Official Publication of the American Choral Directors Association US ISSN 0009-5028 DECEMBER 1992 CHO ETC WORLD EVENTS NEW PRICING REFLECTS REDUCTIONS IN PRICES TO LOWEST LEVEL IN YEARS!
FEATURING
Orlando, Florida - 12 weeks from March 20 - June 5 and6
Arl i ngton, Texas - Apri I 23 & 24; April 30 & May 1 M~yerson Center Home of Six Flags Over Texas
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_. ·-·---A1ranta;Ceorgia:Aprir1-o&-r7i Al'5i'il···23-&-Z4;· April 30 & May 1 Clayton County Performing Arts Center Home of Six Flags Over Georgia
Washington, D.C. - May 7 & 8 Los Angeles, California - April 16 & 17 John F. Kennedy Center for the Performing Arts Home of Six Flags Magic Mountain Adjudicators' National Invitational Festival of Music Disneyland Universal Studios Washington, D.C. - May 8 National Heritage Festival-of Music St. Louis, Missouri - April 23 & 24 Home of Six Flags Over Mid-America Washington, D.C. - Year-round Riverfront activities galore Young America Productions John F. Kennedy Center for the Performing Arts Chicago, Illinois - May 7 & 8 (limited availability) Home of Six Flags Great America
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FOR RECE§.§ION BU§TIN' PRICE§ CALL 1- 00-336-i!515 1\10 IDBLUiATIOI\I! 934 Baker Lane·, §uite A, Winchester, VA i!!i!!6D3I Official Publication of the American Choral Directors Association Volume Thirty-Three Number Five
DECEMBER 1992 CHORALJO John Silantien Barton L. Tyner Jr. EDITOR MANAGING EDITOR
COLUMNS ARTICLES
From the Executive Director .... 2 For Christmas From the President ...... 3 With Love: The Alfred Burt Carols .... 9 From the Editor ...... 4 AIfi'edBIt1"t by Ruth M Buenting
In Retrospect ...... 53
Book Reviews ...... 55 Stephen Town, editor ANew Look Choral Reviews ...... 61 at Gregorian Chant ...... 15 Conan Castle, editor Pope Gregol] I by Robert M Fowells
Repertoire and Standards Committee Reports ...... 39
National Convention ...... 41 The Magnificats of Baldassare Galuppi ...... 21 ACDA Officer Candidates .... 46 Ospednle MCIldicmtti by Patricia J Cahalan Newsbriefs ...... 51
Advertisers Index ...... 72 Education Research: Practical Implications Cover art illustrating Alfred Burt's Star for the Rehearsal. . . .. 29 Carol, as well as artwork for Freer article, by Christopher Moroney. by Patrick K Freer
DECEMBER 1992 PAGE 1 FROM THE EXECUTIVE DIRECTOR AFFILIATED ORGANIZATIONS HE 1993 National Convention in San Antonio, Texas, promises to be one of INDIANA the most exciting conventions ever in the illustrious history of the American CHORAL DIRECTORS ASSOCIATION Choral Directors Association. Included in the convention will be the Festival President - Michael D. Shasberger T 410 Buckingham Drive Singers of the Robert Shaw Choral Institute, the Los Angeles Master Chorale, the Indianapolis, Indiana 46208 Netherlands Chamber Choir, the University of the Philippines Madrigal Singers, Treasurer - Paula Alles and Jitro Children's Chorus from Czechoslovalci~. The Westminster Choir will sing 1471 Altmeyer Road ---~tl:J:e worlel. premiere ofacl:r6ra1-w6rlcbTea:rlisle-Floyd;-commissioned-in-memory-oF-==~~~Jasperdndiana"4'7546-- Raymond Brock, while the San Antonio Symphony and Mastersingers will perform IOWA the Verdi Requiem. The convention will also feature three honor choirs-Children's, CHORAL DIRECTORS ASSOCIATION Junior High, and Women's-in the Festival of Honor Choirs. The Ecumenical Wor President - Robert Anderson ship Service will be held at Travis Park United Methodist Church with three 608 East Clay performing choirs. In addition, a total of twenty-two national and international, Mount Pleasant, Iowa 52641 invited and auditioned, choirs will perform, with an added twelve auditioned choirs Treasurer - Bruce A Norris 420 Maple Street performing in interest sessions. This convention truly promises to be one of ACDA's Mondamin, Iowa 51557 finest. The packet containing preregistration and housing forms was mailed to all mem MONTANA bers on November 1, 1992. The forms also appear in this issue of the ChoraljournaL It CHORAL DIRECTORS ASSOCIATION is very important for ACDA members to complete and return these forms very early in President - Terry J. Annalora 617 South Prairie order to secure the best housing and to assist the national office in processing Miles City, Montana 59301 registration. The first 2700 people to preregister will receive blue badges; the next Treasurer - John Haughey group, red; and performers, green. Preregistration is strongly encouraged. 2126 Northridge Circle ACDA national conventions have experienced phenomenal growth in recent years, Billings, Montana 59102 ma1cing it necessary for all concert sessions of the 1993 Convention to be repeated. All NEBRASKA ACDA members attending the convention will hear and see the same performances. CHORAL DIRECTORS ASSOCIATION Concerts will be performed in the Lila Cockrell Theatre, the beautiful Beethoven Hall President - Ron Troester (both in the San Antonio Convention Center), and in the nearby Majestic Theatre. 2112 Viking Road Whether wearing a red or blue badge, each registrant will be able to attend the Grand Island, Nebraska 68803 performances in these three outstanding concert halls. Treasurer - Clay Blackman 9536 U Court, #5 We urge exhibitors to be a part of this national convention. If you have not made Omaha, Nebraska 68127 arrangements to exhibit, please contact Robert Davis, North Iowa Community Col lege, 500 College Drive, Mason City, Iowa 50401, 515/421-4241, or contact Gene OHIO CHORAL DIRECTORS ASSOCIATION Brooks, Executive Director, ACDA, Post Office Box 6310, Lawton, Oklahoma 73506, President - Richard D. Mathey 405/355-8161, Fax 405/248-1465. 524 South Grove Anyone wishing to host a reception should immediately contact Maxine Asselin, Bowling Green, Ohio 43402 3 Holly Road, Taunton, Massachusetts 02780, 508/822-2820. Treasurer - Herbert Heinke We look forward to seeing you in San Antonio, Texas, one of America's great Oberlin Conservatory Oberlin, Ohio 44074 convention cities. Gene Brooks TEXAS CHORAL DIRECTORS ASSOCIATION
STATEMENT OF MEMBERSHIP President - Jan Juneau The American Choral Directors Association is a nonprofit professional organization of choral directors 2531 Glen Loch Drive whose active membership is composed of directors from schools, colleges, and universities; community, Spring, Texas 77380 church, and professional choral groups; and industry and institutional organizations. Choral Journal circulation: 16,000. Dues: Active $45, Industry $100, Institutional $75, Retired $10, and Student $10. Secretary/Treasurer - Elizabeth Volle One-year membership begins on date of dues acceptance. 4407 Glenwick ~ Dallas, Texas 75205 ACDA is a founding member of the International Federation for Choral Music. ACDA supports the goals and purposes of Chorus America and endorses them in promoting the excellence of choral music throughout the world. WISCONSIN ACDA reserves the right to approve any applications for appearance and to edit all materials proposed for distribution. CHORAL DIRECTORS ASSOCIATION Permission is granted to all ACDA members to reprint articles from the Choral Journal for non-commercial, educational purposes only. Non-members wishing to reprint articles may request permission by writing to ACDA. President - David Saladino 1001 Cuyler Avenue The Choral Journal is supported in part by a grant from the National Endowment for the Arts, a federal agency. Placentia, California 92670 ACDA membership, recognizing its position of leadership, complies with the copyright laws of the United States of America. Compliance with these laws is a condition of participation by clinicians and performing groups in ACDA meetings and conventions. Treasurer - Carl E. Chapman © 1992 by the American Choral Directors Association, Post Office Box 6310, Lawton, Oklahoma 73506-0130. Telephone: 2849 Sheldon Drive 405/355-8161. All rights reserved. The Choral Journal (US ISSN 0009-5028) is Issued monthly, except for June and July. Oshkosh, Wisconsin 54901 Library annual subscription rates: U.S. $25; Canada $35; Foreign-Surface $33; Foreign-Air $70. Single Copy $3; D Back Issues $4. Application to mail at second-class postage is PENDING at Easton, Maryland, and additional ~ mailing office. POSTMASTER: Send address changes to Choral Journal, Post Office Box 6310, 'iffi'i"iiEsS Lawton,. Oklahoma 73506-0130.
PAGE 2 CHORAL JOURNAL FROM ACDA THE PRESIDENT OFFICERS PRESIDENT T HAS BEEN my goal and the goal of all ACDA leaders to foster and encourage William B. Hatcher continued study of the choral art. You may remember that my column last month School of Music, University ofIowa Iowa City, Iowa 52242 I mentioned several successful efforts by the Youth and Student Activities commit VICE-PRESIDENT tee. Now, on behalf of the ADCA National Board of Directors, I am happy to Diana J. Leland announce the continuation of two competitive Valley View Middle School 6750 Valley View Road grants for study of the choral art. The Graduate Edina, Minnesota 55435, Fellowship Program and the Research Grant PRESIDENT-ELECT Program will fund study between June 1, 1993, John Haberlen and May 31, 1994. School of Music, Georgia State University University Plaza Here are the guidelines for each program: Atlanta, Georgia 30303 Graduate Fellowship Program PRESIDENT-ELECT DESIGNATE Lynn Whitten • Applicant must have been a student, active, or College of Music, University of Colorado life member of ADCA for at least three years Boulder, Colorado 80309 preceding the application dead line of Febru TREASURER ary 15, 1993; that is, since February 15, 1990. Elaine McNamara 1340 South Ocean Boulevard, #402 • Study must be toward a graduate degree. Pompano Beach, Florida 33062 • Applicant must be a full-time graduate EXECUTIVE DIRECTOR student during the funding period (June 1, Gene Brooks 1993 through May 31, 1994). Post Office Box 6310, Lawton, Oldahoma 73506 405/355-8161 • Fax: 4051248-1465 • Fellowship can range from $500 to $1500 but will not exceed the cost of tuition. CENTRAL DMSION PRESIDENT Research Grant Program Mary Alice Stollalt Music Department, University of Micrugan-Flint • Applicant must have been a student, active, or life member of ADCA for at least Flint, Michigan 48502 three years preceding the application deadline of February 15, 1993, that is, since EASTERN DMSION PRESIDENT February 15, 1990. James W. Hudson • Applicant must pursue a research project involving an in-depth study of some aspect 243 East Pulteney Street Corning, New York 14830 of the choral art. NORTH CENTRAL DIVISION PRESIDENT • A monograph based on the candidate's study must be sent to the ACDA national Gary R. Schwartzhoff office within six months following the funding period. School of Music, University ofWisconsin-Eau Claire Eau Claire, Wisconsin 54702 • Applicant must provide a breakdown of projected costs of the research. NORTHWESTERN DMSION PRESIDENT • Research Grant will not exceed $1500. William F. Maydin Application materials should include: 520NWThird Pendleton, Oregon 97801 • A letter that states the applicant's reason for applying for financial assistance and the SOUTHERN DMSION PRESIDENT date he or she joined ACDA. Mitzi Groom • A current resume. Department of Music, Tennessee Tech University Box 5045, Cookeville, Tennessee 38505 • A description of the graduate degree program in which the applicant is or will be SOUTHWESTERN DMSION PRESIDENT enrolled and/or the proposed research project. Include a budget brealcdown of the RodWalicer degree or project costs which need funding assistance. Department of Music, Kansas State University • A current personal finance statement showing the need for ACD.A:s financial Manhattan, Kansas 66506 assistance. Financial need will be a strong consideration of the selection committee. WESTERN DMSION PRESIDENT Jo-Michael Scheibe Applications must be postmarked by February 15, 1993, and mailed to: Music Department, Northern Arizona University Box 6040, Flagstaff, Arizona 86011 Fellowship/Research Grant Program, ACDA, P. O. Box 6310, Lawton, OK 73506 INDUSTRY ASSOCIATE REPRESENTATIVE Applicants will be notified by April 1, 1993, of the decision by the selection committee. Robert Schuneman I hope that interest in the study and research of our art will generate many applications! E.C. Schirmer Music Company, Inc. 138 Ipswich Street, Boston, Massachusetts 02215 PAST PRESIDENTS COUNCIL ~~ David Thorsen School of Music, California State University Fullerton, California 92634 Change in Dues for Student and Retired Members Maurice Casey Elwood J. Keister .' At their meeting in Dallas on September 18-19, 1992, the National Board, of Walter S. Collins Colleen]. Kirk Directors passed the motion to change the dues of both student and retired members to Harold A. Decker Theron Kirk Morris D. Hayes Russell Mathis '$20, an increase from the current $10. Charles C. Hirt H. Royce Saltzman . Members will have the opportunity to vote on the proposed dues change during the' Warner Imig Hugh Sanders General Business Meeting at the national convention, to be held at 1:00-1:30 p.m., Friday,: March 5.
DECEMBER 1992 PAGE 3 FROM THE EDITOR EDITORIAL BOARD
EDITOR John Silantien Division of Music May Choral Journal to Focus on "Wodd Music" University of Texas at San Anmnio San Antonio, Texas 78249 512/691-5680 S I ANNOUNCED in October, a special issue of the Choral Journal will be ASSOCIATE EDITOR d evote d to "Wor Id Music. " This wi 11 b e publ is h e d in M ay 1993, an d any Sandra Chapman ----=H,-~1i\,.-=TiT.r"'iterswl1o maybe working ih~the areaof-et1rffiC-r:hllsic-sl:roul(huDmicmat~~-·- .. -. --Fort.. Madison-JAunior,Hcigh-School------1209 venue rials for review as soon as possible, and no later than January 1, 1993. We have Fort Madison, Iowa 52627 already accepted several fine articles on Latin American, Asian, and Eastern Euro- 319/372-1778 pean choral music, and more are currently under review. I would welcome MANAGING EDITOR Barton 1. Tyner Jr. submissions dealing with Jewish, African, or other non-Western music. Articles that Post Office Box 6310 ' Ii .. Id b f . ul' . b" th Lawton, Oklahoma 73506 add ress per ormance practice Issues wou eo partic ar Interest, sInce nngIng e 405/355-8161. Fax: 405/248-1465 music of unfamiliar cultures to life in an authentic style requires an awareness of the special traditions of each culture. EDITORIAL BOARD MEMBERS -Due to-events such as the fall of communism, the destruction of the Berlin wall, the _Chester. Alwes School of Music, University of Illinois potential economic unification of the European Common Market countries, and the 1114 West Nevada free-trade agreement in North America, the world has begun to feel very small and Urbana, Illinois 61801 217/333-3206 drawn together. Vast new markets for the exchange of choral goods are now opening Conan Castle up as well. We must try to keep informed about the exciting new musical opportuni Burnwood Estates ties available in the worldwide market. In the future, the Choraljournalwill attempt to 245 NE 71 Warrensburg, Missouri 64093 publish articles dealing with this important topic on a regular basis. 8161747-9265 Kenneth Fulton School of Music, Louisiana State University John Silantien Baton Rouge, Louisiana 70803 504/388-3261 Nina Gilbert Wabash College Letters to the Editor should be sent with the writer's name and address to: The Editor, Choral Jot/mal Crawfordsville, Indiana 47933 Post Office Box 6310, Lawton, Oldahoma 73506. Letters may be edited for length and clarity. 317/364-4299 Mitzi Groom Department of Music and Fine Arts Tennessee Technological University Correction: Box 5045 In the October issue of the Choral Journal the rental fee of $175 quoted for Cookeville, Tennessee 38505 Daniel Pinkham's Advent Cantata was incorrect (p. 55). C. F. Peters has 615/372-6089 Frank Pooler notified us that the rental fee for the work is negotiated according to the 2801 Engel Drive number of choral scores needed for the performance. Los Alamitos, California 90720 310/596-5144 Timothy W. Sharp Music Department, Belmont University Nashville, Tennessee 37203 615/831-0180 NEW FROM SDG REGORDS! Harriet Simons Music Department, Baird Hall, University at Buffalo Buffalo, New York 14260 Jackson Berkey's 7161645-2964 Stephen Town JACKSON BERKEY THE MOUNTAINS AND THE SEA Department of Music Northwest Missouri State University Maryville, Missouri 64468 '}i dazzling voyage of the imagination 816/562-1795 ... Add it to the list ofprojects I wish I Jerry Warren had done myself" -John Rutter Office of Academic Affairs, Belmont University Nashville, Tennesee 37212 JACKSON BERKEY, featured keyboardist with 615/385-6400 MANNHEIM STEAMROLLER, performs his T' . UNTAINS AND THE , A hauntingly beautiful music, highlighted by the 4'I IV ,dll, dJ' SOLI DEO GLORIA CANTORUM ethereal voices of Soli Deo Gloria Cantorum! COORDINATOR Almeda Berkey, Director OF STATE NEWSLETTERS Order Toll-Free Richard Kegerreis 1-800-367-9059 One Craig Drive RECORDS Huntington Station, New York 11746 516/222-7447 Proudly distributed by COLLEGIUM 12606 South 70th Street Omaha, Nebraska 68133
PAGE 4 CHORAL JOURNAL Come to an International Summer School in Choral Conducting in the Southern Hemisphere! NATIONAL R&S Wellington. New Zealand CHAIRS 11-17 ..January 1993 NATIONAL CHAIR Sister Sharon Breden Clinicians and Tutors: Rodney Eichenberger [Florida State}, 1500 Ralston Avenue Marvin Keenze [Westminster), Fay Dumont [Melbourne Belmont, California 94002 University), Jack Speirs [Of ago) , Peter Godfrey and Guy Jansen BOYCHOIR [Wellington) with Karen Grylls [Auckland University), and the Gary W. Patterson National Youth Choir of New Zealand. School of Music University ofIllinois, Choral Division Full details from: 1114 West Nevada Urbana, Illinois 61801 Registrar, 53 Beauchamp Street, Karori, Wellington, New Zealand. Phone: 64 (4) 476 3316 CHILDREN'S CHORUS Barbara Tagg 215 Crouse College, Syracuse University Syracuse, New York 13244 COLLEGE AND UNIVERSITY CHOIRS RichardJ. Bloesch The Robert Shaw Choral Institute School of Music, University ofIowa at The Ohio State University Iowa City, Iowa 52242 COMMUNITY CHOIRS SATURDAY SEMINAR SERIES Bill Dielchoff 1992-1993 1639 C.A. Becker Drive Racine, Wisconsin 53406 Presents ETHNIC MUSIC AND MINORITY CONCERNS January 23 - MOZART REQUIEM - Robert Levin Marvin Curtis Sing and learn the newest and one of the most compelling versions of this misstated 1600 Leeland Place favorite work with one of the world's leading Mozart authorities. Mr. Levin will Richmond, Virginia 23231 focus on performance practice with several Mozart choral/orchestral works. JUNIOR HIGH/MIDDLE SCHOOL CHOIRS Weigel Auditorium 9 am - 4 pm Michael Nuss Post Office Box 6872 February 20 - ROBERT SHAW - STRAVINSKY SYMPHONY OF PSALMS Lincoln, Nebraska 68506 Join Mr. Shaw in open rehearsals on this important 20th-century masterpiece. Question and answer periods to follow each rehearsal. MALE CHORUS Weigel Auditorium 9 am - 5 pm CarlL. Starn Chapel Hill Bible Church April 17 - ROBERT SHAW CONDUCTS MENDELSSOHN ELIJAH 1200 Mason Farm Road Sing and study the great masterwork with Robert Shaw and the Ohio State Choirs. Chapel Hill, North Carolina 27514 Several performance options will be explored in this clinic session. MUSIC AND WORSHIP Mershon Auditorium 9 am - 4 pm David Davidson May 8 - JOSEPH HAYDN ''Works for Community and Church Choirs"-Thomas Dunn Highland Presbyterian Church Sing with the former musical director of the Handel and Haydn Society of Boston 3821 University Boulevard as he presents several works for chorus and chamber orchestra accessible to Dallas, Texas 75205 community and church choirs. With his vast knowledge and engaging presentation, SENIOR HIGH SCHOOL CHOIRS Mr. Dunn will stress matters of tempi, articulation, ornamentation, and general Allen Chapman performance style. Weigel Auditorium 9 am - 4 pm 1209 Avenue C Fort Madison, Iowa 52627 Cost $45.00 per seminar/Materials not included TWO-YEAR COLLEGE CHOIRS Thomas E. Miller ***SPEClAL CONCERTS*** 15816 Mandan Road February 24 - OSU CHOIRS, WIND ENSEMBLE-Robert Shaw. Conducting Apple Valley, California 92307 Hindemith: Apparebit Repentina Dies VOCAL JAZZ AND SHOW CHOIRS Stravinsky: Symphony of Psalms Dan Schwartz Admission Charge' Weigel Auditorium 8 pm 13-01 Ivy Lane Fair Lawn, New Jersey 07410 February 27 - OSU CHOIRS, SYMPHONY ORCHESTRA-Robert Shaw, Conducting WOMEN'S CHORUSES Brahms: Requiem Patticia Hennings Sylvia McNair, soprano 2360 Emerson Street William Stone, baritone Palo Alto, California 94301 Admission Charge' Mershon Auditorium 8 pm YOUTH AND STUDENT ACTMTIES GuyB. Webb For further information, please contact: Department of Music Southwest Missouri State University The Robert Shaw Choral Institute Springfield, Missouri 65804 c/o The Ohio State University, 1866 College Road, Columbus, Ohio 43210 (614) 292-8863
DECEMBER 1992 PAGE 5 All-New Octavos for Lent, Holy W~ek~ and lJ~ter from Harold Flammer Music . .. , ..... ~,.. " Hosanna in the Highest - Nancy Price, Don Be~ig~;:::"i .••. Meditatjon on Gethsemane -Joseph M. Martin A majestic piece for use on Palm Sunday, Hosa~l}a in t~e Highest is AHt.h.e.:~i;;~;y··and passion of Gethsemane are incorporated in this an easy S.A.T.B. piece which sounds full and impressive. /. . .~<;~herealoffering. Rfmarkably affecting text and delicately expressive A-6743, S.A.T.B., $1.10. \ '/';:m~sicc~ri:ibilwto:,create a poignant lament tor Holy Week; it's \\. k H<'" ' .. >'.' .... ' ..1 e'Spec. i~Iiy.us. efLi..I.fo.rM.au. ndy Thursday. A·6754, SAT.B., $1.10. H osanna, Lou d H osanna - Arrange d by Mar ayes;:"'':, :.;' ,": ...... ,.. I." \\ For a Palm Sunday spectacular with a little of eveiyth ing, this is\it ...lei; !O,GentleJesus~ joseph M. Martin an outstanding arrangerrient, brass and timpani, '.children;schoi~, f:{1 :!:.Jpeciallyapf>coprri;i::for Madndy Thursday or Good Friday services, miliar hymn tune and congregational parti"cjpationih one. t~i!:l,m~h~Qi .i rc::~~irs~il'e~i6~:th~geneco~ use of four-parr writing. Hearr-rending procession. A-6749, SAT;~.(~ith chil5lfen), $1.1g ..Sc6re an4 s.~i ()Ei! s~nFitiJeniforl9hg-lastirig.impact. PowerfuI!A-6753, S.A.T.B., $1.1 o. Eans for 3 trEts, Fr, horn, ttrrribns; a6dtimRavail~ble. ',/<'.. !!) : . /' / • -.... . \T:······f(?·;>c~···jT-·.·r='\-!-. ;ci-;==;=--c-:r;",Orlord,Have-Mercy.,.-PatnclrUebergen· Jesus Christ Arose from jlea~ '60 Easte!,:DaylJoh~ B~rt;d~i : T~is useful,two-pafticomposition may be used during Lent, Holy :' '.. :" ~ I, j j .. :. . .,".' . ",.".. ;' i':' .,/ , , ; c· Based on Purcell's TrumpuTunl!aiicl5n,corpi:>r:id~gtheEas.ir,1:HYrf1:i1-, 'W~ek,oranydmeduringtheyear.Thetextbeautifullyconveysourlove this regal declaration W!Irserye§x~~ljent!yasanop~~irig \ord6:~in~ ,a~a praise forthe Lord while an expressive accompaniment comple anthem for Easter servic~.K;6i5.o,S:A~Tj3.;$l:25,Set ~f parctf9r2l~.rri~ri[sinemeSsage. EA-5117; 2-Part, Any Combination; $1.10. tempts and 2 trmbns . "". ".'•. ' .. :... ;•. ::' .. , .. '...... ···.:··rb'... '., <.".".'. '...... G ..' '·"··.H... •.. 1.1 F. A als.~'~v.'.a.i.l.a.'t1le...·.' " ;\','\ 1.':.(·: ,,~re Isa reen L. ar way- Lenten Meditation ~PhilipKern"" .., ...... :...... > .. \1 \, i .\ 'i; ;,/~ecil FraJlcesi\l,exanil~ri .Qana Mengel Based upon Isaiah 53:4-6witho~i&inal ~~t,'thefulli"?p,aftip~~h~i~~if-,:'This rriy~~¢fi6ustening,6h~ecfUfifixion focuses on how dearly He has cifixion will be conveyed.,cthrough\the.hal,mting mdo~yl \~6751,,~,--19yed tis.and_howc~~we.rhusc,l()ve.Him too." The graceful predictability " ,. -' '. '. \ 1 \" "! I" .". ,. +,,' • • 1 , ' .<,' ~_.".~::':. _"''>_ h.,' j S.A.T.B., $1.10. '.:'.' \Y,,,\ i\C\V':1!.()f~hen;iu~ic~illallovvrerea:rsal~if!1etobespentworkingondynamics · E t C·./. b 't"" \. .. \",' '.'.' \ 'i I. i'.' \. .\. /.: I' . arid exp' ression; Exquisite.A~6759,\SAT.B., $1.10. Let Us S109 an as er e e ra ~o~ - \;, >''', \ V. .1; : . .... '.' ;. Marti Lunn Lantz; David Lantz, III '\\ .. '\ ':/::7'... ." >';/:.For a saml'le.J>,~c::1.tc~ntainj-ng a copy of each of Predominantly in two-part voicing. it'~ imf,:lSil}';,~i~ga.~I.eamhertliwith;. /#i~eoctav.os;'·qilr~li~wnee jPress, 1-800-962-8584 frolicsome organ accompan~ment ~jt~,oP~i~ri~):r.uinpe\\P~~t(if ~hR/'6fwrite t?SIl~~nee fress;-49 War~J1gDr., Del. Water Gap, PA, 18327 octavo) to complete the festIve mood.i: .. ..: A-67S2," , . "SA.T.B.~$.1.l.0 '.'" '".. .o\ I.i." ',...... , an...... d or d er P:revIew . .' P ac k P -5093 £or $300 "':;::,::/:::·,':;:\\\:·r':;c,I~?
Build a Library of Choral Expertise Through the medium of video, ACOA on LOCATION brings to you the expertise of distinguised choral conductors as they lecture, rehearse, and perform. Volume 1 focuses on the children's choir with the Glen Ellyn Children's Chorus and its immediate past conductor, Doreen Rao, who shares her artistic approach to the music education of children. Volume 2 is an interview with Howard Swan, 1987 ACDA National Convention Honoree. Swan reviews the history of American choral music during the first half of the twentieth century, discusses the present state of choral music in church and school, and gives learned advice to the young choral conductor. Volume 3 features Jester Hairston, internationally renowned African-American composer, arranger,conductor, and 1989 ACDA National Convention Honoree. In this interview,' Jester Hairston traces the history of black spirituals in America, gives suggestions for interpretation, and demonstrates the use of rhythm and dialect in the music.
All three VHS videotapes are available from ACDA National Headquarters THEAMERICAN CHORAL for $37.50 each. Send your order with pre payment to: DIRECTORS ~ ASSOCIATION ACDA, Post Office Box 6310, Lawton, Oklahoma 73506.
PAGE 6 CHORAL JOURNAL 2006 SWEDE ROAD, NORRISTOWN, PA 19401 ~!c-,ccM~~~~~~~~ ____ _ Call us toll-free today, or write, andfind out why our participants gave us an over 74% repeat rate during our 1992 season! I Name ______Title ______Phone ______I I call us today School ______I toll-free Address ______~Zip I 1_800-228-1668 City ______,State ______Note cities and areas of interest: I City(ies): D Atlanta D Chicago D Colorado Springs, Pike's Peak D Colorado Springs, Winter in the Rockies D Nashville D New York I D Orlando D Philadelphia D Toronto ~ Band: D Symphony/Concert D Wind Ensemble D Jazz D Marching t1j Orchestra: , D Symphony/Concert D Chamber D String fll Choir: D Concert D Chamber D Madrigal D Swing/Show
For Christmas With Love: The Alfred Burt Carols
by Ruth M Buenting
Alfred Burt
Editor's Note: Christmas of 1992 marks the fiftieth anniversary Burt's youngest son, Al, was a gifred musician. He played of the first Alfred Burt carol, Christmas Cometh Caroling. When trumpet, drums, and piano, sang, and composed and arranged I asked Anne Burt the reason for the growth in popularity of music. He graduated from the University of Michigan in 1942 her late husband's carols, she wrote, "It is the choral directors with a music degree. That same year, Al took over the custom who' in their search for a new approach to the Christmas of composing music for the annual family Christmas card. celebration have 'discovered' the Burt Carols and have given Anne Shortt, later to become his wife, vividly recalls being them life. A1; John Williams, conductor of the Boston Pops, has in the Pontiac rectory one November day when Bates reminded stated, 'They are mini-masterpieces.'" Al that the deadline for the next carol was approaching. Using the text from Christm.as Cometh Caroling found in a Christmas carol book by an English Roman Catholic priest, Father Andrew, Since the Alfred Burt Christmas Carols were first recorded Al went over to the piano. Fifteen minutes later, the first Alfred and published in the 1950s, they have resounded through a Burt carol was born. 1 score of countries in many languages. This music is one of For the next several years father and son worked together on the twentieth century's great contributions to the celebration the carols; Bates wrote the lyrics, and Al composed the melo of Christmas. .dies. The next several carols, Jesu Parvule (Poor Little Jesus), What Alfred Burt was the son of Emily May Bailey and the Are the Signs, and Ah, Bleak and Chill the Wintry Wind, were Reverend Bates Burt, an Episcopalian minister. Al grew up in written during the Second World War years. The words of a home full of love in Pontiac, Michigan. these carols reflect a yearning for peace as they echo what the Christmas at the home of the Bates Burt family was a time angels said that first Christmas night, "Peace on earth, good of special church services, a time for renewing cherished family will to men." traditions, a time for games and merriment, a time for singing The year 1945 brought both sorrow and joy to the family; carols old and new, and a time to celebrate a season of love. Bates Burt's wife died of cancer, but he gained a daughter-in Each year the Burt family had a unique custom of mailing a law-Anne. For that year's card-Ah, Bleak and Chill the Wintry musical Christmas card early in December. Beginning in the Wind-Al's father penned these words, "The secret of joy .out early fall, Bates sat at the family piano late at night composing of sorrow and gain out of loss is all there in the message of both the melody and lyrics. The newest carol reached the Burt Christmas. " family's friends and loved ones in time for them to learn and sing With World War II over, Al surprised his father with music it for Christmas. Burt probably had no idea of the tradition he for the 1946 card earlier than usual. His father liked All on a had begun when he started writing the carols in the mid-I920s. Christmas Morning so much that, upon hearing it, he played the song over and over and invited the family to join in singing it. He marveled at his son's ability to compose and Ruth Buenting is a free-lance writer living in Calgary, was one of Al's most devoted fans. The 1947 carol, Nigh Alberta, Canada. Bethlehem, was the last one the Burt family would sing with
DECEMBER. 1992 PAGE 9 their father. Bates Burt died the follow ing their first child. In anticipation of the dering if their card had been lost in the ingyear. event, AI wrote a lullaby for the 1949 mail, and would she please mail them The text for the 1948 Christmas card Christmas card. A long-time friend of the another? came from an old English verse of hospi Burt family, Wihla Hutson-once the The next three carols, This Is Christ tality, Christ in the Stranger's Guise. The organist at All Saints' Episcopal Church in mas, Some Children See Him, and Come, original now hangs in Anne Burt's home. Pontiac, Michigan, where his father had Dear Children, reflect the Burts' desire to Around this time AI was discharged served-took the place of Bates Burt as embrace both the sacred and secular sides from the Army Air Force Band and started lyricist. The result of this collaboration was of Christmas in their carols. This is Christ his professional career. AI and Anne both Carol of the Mother. Three months later, mas tells of wreaths, happy faces, snowy were musical-a:nn-traveled.~tIie-country Diane Bates-Burt arrivecl-:-:fler 15irm--;an=-'--~-::::m""-e"=anows; annc15ilciren's-voices, wllil~e~- ~~ with jazz orchestras. Not only was he play nouncementwas an excerpt from the carol. Some Children See Him portrays ing jazz, but AI also expanded his musical Wherever the Burts went as they the universality of Christ. The lyrics to scope by composing concert waltzes. AI traveled, Wihla Hutson mailed her lyrics Come, Dear Children describe everything taught sight~singing, theory, and musi to AI. After that, it was Anne Burt's task that children and families do at Christ cianship at the American Theatre Wing to find an artist who would design a mas time-the excitement and bustle of School while in New York City. By 1949, card appropriate for the song and its the season. AI had secured a permanent position as message. Many of the ideas for the cards The family settled in California's San jazz-trumpeterand-arrangerwith-the - were Anne's. Fernando Valley. One of Ai's carols was AIvino Rey Orchestra. The Christmas card list grew to 450 first introduced to a wider audience at a After several years on the road, AI and cards from the original 50. Anne tried to King Sisters' Christmas party in 1952. Anne's life together began to take root; save postage by eliminating some of the The Blue Reys, the choral group of the not only was Ai's career becoming estab names, only to receive notes and cards AIvino Rey Orchestra, sang Come, Dear lished, but he and Anne were also expect- from the people she had removed won- Children, and the Hollywood guests instantly loved it. The world seemed bright for the Burt Hearken.Ye family-roots in both home and church o and a family and a musical career that was Wi bla llat.an A.S.8art nn just beginning to blossom; however, by Christmas 1953, their lives changed com pletely. Because AI had had a lingering o bearken, ye woo would be-l1eve, The gracious cough for some time, his wife persuaded 1 .1: J. him to enter the hospital for tests. The diagnosis was lung cancer. They traveled to New York to see a specialist and learned AI had only six months to live. AI did not want his illness to interfere with the life of their three-year-old daughter, so he decided it was best to go Glo - n - a, Gio - rl - a, In J. - eel-sis - o! The -J. - 1. 1. 1. back to California where he would work on his music. Anne's medical training and ability to care for AI made it possible for him to stay at home. Anne recalls that each day was lived to its fullest, ftlled with compassion, warmth, and Ai's humor and 2 I uncomplaining spirit. IIlgbt-y - day 1s eome to hU-1II1II\ birth. The president of Columbia Records, ...rL...l .i James Conkling, learned of Ai's progno sis. He had heard about the carols sung at the Christmas parry and wanted to record them. Wihla Hutson was asked to write lyrics for four new carols. This gave AI a goal. ~ The Burts were racing with death. Gl - r1 :L l h ce~ SlS '1 hOI Wihla Hutson says that the words flowed so speedily for these last carols that she could hardly keep her pen moving fast enough.3 Ai's job was to set We'll Dress the
PAGE 10 CHORAL JOURNAL House, 0 Hearken Ye, The Star Carol, and Caroling, Carolingto music. Finally came the day when a volunteer choir made a demonstration tape of the .TheAIfredBurt 'Carols carols at a local church. Al directed the choir from his wheelchair and later Chnstmas.Cometh Caroling; 1942 This /sChristmas,1950 confided to his wife. that it had been the WhatAre the Signs,1943 Some Children See Him, 1951 happiest day of his life. Jesu ParzJUle, 1944. Come, Dear Children, 1952 The joyous carol, 0 Hearken Ye, was . Ah, /3leak andChillthe Wintry Wind1945. OHearken Ye,1953 selected for their 1953 musical Christmas All on a ChristfrlasMorning,1946 . The StarCaro~ 1954 card. The harmonies and the words give NighBethlehem,1947 .. Caroling, Caroling,.1953* this Christmas hymn an unusually trium ChriSt in theStranger's 'Guise, 1948 .. We'lIDress the House, 1953* phant air. c;aroloftheMother. 1949 . , "Not sent as BurtChrisrmiLS cards~ By Christmas, Al had lost his voice. Choral arrangements are published by Shawnee Press. Nevertheless, Anne Burt says, "We kept this occasion in all its meaning that year with our daughter, Diane. Disease did little to lessen its luster, for Alloved liv ing. When his voice left him, he fastened Two days later, Burt lost his battle The Alfred Burt carols gleam with a musical horn to his wheelchair. Our with cancer at the age of thirty-three. An faith, hope, and love. They are a light in days were bright, not gI00my."4 hour after his death, a special courier arrived an often dark and dreary world. Mrs. On the fifth of February, Al Burt fin at the Burt doorstep with the signed con Burt says, "How happy he would be to ished his last composition, The Star CaroL tract from Columbia Records to record all know the joy and inspiration his music This piece has a simplicity and clarity not fifteen carols. The end of his earthly life has brought to so many people all over found in the others. was the beginning of his musical legacy. the world."5
The Star Carol
lINDic by THE STAR CAROL Alfred aurt 1954
n I u ...... i i r '---'r· I---r~r Itmg 1Oal"S a. - go on a daep ft1.n - tar nigbt Whilo in a man - ger a ..ee bA - by lq, Je - 8UB the . Lord ~ that ba-by • 0 emall, 'lhon erune the star Bnd it /Stood ov - vet' . bead, Dear ba-by J& - BU8 haw ti - nT ihou art; And lfflon tha stars in the hea - venn I ..e, . . ...I J ".. ~ 1=J ... J~j
l-.I I I " I~I -r
I D =-.. I " DECEMBER 1992 PAGE 11 The Star Carol: Lyric by Wihla Hutson; Music by Alfred Burt. TRO-Copyright ©1954 (renewed) and 1957 (renewed) Hollis Music, Inc., New York, NY. Used by permission. 0 Hearken Ye: Lyric by Wihla Hutson; music by Alfred Burt. TRO-Copyright © 1954 (renewed) and 1957 (renewed) Hollis Music, Inc., New York, NY. Used by permission. I Anne S. Burt, "A Legacy of Love," American Lutheran Magazine 54 (December 1984): 30. 2 Ibid., 32. 3 Ibid., 33. 4 Ibid. 5 Ibid. -CJ-· A 1936photo ofAlfred Burt leading the junior choir at All Saints' Church in Pontiac, Michigan. Editor's Note: Wilila Hutson, lyricist ily custom might be continued. I was for many of the later Alfred Burt deeply touched and could hardly believe Carols, wrote the following letter in that this great honor was mine. response to our request for some After Al requested words to which to personal remembrances of her work write the music, his genius in composi with Burt. tion invariably produced the music in a short time. The distance between us never seemed to matter. If a slight alter HE Alfred Burt Carols have been ation in the text was needed to fit Al's Ta very important part of my life, music, he always felt free to make it. I just as their predecessors, the Bates never suggested an alteration in the mu Burt Carols, were . .Ai; organist in the sic-I loved everything he wrote! Reverend Mr. Burt's parish of All .Ai; to subject matter, a few times the Saints', Pontiac, Michigan, for twenty themes were joindy agreed upon before five years, I had the enormous privilege hand; when Diane was on the way, we of coming to know this remarkable wrote The Carol ofthe Mother; when Al family well. .Ai; I lived in Detroit, some said, "The world is in a mess: let's try to twenty miles from the church, I often tell them that we are all one," Some stayed· over between morning and af Children See Him became our text. One Wihla Hutson ternoon services on Sundays and thus or two of the texts had personal over shared in many of the family activi tones: Come, Dear Children and We'll Perhaps it is simply love reaching out ties-even including staying overnight Dress the House were the happy and busy to touch others at Christmas and for all after the Christmas Eve midnight ser Burt household at Christmas time. To time. Do I have a favorite Alfred Burt vice to be on hand for the Christmas know that Al asked me for the words carol? Yes, whichever carol is being per morning service! When I went to the was all the urging I needed. I still won formed at the time. parish, Alfred was nine or ten years der if I really wrote the texts myself, or old, so I watched him grow up. whether an angel was pushing the pen! Every good wish and many blessings, I shall never forget when Al, after You ask what might be the reason for his father's death, asked me to write the worldwide acceptance of the Alfred Wihla Hutson words for further carols so that the fam- Burt Carols during these fifty years. August 1, 1992 PAGE 12 CHORAL JOURNAL Specification: Great Organ Swell Organ 16' Montre 16' Bourdon 32' Contre Basse 8' Principal 8' Gedeckt 16' Principal 8' Gemshom 8' Viole 16' Subbass 8' Stopped Flute 8' Viole Celeste 8' Octave 4' Octave 8' Flute Celeste II 8' Bass Flute 4' Flute Ouverte 4' Principal 4' Choral Bass 2' Principal 4' Nachthom 4' Koppelflote 1'/8' Larigot 4' Celeste II Mixture IV Mixture IV 28/8' Nazard 16' Bombarde Cymbaleill 2' Blocldlote 16' Fagott 16' Dulzian 1"/s' Tierce 8' 'n:ompete 8' Trumpet PletnJen IV-V 4' Schalmei 8' Krummhom 16' Basson Great to Pedal Chimes 8' Trompette Swell to Pedal 'n:emulant 8' Hautbois Great & Pedal Swell to Great 4' Clairon Pistons Coupled MIDI on Great Tremulant MIDI on Pedal MIDI on Swell How would you define music? ~~~-il~-=--=~-=~Altists~and~phi1osophers ¥ou-can-audition-on=the~==~--~----Northwestern'University~=-=~~-~-=--=---=~-=--~=II-~~ throughout history have at- Evanston campus or in more School of Music tempted to answer this question. than 30 cities nationwide. 1993 Auditions To Sidney Lanier, music was Campus auditions for graduate January 12 Cleveland "love in search of a word." students in vocal and instrumen January 13 Baltimore Honore de Balzac called it "the tal performance will be January January 14 Pittsburgh January 18 Kansas City most sensuous of arts," while 22-23, February 19-2Q1all~ _ --~-----.------~,-- ~- January 19 Minneapolis Thomas Fuller believed it was March 5-6; for the master of January 20 St. Louis "nothing else but wild sounds music in conducting, auditions January 25 New Orleans civilized into time a~d tune." will be March 2-4; for the doc January 26 Miami tor of conducting, March 4-5; January 27 Tampa At Northwestern University, our and for the doctor of music in January 28 Atlanta world-renowned faculty and vocal and instrumental perfor February 1 Detroit outstanding students-talented, mance, November 6-7, March February 2 Louisville creative young musicians like 5-6, and April 16-17. February 3 Memphis yourself-are redefining music February 8 Interlochen every day. We offer a variety of For an audition appointment, an February 9 Cincinnati programs for both undergradu application, financial aid infor February 10 Nashville ates and graduates. Yau'll be mation,or a booklet describing February 15 Boston February 16, 17 New York City able to enhance your educa our faculty and programs in February 18 Philadelphia tional experiences with the rich more detail, contact Admissions February 19 Washington, D.C. - resources of Chicago, which Box G, School of Music, North February 23 Seattle offer almost limitless opportuni western University, 711 Elgin February 24 Portland ties for performance and Road, Evanston, Illinois 60208- February 25 Palo Alto internships. 1200; phone 708/491-3141; February 26 San Francisco fax 708/491-5260. March 1,2 Los Angeles March 3 San Diego March 4 Phoenix March 8 Dallas March 9 Houston March 10 Albuquerque March 11 Denver Northwestern: Redefining Music ANew Look at Gregorian Chant by Robert M. Fowells Pope Gregory I Editor's Note: This article is the third of a series of festschrifr Nineteenth-Century Restoration articles commissioned in honor of the late Roger Wagner by the During the last half of the nineteenth century, the monks at Roger Wagner Center for Choral Studies. The first two festschrifr the Abbey of Saint-Pierre de Solesmes in France restored the articles appeared in the August and September 1991 issues of chant melodies to their original, medieval state. That restora the Choral Journal-William Belan, "An Interview with Roger tion was made necessary by the wear and tear of about seven Wagner," and Kerry Barnett, "A Choral Conductor's Preparation centuries, along with the inevitable change of musical styles for Choral/Orchesttal Concetts." General Editor of the series is (the invention of counterpoint and harmony) that occurred William Belan, Director of the Roger Wagner Center and Director over that time. In a monumental and painstalcing project, the of Choral Studies at California State University, Los Angeles. monks gathered manuscripts or copies from allover Europe These and additional articles will be published as a festschrifr by and deciphered the early melodies by historical research, using Thomas House Publications in the fall of 1994. chants they could read in order to decipher the notation that they could not. This resulted in huge charts which showed the Gregorian chant was the original music of the Christian notes used for each syllable of each chant for the entire church Church in western Europe. Over one thousand years before the year as transcribed from up to twenty-five different manu Reformation, it emerged from various undocumented sources scripts. The final version of each chant was determined from and continued in the Roman Catholic church since that time these charts, usually talcing the most frequently occuring vari despite occasional lapses. From the purely scholarly aspect, it ant, but sometimes the one that seemed most aesthetic. These constitutes the largest extant body of early medieval music, and were the chants that the Vatican prescribed after Pius X's Motu it was solely responsible for the development of musical nota proprio of 1903. tion, freeing musicians from dependence upon oral transmis With the restoration of original chant melodies, their con sion. From a purely musical viewpoint, chant is mesmerizing tinued use was assured. Nevertheless, a huge problem remained with its floating, wandering melodies devoid of any familiar unsolved-the rhythm. Medieval theorists all but ignored the major/minor orientation or recurrent rhythmic pattern. Chant subject of rhythm despite voluminous discussions of every is really prayer which is sung in order to be heard in a large other facet of music. The original theory of Solesmes Abbey, space. Over the centuries the intonations became ornate just as under the direction of the late-nineteenth-century scholar Dom the buildings and windows did, and many of the chants be Joseph Pothier, was that the chant flowed with the rhythm of came miniature masterpieces equal to the architectural master the spoken language. However, Pothier's successor at Solesmes, pieces for which they were written. Dom Andre Mocquereau (chantmaster 1893-1930), devised a .rhythmic system based on the concept that each note of the chant moved in a series of indivisible and equal pulses. Al Robert M. Fowells is Emeritus Professor of Music, California though the concept that each note received one beat had no State University, Los Angeles, and is the founder-director of the historical proof, this method raised the singing of chant to an Gregorian Schola of Los Angeles. art form and was widely practiced until about 1970. DECEMBER 1992 PAGE 15 Dom Eugene Cardine, one of Interpreting the Chant means "hold." Although many of these Mocquereau's students at Solesmes, Chant moves basically in a conversa- holds appear in the Liber Usualis as lines became interested in the historical evi- tional rhythm-as if it were simply a sen- drawn over the notes, that rhythmic sys dence contained in the manuscripts. He tence being intoned. The earlier system, tern left out the other letter completely, the and his paleography students at the Pon- which was exquisite when done by an c for celeriter, which meant to hurry. So, tifical Institute in Rome discovered that expert, tended to create a very mechani- where the Liber may have only a the earliest, staffless neumes contained in cal delivery in less talented hands. On the square note to indicate a single pitch, the manuscripts from St. Gall and Laon actu- other hand, in Cardine's system, the chant new Graduale Triplex shows various signs: ally gave indications regarding rhythm and is delivered as ifit were being spoken with the [I] and the [-] are simple signs for --~,expression;- T'hese.,--jndications-wererlor=onlronellotecper-syllable:-T-hat-provides--singlellotes-and-often-indicate-a-rise-orfall=------ the most part, eliminated with the inven- the movement it should have to be easily in pitch. However, a single note could be tion of staff notation. So, Cardine argued understood. When there are multiple indicated by ;- which meant to hold it a for a different rhythmic and expressive notes to a syllable, they are ornaments bit longer, or by 'Y which meant to hurry interpretation of chant-one that was and are sung faster. it a bit. If there were two or more notes at more in keeping with the chant's original Some of the early signs are letters which the same pitch, they could be noted as '" notation. The new chant is contained in serve to lengthen or shorten certain notes. for "regular speed" or •• I for "faster," or the Graduale Triplex that uses the early The most common is a t for tenete, which n1 for "hold the last one a little." notation, from Laon and St. Gall, above -- and below the square notation on the staff. Pitch is read from the square notes RBC.KS An~phona ad introitum IV and expression from the older neumes (Figure 1). J J: "./ Ie!, Gal. 6,14; Ps, 66 • - I". • . / NN • VOCAL MUSIC TEACHER PRINCETON REGIONAL Figure 1 SCHOOOLS are seeking an exceptional VOCAL MUSIC TEACHER to serve as an associate director and accompanist of its 1t8GI(S Antiphona ad introltum n internationally acclaimed high A .. ..,/ J~../ .'p~. 2, 7.1. 1.2.8 school choirs and ,,- J e I ;} - r: choral music program. .,; ~,.. .u' ~.~. rJ r I J __ .' ~. ~ .0_- Princeton, a multicultural, multiracial community, seeks applicants with demonstrated expertise in diverse areas of choral instruction and a commitment to personalized education that sets high i = : f;;~... I ~ l expectations for all students. The t..f 1,11' If' - t: 1'1- 1- us me- US es tu, e- successful candidate will hold or be eligible for the New Jersey Teacher of Figure 2 Music certificate or the provisional New Jersey music certificate. Applications will be reviewed upon receipt, and the position will remain available until filled. -; ;o} r r./ I" ..Ps. 109,3 PR1NCETON REGIONAL SCHOOLS 25 VALLEY ROAD ~ rh .' 1 • Jr~ ';1: •. 1 J IF eo OJ _ • ...' II I""" • PR1NCETON, NEW JERSEY 08540 sancto- rum,· ex u- te- ro - 609/924-5617 , / Figure 3 PAGE 16 CHORAL JOURNAL "RBlKS Antiphona ad introitum VIII /"/ .J\; When there is more than one pitch to G9 I"' J I'" I"' 1'" r // Ps. 24, 1-4 a neume, there are several notations pos - I ~II J1 I II II' II = II hI!- sible, each with its own subtle meaning. ==-....J.J-..: or II.I The neumes were originally meant to represent hand signs that would outline the chant's melodic shape and serve as a reminder to the chantmaster and the II • II ~ monks. An up-down pattern was shown I /I ,nil as () and the reverse was J. But if a De- us me- specific emphasis was expected, down up could be shown as J which requires Figure 4 a more deliberate motion on both notes, or only the last note could be length ened by writing J. The simple design for up-down-up (\j has twelve possible variations, none of which appear in the square notation. Cardine's most exciting discovery solved the mystery of the neumatic break, a, or caesura. The mystery involved the ques 1 tion of why a scribe would write such a II pattern as /(1) when this M would have > indicated the same directions and would have been quicker to write. Cardine real ti- a pJe- na, ized that whenever the copyist stopped or Figure 5 raised his pen, he was indicating an em phasis or lengthening of the note on which the stop occurred. The neumatic breal< not only altered the character of the small neumes, but, more importantly, it divided the long, seemingly endless melismas on some syllables into easily recognized and remembered patterns. Neumes Paint the Text In many instances the old neumes were used by the chant writer to underline or emphasize the significance of the texts. The most famous examples appear in the Mass for Christmas Midnight. The text of the opening Introit translates: "The Lord said to me, you are my son. This day have I begotten you." The old neumes, shown directly above the text in Figure 2, subtly convey the meaning of the words: e/) ??, - ," ," V - "Do - mi - nus di - xit ad me." The light signs indicate that a baby is speaking from the manger. This is fol lowed by what God said-"you are my son"-and ove!:.. the word "my" are signs to 1eng th en, ,,()me - J"Wius. e must not b e theatrical, but, to the medieval mind, God was bragging. In the final Communion of the same Mass (Figure 3), God says, "In the splendor of the saints ... have I begotten you." The signs used are quite DECEMBER 1992 PAGE 17 opposite from those given for the baby's of Advent, Ad te levavi (To Thee I have fourth Sunday of Advent, the opening quotation: lifted up my soul) (Figure 4), not only ''Ave'' is set to twenty-two notes in a wan / _c;1 - 1/ n 5 - does the melody rise to agree with the dering melisma that would be difficult to "In splen-do-ri-bus sanc-to-rum." text, but the word "animam" (soul) opens interpret musically if it were not broken Here every note is emphasized except the with an upward leap of a fourth and a into four groups by caesuras which con unimportant syllables in the long neume split with a caesura-J/-to em- vert it into a very logical melody. The word "splendoribus." The c written on phasize the gift of the soul. accented syllable of "Maria" is set to four- the neume above "splen" is a reminder In the Easter Introit, Resurrexi, at the teen light notes which one author de- that the word is not "splendoribus" with text "you have laid your hand upon me," scribes as "trembling with joy."1 The --··---t1ie acceiifon tl:iefi,rsTsyllaI51e~buftliat li6'f6iily'afedlefe-constanneJ5eafe(hlot=es"--~s=q"u=are ····rrotesCalone-w6fitd~cslfow~~ the accent is moved over because of the to show the hand being held in place, but none of this. suffix "-ibus." many of the notes have tenetes to under- In the Communion Dicit Dominus The repertoire is filled with such ex line the importance of the statement. (Figure 6), which tells the story of the amples. In the Introit for the first Sunday In the Ave Maria (Figure 5) for the wedding at Cana, we find an example in which the chant can be seen as a dramatic precursor to early oratorio. The storyteller Dom. anno C: begins by singing in midstaff, "Dicit 10. 2, 7. 8. 9 et 10-11 Dominus." Christ intones most of his co. VI e 6. message in the lower part of the staff in a RBCKS -~... II II ••,. ,..~ .'. I ~ i tradition that lasted at least to Bach's St. ~ '" ~= II . ~ 111 =,!, nil =~lt,.fll .. ~ ,1,., h-,/ ./v 7 V 7 ". if e-//7 Matthew Passion, "Implete hydrias aqua ... I-cit/ Do-..... mi-' nus: lmple-te" hydri- as a- D * et ferte architriclino." The steward who tasted the water that became wine obvi ously tasted too much because his melody f "1"" .. t' I., ..?/. /t'. l>._ ,.eP I !' 0 - staggers around over the interval of a third qua et ferte architri- cli- '. no. LCpm gu- stas- set archi- ("Cum gustasset architriclinus aquam vinum factam, dicit sponso"). In the next e~ :.... rll' Ij--rl'i r...... II' Ibu. •• ~ phrase, he tells the bridegroom to "serve , . ~ ~ ~ / the good wine first" (Servasti vinum JY v:/;r. cr. 11 0 ..r - ,....;'.. tri- cli-" nus aquam vi- num fa- ctam, di- cit sponso: bonum usque adhuc) , and his voice shoots up to the top of the staff to sing a melody .. .. that Johann Strauss would have adored! This is but a taste of the joyful discov .: ; :: '.' ; ¥I ; eries to be made in the study and singing ~~Serva-sti ~ vi- num bo- num~ us-que~ adhuc, Hoc signum fe- of chant. It is like the music of Bach in C I .. - that it is beautiful, even if you know noth ing about it; but, the more you Imow, the more fascinating it becomes. Complete descriptions of the neumes and their Figure 6 meanings are available in the sources listed in the bibliography, and good recordings are available by Dom Jean Claire from Saint-Pierre de Solesmes and Godehard Recent Issues and Old Favorites for Lent and Easter Joppich from Mtinsterschwarzach. How Felice Anerio: Alleluia! Christus surrexit. SATB. Lat-Eng. 3: 15. ~o ever, chants can be learned initially the John Blow: The Lord Hear Thee in the Day ofTrouble. SATB, organ. way the first monks did-by rote. Choirs Eng. 1:45. 1.20 can then use the melodies for vocal John Blow: Save Me, 0 God. SATB, organ. Eng. 3:00. 1.20 warmups and, later, for sight-reading ex Heinrich Isaac: Christ ist erstanden. SATB. Ger-Eng. 1: 15. 1.00 ercises. But most of all, chant represents the greatest musical art of the early Middle Heinrich Isaac: Judica me, Deus. T so/a, SATB. Lat-Eng. 4:30. 1.30 Ages; today, they are still addictive, and Orlando di Lasso: Christus resurgens. SAM. Lat-Eng. 1:45. 1.40 they deserve to live. Johann Hermann Schein: Maria Magdalene et altera Maria. SSATB. Lat-Eng.2:30. 1.50 Tomas Luis de Victoria: 0 crux ave. SATB. Lat-Eng. 2 :00. 1.10 Musical examples from the Graduale BROUDE BROTHERS LIMITED Triplex used by permission of the Abbaye 141 White Oaks Road / Williamstown, MA 01267 Saint-Pierre de Solesmes. PAGE 18 CHORAL JOURNAL International Invitational NOTES Festivals of Music 1M. Clement Morin, "Gregorian Semiology," A cultural contact through music lectures presented at California State Univer sity at Los Angeles, June 23 to July 3, 1980. THREE SPIRES CHILDREN'S FESTIVAL Denmark • June 29-July 4, 1993 BIBLIOGRAPHY Jean Ashworth Bartle, conductor and clinician Belan, William. "The Conducting of Gregorian Gala final concert in Tivoli Gardens Concert Hall. Chant: A Study of Chironomy as Applied Concerts in Copenhagen's most beautiful cathedrals. to the Semiology of Neumatic Notation." Daily clinics and rehearsals. D.M.A. dissertation, University of IRISH CHORAL FESTIVAL Oldahoma, 1984. Dublin, Ireland. July 10-11, 1993 Cardine, Dom Eugene. Beginning Studies in Gregorian Chant. Translated by William Donald Neuen and Paul Salamunovich, Tortolano. Chicago: G.I.A. Publications, guest conductors and clinicians. 1988. Individual performances and clinics (non competitive). ___. Gregorian Semiology. Translated by Final concert in National Concert Hall with all groups performing Irish selections from the Robert Shaw Chorale Series. Robert M. Fowells. Solesmes: Abbaye Saint Individual choirs will perform throughout Ireland with host choirs. Pierre de Solesmes, 1982. ~ Fowells, Robert M. "Gregorian Semiology: The Scandinavian custom concert tours including Edvard Grieg Cultural Tours New Chant-Part One." Sacred Music 114 ~ (Summer 1987): 17-20. Custom concert tours including International Festivals ___. "Gregorian Semiology: The New from all areas of the world ... (many are subsidized). Chant-Part Two." Sacred Music 114 (Fall 1987): 12-17. Performance Tours by Invitation ___. "Gregorian Semiology: The New P.O. Box 26045 • Fresno, CA 93729 Chant-Part Three." Sacred Music 114 800488-6795 209 438-6795 (Winter 1987): 11-16. Gmduale Triplex. Solesmes: Abbaye Saint-Pierre de Solesmes, 1979. Greco, Eugene A. "Gregorian Chant: Contem '\FORTHE CR porary Perspectives and Attitudes." Ph.D. dissertation, University of Miami, 1987. -C]- MUSICPRINTER PLUS is the most powerful of all notation based sequencer programs, yet the easiest to learn and operate. As a leader in the industry, MUSICPRINTER PLUS continues to be refined with the release of 4.1. It offers Real-time entry and playback from your MIDI equipped organ or piano. MUSICPRINTER PLUS features easy editing, Illinois ACDA and printing to laser or dot-matrix. You .~ ...• can print your composition for the choir .... :& ./ or export PO< files for inserting into your Sunday bulletin. ~- - It's the perfect tool for all church musicians! ti~~~'~"" rs Music Composition ~ . itvProducts, Inc. 2()t1rAve. N.E., Bldg 1 Software ~., ~ellevue. WA 98005 for all IBM PC's 4:26-2673 July 14-1711 1993 Compatibles 462-1007 &. DECEMBER 1992 PAGE 19 University of Hartford HARTt SCHOOL OF MUSIC Selected Sacred Choral Take Your Music To Hartt Publications Hartt School of Music is a professional conservatory within a diversified private New England university. Hartt prepares musicians for the future. Our graduates hold respected positions as church musicians, choral directors, and vocaVchoral music educators. Degrees Take your music to Hartt. Theater, Vocal Music Education) Information: • Master of Music: Choral Conducting James Jacobs • Master of Music Education: Director, Office of Admission Choral Conducting Emphasis Hartt School of Music • Doctor of Musical Arts: Music Education University of Hartford (Choral Conducting Emphasis) 200 Bloomfield Avenue Choral Performing. Organizations West Hartford, Connecticut 0611H599 Chamber Singers Telephone: 203-768-4465 Masterworks Chorale FAX: 203-768-4441. Vocal Arts Ensemble Early Music Ensemble UNIVERSITY (Q)fFHARTFORD Choral Faculty The University of Hartford admits students of any race, Dr. Gerald Mack, Director of Choral activities color, creed, gender, age, national and ethnic origin, Michael Yachanin, Assistant .Professor of sexual orientation, and disability status to all rights, privileges, programs, and activities generally accorded Music Education and Choral Music or made available to students at the school. 1993 • April/May • San Antonio. Boston. Atlanta Myrtle Beach, SC. Virginia Beach Jaymar Music Limited Hersheypark, PA. Toronto, Canada Box 2191 OurmostpopuJarCustom Tours: London, Ont., Canada. N6A 4E3 Orlando. New York. Washington,. D.C.. Europe Telephone: (519) 672-7369 Please Call 1-800-533-6263 for more information' PAGE 20 CHORAL JOURNAL The Magnificats of Baldassare Galuppi by Patricia J Cahalan Church and hospital ofthe Mendicanti on the rio del Mendicanti. Baldassare Galuppi was a Venetian composer whose life with references to "II Buranello." (Galuppi was from the island (1706-1785) bridged the Baroque and Classical periods. He is of Burano in the Venetian lagoon and, therefore, was called "II most often remembered for his contributions to the develop Buranello" by his friends and colleagues.) Burney extolled the ment of opera buffa; but, in his day, he was also famous for man, his skills as a composer and performer, and the abilities of sacred choral compositions and keyboard works. This article is his students. He wrote: "This ingenious, entertaining, and el presented with the hope of stimulating interest in his sacred egant composer abounds in novelty, in spirit, and in delicacy."l works, particularly the four Magnificat settings. Galuppi's overall output was quite large: sixty-two serious and thirty-five comic operas, sixteen cantatas (sacred and secu Life and Works lar), twenty oratorios, about ninety harpsichord sonatas, several The compositional genres in which Galuppi wrote reflected instrumental chamber works, and nearly two hundred liturgi the needs of the primary musical establishments in Venice: the cal works, including masses (for four and five voices, with and great opera houses, the Basilica of St. Mark, and the four without orchestra), motets, and psalm settings. Most of the conservatories attached to the ospedali-homes for orphaned choral works remain in manuscript and are scattered through girls. The young Galuppi studied with Antonio Lotti, whose out the libraries of Europe. The largest collection is in Genoa, disciplined, contrapuntal style is evident in many of his at the Biblioteca dell'Istituto Musicale "Nicolo Paganini." sacred works. Galuppi's sacred music was described by a recent writer as Galuppi's sacred music career began in earnest with his "the worthiest of its kind" in eighteenth-century ltaly.2 It con appointment in 1740 to the directorship of the Mendicanti, tains stylistic elements from both the seventeenth and eigh one of the ospedali, for which he composed masses, cantatas, teenth centuries, as well as examples of the archaic style known and oratorios. It continued even during the years of his col as stile antico. For the most part, his music for the conservato laboration with Carlo Goldoni in composing opere buffe (1749- ries is in the eighteenth-century operatic style, while that for 1756). Eventually he became organist, then assistant maestro, the Basilica of St. Mark is more conservative.3 His choice of and, in 1762, maestro di cappella at St. Mark's. In that year he style reflects a difference in the traditions of those institutions also assumed the directorship of the Incurabili, another hospi and in the intended uses of the works. At the conservatories, tal school. For the remainder of his life, he held the post at St. music was performed in concert, often with virtuosic soloists. Mark's, revitalizing its ancient musical establishment and com These works were nearly all written in the concerted style. posing numerous works for the services there. Music for St. Mark's, written for liturgical use, ranged from a A measure of Galuppi's fame may be gained from Charles cappella (or colla parte) works to concerted works with orches Burney's account of his 1770 musical tour to Venice. It abounds tra and large polychoral forms. Galuppi's Magnificat Settings Patricia J. Cahalan is Director of Choral Activities at The College The four Magnificats of Galuppi might be viewed as a of St. Catherine located in St. Paul, Minnesota. microcosm of eighteenth-century styles. The learned DECEMBER 1992 PAGE 21 counterpoint of the stile antico; the vital rhythms; the harmonic "drive to the ca Brief Overview: the Four Magnificats dence"4; the multimovement format of Magnificat a 4, da cappella, C Major the concerted style (stile moderno); and • Trumpet, 2 violins, viola, basso continuo, SATB the simple, refined phrases of the pre • Stile antico polyphony Classic or galant style are all found in his ·8 minutes Magnificats. The four works are listed • Moderately difficult (recommended for college ensembles) below in a progression from the most • Manuscript, Patricia Cahalan, D.M.A. essay, University ofIowa, 1987 archaic to the most modern styles. IVlfi'J!JZ,tlmrzt a 4 voci con strumenti, G Major • Cantata form-6 movements (4 choral, 2 solo) 1. Magnificat a 4, da cappella, C Major. • 20 minutes Library source: Genoa, Biblioteca • Difficulty level: solo-difficult, choir-moderate, orchestra-moderately dell'Istituto musicale "Nicolo Paganini," difficult, (recommended for college or community choirs) MS N .L.5 .11 (Sc. 38) Autograph? • Published by Eulenburg, Hermann Mueller, ed. 1977 - 2. Magnificat a 4 voci con strumenti, Magnificat a 4 con stntmenti, C Minor G Major (1752). Library sources: • 2 oboes, 2 trumpets, 2 violins, viola, basso continuo, SATB a) Dresden, Sachsische Landesbiblio • Two-part form (slow/fast) ... thek, MS29731D27 (probably a copy) --D--4-minutes------.. ---.------and b) Berlin, Preussische Staatsbiblio • Difficulty level: choir-moderate, orchestra-easy, (recommended for college thek, MS 169 (Eitner: MS 170). or high school ensembles) 3. Magnificat a 4 con strumenti, C Minor • Manuscript, Patricia Cahalan, D.M.A. essay, University ofIowa, 1987 Magnificat, C Major (1778). Library source: Genoa, Biblioteca • 2 oboes, 2 horns, 2 violins, viola, basso continuo, S, A, T, SATB dell'Istituto musicale "Nicolo Paganini," • Modified sonata allegro form MS P.B.4.18 (Sc. 38) Probably autograph. • 7 minutes 4. Magnificat, C Major. Library source: • Difficulty level: all voices-moderately easy, orchestra-moderate, (recom The Allen Brown Collection of the mended for high school, college, and church ensembles) Boston Public Library. • Published by Walton Music, Mason Martens, ed. 1966 The first is da cappella (for the chapel) retains several elements associated with do share a number of similar traits. They and archaic in nearly every aspect, from the late seventeenth century-use of the all malce use of text verses as structural the use of the chant formula to its learned compositional process of continuous ex units. They all are scored for four-part counterpoint. The next, in G major, is pansion, harmonic formulas which pro chorus and an orchestra of strings, oboes, the most expansive of the settings, a duce a drive to the cadence, and a brass, and continuo. They are all made up multimovement work in the form of a proportional tempo/meter change-the of contrasting sections, although the sec cantata. The two remaining are shorter, last in C Major displays the clearly regu tions range from large-scale separate single-movement works which demon lated harmonies and phrase structures movements to short segments within a strate primarily pre-Classical characteris which typify the new Classical taste. single movement. All illustrate, to vary tics. While the C Minor setting of 1778 Although the four differ in style, they ing degrees, Galuppi's particular approach to the principle of unity and variety: a tendency to contrast not only thematic material, but also unstable harmonic SONG-LEARNING TAPES© passages with stable ones. All but the last ©1988 by Hammond Music Service contain examples of text painting, such as NEW TECHNOLOGY helps choirs learn music 5 TIMES FASTER! musical depictions of the word "dispersit" Perfect for learning oratorios, requiems, cantatas· any major work! ("scattered") and expressive melodies or Ask about the 1+ 1+ 1 Plan for Honor/Mass Choirs! 1000+ octavos in catalog harmonies for the "mercy" texts. The Each tape has a grand piano playing its voice part loud in the foreground, all other parts soft. G Major and the last C Major Magnificats Order 2 ways: Plan A - Individual Song-learning TapeS©: both provide opportunities for vocal so Each choir member receives an Individual Song-Learning Tape©- los, the former in complete arias, the lat ter with solo phrases. The other settings a chrome dub of high quality, complete with instructions, label and tape box. feature the chorus throughout. Price: Quantities 1-24=$1 Olea; 25-49=$8/ea; 50+=$6/ea., including postage. Plan B - Order a set of Master Song-learning Tapes© - receive a very high The Da Capella Magnificat quality master tape for each voice part and do your own dubbing. Only $125 The C Major Magnificat is the only for a set of four SATB Master Song-learning Tapes© of any major work. one of the four written entirely in the old Call or write for free demo tape and catalog: HAMMOND MUSIC SERVICE church style and the only one to use plain 235 Mornin side Terrace, Vista, CA 92084 Toll Free: 1-800-628-0855 song. Recurring statements ofa theme based PAGE 22 CHORAL JOURNAL on Magnificat Tone V serve as a unifYing Cadences are often obscured by overlap The structure broadly groups the main device (Figure 1). The chorus is doubled ping vocal phrases and/or immediate body of text into two sections: those verses throughout by the strings and woodwinds. changes of harmony. pertaining to Mary herself and those de Of the instruments, only the trumpet has Relatively long for a single movement scribing God's great works. Constant a few brief, independent passages. work (240 measures), this Magnificat is modulations (nearly always by fifths) and Typical of the stile antico, the work is structured by two principal elements: the Galuppi's masterful system of overlapping written in long note values in 1meter and twelve verses of text, which provide the points of imitation with the Magnificat consists almost entirely of polyphony un framework for each new point of imita theme result in a continuously flowing folding in numerous points of imitation. tion, and the recurring Magnificat theme. whole. The doxology is set apart from the main body of the work by a fermata. Its final text phrase is also preceded by a fermata Mediaul uf 1 acct!ul. E.nding of 2 accent.s. a and constitutes a large concluding section, • • • • • • • c •. II •• • • a. - d a triple fugue which uses the Magnificat theme as a principal subject (Figure 2). f. Magnl. fi-cat * a-nima me.. a Dominum. ll. Et exsultaxit spl-ri-tU5 me- us * in Oe-o sa-Iu- ta.- ri me.. o. 3_ Quia respexit humilitatem ancillae suae : * ecce enim ex hoc The G Major Magnificat beatam mc dlcent GOInes generati6nes. The Magnificat in G Major is a con certed work of six movements for soprano Magnificat Tone V (fi'om the "Liber Usualis"). soloist, SATB chorus, and an orchestra of two horns, strings, and continuo. (The Berlin manuscript also contains parts for § e two oboes, which appear to have been ~ b r: r 1° IF F We F' 1° (0 If'+)] 'r added by a copyist.) The work is a mix Ma - gni-fi- cat a - ni-ma me - a Do - mi- num ture of old and new styles. Its cantata form, with separate movements for solo and chorus, and the presence of imitative, a cappella counterpoint show that seven teenth-century traditions had not yet l~!:: ~- ;J~ l;rrJ:JJ XJ:r: rEr~JJJ: ;:1: yielded to the new styles. However, also OrSllnl ". " :If b evident are an abundance of short, paired Magnificat theme, da cappella Magnificat in C Major. phrases with a great deal of regularity in length and rhythm; cantabile melodies over simple accompaniments; slow har Figure 1 monic rhythms underlying figural activ ity in the instruments; and a harmonic rather than melodic use of the horns-all .'" ~ """\ those features reflect pre-Classical traits. l- I The verses of text, while certainly a A ------men factor in the design, are not used to gen erate the form in this setting. The first seven verses are included in the opening I- ::r:. movement, while the remaining verses are each set in individual movements. The movements are approximately equal in 'i" Ma - 901-I . f'1- cat a - ni- rna me - a 00- mi- num length, regardless of the number of verses they contain. The first, with seven verses, r..:IIr /"- I" : is actually shorter than the second, which contains only one verse. et ~n sae-cula sae-cu-lo-rum sae- cu- 10- rum a - men The outer movements are the only two that are primarily for chorus; all of the intervening movements mal<:e extensive use of the soprano soloist. These choral movements are also the most conservative in style: major sections of imitative coun terpoint in ·the old style contrast with Figure 2. Triple fugue subjects, da cappella Magnificat. sections' of choral homophony and DECEMBER 1992 PAGE 23 virtuosic string writing-features of the matic character more commonly found The C Minor Magnificat concerted style. in operatic writing than in music for the The C Minor Magnificat is scored for The solo movements, for the most part, church. Short segments for tutti chorus two trumpets, two oboes (which double contain cantabile melodies over simple and orchestra function as punctuations the violins), strings, continuo, and cho instrumental accompaniments. Despite between the solo phrases. This move- rus. The work is a brief, single-movement some rather difficult melodic leaps and ment is also unique in its setting of the work (ninety-two measures) consisting of florid figures for the soprano, the effect is Gloria text (Figure 3). The adagio set- two sections: an opening Maestoso and simple and elegant-in a word, galant. ting for solo soprano is an exception to an Allegro. The Maestoso opening (mm. Only Movement V stands in contrast the customary use of homophony in joy- 1-18) is a fugal exposition for the voices, ~--=·=tb=··=-dlIs-aescription:of solo movements. ous major{{eys-;--:tike-th-ca'a-cappella~accompanied-bTdivided-triads-in-the-in~--·- ..- .. -.. Set in a minor key and slow tempo, it is Magnificat, this work concludes with a struments. The subject is a four-note chro- an expressive aria. The harmonic lan triple fugue on the text of "et in saecula matic setting of the word "Magnificat," guage, sudden dynamic changes, and saeculorum, amen" (Figure 4). in long note values (Figure 5). The som- florid melodic line give the piece a dra- berness produced by a dramatic upward leap of a minor sixth, followed by a fall ing diminished seventh, is tempered by Adagio CD -~ ..-;; . crisp quarter-note chords in the strings. A iii countersubject in quarter notes forms a Viol. P P Ir rhythmic answer and provides the basis 2 -.; .. p- "--' 7t P f p- of the instrumental accompaniment for 'f I ...• VIa the Allegro. f f p The Allegro section of the work is . through-composed with no real sense of iii periodic phrasing. Nevertheless, this is a (Org.) p~ ~ceUo tightly unified work with a structure CB. p senz Organo f~ f clearly based on the verses of text. The compositional procedure that seems to be at work here is best described by BukofZer's Sopr. " term "continuous expansion." By this pro solo · cess a single musical idea becomes the .. Glo . . germ for the entire work. It appears again '." ... -fro ...... M: -- and again, each time beginning in the p 7t Viol. 'f same manner but developing differently. 2 "" "'" As might be expected with this sort of '---= p- "--' ~'::' .. ~-. 'f constant variation, the harmonic struc VIa ture of this work is also in a constant state f of change. Each new section involves ·" : transposition into at least one other key. (Org.) " !.:.: Tonal areas explored are always closely V"cello CB. related by fifth or relative mode. 5 7 f senz ·Organ.o J# 5 - This Magnificat, then, also exhibits both moderno and antico style traits. On the modern side, it is a single movement ..~ ·" consisting of a slow introduction and 01 . . . ri ~ a PlI . trio glo .:7:' Pa tri, Allegro. It contains small sections of con t:'\ trasting character and a regular harmonic rhythm of two chords per measure. Viol. .. p f 7t ~p . • t:'\ Orchestral parts are mostly independent .. ~r "--' "--' .". ~; of the voices, with trumpets functioning f t:'\ VIa as part of the harmonic structure, rather f p than soloistically. ;lonce;SoIi t:'\ ~ ~ ~ ~ At the same time, older stylistic fea V'cello CB. tures occur. There is no real sense of peri- f p odicity or phrase symmetry. The design grows out of the process of continuous Figure 3. Movement V, G Maj01' Magnificat, mm. 1-16. Reprinted by permission ofF01'eign expansion. The modulatory scheme gives Music Distributors, sole U.S. agent for Edition Kunzelmann. all related keys approximately equal status. PAGE 24 CHORAL JOURNAL Although voices are often paired, the tex horns, strings, continuo, and chorus, the Classicists. The text verses are not the ture is predominantly polyphonic, and work contains brief solo passages for primary structural elements. Instead, me there is the ubiquitous continuo. All of soprano, alto, and tenor. Rather than be lodic themes, which contrast in character these are traits retained from the seven ing assigned separate aria movements and mood, return throughout the work teenth century. (a Baroque practice), the solo voices are in a quasi sonata allegro form. Although used here in the manner of the Viennese the verse structure does correlate with the The C Major Magnificat Classicists to provide timbral contrast musical design, thematic recapitulation The fourth Magnificat, in C major, is within a single movement. tal(es precedence over text expression. In Galuppi's most exuberant and most for Thematically as well, this work most other words, it was a purely musical con ward-looking. Scored for two oboes, two closely resembles the style of the Viennese sideration which led Galuppi to set verses 1,4, 10, 12a, and the final '~en" to the same music, not some notion of signifi cant relationships among those verses. Al though Galuppi had used this compositional technique in individual movements of the earlier G Major Magnificat, the work at hand is the only Magnificat to be entirely conceived in such a way. A coda contains the expected fugal finale on "et in saecula saeculorum, amen." This M mcn A • time a single theme and its inversion work A. " together as subjects (Figure 6). rum, in sae~cu M 10 - rum A - Galuppi's four Magnificats are worth T. investigating for present-day choral per formance. They are representative ex amples of sacred choral music from -men a • - men eighteenth-century Italy, a repertory some Figure 4. Tliple fugue subjects, Movement VI, G Major Magnificat. Reprinted by what overshadowed by the works of permission ofForeign Music Distributors, sole u.s. agmt for Edition Kunzelmann. s I' Ma·- gni- ;fi- cat A ., I" ...... 4- Ma- gni-fi- ~t a-ni-ma me - a - r-. - T I ...... Ma- gni- fi cat a-ni-m me - a Do - mi-nu a- ni-ma me - a 00- -mi- rsulti cr. _.ctr. $ IA~. ,I- -= ...... : -..- --- I I Ma- gni-fi-cat a-ni-ma me- - a Do- - mi-num a - ni-ma me -" a .a-ni-ma Figztl'e 5. Fugal opening, C Minor Magnificat. 5 £9 ~ J I is lJ J J J J 11) J J J et in sae - c~':i'~ s';;;'. cu • 1:-. rum.------A~ . men. wo,.ld with - out_ elfd, - world with - out_ e7ld._ A me ... ....-.... ~ 5. l I@ f"t E C f] I (1 Fd el in sae - cu-Ia sae cu 10 rum. world with - 011.1_ elld, _ wo,.ld with - out_ ell.d._ Figztre 6. Fugal finale subjects, C Major Magnificat. Reprinted by pe17nission of Walton Ml~ic Corporation. DECEMBER 1992 PAGE 2S Germanic composers of the Baroque and finding musical goals or a sense of direc violin, all strings with voices, etc.), espe Classical eras. Their modest scoring makes tion within the somewhat meandering cially in the da cappella and C Minor them readily accessible to college or structures. The conductor needs not only Magnificats, the conductor may find that church choirs with limited orchestral and an awareness of the structural aspects but the texture and timbre seem too unvaried, vocal resources. Yet, they are challenging also a sensitivity to appropriate contrasts especially with less experienced players. I enough to satisfY both performers and of dynamics and articulation. would recommend using concertists and audience. Another potential problem lies in the ripienists or omitting some doublings for The works are not without potential instrumentation of these works. Due to the sake of textural variety. pitfalls, however. One is the challenge of the frequent doubling of parts (oboe with care should be taken in each of p ______Specialists In Charai Music number of instances of unusual or un clear text syllabification, as for instance, when the word "brachio" is set as two Secular New Issues syllables rather than three. Galuppi would probably have pronounced the word in Free Reference Copies Upon Request! an Italian manner, "bra-chio," eliding the final two vowels, rather than in the man America The Beautiful ar:~~_RQg~r Folstrom SATB,kYl:>d,brass MF 3045 B ri ngF~rth-YourMusic Janet Williams Stensaas SAB,piano MF 3043 ner most often used in ecclesiastical Latin Goin' To The Auction Z. Randall Stroope SATB,a cappella,Tsolo MF 3046 pronunciation today, "bra-chi-o." There Let Freedom Ring arr. James McKelvy SATB,kybd MF 3040 Like By The Khasidim arr. Baruch Cohon SATB,piano MF 3036 are also occasions when text accents do Play A Simple Melody Irving Berlin/D.Moore SATB,piano· MF 3041 not correspond to metric accents, such as Prarie Waters By Night Michael Sitton SATB,a cappella MF 3009 Sigh No More Ladies Ren~ Clausen SATB,kybd MF 3044 when the word "omnes" is set with its Three Whitman Settings Rene Clausen SATB,a cappella MF 3042 unstressed second syllable on a strong Whispers Of Heavenly Death Rene Clausen SATB, orchestra in prog. pulse. With a bit of forethought, these For information & ordering: Phone( 800} 359-1386, or Fax(217} 398-2791 problems need not be detrimental to the Mark Foster Music, P.O.Box 4012, Champaign IL, 61824-4012 flow of the piece. With careful consideration of the chal lenges mentioned above, the conductor should find in the Magnificats, as in other sacred works by Galuppi, a fresh and mu Witte Travel is pleased to announce the sically satisfYing body of choral literature. EISENACH CHORAL AND HYMN FESTIVAL NOTES to be held in Eisenach, Germany lCharles 1. Burney, The Present State ofMusic in France and Italy, or The Journal ofa Tour June 24 - 27, 1993 through Those Countries (London, 1773; facsimile, New York: Broude Brothers, Dr. Anton Armstrong, Artistic Director 1969), 116-17 (page references are to the Dr. John Ferguson, Hymn Festival Director facsimile edition). 2 Anthony Chiuminato, "The Liturgical Works The Eisenach Choral and Hymn Festival, which is intended for outstanding of Baldassare Galuppi" (Ph.D. thesis, college, church and community choral groups, will feature participation in a Northwestern University, 1959),33. concert with the Erfurt Orchestra under the direction of Dr. Anton Armstrong 3Denis Arnold, "Orphans and Ladies," plus workshops on instruments in worship, Bach as a musician and preacher Proceedings ofthe Royal Music Academy 89 and other pertinent topics, a vocal masterclass, and a Hymn Festival directed (1962); and The New Grove Dictionary of by Dr. John Ferguson. There will also be opportuniti~s for individual choirs Music and Musicians, s. v. "Venice." to participate in local worship services. The Festival is offered by Witte Travel, a specialist in custom-designed tours for performing groups. For more 4 Manfred Bukofzer, Music in the Baroque Era information, call or write to John Witte, Jr., or Jan Peterson. (New York: W.W. Norton and Company, 1947),220. -C]- 3250 • 28th Street, S.E. Grand Rapids, MI 49512 1·800-253·0210 PAGE 26 CHORAL JOURNAL CONDUCl:O Df>...'is WILL FOCUS ON 1<.5'5 y.\;.~\;. 'flvjPOSIU iv\.: ~~'\ Building on the success of the 1987 ,,0 . as The Pacific Ri e('c. ' 1tJ (Vienna) and 1990 (Stockholm/ p.«\ ..t'(>e Tallinn/ Helsinki) IFCM Symposia, ., Europe, At: . f'Cil the Condudors' Symposium will FEATURED CLINICIANS: feature over 60 clinic sessions. Topics Eric Ericson SWEDEN will present issues of global interest Albert McNeil USA to choral condudors, including new Andrew Parrott UK 1993 WORLD repertoire, conduding and rehearsal Wayne Riddell CANADA technique, and indigenous music Helmuth Rilling GERMANY SYMPOSIUM ON traditions. Gregg Smith USA Vel;o Tormis ESTONIA and many others. CHORAL MUSIC This is an opportunity for singers to REGISTRATION: work with leading choral experts Before May 1, 1993: $390 ($Cdn) from around the world. The program After that date: $440 ($Cdn) Vancouver, August 1-0 1993 will include: readings of ma;or works, FOR MORE DETAILS CONTACT: vocal technique and physiological George Laverock, Executive Diredor awareness, exploration of different An intensive week of 1993 World Symposium national choral traditions, and more. workshops, lectures and concerts on Choral Music 3964 West 18th Avenue with leading international Vancouver, British Columbia choral musicians. Canada V6S 1B7 A global sharing of ideas with Over 40 concerts by 20 invited choirs Tel: (604) 222-4493 choral colleagues from around the world. Fax: (604) 228-0611 from more than 50 countries. A project of The International Federation for Choral Music, The Association of Canadian Choral Conductors, and The British Columbia Choral Federation. DECEMBER 1992 PAGE 27 acfeaTour Consultants Performing ArtsTours Since 1955 CHINA A World of Touring Opporfunities__ in One Country • SUPERB SOUND REPRODUCTION • NO MINIMUM QUANTITIES • PERSONALIZED SERVICE • Excellent concert halls • FAST, ON TIME DELIVERY AT COMPETITIVE PRICES • Informed and eager audiences Bauer Audio offers a complete service in cas sette duplication, from mastering to labeling. • Opportunities to meet local groups informally Utilizing state-of-the-art equipment, Bauer pro • World-class sightseeing, including the Great Wall duces audiophile quality that is unmatched at any price. Request FREE SAMPLE TAPE and experi and the "Forbidden City" mice the difference. • First-class accommodation at bargain prices • Easily combined with Hong Kong or Japan for more information, please contact 8840 Valiean Ave.lSepulveda, CA 91343 Visitors by appointment only For itional information call Tel: 800 886-3355 206 776-3273 120 2nd Ave S Edmonds, WA 98020 1 627-7277 U.S. offices in San Francisco, Seattle, New York, Denver, Chicago, Atlanta PAGE 28 CHORAL JOURNAL ? Education Research: Practical Implications for the Rehearsal by Patrick K Freer Directors of choral ensembles may often see effective re student interaction with the task and teacher, and teacher hearsals as simply the byproduct of a conductor's personality or feedback related to the task. Numerous studies in the fields of organizational skills rather than the result of detailed planning English and mathematics education verified the effectiveness of with specific academic and musical goals plotted for every this approach before extensive research into applications for the second of rehearsal time. Recent research has begun to define performance classroom was initiated by Cornelia Yarbrough which rehearsal structures, director behaviors, and academic and Harry E. Price.3 They, along with other researchers, have presentations contribute to a conductor's success. The research since published numerous studies on this sequential pattern of studies mentioned in this article are a representative sampling instruction in the music ensemble rehearsal. of the reports which have appeared in major music education The teaching unit is a three-step sequence beginning with research journals during the past two decades. the teacher's presentation of a task. As described by Price, this task presentation may talce any of five forms: 1) academic musical task presentation (talking about musical or perfor The Rehearsal Process mance aspects, transmitting musical information, modeling); Since the topic of education reform once again became 2) directions (giving directions regarding who will sing or prominent during the early 1980s, educators have been held to where to sing, preparing people to begin performing); 3) social new degrees of accountability when structuring classroom ex task presentation (presenting rules of behavior, telling students periences. Such recently popular concepts as "Whole Lan how to act, or discussing necessary but nonmusical activities); guage," "Brain-Based Learning,"l and the teaching models 4) questioning (asking questions about performing the music, associated with Madeline HunterZ represent efforts to enhance whether students know where to begin, or soliciting a response classroom success. Although much of the research has focused from the students); or 5) off-task statements (not related to on effective teaching in the academic classroom, some results rehearsal, or not included in the above categories). also apply to the rehearsal hall. The second part of the sequential process involves student interaction with the task. This student response can be either Sequential Teaching Units through performance, nonsinging verbal, or nonverbal re In 1971, Becker, Englemann, and Thomas described a sponses. The third part of the studentlteacher interaction model teacher/student interaction model which followed a three-part has received most research attention and concerns teacher feed cyclical pattern consisting of a task presentation by the teacher, back regarding the student response. This feedback maybe either approving or disapproving, verbal or nonverbal, aca demic or social. It is important that the feedback be directly Patrick K. Freer is the New Jersey R&S Chair for Junior High related to the task which was presented. School Choirs, the founder and principal conductor of the The cycle of interaction is usually considered complete only Raritan Valley Chorus & Youth Chorale, and the junior high when all three steps have been -successively presented. In a choral columnist for the NJMEA journal. complete teaching cycle, the te"acher tells the students what to DECEMBER 1992 PAGE 29 do, lets them try it, and then tells them rehearsal design C, results in frequent how well they did. changes of pace within the rehearsal. Two types of incomplete teaching units Choruses often spend Twenty-five percent of the directors in occur more frequently than others. One this study preferred this rehearsal design. of these takes this form: students are pre- less than thirty-five Like students in group A, these students sented with a musical or academic task, 1+ h l rated their directors and overall experi they respond, and the teacher stops them percent OJ re earsa ences more positively than did students for incorrect performance of something • . in group B. other tllanthe ~ask initiallJ':~esented. In ~~ttme tn COrnpJete~_~ __ ~~ __ ~ The results of this study highlighted the second type, a lengthy series of direc- several items which are immediately use---·-·· tions completely interrupts the teaching teaching cycles. ful to the practicing choral conductor: cycle. When auxiliary directions or infor- mation are inserted into the process, the 1. Although the majority of surveyed con flow of the class may be interrupted, pos ductors preferred rehearsal design A, it sibly resulting in the choir forgetting the sponses of the students and their admin is perhaps more significant that each task which was presented.4 This process istrators were identical. conductor believed in structuring a of interaction may seem obvious to most Rehearsal design A was defined as that rehearsal at all. This implies that suc musIc teachers, but research shows that described by Paul· F. Roe in which the cessful conductors need to be aware of choruses often spend less than thirty-five rehearsal begins and ends with familiar, their own teaching styles and struc percent of rehearsal time in complete enjoyable music. 8 The middle portion of tures instead of falling into the pattern teaching cycles.s the rehearsal contains slower-paced, de of, "let's sing it through and see what By focusing attention on a task of the tailed activities and the presentation of happens." This result corresponds with teacher's choice, the teacher is directing new material. Fifty-two percent of the those of the investigations into com the leaming of ensemble members. When surveyed conductors preferred this type plete sequential teaching units discussed a conductor waits until an ensemble is of rehearsal design. Students of these con earlier in this section. rehearsing to decide on the task, the cho ductors generally had positive attitudes 2. Each director stated the necessity of rus members have become the determin toward both the conductor and the re- including a run-through of a musical ers of class content. Instead of reacting to hearsal process. Among the conductors composition before moving on to the students' incorrect behaviors, music teach included in the study, those favoring re next area of study in a rehearsal. This is ers need to lead students to correct re hearsal design A were perceived by their similar to the concept of "closure" es sponses through a well-planned rehearsal students as being the most stimulating poused by the Instructional Theory presentation which includes appropriate and enthusiastic about music. Other stud Into Practice (ITIP) program, the in feedback. ies have shown that this design's middle structional framework associated with Research has shown that music teach portion of extended analytical work teacher-educators Ernest Stachowski ers who employ this sequential pattern in requires a dynamic conductor to stimu and Madeline Hunter.I2 their teaching are able to produce high late interest while rehearsing tedious 3. Students were asked many questions performance quality while maintaining material.9 about their directors and rehearsal struc high student attentiveness and positive Clive B. Pascoe recommended that re ture but found it difficult to respond to attitude.6 This study also found that hearsal format follow the ideals of the some of the categories, perhaps because elementary students recalled more spe golden proportion (rehearsal design B).IO of unfamiliarity with concepts such as cific information when complete teach This rehearsal design is similar to design personality types and rehearsal organi ing patterns were used. A except that it is structured around a zation. However, students were better climax of intensity occurring approxi able to rate their directors on the basis Organization of the Rehearsal mately two-thirds of the way through the of enthusiasm or apathy toward Choral conducting textbooks disagree rehearsal. Twenty-two percent of the sur music and teaching, regardless of which as to the most effective type of organiza veyed conductors preferred this design. rehearsal structure was used. tional structure for rehearsals. A study of These conductors were seen by their stu 4. Although the study did not find any rehearsal formats proposed by leading dents as the most patient, perhaps result appreciable differences in musical per authors, however, found significant rela ing from the intricate planning necessary formance outcomes relative to the vari tionships between those formats and class to achieve this climax in each rehearsal. ous rehearsal structures, significant room effectivenes. James Cox identified Although the conductors were generally differences were noted in students' three major types of rehearsal design and viewed favorably by their students, these emotional impressions of the conduc then conducted a survey of successful high same students received the lowest scores tor and the rehearsal process. It may be school choral conductors, their students, in the area of overall positive attitude. that the essential factors in success are and their administrators to identify Lloyd Pfautsch proposed a third design the conductor's personality and organi strengths and wealrnesses within each in which music is alternated according to zational abilities, regardless of the design~7 Throughout the study, the re- familiarity and difficulty. II This structure, rehearsal format used. PAGE 30 CHORAL JOURNAL Ninety true/false items provide a balanc The results of Hamann's study clearly Effects of ed evaluation of nine areas: student indicate that students need to feel a part involvement, affiliation (student friend of the learning process rather than func Conductor Behavior ships), teacher support, task orientation tioning as passive recipients of teacher Choral music educators routinely have (the emphasis placed on accomplishing knowledge. Ensembles which achieved class sizes which vastly exceed those found planned activities), student in-class com high contest ratings had significantly in other types of classrooms. Assuring that petitiveness, order and organization of higher CESR scores in the areas of teacher each student is on-task for the entire re assignments and activities, clarity and con support, order and organization, involve hearsal requires that conductors be aware sistency of rules, active teacher control ment, and affiliation. Ensembles which of those procedures which generate fo over the environment (especially disci were awarded lower contest ratings scored cused learning. Several studies have been pline), and innovation (teacher!student significantly higher CESR scores in task conducted to determine the effects of creativi ty) . orientation. Like nonmusic classrooms, teacher behaviors in the areas of class room/rehearsal environment, student at-. titudes toward choral music, and student The., on-task behaviors. CORjyERS70NE Verbalization Time Many different types of events occur [HaJ0LE AND in a choral rehearsal: modeling, logistical St. Louis, Missouri instructions, academic task presentations, reinforcement, student responses, and evaluation. All of these events consume Presents precious seconds of the rehearsal, yet most of these do not require singing. Various 1Jesi~ tne.; Still 1J!)aters studies have indicated that choral con Through the finest music and dramatic narration, ductors typically spend between 35 per this unique professional choir and brass ensemble cent and 50 percent of total rehearsal time presents a message of compassion and sharing. engaged in nonsinging verbalizations. 13 There is some disagreement as to whether 8 Mount Vernon, OH 21 savannah, GA Nazarene College St. Paul's Lutheran the amount of an individual's teaching Benefit: Area Ch's. Church experience produces any appreciable dif JANUARY 31 St. Louis, MO 10 Gainesville, FL 22 Pippa Passes, ICY First Presbyterian Campbell Arts ference in the amount of teacher verbal Third Baptist 14 Church Center ization time. It is certain, however, that Church Benefit: Habitat for Alice Lloyd College excessive teacher verbalization causes a FEBRUARY Humanity 23 Louisville, ICY decrease in student attentiveness. A study 2 PI !Ie Blull, AR 11 Wlnler Haven, FL. Presbyterian Church of secondary instrumental conductors First Presbyterian Grace Lutheran USA confirmed that necessary but routine non Church Church 24 Decatur,lL 12 Orlando, FL First Evangelical musical verbalizations usually have a nega 3 Memphis, TN Bartlett United First United Lutheran Church tive effect on student attitudes. On the Methodist Church Methodist Church 25 Portsmouth, OH other hand, when conductors address " Cincinnati, OH Benefit: Coalition Second Presbyterian challenging expressive and pedagogical el Lutheran Church of for the Homeless Church the Good Sh~pherd 14 Sarasota, FL Benefit: ~Project ements within the rehearsal, verbalizations St. Thomas More Playground" 15 5 Lexinuton, II help to foster positive student attitude. St. Michael the Catholic Church 26 Indianapolis, IN Archangel Episcopal Benefit: Resur- Tabernacle Classroom Environment Church rection House Presbyterian Church 15 Naples, FL 28 St. Louis, MO Donald Hamann was instrumental in Benefit: HOPE Ctr. & God's Pantry First Presbyterian Christ Church developing a study to correlate classroom 6 Richmond, IN Church Cathedral environments with contest ratings among Central United Benefit: St. Matt- successful high school performing en Methodist Church hew's House· FOR INFORMATION 17 Jacksonville, FL sembles. 16 Using the Classroom Environ 7 Toledo,OH WRITE: Christ Presbyterian 18 Atlanta, GA ment Scale, Form R (CESR), Hamann The Cornerstone Church 20 SI. Petersburu, FL Chorale, Inc. found significant differences in classroom Benefit: MTCU First Presbyterian P.O. 4010 Church scores relative to contest ratings, teacher! Ministries St. Louis, MO 6032 Benefit: Resur student status, and gender. rection House, Inc. Phone:314/838-2618 The CESR is a widely used tool for evaluation of classroom environment. DECEMBER 1992 PAGE 31 rehearsal halls appear to be most success- rehearsed by three conductors: their usual Off-task behaviors did occur somewhat ful when there are many opportunities conductor, a high magnitude conductor, less frequently in this study when stu for student input, maximum levels of and a low magnitude conductor. High dents were rehearsed by the high magni teacher support, and a variety of well- magnitude conductors were characterized tude conductor. An interesting finding structured lessons and activities. Class- as those employing a wide array ofbehav for any teachers who have wished for "eyes room environments are less successful iors in the following areas: eye contact, in the back of their heads"-eye contact when the teacher provides a task-oriented closeness (proximity), gestures, facial ex produces more immediate on-task behav atmosphere. press ions, rehearsal pace, and vocal vol- ior than any other single conductor be Hamann reports that female students ume and modulation. Low magnitude havior. Conversely, a lack of teacher eye _.. ·in several si:udies feIi:·significanuy m()re- . conQuctors wereiCIenrifiecI::i. PAGE 32 CHORAL JOURNAL Relationships Between time trying to interpret the "number Magnitude, Attitude, and Conclusion crunching" contained in these studies? On-Task Behaviors A review of the research into use of The investment of time and energy nec rehearsal time suggests that choral educa essary to implement these findings will The Syracuse University Symphonic tors must first determine their preferred enable ensemble conductors at any level Band participated in a study formulated rehearsal design and how that design will to develop and realize more consistently to consider the impact of much of the be implemented in the classroom envi successful rehearsals and to become better research presented in this article.23 The ronment. Regardless of rehearsal struc teachers. band was rehearsed under a variety of ture, conductors need to become aware of conditions to measure the combined ef the impact of conductor magnitude and NOTES fects of conductor verbalizations, conduc verbalization on student attitude and at 1Renate N ummela Caine and Geoffrey Caine, tor magnitude, sequential teaching units, tentiveness. The conductor needs to uti "Understanding a Brain-Based Approach to approval/disapproval comments, and, to lize complete teaching units which Learning and Teaching," Educational Leader a lesser degree, rehearsal design. present, practice, and reinforce student ship 48 (October 1990): 66-70. The results of the study showed the skills or lmowledge. An implementation 2T. Clark Saunders and Joanne L. Worthington, correlation among all of the teacher behav of these elements into the choral rehearsal "Teacher Effectiveness in the Performance iors presented. It was clear that the most is essential to developing an ens~mble Classroom," Update: Applications o/Research in consistently efficient rehearsals occurred which is enthusiastic and focused on the Music Education 8 (Spring/Summer 1990): when recent research recommendations literature at hand. 26-27. were implemented, resulting in the highest Granted, all of this may seem imprac 3W. C. Becker, S. Englemann, and D. R. Thomas, musical performance gains and the highest tical for the public school music teacher Teaching: A Course in Applied Psychology student attitude ratings. Simply stated, ac who spends half of the day wheeling a (Chicago: Science Research Associates, 1971), tive student participation, complete teach cart and a keyboard from classroom to 306-315, quoted in Cornelia Yarbrough and ing units, and a high conductor magnitude classroom, or for the college instructor Harry E. Price, "Sequential Patterns of result in higher performance gains and with courses in theory, voice, history, and Instruction in Music," Journal 0/ Research in lower incidence of off-task behaviors. general music methods. Why spend the Music Education 37 (Fall 1989): 179-80. "helping people discover music since 1888" TOLL FREE 1-800-553-8742 412-788-5900 - FAX 412-788-6055 138 INDUSTRY DRIVE \ PITTSBURGH, PA 15275-1054 Business Hours: TUESDAY through SATURDAY 8:30 AM to 5:00 PM. Closed Sunday and Monday. DECEMBER 1992 PAGE 33 4Harry E. Price, "An Effective Way to Teach and 9Cornelia Yarbrough, "Effect of Magnitude of 13William McCord Caldwell, Jr" "A Time Rehearse: Research Supports Using Sequential Conductor Behavior on Students in Selected Analysis of Selected Musical Elements and Patterns," Update 8 (Fall/Winter 1989): Mixed Choruses," jRME23 (Summer 1975): Leadership Behaviors ofSuccessful High School 42-43. 144; and Pamela Dayle Hopton Fiocca, "A Choral Conductors," Dissertation Abstracts 5Yarbrough and Price, "Sequential Patterns of DescriptiveAnalysis ofthe Rehearsal Behaviors International41 (September 1980): 976A; and Instruction," 184. of Exemplary Junior High and Middle School Yarbrough and Price, "Sequential Patterns of 6Harry E. Price, "The Effect of Conductor Choir Directors," Contributions to Music Instruction," 184. Academic Task Presentation, Conductor Education no. 16 (1989): 28. 14RichardEugene Watkins, "A Descriptive Study Reinforcement, and Ensemble Practice on IOClive Brownley Pascoe, "Golden Proportion in of High School Choral Directors' Use of ~P~rfor~~~i lviU:;ical Achieveme~t, Attentive Musical Design,;' Disse1:tati~~ Abstr~cts ~-=CM""'-P-o=a;=e'i'ili:=ri~g=; =;M"'·;=e=ta=p=;li=o=r~iC=a'Tl~L;"'a=n=g=u=a=g=e=,=a=n=a;=~~~= ness, and Attitude," jRME 31 (Winter 1983): International34 (December 1973): 3456-A. Musical/Technical Language Related to 253. llLloyd Pfautsch, "The Choral Conductor and Student Attentiveness," Dissertation Abstracts 7J ames Cox, "Rehearsal Organizational Structures the Rehearsal," in ChoralConductingSymposium, International 47 (November 1986): 1644-A; Used by Successful High School Choral , ed. Harold A. Decker and Julius Herford, 2d and Michael J. Wagner and Eileen P. Strul, Directors," jRME37 (Fall 1989): 201-18. ed. (Englewood Cliffs, NJ: Prentice Hall, 1988), "Comparisons ofBeginning Versus Experienced 8Paul F. Roe, Choral Music Education, 2d ed. 81-82. Elementary Music Educators in the Use of (Englewood Cliffs, NJ: Prentice Hall, 1983), 12Sybil G. Nadel, compiler, in consultation with Teaching Time," jRME 27 (Summer 1979): 248. Ernest Stachowski, Manual ofthe Academy for 120. the Advancement of Teaching and Management 15Louis A. Menchaca, "A Descriptive Analysis of (Edison, NJ: New Jersey State Department of Secondary Instrumental Conductor Rehearsal Education, 1986), 14; and J. Ronald Gentile, Problem-Solving Approaches, Addressed Instructional Impl'ovement: Summary and Musical Elements and Relationship to Student Analysis ofMadeline Hunter's Essential Elements Attitude," Dissertation Abstracts International of Instruction & Supervision (Oxford, OH: 49 (March 1989): 2575-A. National Staff Development Council, 1988), 16Donald L. Hamann, Charlotte Mills, John 44-45. Bell, ElzaDaugherty, Robin Koozer "Classroom Environment as Related to Contest Ratings Among High School Performing Ensembles," jRME38 (Fall 1990): 215-224. 17Yarbrough, "Effect of Magnitude of Conductor Behavior," 134-46. 18Kenneth Carl Murray, "The Effect of Teacher Approval/Disapproval on Musical Performance, Attentiveness, and Attitude of High School Choruses," in Research in Music Behavior: Modijjing Music Behavior in the Classroom, ed. Clifford K. Madsen, R. Douglas Greer, and Charles H. Madsen, Jr. (New York: Teachers College Press, 1975), 178. 19Cornelia Yarbrough and Harry E. Price, "Prediction of Performer Attentiveness Based on Rehearsal Activiry and Teacher Behavior," jRME29 (Fall 1981): 216. 20Murray, "TeacherApproval/Disapproval," 166. 21Ibid.,177-78. 22Price, "Conductor Academic Task Presenta tion," 253. 23Ibid.,245-57. -C]- PAGE 34 CHORAL JOURNAL The Best Choral Music from Brodt These magnificent collections of the very best in Choral Music from the distinguished British publisher Kevin Mayhew are available exclusively from Brodt Music~ Charlotte~ N. Carolina. Collections - the inexpensive way to buy music - average price per piece less than 50¢. FAVORITE ANTHEM BOOK 2 FAVORITE ANTHEM BOOK 5 Arranged by Harrison Oxley Arranged by Richard Lloyd This collection of thirty unison, two and A further thirty essential anthems for My GoDANDKING three part anthems provides, under one unison and two part singing, including cover, a goldmine of essential repertoire. some of the best modern writing. Ascension Carol Dutch melody A Christmas Song Heathcote Statham Ascribe unto the Lord John Travers An earthly tree William Byrd Ave verum corpus Edward Elgar Ave Maria Flor Peeters Ave verum corpus W. A. Mozart Bist du bei mir J. S. Bach Brother James's Air arr. Gordon Jacob Come, let us this day J. S. Bach Doubt not thy Father's Drop, drop, slow tears Frank Bridge care Edward Elgar God grant us peace Bernard Wickham Evening Hymn Henry Purcell Hear my prayer, 0 God Thomas Norris Gabriel's Message Basque Melody I lie down with God Donald Swann Fifteell Unisolt&Twd~P 1425306 $13.95 1425309 $13.95 1405529 $15.50 For SA MEN People ask us: What is SA Men? It is our designation for choirs which are rather short of men and more comfortable with a combined part for them. These books have been extremely well-received by such choirs. HIT THE ROOF This bumper collection of one hundred descants to well-known hymn tunes will satisfy even those with the most insatiable thirst for descants! Here are beautifully crafted descants to most of the best-loved tunes by Malcolm Archer, Christopher Gower, Richard Lloyd, Thomas McLelland-Young and Harrison Oxley. Each descant is printed above the hymn tune and many have a last verse WITH ALMOST EVERY VOICE ALL THINGS ARE THINE accompaniment as well. The need for music wiJ:h a combined Such has been the success of Abbot's Leigh; Aberystwyth; Abridge; part for men has been confirmed by With Almost Every Voice, our first All Saints; Angel Voices; Aurelia; Austria; the reception accorded . With Almost collection of anthems for choirs which Bow Brickhill; Bristol; Bunessan; Every Voice. This collection has been have few men, and require music with Capetown; Carlisle; Contemplation; taken up widely and enthusiastically. a combined part, that we now present Crimond; Criiger; Cwm Rhondda; These are lovely anthems by a second collection of twelve Darwall's 148th; Deus Tuorum Militum; accomplished composers and all have tuneful and enjoyable pieces all with Diademata; Dix; Down Ampney; organ accompaniment. organ accompaniment. Duke Street; Dundee; Easter Hymn; Ellacombe; Ellers; Eventide; Galilee; Come,myWay Noel Rawsthorne Gerontius; Gonfalon Royal; Gopsal; All things are thine Philip Marshall Gwalchmai; Hanover; Harewood; Come, thou fount Stanley Vann Cry out with joy Colin Mawby . 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We guarantee it to be one of 1405371 Organist's Edition $18.95 today~s most exciting and vibrant publishing programs. 1405372 Descants Only $7.25 Anthem~avourite~ Bloak FAVORITE ANTHEM BOOK 3 FAVORITE ANTHEM BOOK 1 FAVORITE ANTHEM BOOK 4 Arranged by Alan Ridout Edited by Malcolm Archer Arranged by Harrison Oxley Another of our super anthem books, This attractive collection of 'old A quick check down the list of contents this time all arranged for S.A. Men yet favourites' will be a boon to many will confirm that this is a collection not preserving the original intentions of the choirs who are looking for a way of to be missed. As always the book is composers. introducing basic items of the beautifully presented and bound. repertoire (as well as replacing old, Aveverum Edward Elgar worn and tattered copies) econ Almighty Lord and Ave verum W. A. Mozart omically. God of love N. Leighton Brother James's Air Ascension Carol Dutch melody J. L. MacBeth Bain Almighty and everlasting Come, Holy Ghost Ascribe unto the Lord John Travers Thomas Attwood God Orlando Gibbons Expectans Expecta vi Call to remembrance Richard Farrant Charles Wood Ave verum corpus Edward Elgar Fear not, 0 Land Cantate Domino G. O. Pitoni Edward Elgar Ave verum corpus W.A. Mozart God be in my head Expectans Expectavi Charles Wood Walford Davies Blessed be the God S.S. Wesley God is a Spirit God be in my head Walford Davies William S. Bennett Come, Holy Ghost Thomas Attwood God so loved the world God omnipotent John Stainer From all that dwell T.A. Walmisley How beauteous are reigneth Charles Wood God so loved the world John Stainer their feet Greater love hath C. V. Stanford Hide not thou thy face Richard Farrant no man John Ireland How bea~tiful upon How beautiful upon the mountains Hear my prayer F. Mendelssohn John Stainer the mountains John Stainer Jesu, joy of man's How beauteous are If ye love me Thomas Tallis desiring their feet V. Stanford J. S. Bach Jesu, joy of man's c. Lead me, Lord S. S. Wesley Jesu, dulcis memoria T. L. de Victoria desiring J.. S. Bach for a closer walk My soul there is a o C. V. Stanford Lead me, Lord S.S. Wesley salutaris hostia country C. H. H. Parry o Edward Elgar Lord, for thy tender Saviour of the world Now the God of peace G. H. Knight o John Goss mercy's sake Unknown (16c) o thou the central orb Charles Wood o for the wings of a dove F. Mendelssohn o come, ye servants Christopher Tye Panis angelicus Cesar Franck o gladsome light Harrison Oxley o Saviour of the wo~ld John Goss o God, our help in Pie Jesu Gabriel Faure o thou the Central Orb Charles Wood Teach me, 0 Lord ages past Walford Davies TomasAttwood Rejoice in the Lord Unknown (16c) The heavens are telling o Lord, increase F.J. Haydn Seek ye the Lord J. V. Roberts The Lord's Prayer Robert Stone my faith Henry Loosemore The heavens are telling F. J. Haydn Thou visitest the earth sweet and blessed Maurice Green Thou knowest, Lord Henry Purcell o Thou wilt keep him country Gustav Holst Thou visitest the earth Maurice Greene in perfect peace worship the Lord John Travers S. S. Wesley Thou wilt keep him o Turnthy face from Panis angelic us Cesar Francle in perfect peace S. S. Wesley my sins Rejoice to God A. Gumpelzhaimer Thomas Attwood Turn back, 0 man Gustav Holst Round me falls the night Adam Drese Turn thy face from 1425307 $13.95 Tell it out amongst the my sins Thomas Attwood heathen John Travers Ye choirs of new This joyful Eastertide Harrison Oxley Jerusalem C.V. Stanford 1425305 $13.95 1425308 $13.95 ORDER FORM The Foreword states the 1. OBTAIN FROM YOUR LOCAL DEALER intention of including or call Brodt Music on 18004384129 (US and Canada). Or fax us on 1 8004460812. 'traditional carols in new We accept Visa and Mastercard. clothes which fitted well and 2. Clip this Order Form and send it to were a joy to wear', and this Brodt Music Co. Inc. 1409 East Independence Blvd, certainly describes the joy of PO Box 9345, Charlotte, NC 28299 . this collection. Qty Ref American Organist l'I~~~'-'-'--'-- All in all, this is a treasure house of first-class material that, without being in any sense revolutionary, will give zest to Christmas musical celebrations at modest cost. It is warmly recommended. Compiled by Malcolm Archer The Hymn Society Bulletin and Alan Ridout Carols Old and New - first published It is an extremely well conceived last year and an immediate success - is compilation in which all the material available in three editions: could be sung by a perfectly ordinary 1. Unison,SNSSA $18.95 choir, yet is treated to a great range 2. SA Men (for choirs short of men) $18.95 of imaginative treatments. 3. SATB $18.95 Each book is a comprehensive What more can one say by way of collection of one hundred traditional general commendation? This is a and modern carols, including many previously unpublished settings and distinguished venture which will be exciting new arrangements for choirs of great value to choirs, schools and of all abilities and at only 19c a carol! congregations of all denominations. Please ask for complete details from Brodt Music. Organists' Review , Best-selling Octavos Our octavos are chosen for their attractiveness and singability. (a) Charge my Brodt Account No _____ Nothing here to tax the technique but plenty to charm the ear! (b) I enclose cheque for $ ______UnisonITwo Part SATB (c) I wish to pay by Visa/Mastercard. My number is Malcolm Archer Noel Rawsthorne WHEN I SURVEY THE WONDROUS CROSS 0 GIVE THANKS TO THE LORD Unison or 2-part, easy. 1425501 95¢ Easy. 1425505 $1.20 Exp. Date ______BRIGHTEST AND BEST Colin Mawby' Unison;2-part or 3-part, easy. UBICARITAS 1425504 $1.20 Moderate. 1425506 $1.20 Name AVE VERUM CORPUS JESUS CHRIST, THE APPLE TREE Unison, 2-part or 3-part, easy. Moderate. 1425507 $1.20 5101002 $1;20 Harrison Oxley o GLADSOME LIGHT City A NEW COMMANDMENT ·2-part (SAlTB), easy. 5101003 95¢ Moderate. 1425508 $1.20 State Zip ______Malcolm Archer Request Complete Kevin Mayhew Catalog here 0 Alan Ridout JUDGE ETERNAL THE LORD IS MY SHEPHERD Easy. 1425509 $1.20 Multiple copy orders non-returnable. Unison or 2-part, easy. 1425502 95¢ Alan Ridout Noel Rawsthorne o CHRIST THE LAMB COME,MYWAY Easy. 1425510 95¢ All Brodt Music charge 2-part, (SAlTB), easy. 1425503 95¢ Philip Moore accounts for churches and I WILL LIFT UP MINE EYES TO MY HUMBLE SUPPLICATION schools receive 20% Unison, easy. 5101001 95¢ Moderate. 1425511 $1.20 discount on choral orders. CoHn Mawby Samuel Webbe AS THE DEER THAT THIRSTS MAGNIFICAT . Unison, easy. 5101004 95¢ Easy.1425512 $1.20 REPERTOIRE & STANDARDS COMMITTEE REPORTS literature. Some emphasis will be given that you will volunteer some of your Vocal Jazz to a cappella music that may be per time to help us malce ACDA a more formed by high school and college choirs. effective organization. and Show Choirs A special SSAATTBB octet consisting of In closing, I urge you to attend some E ARE pleased to announce ACDA choral directors has been created of the sessions planned by the Vocal Jazz that one of the major read to sing some of the more difficult ar and Show Choir Committee for the San Wing sessions at the San Antonio rangements. New settings of the music Antonio Convention. In addition to the Convention, March 3-6, 1993, will fo of Porter, Gershwin, and other outstand reading session, you might want to attend cus on vocal jazz and show choir ing composers will also be featured. the interest session entitled, "Movement If you are wondering why you have for Enhanced Choral Presentations" and not read any articles pertaining to popu our March 6th Breakfast Roundtable lar choral styles of music or jazz/show which will feature a lively panel choir techniques, there is a simple expla discussion. I am looking forward to Division Chairs nation: Nobody is submitting material to renewing old friendships and meeting Vocal Jazz and Show Choirs me to review for publication!l am looking lots of new people. The 1993 National for practical "how-to" articles. Here is Convention is one you should definitely CENTRAL some food for thought to inspire you: plan to attend. Jim Jirak 1003 South Fell Avenue • Unique instrumental accompanim~nts Normal, IL 61761 Dan Schwartz, National Chair for jazz and/or show choirs 309/438-5289 (w) • 309/452-2013 (h) Vocal Jazz and Show Choirs • Tips for rehearsing a cappella jazz EASTERN chorals Kathleen R. VandeBerg White Plains Middle School • How to teach choreography to non 128 Grandview Avenue dancers White Plains, NY 10605 • How to prepare for a jazz/show choir 914/422-2029 (w) • 914/628-8352 (h) festival Two-Year NORTH CENTRAL • Solutions for scheduling jazz/show Andrew Smith choirs in school music programs College Choirs Department of Music • Ten jazz (pop/show) chorals that have a National Repertoire and Moorhead State University stood the test of time Moorhead, MN 56560 Standards Committee Chair, I • Inexpensive costuming ;;. 218/236-4092 (w) • 710/293-9481 (h) have often been asked what the • How to choreograph a choir if you title stands for, what the committee does, NORTHWESTERN cannot hire a choreographer Doug Anderson and why we need it. Although Sister McMinnville High School I would be very happy to discuss with Sharon Breden ably addressed some of McMinnville, OR 97128 you any other ideas for articles that you these questions in the August 1992 issue, 503/472-6108 (w) • 503/472-5593 (h) are considering for possible submission to I want to give you some specific examples SOUTHERN the Choral Journal By the way, you are and try to carry it to the individual Mark Malone invited to the national meeting of our director's level. 121 Btycewood Circle Hattiesburg, MS 39402 committee in San Antonio on March 3, The intent of the committee has been 601/795-6801 x272 (w) 1993 (6:00-8:30 p.m.). We would love to help discover outstanding choral rep to receive some input from the general ertoire and to encourage the highest stan SOUTHWESTERN membership as to how we can help plan Marilyn Foree dards in performing it. Regarding the first 3860 Chelmsford activities for school districts or regional goal, our committee has just completed a Topeka, KS 66610 groups. nationwide survey of two-year choral pro 913/268-1100 (w) • 913/478-4648 (h) If you are interested in serving as a grams. Thanks to the hard work of Rich WESTERN state chair for Connecticut, Maine, ard Nance of Pacific Lutheran University, Jan DeShera Massachusetts, New Hampshire, Rhode we have been able to compile an extensive 3621 Peak Drive Island, or Vermont, please contact repertoire list based on the input of some San Jose, CA 95127 Kathleen VandeBerg, Eastern Division 245 directors. We hope to publish a major 408/251-7820 x3434(w)· 408/251-1465 (h) Chair, or your state president. ACDA is portion of this most enlightening list in a only as strong as its active membership. future Choral Journal article. Be sure to We welcome your suggestions and hope attend the Two-Year College Brealcfast DECEMBER. 1992 PAGE 39 Roundtable in San Antonio where we will against the use of religious music in public discuss the entire survey and pass out education. If your program is being sub National Repertoire and copies of the repertoire list. jected to this pressure, be sure to contact Another way we have worked on ACDA for assistance in this matter. Also, Standards Committee for repertoire development at the national calion the help of fellow directors in your Two-Year College Choirs level is through our review of hundreds of area to make your case. There is strength new works to help select approximately in numbers. In any event, do not give up. NATIONAL CHAIR twenty-five for the reading sessions at the The fact that seventy-five percent of great Thomas E. Miller 1993 National Convention in San Anto- choral music is written on sacred texts is 15816 Mandan Road ~- ·--mo.-Similar efforts arerus6UriaertaKenat noe-yolIrfa:wnil:la YOlf cani10tdiange - .. Apple-Valley;-€-k92307'"--·... --~ .. - .. -.. - the division and state levels. You can con cultural history. But you can teach it! (Victor Valley College) tact your division chair for copies of any One of the distressing outgrowths of 619/245-4271 ext. 236 (w) recent reviews. this pressure to remove sacred music, es 619/242-2463 (h) The standards side of our mandate pecially religious Christmas music, from grows directly out of the concern for concert programs is that we are now EASTERN - 214 colleges quality repertoire. Our students deserve churning out piles of "holidayeeze" to fill Stewart Gillespie the opportunity to deal with only the the void. Most of it is pure fluff. One way Mattatuck Community College:.. very best choral literature we can give to help insure·thecohtinlled-publication ---·---··ChaseParkwayI1EC;;3-····· them. That is decidedly not the norm in of fine music is to buy and program good Waterbury, CT 06708 many· California schools with which I music, not fluff. Also, be sure to buy it in 203/575-8039 (w) am acquainted-those that still have quantity-do not copy it. programs! Another way we as a committee can CENTRAL - 180 colleges Colleagues often argue that they must assist the development of choral perfor Tom Stauch perform mostly pop and show material, or mance standards is through the encour Harper College they will not attract students into the pro agement of performance by two-year Algonquin and Roselle Roads gram. I do not believe it for a moment. college choirs at ACDA state, division, Palatine, IL 60067 The largest and strongest programs are and national conventions. We received 312/397-3000 ext. 72568 (w) the ones based on outstanding literature. twelve tapes from two-year colleges for Students who are given good quality lit the 1991 Convention but only five for NORTH CENTRAL - 140 colleges erature will thrive on it and are more 1993. I am sure we have more than five Geneva Eschweiler likely to continue to sing throughout their outstanding two-year college choirs na Fergus Falls Community College lives. tionwide. After fine representation of two 1414 College Way Choral standards are also being influ year colleges at the Phoenix Convention, Fergus Falls, MN 56537 enced by the growing "politically correct" I was frustrated to present so few tapes to 218/739-7500 (w) movement, particularly through pressure the Auditions Committee. I want to en 218/736-6504 (h) courage you to begin preparing now to submit an audition tape for your 1994 NORTHWESTERN -75 colleges division convention. Contact your divi (pending) sion representative for details. As a committee we will continue to seek ways to help you discover outstand SOUTHERN - 330 colleges ing choral literature and assist you in J.e. Boehm presenting it to your choirs. But in the Atlanta Metropolitan College final analysis, each of us as a conductor 1301 Dunwoody Lane is a committee of one. We must pay our Atlanta, GA 30319 THE ALPHA COLLECTION singers the compliment of finding 404/756-4013 (w) Organ and Choral Mus ic outstanding repertoire and do everything 404/455-0521 (h) Recorded in the Cathedrals, we can to perform it in the most musical Churches, II nd Schools 0 f the British Isles. fashion possible. If we each work to that WESTERN - 174 colleges Preserving A National Heritage end, we will then have a truly national Richard Chagnon Of Choral And Organ Music Repertoire and Standards Committee. 4722 33rd Street #6 New Revised Edition For 1990-91 Cassettes· Compact Disks· LPS San Diego, CA 92116 619/560-2809 (w) ORGAN AND CHORAL MUSIC from Thomas E. Miller, National Chair England's historic churches, Two-Year College Choirs cathedrals, and schools. New free SOUTHWESTERN - 199 colleges catalog of CDs, cassettes, LPs. Bradford Consultants, PO Box 4020 (pending) Alameda, Ca, 94501 (415) 523-1968. PAGE 40 CHORAL JOURNAL NATIONAL CONVENTION Festival of Honor Choirs, Shaw Performance to Be Featured at 1993 National Convention Shaw will be featured with the Festival Since 1988, Rao has been Director of Robert Shaw to Singers at the closing concert of the Choral Programs at the University of National Convention on Saturday Toronto, where she regularly conducts the Direct Festival Singers evening, March 6, in the Lila Cockrell choirs and orchestra in concerts. Prior to NE of the highlights of the Theater. her arrival at the University of Toronto, 1993 National Convention Rao held a dual appointment as assistant O will be the appearance of conductor of the Chicago Symphony world-renowned choral director Robert Festival of Honor Chorus and Music Director of the Glen Shaw in concert with the Festival Singers Ellyn Children's Chorus. The Glen Ellyn of the Robert Shaw Choral Institute. Choirs to Highlight Children's Chorus is recognized as a model With the establishment of the Institute for the music education of children and at Ohio State University in January Convention is acclaimed for its performances with 1992, Shaw joined the School of Music MAJOR event at the 1993 San the Chicago Symphony Orchestra and faculty. As Director of the Institute, Antonio National Convention Chorus. Shaw conducts choral seminars and con A will be the Festival of Honor Rao made her conducting debut at certs at the university, as well as directing Choirs featuring the Children's Honor London's Royal Festival Hall in 1980 with his prestigious three-week choral resi Chorus, conducted by Doreen Rao; the a contemporary American choral progam dency in southwest France during the Junior High Honor Choir, conducted by featuring music of Aaron Copeland and summer. Anton Armstrong; and the Women's Charles Ives. Her American debut was A California native, Shaw's career be Honor Choir, conducted by Jo-Michael with the American Symphony Orchestra gan in New York where he prepared cho Scheibe. The three will be presented dur in the 1985 world premiere of Chicago ruses for renowned conductors. He served ing one concert program on Saturday composer Sheldon Elias's Aesop ofPhrygia. on the faculty of the Juilliard School of afternoon, March 6. Instrumentalists will Rao has appeared extensively as guest con Music and, in 1949, formed the Robert join the singers in an array of repertoire ductor and choral clinician throughout Shaw Chorale, which, over the next that will demonstrate the vast potential of the world. She is the author of numerous seventeen years, became America's pre each choral area and age being showcased. books and articles concerning the future mier touring choir. The Chorale was sent The Children's Honor Chorus will be of music performance in education. by the U.S. State Department on several comprised of some one hundred young The Children's Honor Chorus will per tours throughout Europe, the Soviet Union, singers between the ages of ten and fif form a program with orchestra, including the Middle East, and Latin America. teen. Students have auditioned from the world premiere of a work by Cana Shaw served as Music Director of the thirty-five states, including Hawaii and dian composer John Burge entitled Thank San Diego Symphony Orchestra and as Alaska, as well as from Canada. The choir You God: A Children's Prayer Cycle as well Associate Conductor of the Cleveland will celebrate the tenth anniversary of the as works by Harfield, Ives, and Lang, and Orchestra before joining the Atlanta Sym first ACDA children's honor choir con gospel arrangements by Barbara Balcer and phony Orchestra in 1967. He is Music ducted by Doreen Rao in 1983. David Elliott. Director Emeritus and Conductor Laure ate of the Atlanta Symphony, where he served as Music Director for twenty-one years. During his career, he has been Recent Issues and Old Favorites for Lent and Easter awarded twelve Grammys, a Gold Record Felice Anerio: Alleluia! Christus surrexit. SATB. Lat-Eng. 3: 75. for the first RCA classical recording to John Blow: The Lord Hear Thee in the Day ofTrouble. SATB, organ. sell more than a million copies, and the Eng. 1:45. 7.20 first Guggenheim Fellowship ever awarded John Blow: Save Me, 0 God. SATB, organ. Eng. 3:00. 7.20 to a conductor. Heinrich Isaac: Christ ist erstanden. SATB. Ger-Eng. 7: 75. 7.00 In December 1991, Shaw was hon Heinrich Isaac: Judica me, Deus. T solo, SATB. Lat-Eng. 4:30. 7.30 ored by President Bush for his contribu Orlando di Lasso: Christus resurgens. SAM. Lat-Eng. 7:45. 7.40 tions to the arts at the fourteenth annual Johann Hermann Schein: Maria Magdalene et altera Maria. SSATB. Kennedy Center Honors ceremony. He Lat-Eng.2:30. . 7.50 was also featured in Musical America as Tomas Luis de Victoria: 0 crux ave. SATB. Lat-Eng. 2:00. 7.70 their 1991 Musician of the Year. In July 1992, Shaw was awarded the Presidential BROUDE BROTHERS LIMITED National Medal of the Arts. 141 White Oaks Road / Williamstown, MA 01267 DECEMBER 1992 PAGE 41 The Junior High Honor Choir, com formerly taught at Calvin College in in presenting to the national convention posed of eighth- and ninth-grade singers, Grand Rapids, Michigan, where he con a performance which is indicative of the will be the second honor choir for this ducted the Calvin College Alumni Choir, high quality of women's choruses across Repertoire and Standards area at a the Grand Rapids Symphony Chorus, and the United States." National Convention. It will focus atten the St. Cecilia Youth Chorale, a seventy At Northern Arizona University, the tion on the crucial importance of the ado five-voice treble ensemble. choral studies program includes over 450 lescent singer. Armstrong brings to the honor choir a singers in eleven ensembles. Scheibe con Anton Armstrong, conductor of this wealth of background and experience in ducts the University Chorale, the 110- honor choir, is the Director of Choral training the young singer. He himself was voice Flagstaff Master Chorale, and the ~~~:Atrivities-at nisallila: mater, ScOlar-Col;:. a participant -iniheCollimb-us-Boychoir siXty~five=voice Men's Chorale. Inaddi- lege in Northfield, Minnesota. Armstrong summer camp and the Boychoir School. tion to his conducting responsibilities, he He has been the Director of Albemarle, teaches graduate courses in conducting, the coeducational summer music camp choral literature, and choral techniques. Looking Ahead of the American Boychoir School in Scheibe taught for seven years at Long Princeton, New Jersey, for the past ten years. Beach California City College, preceeded For. the Women's Honor Choir (the by five years at the high school level. to 1995: first to appear at an ACDA national con Children's voices, the changing voice, In theIr annual board meeting in vention), Jo-Michael Scheibe, Director of and the mature treble sound-this September 1992, the ACDA National Choral Studies at Northern Arizona Uni national convention concert will not only Board of Directors voted to have the versity, has selected a program of music be a fine quality music experience, but 1995 National Convention in Washing by Mathias, Verdi, Nystedt, and Raminsh. also the exciting proof of the value of ton, D.C. Major performing sites will The Women's Choir will feature singers music education and choral music in our include the John F. Kennedy Center for from the nation's college, university, and schools and communities. the Performing Arts, Washington community choirs. This choir's appear National Cathedral, and Constitution ance is vital to the continued growth of -C]- Hall. The dates of the National Conven the women's choir movement in the tion will be March 8-11, 1995. United States and will showcase the fine NOTE: choral literature written for women's Anyone wishing to host a reception at the voices. convention should malce immediate contact Scheibe, Western Division ACDA with Maxine Asselin, Assistant Convention President, considers the invitation to con Chair, 3 Holly Road, Taunton, duct this choir an honor: "I look forward Massachusetts 02780, 508/697-1377. to the efforts of the singers and of myself PRESENTS AUDIO CASSETTES of the chorus and sound that pioneered, inspired and set Double Scheduling to the standards for popular choral sing ing in America. Be Implemented at San Antonio VIDEO CASSETTES of and about Fred Convention Waring and the Pennsylvanians and Fred Waring's U.S. CHORUS A new feature has been implemented for the 1993 National Convention in San Antonio-double scheduling of all concert sessions. This double scheduling, to RESEARCH OPPORTUNmES. Vast be accomplished through the registration process, is necessitated by the phe amounts of material including scrap nomenal growth in convention attendance. books, photographs, business records, music and recordings for those inter BLUE BADGES: It is important to lmow that all con ested in American popular music and The first 2700 people to preregister will vention-goers will hear and see the culture. receive blue badges and follow same performances. Interest sessions, a designated concert schedule. exhibits, and receptions will be sched For information contact: RED BADGES: uled as they have been in the past. Preregistration is strongfy encouraged. Fred Waring's America The next group to preregister will re The deadline for preregistration is A Project of American Studies Program ceive red badges and follow that color February 12, 1993. The Pennsylvania State University schedule for concerts. 220 Special Services Building GREEN BADGES: University Park, PA 16802 Performers will receive green badges. Maxine Asselin, Assistant Chair (814) 863-2911 1993 National Convention PAGE 42 CHORAL JOURNAL NATIONAL CONVENTION AMERICAN CHORAL DIRECTORS ASSOCIATION SAN ANTONIO, TEXAS MAIL TO: MARCH 3-6, 1993 ACDA PRE-REGISTRATION FORM P.O. Box 6310 PLEASE READ CAREFULLY Lawton, OK 73506 Return this form and payment postmarked by FRIDAY, FEBRUARY 12, 1993. Please prinfin black ink or type all items to assure accuracy. Complete all parts in detail. I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I (LAST NAME/FIRST NAME/MIDDLE INITIAL) I I I I I I I I I I , I I I I I I I I I I I I I I I I I I I I I I I I I I I (HOME ADDRESS) I I I I I I I I I I I I I I I , I I I I I I I I I I I I I I LU II111 (CITY) (STATE) (ZIP - USA) I~I~I ~1~1~1~1~1~1~1~1~'~I~I~I~1 ~I ~I~I~I~I~I~I~I~I~~I_I~I ~II I I I I I I I I I I I I (COUNTRy) (HOME PHONE NUMBER) I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I (INSTITUTION OR BUSINESS) I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I (BUSINESS ADDRESS) I I I I I I I I I I I I I I I I I I I I I 111111III1I LU 1IIIII (CITY) (STATE) (ZIP - USA) I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I (COUNTRy) (BUSINESS PHONE NUMBER) I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I (SPOUSE ATIENDING CONVENTION) / I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I (GUEST ATIENDING CONVENTION) REGISTRATION FEES CONCERT ATTENDANCE (Check the applicable categories) Postmark deadline for pre-registration: February 12, 1993 Blue Badges: First 2700 people to PRE-REGISTRATION REGISTRATION AT CONVENTION pre-register. o ACDA Member (Active, Life) .•. 60.00 0 ACDA Member (Active, Life) •. 75.00 o ACDA Member (Retired) ...... 40.00 0 ACDA Member (Retired) .•••• 50.00 Red Badges: Next group to o ACDA Member (Student) .••.•• 40.00 0 ACDA Member (Student) ••••• 50.00 pre-register. o Spouse of ACDA Member •.••• 40.00 0 Spouse of ACDA Member ...• 50.00 o Guest of ACDA Member ••.••• 40.00 0 Guest of ACDA Member •.... 50.00 o Non-Member Registration •.•• 120.00 Green Badges: Performers Total amount enclosed: $ ______All will hear and see the same performances. Enclose check or money order payable to: AMERICAN CHORAL DIRECTORS ASSOC. Mail with payment to: ACDA, P.O. Box 6310, Lawton, OK 73506 Pre-registration is strongly encouraged. REGISTRATION FEES ARE NON-REFUNDABLE Your canceled check is confirmation of registration. Receipt will be issued at convention. FOR OFFICE USE ONLY PHOTOCOPY FOR YOUR RECORDS DATE ______CHECK NO. ____ AMT. RECD. _____ DECEMBER 1992 PAGE 43 Alphabetical List Corresponds to Map: ROOM RATES** HOTEL NAME HOTEL CODE SINGLE DOUBLE TRIPLE QUADRUPLE 1. Alamo Travelodge ATL $45 $48 $52 $52 405 Broadway 2. Courtyard by Marriott- Market Square CMD $80 $80 $80 $80 600 Santa Rosa South 3. Crockett Hotel CRO $79 $85 $99 $99 320 Bonham 4. Emily Morgan at Alamo Plaza EMA $65 $65 $75 $75 705 East Houston 5. Holiday Inn :-:= Downtown atjv1arket Sguare__ HIM $67 $67 NA NA 318 West Dl.Jn:lngo 6. Holiday Inn Riverwalk - North HIRN $60 $65 $70 $75 110 Lexington 7. Hyatt Regency Hotel - Headquarters HYR $115 $115 $115 $115 123 Losoya 8. Plaza San Antonio PLZ $95 $105 NA NA 555 South Alamo 9. SI. Anthony Hotel SAl $85 $85 $95 $95 300 East Travis 10. Sheraton Gunter Hotel GUN $75 $75 $75 $75 205 East Houston 11. Travelodge on the River TRR $72 $72 $72 $72 100 Villita Street 12. Marriott Rivercenter MRC $120 $120 $120 $120 101 Bowie **These rates will apply only until the Housing Registration deadline: February 2.1993. There is no guarantee after this date. Housing is available only through the Housing Bureau. PAGE 44 CHORAL JOURNAL AMERICAN CHORAL DIRECTORS ASSOCIATION MAIL TO: NATIONAL CONVENTION RESERVATION CUTOFF DATE: ACDA HOUSING SAN ANTONIO, TEXAS February 2, 1993 P.O. Box 2277 MARCH 3-6, 1993 San Antonio, Texas 78298 OFFICIAL HOUSING REQUEST FORM • TELEPHONE OR FAX REQUESTS NOT ACCEPTED. • PLEASE PRINT OR TYPE ALL ITEMS TO ASSURE ACCURACY AND RAPID COMPUTER PROCESSING. • PHOTOCOPY THIS FORM IF MORE THAN TWO ROOMS ARE REQUIRED, KEEP COPY FOR YOUR FILE. • ACKNOWLEDGEMENT(S) WILL BE SENT ONLY TO INDIVIDUAL AT ADDRESS GIVEN BELOW. • ROOM WILL NOT BE SECURED FOR PERSON RECEIVING ACKNOWLEDGEMENT UNLESS LISTED BELOW IN ROOM 1 OR 2. • HOTEL WILL SEND ACTUAL CONFIRMATION (refer to GUARANTEE LATE ARRIVAL). • CANCELLATIONS/CHANGES/CORRECTIONS (refer to ACKNOWLEDGEMENT SENT BY HOTEL) I I I I I I I I I I I I I I I I I I I I (LAST NAME/FIRST NAME/MIDDLE INITIAL) I I I I I I I I I I I I I I I I I I I I , I I I I I I I I I I I I I I I I I (NAME OF COMPANY OR FIRM) I I I I I I I I I I I I I I I I I I I I I I I I I I I I I (STREET ADDRESS OR P.O. BOX NUMBER) I I I I I LU (CITY) (STATE) (ZIP - USA) I I I I I I I I I I I I I I (COUNTRy) (AREA CODE) (WORK NUMBER) INSTRUCTIONS: Select SIX Hotels/Motels of your choice. Request will not be processed without SIX choices. USE CODES ONLY - DO NOT USE NUMBERS - REFER TO HOTEL INFORMATION FOR HOTEL CODES FIRST CHOICE DDD SECOND CHOICE DDD THIRD CHOICE D D D (HOTEL CODE) (HOTEL CODE) (HOTEL CODE) FOURTH CHOICE DDD FIFTH CHOICE DDD SIXTH CHOICE D D D (HOTEL CODE) (HOTEL CODE) (HOTEL CODE) GUARANTEE LATE ARRIVAL BY CREDIT CARD Hotel policies vary. Not all hotels hold rooms until 6 P.M. or honor all credit cards. Some require 1st night deposit. Hotel confirmation will specify policies. (Name of credit card holder) (Type of card AE, MC, VISA) (Credit card number) (Expiration date) *SPECIAL NOTE: Rooms are assigned on "First Come/First Serve" basis AND room availability for your arrival/departure. Rooms required 2 or more days post or pre convention are not always available through the housing bureau. The acknowledgement will advise you to call the hotel direct for additional nights (not always available at convention rate). If none of the choices listed are available, another facility will be assigned based on a referral system determined by your association. DO NOT DUPLICATE - If sharing room(s) deSignate ONE BUREAU will assign convention dates person to send request If arrival! departure are not given. SELECT TYPE ROOM DESIRED OCCUPANT(S) PRINT - IJ\ST NAME FIRST *See Special Note ::E __ Single (1 pers.. 1 bed) __ Quad (4 ppl, 2 beds) o 1. ARR.DATE o 2 DAM __ Double (2 ppl, 1 bed) __ P + 1 (parlor. 1 bdrm) a: ARR. TIME DPM 3. __ Obi/Obi (2 ppl, 2 beds) __ P + 2 (parlor. 2 bdrms) 4 DEPART Triple (3 ppl, 1-2 beds) Check here for disabled __ Single (1 pers., 1 bed) __ Quad (4 ppl. 2 beds) N 1. ARA. DATE ::E 2. DAM __ Double (2 ppl. 1 bed) __ P + 1 (parlor. 1 bdrm) o ARR. TIME DPM o 3. __ Dbl/Dbl (2 ppl. 2 beds) __ P + 2 (parlor. 2 bdrms) a: 4. DEPART Triple (3 ppl, 1-2 beds) Check here for disabled DECEMBER 1992 PAGE 45 ACDA OFFICER CANDIDATES Central Division President HARLES K. SMITH, Professor of 1978, conducts the University Chorale American conductors toured twenty-three C Music and Director of Choral Ac and Choral Union and guides the master's cities in Germany. He was a participant tivities at Michigan State University since and doctoral degree programs in choral in the 1992 British- and Swedish-Ameri conducting. can Choral Exchange. ~~·~5mith"s=chojirs='bve=be(~n=hOJrrOl~ed~bvr==~'F1:re='Bniversity~ehorale~the~MS-B~-- invitations to perform at regional and na Chamber Orchestra, and Smith were in tional conventions of the American Cho vited to appear in concert January 27, ral Directors Association in 1970, 1978, 1992, for the Mozart Bicentennial Festival 1982, 1983, 1988, and 1989, and he was Masses-In-Concert Series at Alice Tully a clinician for the 1992 Central Division Hall in New York City's Lincoln Center. Convention. Smith has served as ACDA Smith has appeared as guest conduc- State President for Michigan and New tor for all-state and festival choruses in Mexico. He has been a frequent contribu twenty-two states. In September 1990, tor to the Choral Journal and has written he was appointed Adjunct Professor of for the International Choral Bulletin, pub Music at Calvin College where he serves lished by the International Federation for as conductor of the Calvin College Choral Music, which he serves as Inter Alumni Choir. He has been a church national Publishers' Liaison. musician for twenty-five years and has In 1988 Smith was chosen to partici also served on the faculties of Arizona pate in the first IFCM German-Ameri State University and the University of can Choral Exchange, in which selected Texas at Austin. HOMAS STAUCH currently holds Choir and Camerata Singers have toured T the position of Associate Professor and performed in numerous European of Music at William Rainey Harper Col countries, which included performance lege in Palatine, Illinois, where he directs broadcasts on Hungarian State Radio. the Concert Choir and Camerata Singers While at Harper College, his choirs have and is the founder/artistic director of performed with the Elgin Symphony Or Chorale Northwest, a sixteen-voice pro chestra, the Harper Symphony, have ap fessional chamber chorus now in its peared on WGN radio and television, second season. He teaches choral con WCLR radio, and local cable television ducting, music appreciation, and applied outlets. His choirs and students have par voice and serves on the college academic ticipated in numerous ACDA festivals, standards committee. Prior to joining the honor choirs, and demonstration choirs Music Department at Harper College, at state and national levels. Stauch directed the choral programs at Stauch is a life member of ACDA and Oswego High School in Oswego, Illinois, has served the organization in numerous and at Trinity United Methodist Church ways. Currently, he is a member of the in Phoenix, Arizona. He holds the Doc 1994 Central Division Convention Plan tor of Musical Arts and Master of Music ning Committee, serves as the Central ACDA state board from 1983 to 1990, degrees in choral music from Arizona Division Repertoire and Standards Chair having served as Repertoire and Standards State University and a Bachelor of Arts for Two-Year Colleges, and is a member State Chair for Two-Year Colleges. He degree in music education from Western of the National Committee in the same was responsible for developing the annual Illinois University. His teachers have in R&S area. He previously served on the Illinois ACDA Choral Clinic for two-year cluded Douglas McEwen, Harold 1992 Central Division Convention Plan college choirs and their directors. In addi Haugh, George Umberson, David ning Committee as House Control Chair. tion to being a member of ACDA, Stauch Stocker, and Robert Hills. He has stud Stauch coordinated the audition process is also a member of MENC, Chorus ied in masterclasses with Robert Shaw for the 1991 National Honors Chorus in America, Conductor's Guild, the College and Helmuth Rilling. the Central Division. Music Society, and the Northwest Subur Under Stauch's direction, the Concert Stauch was a member of the Illinois ban Chapter of Lyric Opera of Chicago. PAGE 46 CHORAL JOURNAL ACDA OFFICER CANDIDATES Southern Division President ENNETH FULTON is Professor of ducted invitational performances before K Choral Music, School of Music, national and regional conventions of the Louisiana State University at Baton American Choral Directors Association, Rouge. He conducts the LSU A Cappella the Music Educators National Confer Choir and recently founded the LSU ence, the Texas Music Educators Associa Chamber Singers, already widely ac tion, the National Association ofTeachers claimed for their performance of both of Singing, the College Music Society, the early music and new works. In addition, Sonneck Society, and the American Asso he is the director of the graduate program ciation of University Composers. in conducting at LSU. Currently, he is a member of the Edi He has twenty-eight years of conduct torial Board for the Choral Journal and ing experience, with previous faculty ap serves as President of the Louisiana chap pointments at Southwest Texas State ter of ACDA. He is also a past president University, San Marcos, and the Univer of the Texas Choral Directors Association sity of Illinois, Champaign-Urbana. Cho and has served in numerous other ap ral groups under his direction have won pointed and elected positions for ACDA, numerous awards and completed five suc TMEA, and MENC. cessful European tours with invitational Fulton is very much in demand as a including all-state, all-region, and all-city performances in Westminster Abbey, Lon clinician, lecturer, and adjudicator, and festival choruses, and conductor/teacher don, the Dome Cathedral, Salzburg, and in the past fifteen years has performed workshops. He is listed in the Interna Notre Dame Cathedral, Paris. He has con- over four hundred invitational clinics, tional Whos Who in Music. URT H. PERINCHIEF is currently Choral Activities at the school, a post he BChairman of the Department of has held for twenty-five years, that in Fine and Performing Arts at Seminole cludes teaching responsibilities for three Community College in Sanford, Florida. choirs, applied voice, and music history. He has served as music director at several Perinchief has been a member of This Publication churches and at both the high school and ACDA since 1972 and has served as university levels in New Jersey, Michi Chair of the Repertoire and Standards Is Available in gan, Kentucky, and Florida. In addition Committee for Community/Junior to his current position at Seminole Com Colleges in Florida's ACDA chapter. He Microform munity College, Perinchief is Director of is currently President of the Florida ACDA and has hosted fall workshops for University Microforms Interna the chapter for seven years. tional reproduces this publication in In addition to being a past member of microform: microfiche and 16mm the Florida Music Educators Association or 35mm film. For information State Articulation Task Force, Perinchief about this publication or any of the has been a member of the Music Educa more than 13,000 titles we offer, tors National Conference since 1960, a mail inquiry to: frequent adjudicator at district and state festivals for the Florida Vocal Association, University Microforms International and an elected member of Pi Kappa 300 North Zeeb Road, Lambda (music honor society). He is Ann Arbor, MI 48106 listed in the International Whos Who in Education. Call us toll-free for an immediate Outside the educational setting, response: 800/521-3044 Perinchiefhas been Commissioner and also Or call collect in Michigan, Deputy Mayor of the City of Lal{e Mary, Alaska, and Hawaii: 313/761-4700 Florida, and an elder at the Markham Woods Presbyterian Church in Lal{e Mary. DECEMBER 1992 PAGE 47 ACDA OFFICER CANDIDATE Western Division President AMES O. FOXX is in his sixth year as Dorado High School where he was also organization was responsible for organiz choral director at Clovis High School Coordinator of Fine Arts for the district. ing and running all secondary school cho Jm Clovis, C;!lifornia. Prior to coming to His choirs consistently received superior ral music events in the state under the California, he was a choral director for ratings at regional and state festivals and Arkansas Activities Association. His orga- ··twenty-one years iu··'A:rkansas·at ElweteTecogffize(hfde·adiIfg-choirs-inbotll~IfizatioIfa:hI1lcl~le·aclership~a:bilities-were- Arkansas and Louisiana, where they trav- recognized by the membership of the eled frequently. Foxx has served often as American Choral Directors Association, a clinician and adjudicator in Arkansas, who elected him twice as President of the Louisiana, and Oldahoma. ACDA Southwestern Division. He also He received a Bachelor of Music Edu- served on planning committees for five cation degree from John Brown Univer- division conventions. Since joining the sity, Siloam Springs, Arkansas, and a Western Division, he has served as chair Master of Arts in music from Ouachita man of the site committees for the Fresno Baptist University in Arkadelphia, Arkan- and Hawaii Conventions. sas. He has done additional study at the Foxx holds memberships in MENC, University ofSouthern Mississippi, South- CMEA, and FMCEA, a local music orga east Missouri State, Henderson State Uni- nization where he has served as Senior versity, the University of Central Arkansas, High Honor Choir Chair. He is currently California State University, Fresno, and serving ACDA as Central Section Chair- Fresno Pacific College. man on the unifying California board. Foxx served in every elected office of Jim and his wife, Julie, a second grade the Arkansas Choral Directors Associa- teacher, have four children and three tion, including three years as President grandchildren. and nine years as Executive Secretary. This RUCE MAYHALL is a member of Chamber Orchestra and serving on its Humanities Committee's Humanities on Bthe choral faculty of the University repertoire and education committees. the Road series. of Nevada, Reno, where he teaches He is also a lecturer for the Nevada Mayhall's education includes degrees graduate courses in choral conducting from Harding University in Arkansas, and conducts the Symphonic Choir-a Ohio University, and the University of university/ community chorus specializ Oldahoma, where he completed doctoral ing in choral/orchestral works. He is also studies with Dennis Shrock in 1990. director of core curriculum studies in the While at the University of Oldahoma, he fine arts and is the founding director of was assistant to the Director of the School the Reno Chamber Chorus. of Music, assistant conductor of the Mayhall serves ACDA as Nevada Presi Graduate Chorale, and was recipient of dent, was a member of the steering com the Schaeffer Scholarship for outstanding mittee for the 1992 Division Convention conductors. For nine years he was in in Hawaii, and will serve on the steering volved with Oldahoma City's Canterbury committee for the 1994 Sacramento Choral Society where he served as Chair Convention. He is on the Advisory man of Administration, Personnel, and Councils of the Nevada Music Educa Programming, Vice President, and Presi tors Association and the Nevada Coali dent of the Board of Directors, as well as tion for Music Education. Since arriving a singer. in Nevada, he has kept a busy schedule Other administrative and musical posts conducting honor and festival choruses, have included church positions in West serving as adjudicator, and leading work Virginia, Oldahoma, and Nevada. Bruce shops. He is a frequent lecturer, provid and his wife, Beverly, are parents of three ing preconcert lectures for the Reno sons. PAGE 48 CHORAL JOURNAL ACDA OFFICER CANDIDATES National Treasurer LAINE MCNAMARA, current ENational Treasurer, retired in 1989 after thirty years of high school teaching to devote time to two choral professional Voting Information associations. In addition to her work with ACDA, she is also Executive Secretary of One of the greatest privileges the Florida Vocal Association, a position that members of ACDA have is held from 1969 to 1978 and resumed in choosing the organization's na 1988. Her ACDA leadership roles have tionalleadership. The people who included Florida President, Southern Di lead ACDA contribute countless vision President, Program Advertising hours of devoted effort to the Chair for the 1989 National Conven enhancement of our professional tion, and Registration Chair for the 1991 lives. They need our involvement National Convention. In 1989 she re and support. ceived the first Music Educator of the The time to malce your choice Year award from the Florida Music Edu for several new officers is ap cators Association and in 1990 was proaching. Ballots will be mailed awarded the national Music Educator of to each member in early January. the Year award from MENC. McNamara Please be a part of the process taught choral methods at Florida Atlan and cast your ballot. tic University from 1980 through 1991 assistant organist at the First Presbyterian and currently works with Plymouth Mu Church in Pompano Beach and is an ac sic Company as a choral editor. She is a tive choral consultant and adjudicator for soprano soloist, assistant director, and local, state, and national festivals. ORDON PAINE is Vice Chairman teaches graduate and undergraduate interpretation to a forthcoming book G and Coordinator of Graduate courses in choral music and supervises entitled Choral Excellence: Elements ofSu Studies in Music at California State the Master of Music program in choral perior Leadership. He is active in the trans University, Fullerton, where he also conducting. lation of German-language literature on After completing his undergraduate music. Among his translations are J S. education at Occidental College and Bach's B-Minor Mass, by Helmuth Rilling working as a business office manger for (Prestige Press, 1985). Pacific Telephone Company, Paine earned Paine has served on the Editorial Board a Bachelor ofArts degree in music history of the Choral Journal and on numerous from California State University, Fuller other ACDA national committees. He has ton, and Master of Music and Doctor of chaired the Don Malin Award committee Musical Arts degrees in choral conduct for four years and for a decade has judged ing and literature from the University of dissertations for the Julius Herford Award. Colorado. The holder of a degree in economics, he Paine is the chorusmaster of the has served as treasurer of the ACDA West Oregon Bach Festival, the largest Bach ern Division. Paine is also on the advisory Festival in the United States. He has pub board of the Society for Seventeenth-Cen lished numerous articles on choral music, tury Music and was formerly an officer of organized and edited Five Centuries of the American Bach Society. Choral Music: Essays in Honor ofHoward Paine has spent three years working Swan (Pendragon Press, 1989), and with Helmuth Rilling in Germany. There authored The Choral Journal: An Index to he conducted one of the choirs of the Volumes 1-18 (ACDA, 1978). He also International Bach Academy of Stuttgart contributed a chapter on score study and and sang in the Gachinger Kantorei, malc ing numerous tours and recordings. DECEMBER 1992 PAGE 49 INDEPENDENT AUDITOR'S REPORT Darryl E. Mullins Certified Public Accountant 431 CAvenue, Suite 200, Post Office Box 2621, Lawton, Oklahoma 73502 405/355-0590 To the Board of Directors of the American Choral Directors Association in Lawton, Oklahoma: disclosures in the financial statements. An audit also includes assessing the accounting principles used and significant estimates made by management, as well I have audited the accompanying statement of assets, liabilities, and fund balance as evaluating the overall financial statement presentation. I believe that my audit of the American Choral Directors Association (a nonprofit organization) as of June provides a reasonable basis for my opinion. 30, 1992, and the related statemento! activity and changes in fund balance for the In my opinion, the financial statements referred to above present fairly---,in all year then ended. These financial statements are the responsibility of the association's material respects-the financial position of the American Choral Directors ~~~_I=~m"",a""nagement. My responsibility is to express an opinion on these financial statements Association as of June 30,1992, and theresultsof its oRerations and chang~ ___ ~ baseD on-my iluaif.------.. - . - --- - .. - lund bcilancefor the year then ended in conformity with generally accepted . I conducted my audit in accordance with generally accepted auditing standards. accounting principles. Those standards require that I plan and perform the audit to obtain reasonable assurance about whether the financial statements are free of material misstatement. Darryl E. Mullins An audit includes examining, on a test basis, evidence supporting the amounts and Certified Public Accountant American Choral Directors Association American Choral Directors Association Statement of Assets, Liabilities, and Fund Balance Statement of Activity and Changes in Fund Balance June 3D, 1992 For the Year Ended June 3D, 1992 ASSETS Unrestricted Restricted Current Assets Fund Fund Cash on Hand and in Banks $10,863.39 Revenue Cash in Bank-Restricted 41,511.66 Dues. $451,189.54 Certificates of Deposit 200,000.00 Choral Journal 236,909.81 Accounts Receivable 10,692.25 Library Archives/Contributions 0.00 $598.50 Accrued Interest Receivable 451.64 Raymond Brock Memorial Fund Contributions 0.00 15,377.77 Prepaid Convention Expenses 19,531.53 Interest & Dividends 14,827.26 Prepaid Insurance 2.206.50 Sales-Labels, Monographs, Tapes, Miscellaneous 35,477.97 N.E.A. Grant 13,000.00 Total Current Assets $285,256.97 Other 1,070.98 Property and Equipment Total Revenue 752,475.56 15,976.27 Land Improvements 13,253.29 Expenses Building Improvements 439,157.36 Salaries 183,240.73 Furniture and Equipment 151,730.83 Employee Benefits 11,961,56 Retirement Fund Expense 10,044.30 Subtotal 604,141.48 Professional/Contract Services 13,187.56 Less Accumulated Depreciation (204,504.18) Printing 213,172.35 Postage 64,983.33 Total Property and Equipment 399,637.30 Office Supplies 12,704.71 Telephone 12,981.66 Other Assets Travel 13,692.31 Meetings Expense 10,538.94 Video Series Production Costs 25,532.65 National Officers Expense 13,171,34 Investment-Growth Mutual Fund 8,878.10 National Convention Expense 7,532.83 Membership Dues 3,346.50 Total Other Assets 34.410.75 Freight 4,089.80 Utilities 9,144.64 Total Assets $719,305.02 Repairs & Maintenance 5,254.07 Insurance & Bonds 5,497.50 Interest Expense 7,980.00 LIABILITIES AND FUND BALANCE Payroll Tax Expense 14,599.49 Division Allotments 117,123.25 Current Liabilities Endowment Trustees Expense 2,101.68 Royalties-Monographs 1,979.88 Accounts Payable $7,804.70 Depreciation 25,468.14 Accrued Interest Payable 4,860.00 R&S Committees 7,680.98 Prepaid Subscriptions 16,522.50 Refunds & Bad Checks 2,398.15 Notes Payable 120,000.00 Miscellaneous 2,808.31 Computer Maintenance 4669.86 Total Current Liabilities $149,187.20 Total Expenses 781353.8Z 0.00 Fund Balance Excess Revenue/(Expenses) (28,878.31 ) 15,976.27 Fund Balance-Unrestricted 332,488.55 Fund Balance-Restricted 237,629.27 Fund Balance, July 1, 1991 362,432.76 221,653.00 Less: Investment Market Value Decline (1,065.90) Total Fund Balance 570,117.82 Total Liabilities and Fund Balance $719,305.02 Fund Balance, June 30,1992 ~332,488.55 $237,629.27 PAGE SO CHORAL JOURNAL NEWS BRIEFS American Symphony Orchestra League Issues Report on Financial Condition of Orchestras T ITS annual conference in June, 3) Marketing and fund-raising costs have orchestras-when adjusted for infla A the American Symphony Orchestra grown at the fastest rate, up more than tion-actually fell by more than 4 percent. League issued a report entitled "The Fi 50 percent in the past five years alone; "Although many of the problems nancial Condition of Symphony 4) In 1971 total concert income (prima reflected in the data are financial, the Orchestras." Among the findings of the rily ticket sales) covered 44 percent of the solutions will require much more than report, prepared by the Wolf Organiza cost of giving concerts, while in 1991 money," said League CEO Catherine tion of Cambridge, Massachusetts, were: total concert income covered only 39 French. "Orchestras will need to malce 1) Total orchestra expenses grew faster percent of the cost; 5) Orchestras' share substantial and systemic changes in the than total revenue between 1986 and of the private sector philanthropic arts way they do business in order to respond 1991; 2) Orchestras now serve roughly dollar has declined from 3.8 percent in to the financial crisis facing them. We fifteen-hundred people per performance, 1970 to 2.6 percent in 1990; 6) From will use this data to ask hard questions up from twelve-hundred a decade before; 1986 to 1991, tax-based support for and posit models for change." Teacher's Guide The Clior a1 MUSIC. ill for Advocacy Jerry Weseley Harris TEACHER'S Guide for Advocacy -SATB- 1 shows teacher educators how to use Benedictus ...... Stissmayr/Harris the books, videotapes, and brochures in Theodore Presser #312-41597 MENC's "Action Kit for Music Educa Come, My Friends ...... JelTY Weseley Hams tion" to help current and future music Music 70 #M70-420 teachers learn the importance of promot ing their subject. This guide will help The Cross Shines Forth ...... Dutch CarollHarris Music 70 #M70-648 educators plan advocacy courses for un dergraduate, graduate, and continuing Deck the Halls ...... Traditional English/Harris Alfred Music Publishers education programs. Cost of the bookis $10 ($8 for MENC Jesus Shall Reign Where'er the Sun ...... ThimanIHarris Flammer #EA-5099 members) plus $2 for shipping and han dling. To order, call 8001828-0229 or send Lullay Thou Little Tiny Child ...... Traditional English/Harris Curtis Music Press #C91 13 your request with prepayment to MENC Publications Sales, 1902 Association Ring Christmas Bells ...... JelTY Weseley Harris Roger Dean #HRD 286 Drive, Reston, Virginia 22091. -SSA- Arise and Let Us Sing Now (SSAA) ...... PeuerllHarris Cancellation Roger Dean #HRD 281 Go Now My Love ...... DeSermisy/Harris UE TO circumstances beyond the Belwin #02535 D control of Kodaly Center of o Music, Thou Most Lovely Art ...... Jeep/Harris America, the Kodaly Commemorative Roger Dean #HRD 282 Concert (advertised in the October issue of the Choral journal), originally sched uled for December 9, 1992, at Alice 'Ifiese tit(es ana other puaCieatiolls ay Jerry WeseCey J{arris Tully Hall, Lincoln Center, has been may ae fauna at your (oea( retai( music store. postponed until approximately the same date in December 1993. DECEMBER 1992 PAGE 51 CI:LEBBATE CHORAL JOURNAL • SUBMISSION INFORMATION NATIVE Articles submitted for publication in the • Native American Ambiances (1992) Choral journal should meet established acapyella AJ4EBICA! specifications. Although the length of The Sacred Earth Prairie Fire Music from JACKSON BERKEY articles varies considerably, submissions The Web of Life Featured Keyboard Artist with the should generally be ten to twenty typed, Grammy Award-Winning double-spaced pages. Referenced material • South Dakota Shadows (1990) MANN HElM STEAMROLLER should be indicated by superscript and end Indian Smnmer· Thrkeys & Bad2er's The United Nations has declared 1993 notes. All submissions must include five Evening Shadows· Mercy Song the year of Indigenous Peoples. copies, accompanying artwork if available, Requiem Celebrate with timely compositions and arrangements by Jackson Berkey. and. a two-. or three-sentence professional Available from For complete writer's guidelines or to submit articles, write to: SDGPRESS Managing Editor 170 Northeast 33rd Street Choral journal Fort Lauderdale, FL 33334 (305) 563-1844 FAX (305) 536-9006 Post Office Box 6310, Lawton, OK 73506. Master Class in Choral .. Orchestral Conducting Oregon Bach Festival- June 25 to July 10, 1993 Helmuth Rilling, artistic director &conductor Seminars (Graduate Credit available). Conducting: Advanced technique for rehearsal and performance; observation of Festival rehearsals and performances by Helmuth Rilling; public performance. Baroque Performance Practice: Instrumental/vocal style and interpretation; orchestral ensemble technique and interpretation. Cantatas of ).S. Bach: Historical context; musical analysis; textual, theological, liturgical context and interpretation. Applications deadline for active participants March 1, 1993. No application deadline for auditors. Teaching Faculty Helmuth Rilling, (International Bachakademie, Stuttgart), conducting Thomas Somerville, (Occidental College), conducting Richard Clark, (University of Oregon), orchestral procedures Gordon Paine, (California State University Fullerton), chorus director; language Boris Kleiner, (Tchaikovsky Conservatory, Moscow), Baroque perfor mance practice Master Class Repertoire ]. S. Bach: Cantata BWV 182 Himmelskonig, sei willkommen Cantata BWV 12 Weinen, Klagen, Sorgen, Zagen Cantata BWV 21 Ich hatte vie! Bekummemis Cantata BWV 61 Nun komm, der Heiden Heiland Cantata BWV 161 Komm, du suj3e Todesstunde Cantata BWV 147 Herz und Mund und Tat und Leben Oregon Bach Festival Concert Schedule includes: Brahms, Requiem . Haydn, The Seasons Mendelssohn, Elijah Midsummer Night's Dream Contact the Oregon Bach Festival: University of Oregon School of Music Eugene, Oregon 97403 - Tel.: 503/346-5666 Fax.: 503/346-5669 PAGE 52 CHORAL JOURNAL IN RETROSPECT Twenty Years Ago in the Choral Journal Editor's Note: Thirty years ago, the ChoralJournalwas issued bimonthly, and thus there is no issue from December 1962. The items appearing below are extracted from the Choral Journal published twenty years ago this month. The "Frill" Theory of Music Education and Phys. Ed. were to go out the by Paul Hume window at the same time .... [Mu sic students] marched down State [reprinted in the Choral Jotlmal from the Street at noon, their silent instru Washington Post. 1 ments draped in black ... one piece Offioial Publioation 01 the o SAVE less than one percent of of music was played: Taps! AMERICAN OHORAL DIRECTORS ASSOOIATION T the total budget, the Board of This country gives a huge amount Education up and announced that oflip service to the belief that the arts come July 1, 1972, kids would no are central to our existence. But when The Demise ofthe Text in longer have to bother with band or Modern Choral Music an economic crunch threatens, it is chorus, orchestra, music appreciation still the arts that some idiot thinks by Harriet Simons or jazz, marching, or singing in choirs should be cut.... We continue to be in any of Chicago's public schools. Art an artistically illiterate nation. ID THE chorus in [Beethoven's] D Ninth Symphony serve as an added instrument or an added text? [T]here are five ways in which choruses and their The Bi-Centennial Celebration: music began to be transformed by certain A Look Forward and Backward composers: (1) Fragmenting words and by Gregg Smith phrases of the text [Penderecki,Stabat Mater; Gaburo, Psalm; Ligeti, Lux FEAR for the young people who believe, as some aeterna]; probably meant to be under I of their teachers have taught, that the age of the stood by the audience; (2) Obliterating masterpiece is through. I find myself extremely op the text [Nystedt, Dominus regnat; timistic at the great developments and potential that Lutoslawski, Trois poemes de Henri new music holds for the singer and vocal ensemblist. Michaux; Richmond Browne, Chortos]; a ... Vocal music is the half sister to theater. ... I see projection of the sense of the text, rather a definite trend among contemporary composers than the text itself; (3) Substituting mis moving toward theater. ... This year's Pulitzer Prize cellaneous vocal and nonvocal sounds for winner, Jacob Druckman, was quoted something to text [Stravinsky, Persephone; Jolas, the effect that he cannot think of musical perfor Diurnes; Nikiprowetzky, Numinis sacra; mances any more without theater. Xennakis, Nuits; Chihara, Nocturne; We are all aware, I am sure, of the commercial and exploitive forces that will come Debussy, Nocturnes; Holst, The Planets; to bear on the centennial. As National TV horrifYingly shows us day after day, we have Olly Wilson, In Memoriam Martin an uphill batde, as educators and musicians of taste, just to get the message of quality Luther King; Pendereclci, St. Luke Pas into the lives of our students. sion; Oliveros, Sound Patterns; Rabe, [The year] 1976 may even be a crossroads year for the contemporary scene, because Rondes]; (4) Manipulating, by electronic after fifteen or twenty years of coundess new waves of ideas and styles, I have a hunch we means, sounds produced by the chorus are going to see a new mainstream in which the wondrous array of new materials that [Stockhausen, Extended Voices]; [and] have been unearthed will be poured into a music that still embodies the important (5) Adding silent gestures. traditions of the past. In this age of changing' definitions, the What we have yet to do is to really bring the [composer] into a greater partnership idea of a chorus performing without a with our own musical activity as conductors .... Throughout our musical history we text should not be considered too have seen masterpieces come out of active local communities, be it Monteverdi in radical .... The imaginative choral direc Mantua, Schutz in Passau, Haydn in Esterhazy, or Ives in Danbury. I am not aslcing tor will do well to search out the newer for masterpieces, but for creative and contemporary music-malcing wherever you are types of choral literature for his programs. throughout this country. DECEMBER 1992 PAGE 53 IN RETROSPECT Groups Performing at ACDA Convention March 8-10, 1973, Kansas City, Missouri Russell Mathis, Convention Chairman Gene Brooks, Program Chairman Shawnee Mission [Kansas] South A Cappella Choir Donald D. Donaldson, director Pasadena [California] City College Chamber Choir DOll DOllaldsoll JOIl PetersOil William Hatcher, conductor c. W. Post College [New York] Chamber Singers Alexander Dashnaw, director University of North Carolina at Greensboro Women's Choir Richard Cox, conductor ...... - East [High School] Singers of Lincoln, Nebraska Jon Peterson, director North Dakota State University Concert Choir Edwin Fissinger, director Chamber Choir Of Pasadena City College p ______Specialists In The Texas Boys Choir: A Consideration Secular New Issues in Teaching Free Reference Copies Upon Request! by George Bragg "\VTE HAVE Parents Classes to in America The Beautiful arr. Roger Folstrom SATB, kybd, brass MF 3045 form the choir parents of what Bring Forth Your Music Janet Williams Stensaas SAB,piano MF 3043 W Goin' To The Auction Z. Randall Stroope SATB,a cappella,Tsolo MF 3046 we are doing or are attempting to accom Let Freedom Ring arr. James McKelvy SATB,kybd MF 3040 plish-for the parents and the home Like By The Khasidim arr. Baruch Cohon SATB,piano MF 3036 Play A Simple Melody Irving Berlin/D.Moore SATB,piano MF 3041 must aid the teacher to be successful with Prarie Waters By Night Michael Sitton SATB,a cappella MF 3009 the child. These classes are required .... Sigh No More Ladies Ren~ Clausen SATB,kybd MF 3044 Three Whitman Settings Renl! Clausen SATB,a cappella MF 3042 A recording is made of each lecture and Whispers Of Heavenly Death Ren~ Clausen SATB,orchestra in prog. the parent having to miss one occasion is For information & ordering: Phone(800)359-1386, or Fax(217)398-2791 called and an appointment is set .... The Mark Foster Music, P.O.Box 4012, Champaign IL, 61824-4012 child is the reason for the family existing and nothing short of devotion to the rearing of this child is satisfactory in our IN GOD'S GOOD TIME philosophy. FOUR SERVICES OF ADVENT DECEMBER 7,8,9, & 10 at 8:00 P.M. GLENN MEMORIAL UNITED METHODIST CHURCH All Welcome Fred Craddock, Preacher; Don Saliers, Presiding Minister; Steven Darsey, Music Director; Sue Mitchell-Wallace, Organist; Candler Choraliers and Glenn Chancel Choir MENC Supports Music Specialists ADVENT WORSHIP SYMPOSIUM ,": .. :. DECEMBER 9,1 to 4 P.M. OR THE first time, the Music Edu DECEMBER 10, 8 A.M. to 2:30 P.M. Pcators National Conference h~ talcen For information and registration, contact Steven Darsey, Candler School Of Theology, an official position asserting thaifin el Emory University, Atlanta, Georgia 30322 Tel: (404) 727-5607 ementary music classrooms, "satf~fa~tory': EMORY instructional leadership can best be pro~ CANDLER SCHOOL OF THEOLOGY, CHAPLAINS OFFICE, GLENN MEMORIAL UNITED METHODIST CHURCH, FELLOWSHIP OF UNITED METHODISTS IN WORSHIP, MUSIC vided by specialists," rather than by AND THE ARTS (NORTH AND SOUTH GEORGIA CONFERENCE CHAPTERS) "classroom teachers." .: ... ~:~. ;'?5 PAGE 54 CHORAU~JOU RNAL BOOK REVIEWS Stephen Town, editor Kenneth H. Phillips to their own curriculum, while others may each bump with the fingers and thumb Teaching Kids to Sing choose to employ the method in its en of one hand. From an open hand posi New York: Schirmer Books, a division tirety. He is appropriately supportive of tion, turn down one finger or thumb in of Macmillan, 1992.392 pp. $35.00. either approach. time with each bump (p. 215). ISBN 0-2-871795-3. LC 91-26288 One of the many strengths of this book Many of the exercises are also accompa is the author's deep lmowledge of vocal nied by illustrations or photographs. NLY VERY rarely does a new anatomy and physiology and the fact that Where appropriate, musical examples are methods book appear that, by all of the exercises he suggests are firmly included, such as in the chapter on pho O virtue of the material presented grounded in that lmowledge. His famil nation. and the manner of presentation, is in iarity with vocal research is considerable Phillips's explication of the formant stantly certifiable as a classic in the field. and is utilized to great advantage through theory of vocal resonance is the most Teaching Kids to Sing by Kenneth Phillips out the book. In fact, Phillips's expertise straightforward and clearly understand is one of those rare gems which qualifY in the research arena is further docu able this reader has encountered. I must as a must-read for every serious practi mented by his chapter, "Research on the talee issue, however, with Phillips's state tioner of choral music education. Phillips Teaching of Singing," in the recently pub ment that "the soft palate is an involun writes from the perspective of an in lished Handbook of Research on Music tary mechanism" (p. 259). The soft palate formed and experienced educator whose Teaching and Learning, ed. Richard is capable of conscious manipulation and, insights into the art and science of teach Colwell (New York: Schirmer Books, 1992). therefore, should not properly be consid ing singing are applied in this book to In this reviewer's opinion, Phillips's ered involuntary. It may well be that a the choral and general music classroom, book is the single most comprehensive habitual positioning of the soft palate (ei grades one through twelve. compendium of vocal exercises ever com ther raised or lowered) in singing is an Phillips does not mince terms in refer piled for children and adolescents. The involuntary act, and perhaps this is what ring to his book as a method for teaching author has obviously collected exercises the author means. singing to children and adolescents. His over a long period of time by observing There are several inconsequential mis method consists of ninety sequential tech and studying techniques of proven worth spellings in addition to one more signifi niques grouped into five major areas: res as well as devising innovative new tech cant spelling error (passagio for passaggio) piration, phonation, resonant tone niques for training young would-be sing that appears throughout the book. These production, diction, and expression. He ers. An additional strength is that, as an are relatively insignificant matters, how strongly maintains that "breathing exer educator par excellence, he has analyzed ever, when compared with the wealth of cises are the foundation of this method" and compared the exercises with an eye valuable material contained in Teaching (p. 31) and, in fact, he has even coined a for appropriate pedagogical sequencing. Kids to Sing. term ("abdicostal," meaning abdominal + All of the techniques have been given Personally, I hope that future editions diaphragmatic + costal) to describe the descriptive titles such as '~imal Farm" of this valuable book will see the last sev type of breath management he advocates. or "Woofers and Tweeters" in order to eral chapters expanded to balance better The term may be very useful in focusing "stimulate student interest and bring the emphasis on respiration. Having seen students' attention on the actions neces about immediate recall of what is ex sary for correct breath management in pected" (p. 108). Regarding the crucial singing. element of evaluation/assessment, Phillips Phillips's book is divided into two ma recommends that written evaluations be jor sections. Part One represents the "why conducted at least twice each year and and what" section of the book and, as provides a handy evaluation form. such, presents a brief historical and philo All of the techniques are clearly de sophical overview ofvocal pedagogy, along scribed in brief paragraphs such as the with explication of such considerations as following: FREE vocal physiology and vocal hygiene. The catalog and author refers to Part Two of the book as 'Maxi-bump'. Direct students to in Ifofr>:dlcsamples. his "cookbook approach to vocal educa hale and suspend. Exhale with five short Write today. Since 1955 ... tion" (p. xi). This part presents ninety contractions of the abdominal muscles on aspirate nonvocal huh-huh-huh-huh LYRIC exercises that are carefully described and CHOIR GOWN COMPANY· , illustrated. The author recognizes that huh. This is done with one breath for all some teachers may choose to employ the five bumps. To keep students bumping exercises selectively, i.e., as a supplement together, the instructor should signal DECEMBER 1992 PAGE 55 Phillips present his ideas in a workshop ing technique, thereby validating his two Steven Paul Scher, editor setting, I would also suggest that future beliefs that "singing has to be learned" Music and Text: Critical Inquiries editions be accompanied by a videotape. and that "most people can be taught to Cambridge (United Kingdom): If one were to utilize Ken Phillips's sing" (p. 384). In these recessionary times, Cambridge University Press, 1992. methodology in its entirety, one's students the $35 purchase price for Teaching Kids 327 pp. ISBN 0-521-40152-5. would most assuredly improve their sing- to Sing may seem a bit steep; however, LC 90-23762 when one realizes the vast amount of prac- tical material contained in the book, one HIS BOOK is a very challenging can only conclude that it would be a collection of essays originally ---~I··~·=·"·=·=~··~·~=·~=~"··~·"··=···="·"···"""'""""·""" .... ".. "..•. = ••==I·~oargain at rwiceme pI'ice.lfyoti" can . r ··pl'esentea·=at an iriteniationar afford to add only one volume to your conference, "Music and the Verbal Arts: Change of Address? professional library this year, you should Interactions," that was held in May 1988 Be sure to notifY ACDA seriously consider choosing Phillips's at Dartmouth College. One challenge is National Headquarters at: Teaching Kids to Sing. that there are fifteen authors and fifteen Post Office Box 6310, Lawton, Vttnce D. Wolverton different viewpoints and styles. Possibly Oklahoma 73506 California State University the greater challenge is the general sub Fullerton, California ject matter which is an area of developing research. Thus, the terminology, the methodology, and the basic philosophi ------, cal, critical, and analytical systems are still in a trial period. These essays represent the ongoing work of scholars seeking unities among the humanities-a desirable pursuit in light of to day's explosion of knowledge. Their basic theses examine whether meth ods of literary criticism can be applied to music criticism. It is an effort to deter mine whether those tools used to define the art object in literature may be of assis tance in defining the art object in music. Vast changes have taken place in the field ofliterary criticism. Scher points out in his preface that there is a proliferation of theoretical approaches and terminology' such as poststructuralism, hermeneutics, semiotics, receptive aesthetics, decon struction, Marxism, feminism, and psychoanalysis. We may call this growing field of seeking relationships between the two arts that of "melopoetics." In this, however, there is a difficulty and a chal lenge: music is a nonrepresentational art as compared to literature, painting, and drama, yet this volume explores whether literature and music can assist each other. In a very brief overview, these are the New Tuxedos and Tuxedo Accessories topics treated in the books. John Neubauer raises the issue of understand Coats • Trousers • Shirts ing an art work in its own art world, Ties • Cummerbunds leading to differing reactions from hearer Send for free brochure: and performer. A second contributor, Knights Formal Wear Charles Hamm, explores the data for un Attn: Jack Hiber derstanding an artwork in its socio-his 3203 North Highway 100 toric context. His essay has much to say Minneapolis, MN 55422 about the influence of contemporary rock 612/533-9872 • 800/634-2423 music upon youth. He asks whether we PAGE 56 CHORAL JOURNAL have become oblivious to the particulari remains to be done in the area of interdis education-music represents all that is ties in a music composition, or do we just ciplinary studies. It is good that this work good in human expression. As Hayden respond to it out of a general cultural is taking place, and it is essential as music White concludes, if music is a discourse, context at the moment of reception? A and the arts strive to maintain their place then both music and literary objects have very important point is raised by Peter J. today, not only in education, but also in much to learn from each other. The ques Rabinowitz regarding "authentic" perfor people's lives generally. tion is not closed. mances on period instruments, namely There is in these essays an insight into Brother James Loxham that our "ears" are of this century, and we the struggle to find meaning in music. Is Salve Regina University have been influenced by many more com music representational? This, of course, Newport, Rhode Island posers and styles since, say, Haydn. There has been one of the rationales of music is more, therefore, than the score needed ,------to understand a work. Literary genres have recognizable con ventions. Can lyrical, narrative, rhetori cal, and expository conventions be found SMOKY MOUNTlIlN in music? Can the romantic short story and the romantic song-cycle be compared for formal- similarities? The answer given MUSIC FEsTIVAL.-1993 by Alpers and Brown· is yes. Is music in GATLINBURG, TENNESSEE terpretable as the language of metaphor? APRIL 30 - MAY 1 MAY 7-8 This has possibilities, says Thomas Grey, Anthony Newcomb finds a similarity Competition in: Concert Choir between narrative conventions and the harmonic and dynamic structures of Madrigal Choir • Men's & Women's Chorus Mahler's Ninth Symphony. Lawrence Show Choir • Jazz Choir Kramer gives an analysis of Haydn's Festival Director: Dr. W J Julian Creation as not only a setting of the Director qfBands: University of Tennessee, Knoxville Biblical text; but also a metaphor for nine teenth-century religious and scientific un 1-800-553-1032 (615) 693-5470 derstanding of creation, namely that Call between the hours of harmony is the glue of all creation. The 8:00 a.m. - 5:00 p.m. Eastern value of metaphor is that it encourages dialogue. In our 11 th year, our experienced, permanent staff, insures a Mozart, in Le Nozze di Figaro, shows smooth-running weekend in the heart of the beautiful Smoky the Count's frustration at one point by Mountains. The three-day festival includes two nights accom withholding a proper cadence to his me modations in aftrst-class Gadinburg motel; a4iudication by lodic line. This, says David Lewin, will nationally known judges; trophies to winning groups; and show the stage director how to stage his plaques to aU participating groups. characters dramatically. Edward T. Cone analyzes the "persona" in Schubert song TOTAL COST: $85 per student (2 night package) $110 per student (3 night package) cycles. There is a thorough analysis of Harbison's musical and poetic decisions Ac:Yudicarors will be chosen from thejoUowing: in "The Flower-fed Buffaloes," by Dr. Charles BaU, Dr. Lewis Ball, Dolly Hough, John Ribble Claudia Stanger. Ruth A. Solie presents Dr. Robert stoll, Dr. David stutzenberger & Eric Thorson a feminist analysis of Schumann's Frauenliebe song-cycle. Madness is por Areas of Interest: ( ) Concert Choir ( ) Madrigal Choir trayed in opera, says Ellen Rosand in her ( ) Show Choir ( ) Jazz Choir ( ) Men's/Women's Chorus analysis of three works, by fragmented ( ) Middle School ( ) Senior High School ( ) Junior High School texts and fragmented musical progres ( ) Elementaxy Choir - VVeekendInrerest ______sions. Finally, Hayden White looks at Name ______the themes developed in all the essays. School ______After studying this book, this reviewer Address ______feels that there is no conclusive evidence that literary criticism can be applied Phone ______unequivocally to musical analysis. Rather, the conclusion of these essays seems to be Mail to Dr. VV J Julian, 601 VVestborough Rd., Knoxville, TN 37909 that insights can be gained, but much still DECEMBER 1992 PAGE 57 Earl William Jones in Your Voice that scientific research was In 1947, Victor Fields stated in The Sing Sound, Self, and Song: Essays on the singing's only hope for the future because ing Voice that "singing teachers are prey Teaching ofSinging the voice was "subject to physics and to unscientific writing." There was a Metuchen, N.J. and London: The physiology." In 1936, Carl Seashore de- great need for a "scientific language and Scarecrow Press, Inc., 1989.231 pp. $20. clared in Objective Analysis of Musical analytical study to avoid trial and error." ISBN 0-8108-2221-0. LC 89-6419 Performance that all aspects of singing Anything expressed about singing ought "can be stated in quantitative detail by to be justified by "documented experi- URING the twentieth century, isolating and measuring elements," and mental evidence." In Emergent Voice of vocal pedagogy has been more that singing could now be, and ulti- 1955, Kenneth Westermann proclaimed ~~~~D ~~preocctlpiea ~it:h the·~s~ci~e-n-ce-o=f"--m~-~at~e"ly-w~o~ul(rbe, evaIuatea~\)Y"infarnble~~-tliatffie~ singing teacher had. progressea- singing than with the art of teaching. For machines" which could graph intonation "from the infancy of imitation, the youth example, in 1929 Douglas Stanley wrote and variations of volume and duration. of empirical findings, to the maturity of scientific investigation." "We can have complete knowledge" through "trust in technology: tapes, amplifiers, oscillo WESTMINSTER graphs, high-speed photography, X-ray, harmonic analyzers, stroboscopes, and all CI=IO]R~~COLLEGE-.. other engineeririg aids." The School of Music of Rider College Later, influential teachers remained critically interested in the discoveries of estminster's broadly based church music pro vocal science but without the former doc Wgrams combine the goals of excellence and trinaire insistence of the mechanists on service. Church musicians are prepared for the multi the purity of its studio applications, or on faceted ministry of music leadership so critical for the exclusivity of their methods. William worship in today's churches. Vennard asserted in Singing: The Mecha nism and the Technique, first published in • Integrated programs utilizing the strength of all divisions 1967, that "scientific terminology was not of the college, notably the conducting, organ, voice and meant to be 'literally defended.'" We can piano departments not be scientists and teachers simulta • Balanced approach to the practical and theoretical, his neously. Terminology must be "adjusted torical and contemporary aspects of church music to the individual." Ralph Appelman, in Science of Vocal Pedagog)! also released in • Promotion of musicianship within the pastoral, theologi 1967, concurred. "Singing defies science," cal and liturgical contexts of contemporary churches and one may sing very well "without know • Outstanding opportunities for employment in local ing why or how." The "best use of scien churches while studying at Westminster. tific information" is as a diagnostic tool, but, at least, we ought to maintain our FACULTY teaching practices "with the best of current John Bertalot, church music; Robert Carwithen, organ; Allen theory." As choral conductors and voice Crowell, conducting department chair; Fr. Gerard Farrell, teachers know, the debate continues. For Gregorian Chant/Catholic church music; Joseph Flummerfelt, artistic director; William Hays, organ/musicology; confirmation, examine the reportings in Melanie Jacobson, choral conducting; James Jordan, chora! any professional voice journal. conducting; Robin Leaver, church music; Joan Lippincott, Clearly, teachers of singing must be organ department chair; Donald MacDonald, organ; conversant with two professional languages: Andrew Megill, conducting; Sue Ellen Page, church music; a poetic one for teaching and a scientific Nancianne Parrella, conducting; Eugene Roan, organ lingua franca for professional discussion STEVE PILKINGTON, interim chair, church music department and publication. While addressing this Gregory Deane Smith, director of field education fact in some depth, Earl William Jones, in Sound, Self, and Song: Essays on the For information about all of Westminster's programs, contact: Teaching of Singing, places himself with OFFICE OF ADMISSIONS out apology in the poetic camp, for he Westminster Choir College says: ''An explicit terminology can impede The School of Music of Rider College the [teaching] process by fixing attention 101 Walnut Lane, Princeton, NJ 08540-3899 on some part of an indivisible act, nar (609) 921-7144 rowing an application to individual stu dents, structuring students' expectancies in 1-800.. 96.. CHOIR a manner that prevents discovery" (p. 188). PAGE 58 CHORAL JOURNAL To Jones, "it is safer and more effective using terms from other disciplines, from of intrinsic motivation and on our abili teaching somehow to arrange for students other fields associated with students' ex ties to engage and exploit it. When a to have the desired vocal experiences, help periences and interests, especially when transference goes unrecognized, 'rapport' ing them to identifY with those physi we find ourselves repeating our standard is difficult to establish, and then the teach ological internal events which only they teaching jargon with increasing frequency ing temptation is to question the student's can sense, and then try to malce the expe and lessening effect" (p. 22). character or commitment" (p. 32). Jones riences memorable, and repeatable, by us This approach imbues and is best presents six case histories that feature some ing terms having common meanings for illustrated in Chapter Four, "First Meet transference effects and how the teacher teacher and student" (p. 188). ing," the longest chapter of the book. As might respond to them. Sound, Self, and Song is not, then, a all teachers learn, students rarely come to Extending this line of discussion, Jones "scientific" book about singing. It is, the first meeting with the psychic matu states that sometimes the students' prob rather, a different kind of book: "essays rity and personality integration which en lems will be complicated by "counter out of experience, intended to illuminate ables them to think of the teacher simply transferences," for "voice teachers have any approach to the art, by whatever as "teacher." There is an emotional neces emotional needs of their own which may method" (pp. 2-3). A primary assump sity, which psychologists identifY as "trans be masked or displayed as personal styles. tion of the author is "that the teacher who ference," for establishing a satisfactory And many of these are not likely to have reads these essays possesses the requisites emotional relationship with the teacher. positive values for the teaching" (p. 45). for teaching: the musical, technical, and Jones believes that all writings about the He describes two contrasting forms of artistic training, a facility in languages, an nature and function of transferences ought counter-transferences in detail-the tech up-to-cruising grasp of the problems and to be required reading for voice teachers nically friendly, insecure teacher and the promises of vocal science, a wide acquain and referenced for every class in vocal antiseptically professional authoritarian tance with song literature, performance pedagogy, because "nothing in our in an attempt to help students to recog experience, minimal proficiency at the pi pedagogical training or performance nize them. When "auditioning" a teacher, ano, and, above all, an authentic 'calling' experience prepares us for a conscious rec "students should be ready to suspect all for the teaching" (p. 3). With these as ognition of, response to, and proper reso unwarranted praise .... They should be givens, Jones explores the following is lution of transferences. This has serious skeptical of such assurances as, 'Every sues, to name a few, in eleven chapters: effects on the accuracy of our assessments thing is just fine', ... and be distrustful the probable causes and possible cures for bad singing, the parallel between psycho therapy and voice teaching, the applica tion of group analytical techniques in class voice lessons, and what the teacher and the student might lmow about each other even before their first meeting. In Chapter One, "In the Beginning Was the Larynx," and Chapter Two, "Singing's Original Sin," Jones introduces a premise for developing and applying any teaching method, as well as for guid ing the student's practice. The premise implies a sequence of functional "stages" that the teacher and student will isolate and focus upon from time to time as required by specific vocal problems. These stages are addressed in Chapter Three, "Bel Canto and the Species-Specific Sound." Identified by an alliterative teach ing device, the "Five S's," they are silence, We'll Help sound, signal, symbol, and, most impor You Get Started. tantly, their final fusion into song. I leave Our Suzuki ToneChime method book it to the interested reader to examine these series makes it easy, .even if you've never stages in detail, but suffice it to say that in taught or played ToneChimes before. Call us Toll Free, your music class will be introducing them, Jones underscores a glad you did! primary purpose of his book and, indeed, his idiosyncratic manner of exploring the teaching of singing. He says, "our peda • ·0 •8 •1594 Ii!!!!iJ(fiiiiiJ CfJ 0 f!J!J.~ P!fl 0 RAT[JJIj ffi 10 If}~ gogical contexts always need broadening, 180 P.O. Box 261030, San Diego, CA 92196 DECEMBER 1992 PAGE 59 of, ~, we must begin all over again' or introspection is needed to discover that only and do not constitute a "method." 'Now you must forget everything you most of us have not been immune to the In a final chapter, "The Bel in Bel know about singing!' They should sus influence, positive or negative, of these Canto," Jones considers "vocal beautY' as pect any method presented as 'exclusive', powerful teaching types. So, one moral of "a multilayered aesthetic experience." and especially so when it is presented with this not altogether hypothetical compari- Line, form, interpretation, diction, and an emotionally satisfying, near mystical son might be: Whenever teachers of sing- gesture are all incorporated into his el solemnity." And finally, students "should ing begin to suspect that they possess some egant, even rapturous, closing disquisition. distrust any language of approach and absolute truth about voice teaching, they It is with this chapter, and specifically instruction which obscures the simplicity should immediately declare a holiday, dis- the adjectives I used to describe it, that I .... ofeiilier the theory or the actor singing" IIlaritle their meiliocis-;-if onlY-forme ar----slialloegin mYllegative-cririCisms-of (pp. 54-55). After such a lengthy exposi tistic refreshment of discovering newer Sound, Self and Song. It is written in an tion of the transference and counter-trans and wider applications for them." (p. 116). elegant, though at times, highflown style. ference attitudes of the student and the Chapter Eight, "Singing in Our Schools," The same is true for the entire book. Some teacher, the remainder of the chapter in presents one of the best arguments for will demand a plain prose. There are other vestigates the diagnostic procedures that music in the public schools; it should be imperfections as well. In Chapter One, the teacher will utilize in the first meeting. required reading for any student pursuing Jones states that "these essays are intended Chapter Five, "Class Lessons and a music education degree and for the pro- to help identify a 'right' teacher, and, at Group Therapy," continues in the same spective job applicant, both ofwhom must the same time, intended to help the stli~ vein. Drawing upon the parallels found learn to make "a literate and persuasive dent cultivate the irrational/rational work in psychology, Jones equates the voice class defense of the values of their art; . .. ing faith in the teacher, so necessary for to group therapy. He presents a convinc identifying the sources of the educational surviving the difficult process of redefin ing argument for the benefits of the voice bias [toward the aesthetic experience] and ing the self-as-singer, without sacrificing class, a justification for its use in the uni preparing ... for rebuttal-with greater the joy" (p. 3). It is doubtful that a young versity setting, and a very good summary fluency in 'educationalese'" (p. 119). student will read or comprehend the book of its goals. Thereafter, there is a lengthy Chapter Nine, "Perfect Singing," is not without the prompting and the interpreta description of the dynamics of group what one expects. Rather, it suggests that tion of the teacher, and by extention, the interaction and the teaching procedures "teachers of singing ought to encourage a "right" teacher. Although I could have one would utilize during the instructional much broader interest and a much wider chosen other sentences from the book periods: how to begin, how to proceed, appreciation for the art, catering to the at-large, I chose this one to illustrate my and what to expect from the students. least interest in it and cultivating it where point: the book attempts too much. The chapter is invaluable. The after dormant. Otherwise, we add professional Still, there are many noteworthy fea thoughts of the author on the subject of credence to the popular conviction that only tures. I liked especially the insistence of the voice class are presented briefly in a favored few can really sing, contributing the author on the need for "an evolving Chapter Six, "Class Lessons: Coda." to a decline of interest in the art" (p. 143). vocabulary of adjectives, an unusual ap- Chapter Seven, "Two Teachers," makes Jones presents his principle for vocal preciation for analogy, metaphor, imag an appeal to teachers of singing to articu rightness in Chapter Ten, "The Sponta- ery, a lifelong love affair with the language" late a philosophic premise for their work, neous Cure." The principle is quite (p. 3). And, although I cannot quite em if they have no awareness of any such simple: lead students to conscious experi- brace his belief that teachers of singing thing, by comparing two types of teachers, ences with vocal freedom before over- are psychoanalysts and psychotherapists, the idealist and the realist. "The idealist whelming them with elaborate technical the analogues he borrows from those ar will rely more on routine and repetitious expositions of method. His appellation eas are most illuminating to me when vocalises, reflecting a faith in behavioris for this process, which he borrowed, again, applied to the art of teaching. tic conditioning, reinforced by authority. from another discipline, is "Reculeur" [sic] Finally, it is immensely appealing (and There would be high expectations for the (taken from a French expression meaning refreshing) that the student always main adequacy and efficacy of his precise "drawing back in order to leap farther tains his or her place of paramount im terminology. ... The realist will rely less forward"). As he says, "this process is the portance in the book; indeed, that Jones on precise definitions, reinventing the basis for most psychiatric analytical respects the student in the teacher-stu teaching terminology daily, hourly, trans techniques .... Patients are 'regressed' in dent equation is quite apparent. lating terms into whatever the language order to discover the origins, and later the Sound, Self and Song is a fine book. of a particular student. For the idealist, extinction, of those blocks which have Any choral conductor or voice teacher will learning to sing is a developmental pro prevented spontaneity and freedom of ac- benefit from its wisdoms and profundities. cess; for the realist, it is discovery" tion-just what we seek for the singer" Stephen Town, Book Review Editor (p. 112). The disparity between the two (p. 154). As all singers know, any vocal Northwest Missouri State University teachers extends into their choral prac difficulty is an indication for a return to Maryville, Missouri tices, and I urge every choral conductor the earliest lessons. Jones then outlines six to examine carefully pages 114 to 116. examples of vocal exercises in this process, Jones concludes by saying that "not much but he is adamant that they are illustrative PAGE 60 CHORAL JOURNAL CHORAL REVIEWS Conan Castle, editor Editor's Note: The publications reviewed PUBLISHERS THIS ISSUE in this issue represent a wide variety of choral styles scored for mixed, treble, Aberdeen Music Highgate Press Novello Publications and male voices. While readers will Plymouth Music Company 138 Ipswich Street Presser Place recognize a few of the names at the end 170 NE 33rd Street Boston, MA02215 Bryn Mawr, PA 19010 of the Choral Reviews column, we are Fort Lauderdale, FL 33334 Hope Publishing Company Theodore Presser Company pleased to welcome seven new reviewers Boosey & Hawkes, Inc. 380 South Main Place Presser Place this issue. Tenth Floor Carol Stream, IL 60188 Bryn Mawr, PA 19010 52 Cooper Square New York, NY 10003 Intrada Music Group Roberton Publications Ave Maria, op. 110 Post Office Box 1240 Presser Place Knut Nystedt Broude Brothers Limited Anderson, IN 46015 Bryn Mawr, PA 19010 SATB (divisi), violin solo, 141 White Oal{S Road Williamstown, MA 01267 Jenson Publications Santa Barbara Music Publishing Roberton Publications (Theodore Post Office Box 248 Post Office Box 41003 Presser), #85225, $2.50 Consort Press New Berlin, WI 53151 Santa Barbara, CA 93140 1717 North State College Fullerton, CA 92631 Joclem Music Publishing E.C. Schirmer Ave Maria, op. 110 is an impressive Tenth Floor 138 Ipswich Street addition to Nystedt's oeuvre. Those famil CPP/Be/win, Inc. 52 Cooper Square Boston, MA 02215 iar with the composer's style may recog Post Office Box 4340 New York, NY 10003 Thames Publishing nize several compositional characteristics, 15800 NW 48th Avenue Miami, FL 33014 Neil A. Kjos Music Company Presser Place including the practice of contrasting short, 4382 Jutland Drive Bryn Mawr, PA 19010 motive-based imitative sections with Mark Foster Music Company San Diego, CA 92117 chordal declamations. These chordal pas Post Office Box 4012 Thomas House Publications Hal Leonard Music Publishing Post Office Box 210 sages often include dialogues of overlap 28 East Springfield Avenue Champaign, IL 61820 Post Office Box 13819 Alexandria, IN 46001 ping phrases between men's and women's 7777 West Bluemound Road sections, resulting in sonorous "stacking" Milwaukee, WI 53213 of sustained bichordal harmonies. The structural plan features three state ments of the opening ''Ave Maria, gratia -e- plena" section. Alternating with these 5): •• I • statements are contrasting passages con VOCAL RANGES , -e- taining the balance of the motet text. C c d c2 Nystedt's conservative use of mixed meter is based on syllabic stress and reflects a Balm in Gilead 1 concern for textual clarity and meaning. to d ). Parker's setting is an excellent A dramatic and challenging solo violin Alice Parker (arr.) alternative for conductors who want to part unites thematic elements and pro SATBB, mezzo soprano solo, give the well-known version of vides an obbligato part and transitions Jenson Publications, #43509073, $1.10 William L. Dawson a rest. between main sections. Larry W Stickler Ranges are comfortable for college sing Vocal control and sensitivity to nuance, ers, but tessituras in the upper voices tend phrasing, and text meaning are required to be high. All parts contain divisi, and by this very fine arrangement. It is appro strong singers are needed in each section. priate for high school, college, church, or The violin part requires an expressive and community ensembles with good musical Finest Fabrics including technically proficient player. The work is skills and low basses. Except for brief Permanent Press and Wash diversions to alto and tenor, the melody and Wear. Superior Quality. approximately ten minutes in length. There Free Color Catalog and Fab is no singing translation of the Latin text. stays with the soloist (d1 to f). The choir ric Swatches on Request. Guaranteed Satisfaction. This is an outstanding work for ad provides rich harmonies, interesting Toll Free vanced choirs looking for a challenging melodic interplay, and solid inner and dramatically powerful addition to rhythms. Vocal ranges are comfortable for REGENCY mature voices (soprano d1 to alto a to .·"'iI;'fl·mn'tI·· their repertoire. gz, P.o. Box 10557CJ 2 Hank Dahlman c , tenor d to f1, bass I B to dl, bass II D Jacksonville, Florida 3220i DECEMBER 1992 PAGE 61 Barb'ra Allen Although not simple to put together, Due For the Time Being: Advent Randall Gill (arr.) North will work well in a medium or large Thea Musgrave TTBB, piano, high school, college, or community choir. SSAATTBB, unaccompanied, Santa Barbara Music Publishing, There is plenty of divisi throughout, and Novello Publications (Theodore Presser), #SBMP37, $1.20 "Varied Thrushes" requires two whistlers 070513, $12.50 as well as basses who can sustain an E Randall Gill's fine arrangement of the flat. If your choir can handle that, you This large work should only be tackled familiar folk song is representative of the have a great set of light, audience-pleas by a professional-level choir. The text of __~h==igh quality of the J:>ublisher's catalog. ing pieces. Due North was commissioned the brooding twenty-five-minute piece is Wliile the work is not technically diffi:" bi ilieASsociationofCanaruan Choral asetting ofa-sec:uo'ilofw.°H:-Auaeii'Slong - cult, it requires considerable sensitivity. Conductors with the assistance of the poem, "For the Time Being." Although Ranges are moderate, and tessituras do Canada Council. titled, '~dvent," it is not a sacred work but not tax the voice. Optional bass solos at Laurie Gurman rather a cry for peace and understanding, the beginning and ending can easily be written near the end of World War II. sung by the entire section. The simple Fall on Me Like a Silent Dew The work itself, which also employs piano accompaniment is effectively writ Samuel Coleridge-Taylor SATB soli and male narrator, is written ten. The work is highly recommended for SA, piano, well for voices but is very difficult. There high school or college ensembles. Roberton Publications (Theodore are dissonant chords, chromatic passages, James Vernon Presser), #75356, $1.75 and some tricky rhythms. Musgrave care fully describes how singers are to perform Due North Samuel Coleridge-Taylor (1875-1912) the sectional spealcing parts and even in Stephen Chapman was a student of Charles Villiers Stanford, cludes how the conductor should cue the Mixed voices, unaccompanied, an associate of Edward Elgar, and an ad choir during simultaneous metered and Highgate Press (E.C. Schirmer), mirer ofAntonin DvoWc He was a singer unmetered sections. Although the work and a choral conductor of some note, is in three continuous movements, a pitch I. Mountains and like many English composers of the can be given for reinforcement in two SSATB, #7.0367, 95ft late nineteenth century, a prolific writer of places. Because of its length and diffi II. Trees part-songs and choruses. Coleridge culty, it is a strenuous workout for sing SSAATBB, #7.0368, $1.10 Taylor's first commission, in fact, was to ers, although the tessituras are conservative III. Woodpecker write music for the famed Three Choirs (with one exception at the beginning of SSATBB, #7.0369, $2.20 Festival. He also was an early activist in the piece where the bass soloist must sus N. Varied Thrushes promoting Mrican-American music, and tain an E for three and four measures at a SSAATTBB, #7.0370, 95ft in the U.S., his name is associated with time). Performed with the proper dra V. Mosquitoes such advocates of that music as H. T. matic flair, it can be a stunning vehicle SAATB, #7.0371, $1.35 Burleigh and the Fisk Jubilee Singers. for a top-notch choir. These clever pieces are sure to delight Fallon Me Like a Silent Dew is a de Laurie Gurman singers as well as audiences. The texts, by lightful part-song taken from the the c;omposer, are set to music full of composer's incidental music for Othello, Give Me Jesus word painting, from the majestic ascend op. 79, written 1910-1911. Although Charles Lloyd, Jr. (arr.) ing open fifths in "Mountains" to a pseudo apparently written for a production of SATB, soprano solo, accompanied, "Flight of the Bumble Bee" in "Mosqui the Shal{espearean play, the text for this Neil A Kjos Music, #ED.8712, 95ft toes" with the choir buzzing at a rapid particular piece is by Robert Herrick. The pace to its fly-swatting conclusion. music is set ina lyrical and lilting homo Advocates ofL. L. Fleming's setting of "Woodpecker" is a fast and fun piece full phonic style. The fine and singable po the beautiful and poignant spiritual Give of descriptive onomatopoeic effects. etry is matched well to vocal lines that lie Me Jesus will be pleased with Lloyd's fine comfortably for most trebles, and there is and unpretentious arrangement. The im some simple divisi writing in the upper portant solo part is demanding in range, THE TEMPOWATCH™ part. The piano accompaniment is well requiring ease on the frequent a2 and an Don't leave for rehearsal without it! written and only moderately difficult. optional 2 . Either a soprano or lyric tenor -Precise timing of beats per minute This charming music is suitable for would be suitable. Choral ranges are mod -Tells you what the tempo l§, 2 while you are conducting, teaching, treble or women's choirs of any size. It is est except for a soprano a in the intro listening or composing simple enough to perform with good duction and a necessary F in the bass part -May be used as a split-second timer in recording or film-making middle school groups and yet is refined at cadences. Lloyd's arrangement is rec $106 includes postage in U.S. enough to provide a lovely and aestheti ommended for church or concert perfor Music Print Company cally pleasing respite for the most mature mance by any choir capable of singing P.O. Box 17608 Boulder, Colorado 80308 ensembles and audiences. unaccompanied. 303499·2552 Hank Dahlman Larry W. Stickler PAGE 62 CHORAL JOURNAL Go, Tell It on the Mountain Daniel Lichti Harold M. Best {arr.} BARITONE SATB, solo, piano, "singer with extraordinary Hope Publishing, #HO 1825, $1.25 capabilities -follY in control ifhis velvet voice" Jazz, blues, and swing are terms that KJW RECORD indicate the approach needed for this Christmas spiritual. Take the opportunity to feature your best jazz or gospel soloist on the opening page and let him or her set the stage for a fun-filled, appealing rendition that will bring the house down. The rocking, syncopated piano arpeggios weave a connecting thread ofclever, imagi native, and challenging rhythmic devices that provide contrast against the voices. Ranges are rather modest, and the texture is often unison and two-part, but there is a substantial requirement for flexible voices. Irregular sequences of blues melo dies and off-beat rhythmic passages have to be negotiated with care and precision. If you have a really tight vocal ensemble that can produce well-tuned, close-lmit harmonies, turn them on to this tune. They will love it. Dennis S. Richardson It's Time to Say Goodbye Patrick M. Liebergen SATB, piano, Intrada Music Group, #lC0309203, $1.25 Set in simple verse form, this delight ful, catchy melody will appeal to the ensemble i:hat is looking for an end-of the-year farewell song. Each stanza begins in unison and develops into rich, four part harmonies. The syncopated, homo phonic passages consist of typical pop-style rhythms. These passages are sup ported and complemented by a busy pi ano accompaniment that requires precise execution. With relatively manageable voice ranges, this selection is most suit able for an advanced middle or junior high school chorus. It can be negotiated in a relatively short amount of time by a ~ high school choir. ROILERS Dennis S. Richardson INSTRUMENT CORPORATION The Sound Choice! DECEMBER 1992 PAGE 63 A Jubilant Song Some of the rhythmic figures will be some jazz ballads. Alternating senza James McCray more challenging, especially in passages misura solo lines and lush homo SSA divisi, piano, vibraphone, and where the rhythm of the accompaniment rhythmic choral passages heighten the optional tambourine, conflicts; however, the predominantly effect. Pitches and rhythms are not diffi Santa Barbara Music Publishing, homo rhythmic choral texture will allevi cult, phrases are short, and the text is SBMP 31, $2.05 ate the teaching time somewhat. A Jubi singable. Ranges and tessituras, for the lant Song is ideal for fine women's choirs most part, are comfortable, though the A Jubilant Song would be a sparlding at the college or high school level and tenor part tends to dwell in the upper addition to any celebratory occasion . would be accessible to exceptional part of the middle range, and the sopra . McCray has set this compilation of joy children's ensemolesas well. nosareassignea some high S()ft passages. ous Walt Whitman texts to music of strik Brad Richmond These range factors, plus the harmonic ing vitality. The relentless rhythmic energy language, may make tuning a challenge of the piece is derived from syncopation for some groups, but the result will be and frequent changes of meter, nicely sup The Lamb worth the effort. This moderately easy ported by a percussive and driving piano Ken Neufeld music would be a lovely Christmas or accompaniment of moderate difficulty. SATB, optional solos (S,T), general piece for good high school, com Adding shimmer to the voices is a Aberdeen Music, #1055, 85¢ munity, or church choirs, and perhaps vIbraphone parr, the success of which some college ensembles. will require an experienced player. Fre William Blal{e's text from Songs of Hank Dahlman quent divisi (seven parts at one point) Innocence is well served in this lyric set will necessitate strong singers on every ting. First published in 1979, the piece part, and the general character of the piece features poignant melodic lines supported "Little People" from Les Miserables demands a vibrant choral tone. Excepting by traditional harmonies. These are em Claude-Michel Schonberg and Herbert the b2 in the highest soprano part at the bellished with softly dissonant nonchord Kretzmer end, the vocal compasses are moderate. tones and suspensions reminiscent of Two-part, piano, #08200053, SAB, piano, #08200052, SATB, piano, #08200051, Hal Leonard Music Publishing, $1.25 Les Miserables has fostered several sing able and audience-pleasing choral arrange ments. "Little People" represents one of the lighter moments in the dark musi CONDUCTING: THE PHYSICAL TECHNIQUE cal-it is sung on stage by Gavroche, a Practical Exercises for the Conductor street urchin. A rambunctious children's by choir would have fun with the two-part Sandra Willetts arrangement. Adults would enjoy a Director of Choral Activities chuckle by performing the SATB version, The University of Alabama perhaps with a little staged movement or a really short person as soloist. This ar Hal Hopson SIlyS, "Dr. Willetts has provided a most unique educational tool, rangement works best with a large group, cmnbining her own conducting skill, pedagogical sense and her ever present sense of humor. " since substantial volume is needed to con vey the joy inherent in the text. Wilma Jensen SIlyS, "Excellent instruction both for the novice and the more Ed Lojeski artfully molds a solo mo advanced conductor. She combines clear explanations with an opportunity for the viewer to practice with her the exercises in ment on the Broadway stage into a simple the accompanying workbook. " and fulfilling choral arrangement, using harmony in thirds and sixths to flesh out For your copy, send name, address and a check made a fairly static melody. Ranges are moder payable to Gemini Enterprises to: ate in all of the versions; the text is evoca Gemini Enterprises tive, colorful, and zesty. For a children's P.O. Box 158214 choir this work is not only a musical joy, Nashville, TN 37215 but it also lends itself to discussions of textual imagery and connections with art and history. This is an honest winner: music of value which is blatantly enter- taining. Jeffiey Carter PAGE 64 CHORAL JOURNAL A Meditation on Mortality long quarter-note triplets on the word is especially appropriate as a memorial Noam D. Elkies "lengthen"). The final bar ends on a tribute. It is truly one of the most moving SATB, unaccompanied, fitting and beautifully inevitable C-major and exceptionally beautiful twentieth-cen Broude Brothers Ltd., #9010, $1.10 chord, symbolic of man's striving for per tury settings this author has experienced. fection or "piety [that will] fit us to die The work is recommended to all choral Noam Elkies's A Meditation on Mor and dwell with Thee." conductors who would like to perform a tality is an exquisite setting of two verses Broude Brothers provides a handsome, compelling, challenging, and deeply re of Isaac Watts's rendition of Psalm 90. clear edition with keyboard reduction for warding work, and one with touching Elkies, a professor of mathematics at Har rehearsal only. The work would serve sincerity and rare depth. vard University, wrote the work in the fall equally well in the context of a church Jameson Marvin of 1987 for the Harvard-Radcliffe service or a concert program, and its text Collegium Musicum and dedicated it "To the memory of my dear Grandpa, Samek Grzybowski (1904-1987)." The challenge of the work is consider able, but the rewards in mastering such a heartfelt composition are worth every minute of rehearsal. The text inspires a composition of great beauty: Death, like an overflowing stream, Sweeps us away, our life's a dream. An empty tale, a morning flow'r Cut down and wither'd in an hour. Teach us, 0 Lord, how frail is man. And kindly lengthen out the span. Till a wise care of piety Fit us to die and dwell with Thee. Each musical gesture that Ellcies writes is wedded to either the "affect" of the text or to specific word painting. In this way, A Meditation on Mortality is a modern madrigal, very much in the spirit of Monteverdi or Rore. The structure of the composition reveals a two-part form mir roring the two verses of Watts's text. Each part is exactly eij?;hteen bars long, though, at a tempo of ~ =c. 46, the dura tion of the work reaches three and a half minutes. There is not a single measure without dynamic change, ranging from pp at the softest to f at the loudest. The text is treated primarily homophonically, al though the individual vocal parts are of ten rhythmically independent or join in duets. The greatest challenge to singers lies in maintaining vocal control at a slow tempo while still serving achingly expres sive lines. Some individual harmonies are at first difficult to hear, yet, because the texture is remarkably clear, the ear easily learns to surmount these occasional pitch demands that so poignantly serve the text. Rhythmically, the piece offers some mea sures with considerable challenge, though again only for special occasions (as in the DECEMBER 1992 PAGE 65 Missa Festiva (Festival Mass) rie, Gloria, "Festival Sanctus," and Agnus Oh, Freedom John Leavitt Dei), which have been published sepa Charles Lloyd, Jr. (arr.) SATB, optional solos (SATB), keyboard rately over the past four years and are still SATB, baritone solo, piano, (optional chamber orchestra), available in a variety of voicings. The Neil A. Kjos Music, #8713, 95¢ CPP/Belwin, #SV9149, $4.00 Credo, composed especially for this Mass, is partially based on the chant Veni creator Shades of the Shaw-Parker spiritual ar During the past few years, John Leavitt spiritus. The well-written accompaniment rangements are glimpsed anew in this has emerged as a fine composer and ar- is performable by most keyboardists. A gem. Opening with a brief unadorned __~~r;;;an;;;:ger. in~everal genres. One of Leavitt's chamber orchestra version of the accom baritone solo, covering only c to a, and strengths is his ability to write tasteful paniment is available for purchase from . continuing with astraightforWard n~nru= music which is appropriate for various the publisher. At times the traditional tion in four-part harmony, Oh, Freedom types of school, church, and community Latin text is shortened or adapted, a fac is a delightful find. Lloyd spices his har choirs. His compositions reflect a synthe tor which might preclude the work's use monies with poignant sevenths and unex sis of styles. Texts and form are frequently for some liturgical functions. A singing pected suspensions. A moving a cappella based on traditional structures, like the translation is not provided. section is folded between the opening solo Mass and Baroque cantata, while melo Although written separately, the and an accompanied, powerful closing. dies' and harmonies reflect folk, popular, movements of Missa Festiva fit together Ranges are easily within reach of church and hym:iJ.~tune origins. Rhythmically, the nicely. This would be a fine wo-rk for or high school choirs: d to f2 for soprano, music is often energetic and might fea high school, church, and community alto no lower than d, tenor rising only to ture jazzy syncopations and mixed meter choirs looking for a short multimove f1, and basses with divisi dropping only to derived from syllabic inflections of the ment work appropriate for a variety of F. The unpretentious ending is refreshing text. Vocal lines and text are usually well settings and seasons. and would be most impressive with a large matched and singable, with ranges and chorus-it is a real ear-opener. Sorrow is tessituras that are comfortable for most never far from the surface, yearning is school and church singers. ever apparent. Those familiar with Leavitt's work may Jeffrey Carter recognize four of the five movements (Ky- Witte Travel is pleased to announce the Oh, the Summer Samuel Coleridge-Taylor EISENACH CHORAL AND HYMN FESTIVAL SA, piano, to be held in Eisenach, Germany Roberton Publications (Theodore Presser), #75357, $1.75 June 24 - 27, 1993 Coleridge-Taylor set a wide sampling Dr. Anton Armstrong, Artistic Director of texts by Shakespeare, Longfellow, Dr. John Ferguson, Hymn Festival Director Wadsworth, Whitman, Rossetti, Elizabeth Browning, Herrick, Burns, and others. Re The Eisenach Choral and Hymn Festival, which is intended for outstanding spect and care for the word is apparent college, church and community choral groups, will feature participation in a even in Coleridge-Taylor's music to texts concert with the Erfurt Orchestra under the direction of Dr. Anton Armstrong of lesser-known writers. This may be said plus workshops on instruments in worship, Bach as a musician and preacher of this setting of a lovely pastoral gem by and other pertinent topics, a vocal masterclass, and a Hymn Festival directed Isabel Ecclestone Mackay. Oh, the Summer by Dr. John Ferguson. There will also be opportunities for individual choirs is characterized by a fetching melody set to to participate in local worship services. The Festival is offered by Witte a dancelike ~ allegretto. Ranges and tes Travel, a specialist in custom-designed tours for performing groups. For more situras are comfortable for adolescent information, call or write to Jolm Wille, Jr., or Jan Peterson. trebles, and the parts are not too difficult. The piano accompaniment is moderately easy and complements the whole piece. The work might be sung by ensembles ranging from a duet to women's choirs of 3250 • 28th Street, S.E. considerable size. This is an excellent selec Grand Rapids, MI 49512 tion, performable by choirs of various ages 1·800·253·0210 and abilities. Hank Dahlman PAGE 66 CHORAL JOURNAL Old MacDoodle Had a Band tors should talee a look at it for lighter vored by young chamber groups and will David J. Elliott moments. also provide older singers an opportunity Three-part, piano, JeJftey Carter to enjoy the Spanish secular choral style. Boosey & Hawkes, #OCTB6661, $1.75 ------John Buehler Pase el Agoa, Ma Juleita (Cross the The Doreen Rao Choral Music Series Water, My Charming Lady) Poor Wayfarin' Stranger contributes another gem to the children's Francis J. Guentner (arr.) Randall Gill (arr.) choir category with this tongue-in-cheek SATB, accompanied, SATB, piano, jazz version of the American folic song Theodore Presser, 312-41608, $1.10 Santa Barbara Music Publishing, Old MacDonald Had a Farm. Written for SBMP 28, $1.10 the Glen Ellyn Children's Chorus, the This excellent arrangement of a piece is fun, challenging, educational, and villancico, a Spanish song form of the late Gill's arrangement of this familiar a sure hit with parents and grandparents. fifreenth century, is quite simple but vigor American folIc song is beautiful and haunt Inspired by an early Ella Fitzgerald per ous. Ranges are limited (the tenor sings no ing. It is an excellent choice for any high 1 formance, Elliott utilizes scat syllables, higher than d ) and the writing is entirely school or college choir. In the forty-mea tricky syncopated rhythms, band instru homophonic. Perhaps most effectively per sure work, the melody is generally in the ments rather than farm animals, tempo formed with a small choir of young voices, soprano with the other parts creating an changes, and colorful jazz chords in this this arrangement has a variety of accompa imitative tapestry with independent me challenging octavo. The piece ends on a niment possibilities. Although notated for lodic lines. Harmonies include use of non ninth chord with a flatted seventh and guitar and tambourine, the arranger sug chord tones, several types ofseventh chords, tonic nowhere in sight! Obviously, Old gests the substitution of piano or harpsi and quartal sonorities. This composition MacDoodle is for the fearless conductor, chord. The text in a Spanish dialect and an will be excellent for working on phrasing, one with great patience and no small English version of that text by the arranger introducing modal harmonies, and sing amount of confidence in his or her choris allow singers a choice of languages. This ing unpredictable and mildly dissonant ters. Ranges are within the scope of a well arrangement is an excellent addition to the chords. A superbly intimate piece. trained children's group, although the top Italian and English madrigal repertoire fa- Bonnie Borshay Sneed 2 voices reach an a • Optional drum and bass parts are available from the publisher. [jiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii_FREE GIFT--SUBSCRIBE NOW;;;;;;;;;;------ii] JeJftey Carter On the Sunny Side of the Street Join Theodore Presser Company's Dorothy Fields and Jimmy McHugh Choral Subscription Service Todayl SATB, piano, Jenson Publications, #446-15014, 75¢ ,(Your 2-YEAR SUBSCRIPTION costs just $15.951 ,( Quarterly mailings feature reference copies of all new sacred and secular Choral directors who do not want to octavos published by Presser and its affiliates, including Coronet, Novello, tackle the Nylons or Manhattan Transfer Roberton, and othersl arrangements would do well to check out ,( Holiday pieces are sent a season ahead, to arrive in time for advance this addition to the Jenson Pop Choral planningl Showcase series. Neil A. Johnson has ~ FREE GIFf OFFER ~ crafted an entertaining four-part version Through December 31, 1992-when you send your new (or renewal) subscription order on the of the old standard, adding piano coupon below-we'll send you a FREE REFERENCE COPY of the hilarious new "KNOCK, throughout to keep the piece moving. KNOCK" Cantata by P.D.Q. Bach, edited, of course, by Peter Schickele ($4.95 value)1 The absence of bass and drum parts, not to mention the sixteen bar piano solo, }C------make the accompanist's work even more I&lYESI Please enroll me in the Choral Subscription Service for 2 years for $15.95 (PA challenging. Johnson uses a light touch: residents add sales tax. Canada residents add $2.50). And send me a FREE copy of P.D.Q. Bach's new "KNOCK, KNOCK" Cantata. harmonies are full without being tight, Name ______spicy without being overpowering. The Institution ______Purchase Order No. _____ entire choir sings throughout, which Address ______malces dynamics and syncopation the key City/State/Zip ______elements in maintaining interest for both Visa/Mastercard/Am. Ex. Card No. Exp. ______performers and audience. Care must be MAIL TO: Dept. 2CJ at the address below before 12/31/92. talcen to not let the textural uniformity become monotpnous. This octavo would . THEODORE PRESSER COMPANY be a good introduction to swing style. High school and show choir conduc- 1 Presser Place' . Bryn Mawr, PA . 19010·3490 DECEMBER 1992 PAGE 67 A Short Alleluia propriate for a church service or the con tion that climaxes in a broad, dramatic Irving Fine cert hall. It is recommended for the col ending. A keyboard artist who is adept at SSA, unaccompanied, lege choir or any good church choir. gospel-style piano is a must for this num Joclem Music Publishing (Boosey & James Vernon ber. Moderate ranges, repeated rhythmic Hawkes), OCTB6666, 85¢ patterns, and predictable voice leading make this an accessible program choice Originally published in 1973, this Sorrow Springs: Three Hopkins Poems for the high school, church, or commu- work has been reissued by Joclem Music Ann Kearns nity/civic ensemble. While this version and Boosey and Hawkes. It is also avail SATB, unaccompanied, will be very attractive with piano alone, able in an. SATB version arranged By John Thomas House PuolicationsCSpring --incorporating me entire rliyilim seCtion- Hopkins (#OCTB6668). Frequent and Fall: to a Young Child will greatly enhance the piece. changing meters and phrasings which #1C0999293, $1.15 Dennis S. Richardson cross bar lines create a rhythmic chal 2. Binsey Poplars: Felled 1879 lenge. Harmonically, the work is tonal #1C0999294, $1.15 Three Part-Songs but with frequent modal changes; these 3. No Worst, There Is None Percy Turnbull are sectional, however, and are easily ne #2C0999295, $1.25 SATB; 2 unaccompanied, 1 piano, gotiated after understanding their direc Thames Publishing (Theodore tion. Ranges are· not extreme, arid These three short pieces come froin Presser), $4.95 tessituras create few problems. This excit the Roger Wagner Center for Choral ing and well-written piece would be ap- Studies. The texts by Gerard Manley The reissuing of these and other Percy ______-, Hopkins are more about the cycles of Turnbull (1902-1976) part-songs should nature, of death and rebirth, than about pique the interest of choirs and conduc the more traditional themes of spring. tors alike. While studying at the Royal For example, in the second piece, "Binsey College of Music during the Twenties, I Poplars," the music projects an eerie, Turnbull's precocity earned him the re sparse feeling as individual voice parts spect of his teachers and peers. Deeply sing of trees that have been destroyed. influenced by John Ireland, Holst, and v V-1rv- M US Ie All the pieces are filled with chromati Vaughan Williams, Turnbull also became TOURS INC. cism and dissonant chords that may enamored with French impressionists; present some tuning challenges; however, this is reflected in his preference for evoca Kearns writes well for voices, and these tive sonorities. pieces are easily within the tessitura of "The Shower," first published in 1926, QUALITY any choir. There are meter and key sets Henry Vaughan's melancholy seven INTERNATIONAL changes throughout, but these should not teenth-century text to gently phrased CONCERT TOURS pose any problems. Due to the amount of music in a predominantly homophonic at chromaticism, exposed voice parts, and texture. "You Spotted Snakes with special tuning problems, this work may Double Tongue" (1928) is the central REASONABLE PRICES be too difficult for a high school choir, and most difficult of the three songs, as but it can be performed by a small to angular melodies and jagged rhythms are midsize college choir. These thoughtful, combined with liberal use of dissonance. introspective pieces will make a nice ad- Turnbull effectively manipulates tempi dition to a spring or fall concert. and dynamics in this vivid musical de Call or write today Laurie Gurman piction ofShalcespeare's colorful text. The for our unique last of the pieces, "To Blossoms," origi personalized service! nally appeared as a unison song in 1954. Take My Hand, Precious Lord Unlike the first two part-songs, the piano TOL'L FREE Ed Lojeski (arr.) accompaniment of the third is notmarked 800-869-1406 SATB, guitar, piano, electric bass, "for practice only." The editor seems to percussion, have made this decision because of a one Hal Leonard Music Publishing, and-a-half-measure piano interlude in the #08374375,85¢ middle of the piece. However, since the MARK FOSTER remainder of the keyboard part merely MUSIC TOURS This 1982 arrangement of Tommy doubles the voices, it might be practical Dorsey's old standard effectively captures to leave it out completely; this would aid Box 2760 the jazz-gospel style. An opening rubato the coherence of the three songs as a set. SANTA CLARA section and two subsequent chromatic Turnbull's Part-Songs are challenging California 95055-2760 modulations heighten the spiritual emo- but should prove rewarding for an expe- PAGE 68 CHORAL JOURNAL rienced choir. The ranges are not extreme, leads to the verse, in which each of the We Are the Music-Makers although the bass part requires a solid four voice parts is given a solo phrase. Ned Rorem F and sopranos sing a g-sharp2. The final refrain precedes an exact repeat SATB, keyboard, Brad Richmond of the introduction serving as the coda. Boosey & Hawkes, OCTB6662, $1.75 Voice ranges are moderate, but the bass needs an E, and the tessitura is somewhat In this setting of the entire three-stanza Two Russian Folk Songs low for all voices. The vocal lines are writ ode by Arthur William O'Shaughnessy, John Biggs (arr.) ten well. Mixed choruses from smaller Rorem has crafted a miniature master SATB, unaccompanied, high schools and youth church choirs will piece. Extended ranges in all but the bass Consort Press, #CP 31, $1.40 like this new, easy-to-learn piece. line and divisi writing in each part may John Buehler restrict this piece to advanced choirs. The A wonderfully rich tradition of unac composer gives careful attention to vocal companied choral singing exists in the tessituras; however, the individual voice many provinces of the Commonwealth The Water Is Wide lines are melodically constructed without of Independent States. It is exciting to Rene Clausen (arr.) seeming common or familiar. There ap realize that, among the many benefits to SATB, clarinet, horn, cello, and keyboard, pears to be true sensitivity to the text in be derived from the greater openness of Mark Foster Music, #MF 3038, $1.45 both vertical and horizontal dimensions those formerly communist-dominated so of the choral writing. Although not ex cieties, we now enjoy the prospect of This striking arrangement retains the ceptionally difficult, the keyboard part accessing a distinguished body of music simple folk song quality of the tune while requires a better-than-average player. It is which was previously, for the most part, combining it with the flowing, lush, and written as a part unto itself and not as an inaccessible in the West. John Biggs is to even, at times, dramatic quality of the accompaniment (although it is support be congratulated for bringing us these text. The various timbres provided by the ive of the voice parts). An ethereal, flute delightful pieces in a format that may contrasting instrumentation greatly en like keyboard motive is the agent which well prove to be precedent-setting. hance the piece. Poignant textual mo binds the sections of the poem together. Although listed as separate pieces, the ments are treated in a stark or dissonant We must thank the Paul Hill Chorale (to two songs are melded together and should manner. A moment of joy is portrayed by whom this piece is dedicated on the occa be performed as a set (the duration is six a frolicsome clarinet solo. Although the sion of its twenty-fifth anniversary) for a minutes). "Lonely Autumn Night" opens choral portions of this piece would be wonderful addition to the choral reper with a short soprano solo which very easily accessible for most choirs, the ar toire by a giant of contemporary music. It quicldy blossoms into a full SATB set rangement yet offers sophisticated choirs is most highly recommended to advanced ting. "Kalinka My Own" begins quietly opportunities for interpretive nuance. college and adult chamber choirs. before accelerating to a vigorous close. Dawn 0. Willis John Buehler The English translation is placed on top with the Russian text (Cyrillic) and the phonetic transliteration of the Russian below. This placement will doubtlessly prove most useful for English-spealcing The U.S. Army Field Band choirs. A keyboard reduction is provided. Washington. D.C. Ranges and tessituras are moderate, and Announces the Following Vacancy: the overall difficulty level of the music is BASS VOCALIST medium-easy. The E-minor tonality and some rather unexpected dissonances may The Soldiers' Chorus is a mixed choral ensemble and the vocal counterpart of the U.S. Army Field cause tuning to be a challenge for less Band. The Soldiers' Chorus travels with the Army Field Band to perform nationally and internationally as directed by the Department of the Army. Tours have taken the Field Band to all 50 states, Canada, experienced ensembles. Mexico, South America, Europe, the Far East and the Republic of India. The annual salary is $22,990 vance 'Wolverton to $25,845 (military rank of Staff sergeant) plus all military benefits. AUDITION PROCESS: Submit an audio tape or VHS tape containing one classical selection or art song, and one song demonstrating vocal ability in any style, preferably Broadway or pop. Tape and Wade In the Water resume must arrive by March 24,1993. Final candidates will be selected from the tapes and will be invited to travel to Fort Meade, MD for a personal interview and audition at government expense. Send Patsy Ford Simms (arr.) tape, resume and/or request for more information to: SATB, unaccompanied, COMMANDER Jenson Publications, 25620049, $1.10 U.S. Army Field Band ATTN: Auditions This simple arrangement of the tradi Fort George Meade, MD 20755-5330 Phone: (410) 677-6231 tional spiritual is written to be sung in "swing style." Following a slow, eight-mea The UnReel Stales Army Is an Equal OpportunHy Employer sure introduction, the up-tempo refrain DECEMBER 1992 PAGE 69 REVIEWERS THIS ISSUE ADVERTISERS John Buehler Jameson Marvin Larry W. Sticlder INDEX Music Department Music Department Marshall University DECEMBER 1992 Bal;:er University Harvard University Huntington, WV 25755 Baldwin City, KS 66006 Cambridge, MA 02138 1993 World Symposium ...... 27 J ames V ernon Jeffrey Carter Dennis S. Richardson OBU Box 61236 ACFEA ...... 28 Blue Springs Community College Music Department Oklahoma Baptist University Bauer Communications, Inc ...... 28 1501 West Jefferson Texas A & I University Shawnee, OK 74801 Bradford Consultants ...... 40 ~---Blue,Springs,,MO_64015' ____Kingsyille,TX,Z8163,-- ______- Brodt Music Company ...... 35-38 Dawn O. Willis 'BroudeBromers[iffiited.... :~:~~:-:':-:-:"f1- Hank Dahlman Brad Richmond Department of Music Candler School oITheology ...... 54 Wright State University Laurentian Campus Iowa Wesleyan College Colwell Arts Management ...... 63 Dayton, OH 45435 Music Department Mt. Pleasant, IA 52641 Cornerstone Chorale & Brass ...... 31 Huntington College ETC World Events ...... C2 Laurie Gurman Sudbury, Ontario P3E 2C6 Vance Wolverton Foster, Mark Music Company ...... 26 Exindigo! Canada California State University Foster, Mark Music Tours ...... 68 21724 Ventura Boulevard Fullerton, CA 92634 Fred Waring's America ...... 42 Suite 232 Bonnie Borshay Sneed ., ,J?riendshipAmhassadors_F!tund,ltipn ..... 17, W~odland Hills, cA 91364 Music Department Galanti Organ Builders, Inc ...... 13 University ofAlabama in Huntsville Hammond Music Service ...... 22 Huntsville, AL 35899 Harris,JerryWeseley ...... 51 Hartt School of Music ...... 20 MUSIC PUBLISHERS Heritage Festivals ...... 8 Send octavos for review to ACDA National Headquarters, Illinois ACDA ...... 19 Post Office Box 6310, Lawton, OK 73506 Intropa International/USA, Inc ...... 34 Jaymar Music Limited ...... 20 CHORAL REVIEWERS Knights Formal Wear ...... 56 LTSound ...... 34 Members wishing to review choral music for the Luther College ...... 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Although the length of articles varies considerably, submissions should SDG Press ...... 52 generally be ten to twenty typed, double-spaced pages. Referenced material should be SDG Records ...... 4 indicated by superscript and end notes. All submissions must include five copies, Shawnee Press, Inc...... 6 accompanying artwork if available, and a two- or three-sentence professional identifi Smoky Mountain Music Festival ...... 57 cation of the author. For complete writer's guidelines or to submit articles, write to: Suzuki Music Corporation ...... 59 Managing Editor, Choral Journal, Sweet Adelines International ...... 27 Post Office Box 6310, Lawton, Oklahoma 73506 Temporal Acuity Productions ...... 19 University of Missouri - Columbia ...... 32 Choral Journal layout and production: Covita Moroney University of Alabama ...... 64 U.S. Army Field Band ...... 69 Volkwein's, Inc ...... 33 Change of Address ? Westminster Choir College ...... 58 to Be sure notify ACDA national office at: Witte Travel ...... 26 Post Office Box 6310, Lawton, Oldahoma 73506 PAGE 70 CHORAL JOURNAL The Tlfttrageous Savings ofa RA.A. Concert Tour SOUTH PACKlFKC AUSTRALIA - NlEW ZlEAlAND 112Days $1699.00* from Los Angeles - except December-January - Fiji or Hawaii options BlERMUDA 4 Days $599.00* from East Coast -April-May only ANGlOKNTlERNATKONAl MUSKC lFlESTNAl LONDON Stratford - Oxford $979.00* from New York - Easter & July only lFRANClE - HOLlAND - GlERMANY Includes EuJrO Disney 8 Days $998.00* from New York -All year TEL: 1-800-952-0643 PERFORMING ARTS ABROAD, INC. 1-616-629-4901 p.o. Box 844, Kalamazoo,MI 49005 USA Facsimile: 1-616-629-4176 *Includes air, accommodations, and most meals (air/are taxes additional). MIDAMERICA PRODUCTIONS - PROVIDING TEN YEARS OF OPPORTUNITY TO MUSICIANS Statements of Support "MidAmerica Productions is first and foremost about providing quality -··and~maJor-choralforehestral-pepfGrmanee-GPPGr-tunities~t0=th0usands of choral singers .••• one takes home a life experience. MidAmerica is probably the most significant development in choral music in the past decade. " Donald L. Trott, Director of Choral Activities, and members of the Longwood College Alumni Choir of FannvU/e, Virginia [May 26, 1991 - 1875 Critical Edition of Verdi Requiem; Peter Tiboris, conductor] "Singing in Carnegie Hall was a thrill of a lifetime!" Peggy Joyce Barber, music director, and members ofthe Nova University Community Singers ofFort Lauderdale, Florida [May 26, 1990 - Rutter's Requiem; John Rutter, conductor] " .•• this musical experience has enhanced [the choir members'] awareness of the beauty of music and its aesthetic value in their lives. " Timothy Ahern, Director of Choirs, and members ofthe Allen County Community College Concert Choir oflola, Kansas [November 25, 1990 - Mozart Requiem; Willard Kesling, conductor] "The experience at Carnegie Hall was the most rewarding one my choir has ever lived through in performance." Betty Lou Hubbard, Director of Music, and members of the First United Methodist Church Chancel Choir of Waynesville, North Carolina [May 28, 1990 - Brahms Requiem; Peter Tiboris, conductor] "I take pride in knowing that my students have performed on the[se] stages ••. and that they have been exposed to such musical giants as Sir David Willcocks. I do not believe this would have been possible without our association with MidAmerica Productions." George Murphy, Choral Director, and members of the Lone Oak High School Choir of Paducah, Kentucky [March 23, 1989 - Faure Requiem,' Sir David Willcocks, conductor] "The participation in the MidAmerica concert season will indeed be remembered by all of us as an educationally, culturally, and personally rewarding experience ... It was a time of magic. " Charlene Larson, Choral Director, and members of the NE Alabama State Jr. College Chorus [November 25, 1990- Mozart ·Coronation" Mass & Sir David Willcocks' Ceremony ofPsalms; Jonathan Willcocks, conductor] PAGE 72 CHORAL JOURNAL CAJRNJEG][JE HALJL CONCJERT SJElR][JES Openings available for choruses in Fall/Winter 1993 Registrations presently being accepted Sunday, November 21, at 2 P.M. John Rutter of England, one of the world's most celebrated choral conductors and composers, conducts his most recent work, Psalmfest -- a newly orchestrated collection of many of his finest psalms and anthems. Cecil Riney of KS guest conducts. Sunday, November 21, at 5 P.M. ("Twilight Concert") Thomas Hager of AL and Ginger Colla of CA guest conduct. Sunday, November 21, at 8 P.M. David Castleberry of WV and Ray Sprague of LA guest conduct. Monday, November 22, at 8 P.M. Peter Tiboris conducts Haydn's The Creation. Sunday, November 28, at 2 P.M. Donald Studebaker of OK, Dudley Birder of WI, and William Carroll of NC guest conduct. Sunday, November 28, at 5 P.M. ("Twilight Concert") Peter Tiboris conducts New York's first Handel's Messiah (Christmas portions) of the Christmas season. Roger Wesby _9f KY and Rod Walker of KS guest conduct. Sunday, November 28, at 8 P.M. John Rutter conducts his own Requiem, Magnificat, and When Icicles Hang/Te Deum. Monday, November 29, at 8 P.M. Peter Tiboris conducts Faure's Requiem and Beethoven's Mass in C. January 1, 1994, at 8 P.M. (at Lincoln Center's Avery Fisher Hall with the Manhattari Philharmonic)* Peter Tiboris conducts Beethoven's Ninth Symphony. John Rutter conducts Bach's Magnificat. *Special cost of $659 per person includes afestive New Year's Eve celebration. . PACKAGE PRICE OF $594* PER PERSON INCLUDES: -5-day/4-night residency, including rehearsals with resident conductor, culminating in an exciting Carnegie Hall performance -4nights' lodging at the Hotel Ramada in midtown Manhattan (includes tips and baggage handling) -Professional administration and artistic development of your performance, including publicity, audience development, programs, fliers, posters, protocol, schedules, etc. -Professionaltravel management during your stay in the hotel IiiCelebrationCruise aboard the "Spirit of New York" featuring dinner and a live dance band -Allconcert-related bus transportation within NYC -Manyextras, including a Macy's gift certificate and a ticket to the Empire State Building *Transportation to New York by air, train, or bus not included REGISTRATION DEADLINE: February 15, 1993 $100 Deposit (per person) For additional information, call Sara Bong at Mid America at (212) 239-0205. American Choral Directors Association Second-Class Postage Post Office Box,6310 PENDING Lawton, Oklahoma 73506 at Easton, Maryland and additional mailing office ./ .. *************** 3-DIGIT 392 'CHORAL 01 00 132 15962 10000 2390 1993/11 004 PHILIP L COPELAND MUSIC OFFICE Address Correction 787 E. NORTHSIDE DR. JACKSON, MS 39206-4945 _._ Reguested /,' LUTHER COLLEGE ORDICCHOIR on tour Weston Noble, Conductor '1993 TOUR SCHEDULE ..:..:.~:.. ~ Tuesday, January 12, 8:00 p.m. Tuesday, January 19, 7:30 p.m. Wednesday, Jan~ary 27, 7:30 p.m. Christ the King Lutheran Church Milwaukie Lutheran Church St. Margaret's Episcopal Church 207 McConnell Street 3810 SE Lake Road 47535 Highway 74 Mankato, Minnesota Milwaukie, Oregon Palm Desert, California Wednesday, January 13, 7:30 p.m. Wednesday, January 20, 8:00 p.m. Friday, January 29, 7:30 p.m. Cathedral of St. John the Evangelist Lynn E. Sjolund Auditorium First United Methodist Church Spokane; Washington 1900 Keeneway North 2111 Camino Del Rio South Medford, Oregon San Diego, California Thursday, January 1,4, 7:30 p.m. Grace Lutheran Chufch Thursday, January 21, 7:30 p.m. Saturday, January 30, 8:00 p.m. 1408 Washington Street Fremont Presbyterian Church Red Hill Lutheran Church ' Wenat<;hel!' Washington 5770 Carlson Drive 13200 Red Hill Avenue Sacramento, California Tustin, California Friday, January 15, 7:30 p.m. White Rock Baptist Church Saturday, January 23, 5:00 and 6:30 p.m. Sunday; January 31, morning services 1657 140th Street ' Sunday, January 24, 8, 9:30, and 11 a.m. Crystal Cathedral White Rock, Briti'sh COlumbia Worship Services Garden Grove, California Menlo Park Presbyterian Church Saturday, January 16, 8:00 p.m. 950 Santa Cruz Avenue Sunday, January 31,6:00 p.m. Assumpti~n Church Menlo Park, California Lake Avenue COngrega~ional Church 2116 Cornwall Avenue 393 North Lake Avenue' Bellingham, Washington Sunday, January 24, time TBA Pasadena, California location TBA Sunday, January 17, 3:00 p.m. San Luis Obispo, California Thursday, February 4,7:30 p.m. Seattle First Presbyterian Church Homecoming Concert 7th Avenue and Spring Street Monday, January 25, 7:30 p.m. Luther COllege Seattle, Washington Ascension Lutheran Church Decorah, Iowa 1600 East Hillcrest Drive Mo~day, January 18, 8:00 p.rn. Thousand Oaks, California For more illiormation, write or call the Luther University Place Presbyterian Church College Music Department, Decorah, Iowa, 8101 27th Street West- _ Tuesday, January 26,7:30 p.m. 52101-1045, phone (319) 387-1208. Tacoma, Washington , American Lutheran Church of Sun City 17200 Del Webb Boulevard ' Sun City, Arizona