSU Education. Rodney Eichenberger, will offer an exceptional Fresno); opportunity to do all of this. “Nuts-and-Bolts for Organizing a Choral-Music The choral strand of this year’s conference, Program” (with Kathy Blumer from Clovis, co-engineered by both ACDA and CMEA, Bob Bullwinkel of Fresno County Office will bring seven sessions to the music teachers of Education, and Tony Mowrer of CSU and even more possibilities for the students Fresno). enrolled in the Choral Leadership Academy. College and high-school students in the Choral Sessions with Dr. Archibeque focusing on build- Leadership Academy will have an intense ing choral tone will include her famous “Quick immersion experience with like-minded singers Fixes” for choral problems. Eichenberger looking to gain knowledge, garner skills, and will demonstrate techniques for “Engaging the build personal networks in the music-educa- Singer” while he spends more time inspiring and tion field. coaching the students in the Choral Leadership Academy. Register on-line now for this mountaintop experience at: www.calmusiced.com ■

Stay in Touch! I’ve just spent Saturday afternoon notifying the national ACDA office of the huge number of “bad addresses” returned by the post office from our recent mailings. We also get a large number of e-mails that bounce back when we send out an e-blast. The sad part is that this means we have no way of getting in touch with you to let you know of upcoming events. PLEASE be sure to let us know when you have a new address of any kind! To make it easy for you, you can send an e-mail to [email protected]. Have a great year with your choirs and remember to let us know when you’re moving on! Thanks! Jan Lanterman, Executive Secretary

18 • Cantate • Vol. 24, No. 2 • Winter 2012 California ACDA Dale a. Merrill, acting Dean

conservatory of Music PerfOrmance OPPOrtunities: Offering Degrees in: university singers B.a. in Music university choir B.M. in coMposition university WoMen’s choir opera chapMan B.M. in Music eDucation chaMBer orchestra B.M. in perforMance WinD syMphony chaMBer Music • Vocal neW Music enseMBle • Guitar Big BanD/Jazz enseMBles • Piano percussion enseMBle • ConduCtinG Master classes With resiDent • instrumental anD guest artists • Keyboard Collaborative arts solo & collaBorative recitals

for More inforMation anD auDition Dates, please visit our WeBsite: www.chapman.edu/music

Repertoire & Standards The fourteen national Repertoire & Standards (R&S) Committees provide support, vision, and resources for every major area of choral work in ACDA. R&S Chairpersons, appointed at the national, division, and state levels, serve members who share similar interests by providing resources that promote excellence in the performance of choral music in: • Leadership • Information and Networking • Excellence among colleagues • Professional growth • The lives of people These are the people you should call if you have questions about your particular area of music. See inside back cover or acdacal.org for contact information. ■

Leading the Way Cantate • Vol. 24, No. 2 • Winter 2012 • 19 Daniel Hughes Honored by The American Prize

he American Prize is pleased to Finalists for The American Prize receive pro- announce that Daniel Hughes, fessional adjudication and regional, national TConductor of The Choral Project, San and international recognition based on submit- Jose, CA, has achieved second place nationally ted recordings of their performances. in The American Prize in Conducting (com- munity chorus division), 2011. David Katz is the chief judge of The American Prize. Professional conductor, award-winning Daniel Hughes serves as Artistic Director composer, playwright, actor and arts advocate, Daniel Hughes & Conductor of The Choral Project and Katz was the founder and for twelve years Menharmonics. Under his direction, The chief judge of the Friedrich Schorr Memorial Daniel Hughes (conduc- Choral Project has performed to standing ova- Performance Prize in Voice international com- tor, accompanist, com- tion crowds and received top prizes in inter- petition. Joining Katz in selecting winners of poser) is Artistic Director national competitions throughout the world. The American Prize is a panel of judges as of San José Choral Productions, where he Awards include: 1st, 2nd and 3rd place ~ (2007 varied in background and experience and as directs the awarding- California International Choral Competition); geographically diverse as Katz hopes the win- winning ensemble The 2nd place ~ (2004 International Eisteddfod). ners of The American Prize to be. Made up Choral Project, and the He’s an accomplished composer and arranger of distinguished musicians representing every acclaimed men’s chorus (Santa Barbara Music Publishing), and is fea- region of the country, the group includes cho- Menharmonics. tured in Who’s Who in America. ral and orchestral conductors of professional, school, community and faith-based ensembles, The American Prize is a series of new, non- tenured professors and orchestra and choral profit, national competitions unique in scope musicians. and structure, designed to recognize and reward the very best in the performing arts “Many artists will likely never win a Grammy in the United States. The American Prize was award, or a Pulitzer, or a Tony, or perhaps even founded in 2009 and has been awarded annu- be nominated,” Katz said, “but that does not ally in many areas of the performing arts since mean that they are not worthy of recognition in 2010. (Complete information on the website: and reward. Quality in the arts is not limited to www.theamericanprize.org). All 2011 competi- the coasts, or to the familiar names, or only to tions winners may be found on the blog: www. graduates of the most famous schools. It is on theamericanprize.blogspot.com. view all over the United States, if you take the time to look for it. The American Prize exists The American Prize was founded from the to encourage and herald that excellence.” belief that a great deal of excellent music being made in this country goes unrecognized and By shining a light on nationally recognized unheralded, not only in our major cities, but achievement, winners of The American Prize all across the country: in schools and churches, get world-class bragging rights to use in pro- in colleges and universities, and by community motion right at home. “If The American Prize and professional musicians. builds local pride, or helps increase the audi- ence, or grows the donor base, or stimulates With the performing arts in America margin- recruitment for winning ensembles and their alized as never before, The American Prize conductors, then we have fulfilled our mis- seeks to fill the gap that leaves excellent- art sion,” Katz said. ists and ensembles struggling for visibility and viability. The American Prize recognizes and Annual competitions of The American Prize rewards the best America produces, without include those for orchestras, opera and musical bias against small city versus large, or unknown theater companies, choruses, pianists, vocalists, artist versus well-known. composers and conductors. Complete infor- mation is published to The American Prize website and blog. ■

20 • Cantate • Vol. 24, No. 2 • Winter 2012 California ACDA “Bay Area and Beyond” Features Local Composers

reetings! My name is Peggy Spool, like. It’s a rich experience for you, the choir and and I will be Repertoire and Standards your audience. I’ve found that composers are G Chair for Children’s Choirs this year. I delighted to talk about their music and often direct Vivace Youth Chorus in San José. We pleased to be featured in a concert are entering our 9th year, and have grown from a handful of kids to roughly 160 this year. I The Bay Area seems to be teeming with com- have taught every level of the chorus, which posers! This past spring, we featured three local composers in a concert entitled Bay Area and runs from a pre-school class (non-performing) Peggy Spool to a high school ensemble. I have the privilege Beyond. We’ve had the good fortune to have of working with a terrific staff and feel lucky Brian Holmes as our composer-in-residence for the last two years, and he has written some Ms. Spool is the founding every day that I get to work with music and director of Vivace Youth children/young people. wonderful pieces for us. Our singers have gotten to know him very well and really look Choirs and maintains a private vocal studio. She I’ve just finished my summer repertoire read. It forward to working with him. We also com- also serves on the board is one of my favorite things to do. It’s especially missioned a piece, with the help of a founda- of the Silicon Valley Arts fun to meet the composers who are writing now, tion, from a young composer, Nick Carlozzi. Coalition. and I look with particular interest at music if I The choir helped to pick the text, and felt very have met the composer. You can carry this one proud of the final piece. The third composer, step further and seek out a local composer you Dale Victorine, brought a piece to me last fall, which turned out to be a choir favorite. Not only did we CELEBRATES have three wonderful pieces, but the poetry, by Emily Dickinson, Carl Sandburg and MAKING MUSIC WITH e.e. cummings, was a perfect fit with the middle school age RUTH E. DWYER singers. El Camino College ! Music Building All three composers came in 16007 Crenshaw Blvd., Torrance, CA 90506 http://www.elcamino.edu/about/directions.asp and worked with the choir at different points in the spring. We discussed the differences Ruth E. Dwyer, Associate Director of the renowned Indianapolis Children’s Choir and their Director of Education, is highly involved in curriculum in their styles, both in music development, program development and assisting and mentoring their and how it reflected their per- teaching staff. Mrs. Dwyer is also a frequent guest conductor and clinician sonalities. Our singers gained for festivals, conferences, colleges and universities across the United States some interesting insight into and abroad, as well as a published composer, choral arranger and editor. She both the process of composi- is dynamic and inspiring with both children and adults. tion and the sense of the per- Friday, March 23, 6:30 pm – 8:45 pm son behind the music. There are a few budding young Saturday, March 24, 9:00 am – 4:00 pm composers in our midst, and

$30 for each day or $45 special price for both days. who knows, maybe we’ll sing one of their pieces some day. • Friday workshop includes a music packet used in the workshop with literature for elementary and middle school I hope you have an excellent choirs. year, filled with music, both • Saturday workshop includes a Festival Concert ticket. new and old, and I look for- • $10 Lunch for Saturday attendees, if desired. ward to seeing you in Reno! ■ To register: Contact [email protected] or call Diane Simons at 310-641-0649

Leading the Way Cantate • Vol. 24, No. 2 • Winter 2012 • 21 A Top Ten for Your Men

re you always in need of a few more 4. Combine the guys from all your choirs basses? Do your tenors feel like you’re to sing a massed Men’s Choir piece for Aalways stopping to “fix” them? Are your next concert. It doesn’t have to be you looking for ways to recruit more men, or difficult—just get them up there singing make the men in your choir feel important? together. Do you need more help for your guys as they go through the voice change? 5. Help your guys start an a cappella group or a barbershop quartet, especially if you Jeffrey Benson Working with male voices can be both thrill- already have a few strong student leaders. ing and extremely difficult. I often find myself Once established, they can be your ambas- wanting the men in my choirs to have a sense sadors and help recruit throughout your Guest author Dr. Benson of ownership and, at the same time, to con- school. serves as the Director of tinue to refine their sound. It’s not always easy Choral Activities at San 6. When you get a phone call for a gig out José State University and to find the perfect balance between constant encouragement of these young singers, while in the community, bring a small group of in 2002 was the recipi- men instead of your select mixed group. ent of the first annual still pushing them to achieve a rich and healthy men’s choir sound. You’ll be surprised that that one extra gig Colleen Kirk Award for will motivate the men to pull together a outstanding achievement as a young and aspiring Here are ten ideas to inspire your men to great show. conductor. become lifelong singers and learners, in no particular order. 7. If you have an abundance of men and/or several different quartets or a cappella 1. If you don’t already have a separate class groups, organize an “A Cappella Off.” for just the men, carve out a class period or Several different groups can sing for each two per semester where you can work with other, taking turns after each song. It can the guys separately. While you’re working be in the cafeteria during lunch, a school- with the men, you can use a strong student wide assembly, or even one evening. leader with your women. You and the men in your choir will value this time alone to 8. Organize a field trip to see a men’s choir at work on technique, and the guys will be a local university or a professional group more focused and less self-conscious. that might be coming to your area. 2. Bring in a male conductor or singer to 9. Bring a university men’s a cappella group work with your guys or give a short master to your school. Invite them for a school- class. If you’re a tenor, bring in a bass. If wide concert and have your men sing on you’re a bass, bring in a tenor. If you’re a the same concert. The student body will female conductor, your guys will benefit get excited about men singing! greatly from hearing a professional male 10. Commission a piece for your guys. Find a singer. composer who will write something that 3. Take your guys to a Men’s Choir Festival. It’s will fit the needs of your choir and will something special just for the guys, which work around your parameters. they will love. There are several festivals While nurturing our singers and fostering a and “Real Men Sing” events throughout commitment in all of our musicians is impor- the great state of California. I know that tant, engaging the men of our choirs is a crucial San Jose State University and West Valley component of a strong choral program. I hope College sponsor one every fall, with more that some of these suggestions will help your than four hundred men participating! men grow as musicians and achieve a greater sense of ownership in your choirs. Your men (and your women) will thank you! ■

22 • Cantate • Vol. 24, No. 2 • Winter 2012 California ACDA California ACDA Directory

Executive Board Repertoire & Standards President REGIONAL Boychoirs Senior High School Choirs Jonathan Talberg REPRESENTATIVES Joyce Keil Gavin Spencer 562-985-5112 650-678-2001 530-241-4161 [email protected] Bay Area [email protected] [email protected] Lou De La Rosa President-Elect 408-206-7192 College & University Children’s and Lori Marie Rios [email protected] Choirs Community Youth 818-679-7463 Robert Istad Peggy Spool [email protected] Central 562-822-5952 408-979-9997 Christopher Borges [email protected] [email protected] Vice President 661-204-2689 Travis Rogers [email protected] Community Choirs Show Choir 707-253-3705 Anna Hamre Genevieve Tep Central Coast [email protected] 559-278-2539 510-928-9108 John Knutson [email protected] [email protected] Executive Secretary 805-546-3195 California ACDA Office [email protected] Ethnic & Multicultural Two-Year College Choirs Jan Lanterman Perspectives Julie Dana Far South 2348 Clay Street David V. Montoya 559-233-3887 Napa CA 94559 Nancy Gray 626-419-8031 [email protected] 707-255-8012 858-213-9014 cell [email protected] [email protected] 858-748-0245 x5155 office Vocal Jazz [email protected] Junior High/Middle Christine Guter School Choirs 562-985-8138 Northern Heather Gold [email protected] Dana Alexander 310-320-1170 707-328-6718 [email protected] Women’s Choirs [email protected] Eliza Rubenstein Male Choirs 714-662-5402 Southern Steven Kronauer [email protected] Christopher Peterson 310-800-0099 562-453-9851 [email protected] Youth & Student Activities [email protected] Tammi Alderman Music in Worship 970-988-5193 Julie Ford [email protected] 925-283-9990 x224 Event Chairs [email protected] Summer Conference Regional Honor Choirs Dana Alexander, Chair Central 707-544-5598 John Sorber Communications [email protected] [email protected] Newsletter Editor Website Coordinator Ken Abrams, Co-Chair Coastal Cantate Mark Alberstein 925-939-7562 Genevieve Tep (interim) David Scholz 559-623-1149 [email protected] [email protected] CSU, Chico Music Dept. [email protected] 400 W. 1st St. Regional Conferences Southern (SCVA) Contact Regional Tammi Alderman Chico, CA 95929-0805 Representative [email protected] 530-898-6127 [email protected] All-State Honor Choir Shirley Nute 818-845-2683 [email protected]

Leading the Way Cantate • Vol. 24, No. 2 • Winter 2012 • 23 PRSRT STD AUTO California US Postage Paid Riverside, CA California Chapter, American Choral Directors Association Permit 1528 David Scholz, editor CSU, Chico Department of Music 400 W. 1st St. Chico, CA 95929-0805

Here are five reasons we respectfully ask you to consider the Bob Cole Conservatory at CSULB when you recommend University Music Programs to your outstanding students: 1. We have a 60-year track record of producing some of the finest performers, educators, church musicians, and musical scholars to graduate from a California University. 2. Our Bob Cole endowment of over $16,000,000 is exclusively reserved for music student scholarships. 3. Our faculty is made up of professional artists and professors who are fully dedicated to sharing their lifetime of performance experience with the next generation. 4. Our ensembles are among the most celebrated in the US, with performances this year at the ACDA Western Division Conference, Monterey Jazz Festival, , World Choir Games, and great cathedrals of England, Ireland, and Wales. 5. Our facilities include three theaters, 70 practice rooms, a beautiful, park-like setting, and one of the most safe and secure campuses in California.

Principal Faculty: Jonathan Talberg, Choral Conducting David Anglin, Opera Christine Guter, Vocal Jazz Upcoming Auditions: Undergraduate (Freshman and Transfer) November 5, 2011 February 4, 2012 March 10 , 2012

For more information about the Choral, Vocal and Opera Studies program at the Cole Conservatory, please contact: DR. JONATHAN TALBERG, DIRECTOR 562.985.5112 // [email protected] // or visit our website.