JOHNNYMANN'S 80 GOODDO YOU HAVE TO BE? ASK OUR NATIONAL ADJUDICATORS •••

Ray Conniff Norman Luboff Terry D. Danne Dr. Douglas McEwen Dr. Harold Decker· Dr. Albert McNeil Robert DeCormier Dr. Gerald R. Mack Rodney Eichenberger Henry Mancini Joyce Eilers Dr. Russell Mathis Dr. Gerald Eskelin Phil Mattson Dr. CttarlesC. Hirt, Paul Sjolund Chairman Norman Scribner Doug Anderson, Dr. Kirby Shaw Vice-Chairman, Delton Shilling Choreography Gregg Smith Dr. Grant Beglarian Dr. Thomas Somerville Ralph Blane Dr. Howard Swan Fred Bock Craig Edward Lojeski Ward Swingle Scott Bowen Sa . Donald G. Rom Jim Miller Gene Grier John N. Neighbors Jester Hairston John Nelson Dr. William Hall Douglas Neslund Jack Halloran Dr. Weston Noble Dr. Jane Hardester Dr. Jerold Ottley William Hatcher Dr. Uoyd Pfautsch Edwin Hawkins Frank Pooler '/ Ralph Carmichael Dr. Morris Hayes Dr. John Raymond Uoyd Steinkamp Don Hinshaw Donald Brinegar Fred Waring Dr. Gene Brooks Dr. Newell B. Weight Dr. Elaine Brown Dr. Jay Welch Dr. Eugene Butler Richard Westenburg Ray Charles Dr. Wendell Whalum Dr. Paul Christiansen Dr. James Woodward Rev. James Cleveland Dr. Walter Collins Audrey Grier Alice Parker Kenneth Jennings Dr. Ray Robinson Anita Kerr Paul Salamunovich Douglas Lawrence Dr. H. Royce Saltzman

Nathan Carter Dr. Roger Wagner America's most experienced choral experts Join Johnny Mann in saying "JUST GOOD ENOUGH TO WANT TO BE BETIER!" ~ WRITE OR CALL: The Great American Choral Festival ~~~'b~. 9010 Corbin Avenue, Northridge, CA 91324 ~~\\~o~~'to TOLL FREE 1800\ 423·5955 ~&t~o IN CAUFORNIACALL (Z{3) 701-6111 o~ PRESIDENT THE Colleen J. Kirk EDPRESS School of Music Florida State University Tallahassee, Florida 32306

VICE-PRESIDENT H. Royce Saltzmann University of Oregon Official Publication of the American Choral Directors Association Eugene, Oregon 97403

PRESIDENT-ELECT Articles are indexed in The Music Index, Music Article Guide, Maurice Casey and RILM Abstracts of Music Literature. Ohio State University 1866 North College Road Microfilm and microfiche available from Columbus, Ohio 43210 University Microfilms International 300 North Zeeb Road TREASURER Julie Morgan Ann Arbor, Michigan, 48106 #4 Arrowwood Lane , Russellville, Arkansas,72801 Copyright © 1982 by the American Choral Directors Association EXECUTIVE SECRETARY Gene Brooks James McCray, Editor Volume XXIII, No.4 Ronnie Shaw, Managing Editor P.O. Box 5310 Lawton, Oklahoma 73504

NATIONAL BOARD , OF DIRECTORS 1981-1982 DECEMBER 1982 Central Division Mel Ivey School of Music The Cambiata Concept - Western Michigan University More Than Just About Changing Voices Kalamazoo, Michigan 49008 By Don L. Collins " 5 Eastern Division Sondra Proctor 1 Westmoreland Circle Programming Contemporary Choral Bethesda, Maryland 20816 Music By Women Composers North Central Division By Linda Mankin " 10 Wayne M. Kivell 1003 Maple Northfield, Minnesota 55057 Avoiding Vocal Abuse In Northwestern Division High School Students Bruce Browne ' Portland State University By Lane Galloway " 13 Department of Music P.O. Box 751 Portland, Oregon 97207 Southern Division Thomas R. SInith Department of Music Auburn University Auburn, Alabama 36849 Southwestern Division Melva Sebesta P.O. Box 207 The 1983 National ACDA President's Comments 2 Gregory, Texas 78359 Convention 15 From The Executive Secretary 3 Western Division Special Performances 15 The Editor's Notebook '...... 3 Joseph Huszti The Interest Sessions 17 Literature Forum 12 Music Department Children And Choral Music Book Review 26 SelIool of Fine Arts University of California At The National Convention .....23 Childrens Choral Corner 27 Irvine, California 92717 Wayne Hugoboom Commission: Popu lar Choral Corner 29 1903 Honor Children's Chorus ...24 Choral Reviews 33 IndustrY Associate Representative Barry O'Neal A Session of Afro-America- G. Schirmer, Inc. Folk Songs 25 866 Third Avenue New York, New York 10022

PAST PRESIDENTS COUNCIL Walter S. Collins, Chairman Ab@lI1l" 1l"1HJ E C@WEIlt College of Music, CB301 University of Colorado Seasons Greetings, Compliments of Rick Thompson, Photo Graphics, Oklahoma City, Boulder, Colorado 80309 Oklahoma. RUSSELL MATHIS HAROLD A. DECKER !S1l"A1l"EMlEN1l" @f MlEMblER!SlHJip MORRIS D. HAYES The American Choral Directors Association is a non-profit professional organization of choral CHARLES C. HIRT directors with active membership composed of directors from schools, colleges, universities, HELEN M. HOSMER WARNER IMIG community and industrial organizations, churches and professionalchoral groups. Circula­ ELWOOD J. KEISTER tion: 10,500. Dues: Active $25.00, Industry $75.00, Institutional $50.00, Retired $7.50 and Stu­ THERON KIRK dent $7.50. Membership Year: One year from date of acceptance of dues.

Copyright 1982 by the American Choral Directors Association, (405) 355·8161, P.O. Box 5310, Lawton, OK 73504. Issued 9 times yearly: September through May, Subscriptions to libraries only. Rates: U.S., $12.00 a year; Canada: $14.00; Foreign: Surface $21.00; Air Mail $28.00. Single copy $3.00, Back issues $4.00. DECEMBER 1982 Page 1 Affiliated Or~anizations INDIANA CHORAL DIRECTORS ASSOCIATION President Garrett Epp South Adams High School 1000 Parkway Berne, Indiana 46711 Treasurer Ms. Becky Kramer North Judson-San Pierre High School 900 Campbell Drive North Judson, Indiana 46366 IOWA CHORAL DIRECTORS ASSOCIATION President T; L. Janssen 509 S.W. Franklin Drive Ankeny, Iowa 50021 Treasurer . Bruce Norris 420 Maple Mondamin, Iowa 51557 MONTANA CHORAL DIRECTORS ASSOCIATION President . Paul Ritter Box 2428. Great Falls HighSchool Great Falls, Montana 59401 Treasurer Thomas Larson Have you contemplated recently the interrelatedness of the countless aspects of Music Department Northern Montana College our art? For example, there are the relationships within music which invite artistic Havre, Montana 59501 performance. There are also relationships in the growth process which can insure NEBRASKA CHORAL maximal understanding and artistically satisfying performance. When these are DIRECTORS ASSOCIATION President neglected, the result may be stunting of musical growth and performances which are Elmer Schock less than exciting. 511 East 7th A third area .important to ACDA members embraces those relationships of Hastings, Nebraska 68901 Treasurer thought and sensitivity which can promote or advance our professional organiza­ Peggy Sellon tion's goals and objectives. When relationships are considered in perspective and 4402 Calvert when a balance is achieved, progress can be exhilarating. For this to occur, we as Lincoln, Nebraska 68506 OHIO CHORAL humans must strive to understand the interrelatedness of our special interests and DIRECTORS ASSOCIATION the needs and interests of other ACDA members. President From time to time ACDA members experience frustrations. The choral director at . John Drotleff 12700 Lake Avenue #1802 the university level may feel that ACDA is placing too much emphasis on children's Lakewood, Ohio 44107 choirs, the changing voice, or the solving of problems faced by choral directors in Treasurer secondary schools. The high school choral director often feels that ACDA maintains Loren Veigel 2377 Alabama Avenue N.W. a relationship of interests which favors the college/university level. The choral direc­ North Lawrence, Ohio 44666 tor who works entirely within the music program of a church may question the TEXAS CHORAL significance of ACDA's concern for musical scholarship. And so it goes. This list is .. DIRECTORS ASSOCIATION President not in any way inclusive; it is mentioned for purposes of illustration. CarroliW. Barnes We all wish that every convention program could contain more sessions focused 3414 Columbia Circle upon our special interests. Everyone is entitled to wish, and everyone should strive Garland, Texas 75043 Treasurer to support and improve aspects of the so-called special interests. At the same time, Margaret Cavenagh each of us must be rational and considerate. There are thirteen national committees 8751 Broadway #3159 representing that number of special concerns. It is impractical to think of one con­ Houston, Texas 77061 WISCONSIN CHORAL vention's being extended over a period of time long enough to satisfy all of our DIRECTORS ASSOCIATION special interests and desires. President It is indeed a pleasure to take this opportunity to commend the Steering Commit­ Bill Diekhoff 1427 Monroe Avenue tee for ACDA's Seventh Independent National Convention which will take place in Racine, Wisconsin 53405 Nashville on March 10-12, 1983. Our appreciation must be extended to Maurice Treasurer Casey (Convention Chair), Robert Baar, Charles Thornley, and Jerry Warren. They Ruth Knoll . Hartford High School are preparing for all of us a truly stunning Convention; they have worked tirelessly Hartford, Wisconsin 53027 and have tried diligently to include in the Convention program unusual features Editorial Board which will be of interest to all of us. There are as many special interest sessions as Editor time will allow. The Steering Committee deserves our praise and support. James.McCray This National Convention promises to be outstanding in every respect. We will be· Department of Music Colorado State University breaking the unhappy tradition of scheduling concerts in hotel ballrooms - we will Ft. Collins, Colorado 80523 hear all performances under acoustical conditions which are favorable to the highest degree of musical nuance achieved through the industry and artistry of the perform­ Associate Editors John B. Haberlen ing groups. LyrinWhitten If you have not yet made travel and housing arrangements, may I urge you to do Members so immediately. This is a Convention you will surely want to attend! Antonio Molina Gordon Paine Frank Pooler /7 ild ~ Harriet R. Simons L~(J.'~~JC-;11 /

Page 2 THE CHORAL JOURNAL , SN TIE

The 1983 national convention commit­ THE IMMUTABLE SEASON focus in on our. purpose. Good musical tee have planned an outstanding con­ performance at any level From pre-school vention for the ACDA membership. The Whatever your musical interests and to professional brings a sense of balance three days are filled with performances occupation, church or school, for us in which may justify the frustration en­ by some of the outstanding choirs from the choral field, December has to be the countered in other phases of our art. It the United States, Canada, and Europe. most exhausting month. There usually may be extremely difficult traveling Very informative interest sessions are are more preparations and more per­ through December, but would we really included throughout the convention. formances than at any other time of the want to enter the new year without be­ Many of the music industry members year. We find ourselves overcommitted, ing involved in the musical madness of will have outstanding exhibits for the our singers overtired,·and ol,IT home life the holidays? I doubt it. We moan and membership. It will be a very full three overtested as we scurry from one musi­ groan about everything we have to do days for the choral directors in atten­ cal event to another. The joy of the sea­ during this time, and most of our com­ dance. son is drowned in a maelstrom of in­ plaints are based on fact; yet, doing is ZDF television, West Germany, will creased activity. far better than not doing. It is sort of once again be filming the convention Have you ever thought about what like life, we may get tired of it and feel and will televise it at a later date in 1983 your life would be like if you were not a thwarted by it, but the alternative of in West Germany. ZDF filmed the 1977 choral musician? As a college professor I death is definitely not a better choice. national convention in Dallas, Texas and am astounded to visit the buildings of George Bernard Shaw once said, "This the 1979 national convention in Kansas other campus departments and view is the true joy in life, the being used for a City, Missouri. with dismay the individual schedules purpose recognized by yourself as a Maurice Casey, Charles Thomley, posted on their office doors. Some of mighty one; the being thoroughly worn Robert Baar, and Jerry Warren have them seem to spend less time with the out before you are thrown on a scrap devoted many days planning this con­ students in class and in conference, than heap; the being a force of nature instead vention for the ACDA membership. If we do in merely preparing one group for of a feverish, selfish little clod of ail­ you have never attended an ACDA na­ one concert. Yet, at least on our campus, ments and grievances complaining that tional convention, do plan to attend the there is a distinct difference in available the world will not devote itself to make 1983 national convention in Nashville, funds and salaries for those in the arts you happy. And also the only real Tennessee. It is your convention, plan­ when compared to those in the sciences. tragedy in life is being used by personal­ ned for you - don't miss it. Musicians continue to do more with and ly minded men for purposes which you for less financial consideration. The recognize to be base." That may be an marvels of science have made science unusual twist on Christmas and Han­ Beginning January 1, 1983, all ar­ seem less marvelous! nukah messages, but for us it may be the ticles should be mailed to Ronnie But, 0 Hearken Ye, there is another one we need to hear this year. Shaw, Managing Editor, P.O. Box side to this matter which needs discus­ I join the Editorial Board and other 5310, Lawton, OK 73504. Other in­ sion. How do we equate the absolute A8DA staff members in wishing you the quiries and letters to the editor pleasure which is gained from having happiest of holidays. Enjoy whatever should still be sent to James Mc­ our choirs perform well? The satisfac­ rest you can and begin the new year with Cray, Department of Music, Col­ tion we receive in helping our choir mem­ that same enthusiastic spirit that you orado State University, Fort Col­ bers discover the beauty found in music had last Fall. It is all too frequent that lins, CO 80523. new to them simply can not be under­ students, colleagues and audience stood by those outside the field. This is members neglect to say thank you for not to suggest that we should not earn what you have done to brighten their more money than we do, but we need to lives. I am confident that your work is greatly appreciated and say to each of you, Merry Christmas, Happy New Year and thanks for all you do for our wonder­ ful art. - "The Music Rack for Choral Singers" For information concerning the 1983 ACDA National Convention pro­ ** QNIQQE ** PRACTICAL ** CONVENIENT ** gram advertising contact: The CHORALYRE music folio is the perfect addition to any church, school, or adult chorus. Used by choruses throughout the Richard Clark United States and Canada. Give your chorus a touch of class. School of Music Write for free brochure - University of Oregon THE CHORALYRE COMPANY Eugene, Oregon 97403 9428 West Palmetto • Wauwatosa, Wisconsin 53222 (503) 686-3786 (414) 527-3899

DECEMBER 1982 Page 3 PRE·REGISTRATION DEADLINE: MARCH 1, 1983 (Must be postmarked by March 1) REGISTRATION FORM ACDA NATIONAL CONVENTION Tennessee Performing Arts Center Nashville, Tennessee March 10·12, 1983 PRE·REGISTRATION FEES Name ~- () ACDA Member (Active/Life) $30.00 Home Address _ City/State _'_Zip _ () e ACDA Member (Retired, Student, Spouse) $20.00 REGISTRATION AT CONVENTION () ACDA Member (Active/Life) $40.00 Institution _ () ACDA Member (Retired, Student, Spouse) $25.00 Institution Address _ () Non-Member Registration $65.00 City/State _'_Zip _ Dues Payment - Circle: NEW or RENEWING Spouse or Family Member -'- () Active-Associate $25.00 () Life Member ($50.00 Minimum) $500.00 (Office Use Only) Ck No. _ () Student or Retired Member $7.50 Amt. Rec. $ _ Date _ Total Amount Enclosed $ _

PerforminfJ choirs will be admitted free to all sessions. Please make check or money order payable to: American Choral Directors Association Mail to: ACDA, P.O. Box 5310, Lawton, OK 73504 RESERVATION DEADLINE: FEBRUARY 16, 1983 HOUSING REQUEST FORM Reservation requests are handled on a first-come, first-served basis by the Nashville Housing Bureau up until the reservation deadline, FEBRUARY 16, 1983. Rooms are assigned according to receipt of requests and availability of the hotel requested. Reservations are not guaranteed until they are confirmed by the assigned hotel. This form must be accompanied by an advance deposit of $45.00 for each room re­ quested with check or money order payable to NASHVILLE HOUSING BUREAU. After your reservation is confirmed, changes, cancellations and deposit refunds must be handled directly with the hotel assigned. To receive a deposit return you must cancel at least 78 hours prior to your arrival date. Hotels and rates are listed below. Please note that room rates do not include applicable taxes. Please mark your preferences (1st, 2nd, 3rd, etc.): Choice Hotel Rates: Single Double Extra Person Rollaway Hyatt Regency (Headquarters) $54.00 $54.00 $15.00 Radisson Plaza Nashville 54.00 54.00 10.00 10.00 Sheraton Downtown 45.00 45.00 10.00 Hermitage Park Suite Hotel 78.00 88.00 10.00 Best Western Capitol Park Inn 37.00 45.00 6.00 Downtowner Central 34.00 48.00 6.00 Ramada Inn Capitol Hill 38.00 38.00 Travelodge 37.00 50.00 5.00 Tudor Inn 28.00 38.00 4.00 Room Type Requested Please list each person occupying the room: __ 1 person - 1 bed __ 2 people:...... 1 bed __ 2 people - 2 beds __ 3 people - 2 beds __ 4 people - 20eds . __ additional rollaway (The Housing Bureau cannot assign roommates.) ARRIVAL DATE AND TIME DEPARTURE DATE AND TIME ~ _ . CONFIRM TO: Address: ______Telephone#: _ City: ______State: Zip: RESERVATION DEADLINE: FEBRUARY 16, 1983 DEPOSIT: $45.00 PER ROOM Telephone reservations will not be accepted. Return this form with deposit to: NASHVILLE HOUSING BUREAU Nashville Area Chamber of Commerce 161 Fourth Avenue, North Nashville, Tennessee 37219 615-259-3900 ext. 50 (For information and inquiries only.)

Do you have special needs? ~~ _

Page 4 THE CHORAL JOURNAL I do not remember the first time I met Irvin Cooper. I wish I could. It must have been during the fall of 1967. I am sur­ prised that I do not remember. He is not the type one would easily forget. Physically, he was striking - strikingly The Cambiata Concept=-= peculiar. He was rather short, stocky, and broad. He had a marvelously rotund stomach and at his age (he was around 67 when I first encountered him) his walk, or better still, his More Than Just About gait was reminiscent of that of an overweight banty rooster who had stuffed his craw so full he was about to tip over. All Changing Voices he needed was a red suit and white beard to make the perfect midget Santa Claus. And he smoked a pipe - that infernal By Don L. Collins pipe! As a graduate student I had a briefcase that I have car­ Cambiata Vocal Music Institute of America, Inc. ried almost ten years since I left Florida State University. I Conway, AR opened it so many times in his presence that when I open it today, I can still smell the odor of stale, stagnant, burned tobacco! Around the turn of the century England gave birth to a "Cambiata Concept", even though it was not called such at man destined to become one of America's leading music edu­ the beginning, and that is: Boys can sing completely cators - one who was to develop an idea that would in­ throughout vocal mutation without any detriment to the fluence music education throughout the world. Secretly Irvin vocal instrument as long as they sing music written in accor­ Cooper wanted to be a composer, but he was foreordained dance with the range and tessitura limitations of the adoles­ otherwise. He came to America as a zealot of musical drama, cent voice. The voice should not be made to fit the music, the but someone else was destined to that contribution. He also music should be made to fit the voice. wanted to be a concert pianist, but because of his small With this thought in mind, Cooper embarked on an educa­ hands, the a!Jility to reach barely an octave, his generation tional voyage of almost thirty years. He began with an in­ saw someone else fulfill that destiny. He was destined to be a tense study of the adolescent changing voice and ended with music educator. his ideas spread over thirty states, Canada, England, France, He received his degree from the University of Manchester and Hungary. His publications include Twenty-two books of and came to Montreal assured of a position as a high school song collections arranged for changing voices; Letters to Pat, choral and instrumental director where he spent fifteen years a professional book for junior high school music teachers; maturing toward his appointed time. During his fourth de­ Teaching Junior High School Music, a college textbook; The cade he became Supervisor of Music for the Montreal system Reading Singer, a sightreading method for adolescents and a and director of the McGill University Orchestra and the Uni­ sound, color movie, The Changing Voice. At his death in versity Choral and Operatic Society. In his capacity as 1971, he was Chairman of the International Research Com­ supervisor he often visited public school music teachers to mittee for Study of Changing Voice Phenomena with the In­ encourage them in their work and to share his expertise in ternational Society of Music Education, and was establish­ making them better teachers. It was in the junior high ing laboratory studies in England, Russia, and Japan. His schools that his kismet became apparent. tenure of twenty years as Professor of Music at Florida State In the 1940's vocal teachers did not believe a male adoles­ University was such that he has students and disciples cent could sing during vocal mutation. The practice of "giv­ spread all over the United States, Europe, and South ing the voice a vacation" during puberty still prevails in America. many countries today. When .Cooper visited·junior high I had the genuine privilege and awesome responsibility to school vocal music classes he would always find a group of study with Irvin Cooper while doing graduate work at boys sitting in the back of the room enduring a study period Florida State. Near the end of his tenure another graduate while the girls "melodized away". Cooper realized that their student and I were chatting informally with him in his voices were changing and supposedly it was not vocally studio. The subject came up about the future of the Cam­ healthy for them to "partake in the sensuous sounds of biata Concept and Cooper somberly stated, "If the Concept song" during those fragile years. He accepted the fact that is to remain alive over the next several decades, it very well they were not supposed to sing. may be left up to one of you". Being burdened with such an He was also a scoutmaster during those years, and one of overwhelming responsibility was terrorizing to me. his responsibilities was to take the boys on camping trips. It Mysteriously door after door has opened over the last ten was after a series of such occasions when the boys had been years which has not only kept the Concept alive, but has engaging in "ambrosial harmony" around the campfire that allowed it to be proliferated to thousands of music educators a revelation came to Cooper. Those adolescent boys who had worldwide. been relegated to silence during music class were far from In 1972, Cambiata Press began producing music written silent in their campfire sing-a-longs, and with no detriment to specifically for young adolescents with changing voices. By the voice. Unable to control himself any longer, he invited employing leading American arrangers and composers to the boys to come to his house where they could gather write music which accommodates the vocal limitations of around the piano and sing. Sharing with this writer some these youngsters, the company has made the Concept one of years later, he said, "I thought I would show out a bit" as he practical application for music educators who are looking for played an elaborate introduction to the song he wanted the music which can be sung by their students. Since the emer­ boys to sing. Well, the boys sang, if that is what it should be gence of Cambiata Press, over a dozen major publishers are called. A few of the boys were near the melody, but most of producing music written specifically for the Concept. Several them were singing a "quasi-organum" about a fourth below others are producing music with comparable scoring though the established melody. the term "cambiata" is not used. Most recent is the founding Why then, Cooper mused, could they sing so beautifully of The Cambiata Vocal Music Institute of America, Inc., a around the campfire and so horribly around the piano? A non-profit educational institution which trains teachers in simple principle the boys could sing quite comfortably, the tenets of the Concept while providing special choral op­ and even beautifully, if they were able to pitch the song in portunities for young singers. The Concept is no longer view­ the medium tessitura of their voices. When they sang around ed as just a means of dealing with the changing voice. It has the campfire, they simply sang where it was naturally com­ grown into a comprehensive philosophy and methodology of fortable. When they sang around the piano, the pitch was teaching vocal music to all adolescents. dictated to them. This thought begot the basic tenet of the Cooper took the term "cambiata" from the theoretical DECEMBER 1982 PageS term "cambiata note" (changing note) and adapted it to The foremost consideration of the Concept is that SING­ "cambiata voce" (changing voice). The Concept began by ser­ ING IS THE CORE ACTIVITY in teaching music to adoles­ ving those who were experiencing vocal mutation. Over the cents. This is often thought to be impossible because of the years a greater purpose has emerged: To serve those who changing voice. Cooper was successful in persuading most teach vocal/choral music. to these students. The Concept, American music educators otherwise. They must, however, taught in college and university classrooms, becomes most sing music written with consideration of their unique vocal helpful when the young teacher discovers that success comes limitations. The most specific limitation is the range of each with learning to deal with the adolescent changing voice and of the voice types (half notes indicate the overall range; quar­ all its related problems. Mostly discipline oriented, these ter notes indicate the comfortable singing tessitura): problems occur when the students do not feel a sense of achievement in 'their singing. When the teacher realizes the __ "". .~ '~~ Ll' c'"'t limitations of the young singer, classifies the voices correct­ ~J¢-+'Erfi\) J~ J~~¥l-~L ; I ,.J .' p • ~ ly, and selects appropriate literature, many of those prob­ ',"t"""" I Sl)pr~"n II Cambiatll D.1,.'VIl(' lems disappear. 11,'<" ch~nalll What are the ages of these singers and what grades do Cooper worked with and classified 114,000 adolescent they encompass? Adolescence is defined as that period of voices in his lifetime. Through research and a wealth of prac­ time in life between childhood and adulthood. Psychological­ tical experience, several tenets pertaining to the adolescent ly and emotionally that may be a period of several years, voice have emerged. . while pubescence for some last less than a year. Other ques­ Adolescent girls are neither true sopranos nor altos in the tions further complicate the issue. Are middle and junior adult sense of the word. With few exceptions, most girls have high school part of the elementary years or part of the secon­ about the same range and quality as indicated above. The dary years? Should the intermediate school, even high quality can be described as thin, breathy and colorless in its school, be included in one's definition of the years of adoles­ natural state. Generally, girls require greater stimulation cence? There is a different answer to each of these questions than boys to realize their full vocal dynamic potential. With depending upon where one is and with which school he is in­ proper vocal technique, the voices will lose the breathy quali­ volved. Into this maze of inconsistency in the American ty and will become more flexible and colorful. Age, however, school system comes one thread of continuity. No matter is the key factor in their proper adult classification as true what grade a youngster is in, if h~/('>he physically and sopranos or altos. A few girls who enter pubescence in the emotionally has left childhood, there is a common bond: fourth or fifth grade begin to take on the quality and range of change! Therefore, adolescence must be defined as the true sopranos and altos by the eighth or ninth grade, but changing years and must emcompass those grades as early even then they are quite comfortable singing music within as·the fifth and as late as the twelfth. The misconception is in the above range and tessitura. Music written specifically for thinking that the Cambiata Concept is designed for grades the Cambiata Concept usually includes two equal parts for seven and eight only. The Cambiata Concept will improve girls (Soprano I & II). Often the original melody will be found any singing organization which involves adolescents. in the Soprano II part with a counter melody written above

The Diagnosis and Correction of Vocal Faults is an instructional guide for identi­ fying characteristics or symptoms, pos­ sible causes, and corrective proceduresof vocal problems. Chapters deal with breath­ ing, posture, phonation, registration, voice classification, resonation, articulation: and coordination. Includes teaching illustra­ tions and an audition evaluation sheet. To complementthis book, Dr. McKinney, dean ofSouthwestern BaptistTheological Seminary School of Church Music and professorofvoice, also authorsan optional audiocassette ($6.95) with "audio expla- nations." paperback, $8.95

ErBROADMAN Nashville, Tennessee 37234

Page 6 THE CHORAL JOURNAL for Soprano I or vice versa. One also finds two equal parts in male connotation and stigma. Also, when the Treble moves which crossed voicing is used to allow both parts to develop into the first phase of change he will be more likely to accept the full extent of the adolescent female range. the term "cambiata" than "alto" or "alto/tenor" because of One often finds more mature singers (college age or adults) their female connotations. Use of the term "tenor" for the who have a marked division between the chest and head Cambiata is simply incorrect classification. vocal areas. These female singers have a hefty chest tone . If the Cambiata has been trained as a Treble or has ex­ which is often forced as high as C above middle C. When they perienced using the head area of the voice, he can easily "break over"into head voice, the tone is extremely thin and negotiate the following range (half notes): colorless. Occasionally one finds a singer of this type who, without special help, is unable to use the head voice at all. She does not realize she can sing above A, second space in the treble clef. These girls, in most cases, were designated to the alto part in SATB music as an adolescent and never de­ veloped t4,e upper areas of the voice (head voice). This over Cambiatas with little singing experience, particularly those developed' chest voice is reinforced if they become cheer­ who have difficulty discovering their head voices, will be leaders and are taught to yell in the lower area (chest voice). much more comfortable singing the tessitura indicated One also finds mature female singers (college age or adults) above (quarter notes). who never have sung any part except melody (usually The primary difference between Treble and Cambiata is soprano) and are completely lost when asked to sing another . that the Cambiata is more limited in range and flexibility. part because they have never developed an ear for harmony. When a Treble enters the first phase of change, the clear, Since music written for the Cambiata Concept has two equal ringing, flexible head voice begins to sound thick and takes female parts, these problems do not occur. The girls use the on the "false" sensation of the adult falsetto. He begins to full extent of the vocal range while learning to sing both experience more strength in the lower tones even though he melody and harmony. still sounds more like the unchanged voice than a changed Cooper discovered four types of boys' voices which exist one. The length of time a voice remains in the first phase of during grades four through twelve: (1) unchanged Treble, change is unpredictable. For some boys it may be a month or (2) first phase of change - Cambiata, (3) second phase of so, for others it may be several years. . change - Baritone, and (4) changed - Bass. True tenors in Often it is advantageous to ask a boy to sing the Cambiata the adult sense of the word do not exist during these years. part even though one is not completely sure he has entered The mature tenor voice, as well as mature baritone and bass the first phase of cl).ange. Boys who have difficulty using the voices, do not emerge until the middle or latter twenties. The head voice or have little singing experience and whose voices term "tenor" is used by many music educators to connote will soon begin to change probably will be happier singing any of types two through four above. The classification is Cambiata than Treble. often assigned to these young men because SATB music con­ .The second phase of change, Baritone, is the most difficult .tains a part which lies around middle C and can be attempted to deal with because moving from Cambiata to Baritone is an by most of these boys no matter what their phase of vocal individual matter. Some boys move gradually downward by change. When the Cambiata Concept is effectuated one will adding lower tones to the chest voice while the head voice be­ find that referring to the boys as Trebles, Cambiatas. (the comes more falsetto-like. These boys experience very few plural of the word is Cambiate but common usage has "cracking" problems. Some boys move into the second phase brought about an Anglicized pronunciation), or Baritones re­ rapidly and, because of fast growth, have difficulty control­ sults in a better understanding of the voice by both s.tudents ling the voice, particularly when asked to sing above middle and teachers. C. Even when he talks, he loses control and the voice will Trebles have a strong, masculine sound after they have "crack" suddenly into the falsetto area. Still others lose the been vocally trained. When the full voice has been developed ability to produce any sound at all above A, top line in the (head and chest), the range is quite wide: bass clef (other than falsetto). It may take several months after the rapid growth period for a boy to be able to produce these tones. Usually this adolescent has a very strong low range and often can sing down as far as two octaves below middle C. He may experience remarkable freedom when sing­ ing falsetto, but there is a wide gap between the two voices All boys cannot sing this full vocal compass, however, partic­ and he is unable to produce tones directly above and below ularly without extensive training. They will be more comfor­ middle C. As his voice settles, it usually moves upward table singing the tessitura (quarter notes above) which is several tones before maturing. Finally, with some boys there comparable to the adolescent female vocal range. is a period when the vocal range is limited from middle C If there is a need to divide Trebles into two parts it is bet­ down to F, fourth line bass clef (often called the "Light Bari­ ter to place boys who move easily from chest to head reson­ tones"). These are the most common ways boys voices enter ance on the upper part. Boys who show a definite division be­ the second phase of change, but again, changes are unique to tween the areas of the voice will be happier singing the lower each individual. part where he can use more 'chest resonance. It is not detri­ Literature written for the Concept should include a Bari­ mental for him to sing primarily in the chest area as it is for tone part with the following range and tessitura: the female, because he will continue to use the chest area as ~:e:­ his full singing instrument after vocal mutation. The head area will become his falsetto which will not be used except for 9: hJ ::\=

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PageS THE CHORAL JOURNAL Male Trebles often resent having to sit with the girls. Since . presence of printed music in their hands eventualizes it being the boys are sitting in front of the girls, one should place the rolled-up and planted squarely on top of another's head, par­ male Trebles between the Cambiatas and the girls. By doing ticularly if they are not capable of reading it in the first place. so, they are allowed to sing a soprano part while sitting with Rote teaching in those beginning days of class assists in the Cambiatas. It is important not to isolate them from the keeping their attention focused on the teacher. other boys. Instructor-centered teaching brings us to another tenet of Another tenet of the Concept is PROPER VOICE CLAS­ the Concept. An organized method of TEACHING MUSIC SIFICATION. The question is: How does one determine LITERACY or sight-reading should be constituted im­ which classification of voice a young singer possesses? In mediately. Teaching the basic rudiments of music must grow developing a method of voice classification, Cooper returned out of a need to read music. The specific study of the funda­ to the initial discovery he made with the boys singing around mentals of music is not recommended with adolescents be­ the campfire: the boy naturally chooses his most comfortable cause if they find no purpose in the study it is difficult to singing area if given the opportunity. It was important to motivate them. On the other hand, if rudiments are taught Cooper to find a way to classify the voices quickly. If a based on the students' need to read music, they show in­ youngster enters a classroom and encounters a laborious terest and display more motivation toward learning. No means of testing the voice, he may become disenchanted more than fifteen or twenty minutes a rehearsal should be with music altogether. Cooper wanted to be able to classify spent in teaching them to read. A method should be chosen the voices and sing a three or four-part song during the first which is structured, moving from the unknown to the known time together. in a cumulative fashion. It is important that the singers deal Since singing is the core of the Concept, it is important with the complexities of rhythm and melody in small doses. that PROPER VOCAL TECHNIQUE be taught constantly. Asking them to read music which has several rhythmic Vocal technique is probably the most controversial subject figures and uses every pitch of the diatonic scale (without discussed by singers. There are as many opinions as there are proper training) is discouraging. One cannot expect the body teachers and singers. A teacher should not feel good about (or voice) to react to that much physical and mental response his/her teaching ability if he/she works with adolescent sing­ at one time without dividing the components and then com­ ers and ignores proper tone production. The teacher should bining to arrive at the whole. The AdolescentReading Singer take the responsibility to make his/her students the best published by Cambiata Press is recommended because it singers possible. uses this method and is written with adolescent vocallimita­ Most singers and teachers agree that whatever method is tions in mind. It also has accompanying choral literature in used to achieve the sound desired it should be one which is booklet and octavo form which can be sight read and per­ not harmful to the vocal instrument. It.should be one which formed as each phase of the method unfolds. It uses solfege, helps the singer to produce sound over an extended period of Curwen hand signs, the pentatonic scale (at the beginning), time without causing hoarseness or vocal fatigue. The reason and the Kodaly rhythm syllables. Itis a natural continuation most adolescents become hoarse after several hours of re­ of any Kodaly method of teaching musicianship studied in hearsal is because they have not been taught any vocal elementary school. No matter what method is chosen, it is technique at all. The teacher may give some tips on forming essential that it be written for adolescents and that it be correct vowels and adding crisp consonants, and there may structured in a "divide and conquer" fashion. be some tutoring on blend and phrasing, but when it comes The Cambiata Concept is definitely more than just chang­ to vocal technique, very little is said. ing voices, even though understanding and dealing with the The USE OF ROTE TEACHING for students who cannot adolescent voice is the secret to success. After four fruitful read music is another tenet of the Concept. After the voices years of erudition with Cooper, I received both Masters and were properly classified, Cooper would teach them a three- or Doctorate degrees in Music Education from Florida State. four-part song by rote during that first time together and Immediately, I accepted a music education position at the every day thereafter until the students were taught to read University of Central Arkansas and have spent twelve excit­ music. Many of the simple arrangements in his twenty-two ing years validating and promulgating the many wise ways collections can be taught by rote. The reason for this is a of working with adolescent youngsters I learned from the style of arranging he called "melody-part style writing". In­ Master himself. stead of conceiving the parts in a traditional harmonic fashion, he used the basic rules of counterpoint to write the EDITOR'S NOTE: For further detailed information please individual parts even though the piece may have been homo­ consult the book by the author entitled The Cambiata Con­ phonic in texture. He felt the students could be singing three­ cept, A Comprehensive Philosophy and Methodology of or four-part music the first time together if each part was a Teaching Vocal Music to Adolescents published by Cam­ melody. After all, they had been singing unison and two-part biata Press, P.O. Box 1151, Conway, Arkansas 72032 melodies in elementary school, why not enlarge that melodic (1-800-643-9967).• experience into four parts? He also determined that the melodic character of the parts made them more interesting and easier to remember. , \..i\ Now You Too Can Present The Beautiful No music was placed in the student's hands during this f\~~'"' Musical/Slide History rote teaching process. He used homemade charts or the blackboard to indicate line notation for them to follow. Jesus lDas J-{is '11anle Growth in body and personality of adolescents often results THE BIRTH/LIFE, CRUCIFIXION AND RESURRECTION OF JESUS CHRIST in an inability to remain still for a long period of time. The (BASED ON THE GOSPELS OF MATTHEW, MARK, LUKE AND JOHN) 9 ORIGINAL SONGS For information concerning the 1983 ACDA National Con­ 48 "MASTER" SLIDES vention Exhibits Contact: A WONDERFUL EASTER CELEBRATION! Bob Davis North Iowa Area Community College ~ 500 College Drive Mason City, Iowa 50401 OR CALL (515) 423-1264 201/667·2991

DECEMBER 1982 Page 9 Many successful composers who hap­ pen to be women resist the label "women composers." All musicians want to be judged on merit, not on gender. Nadia Boulanger's famous reply to the repor­ Program.m.ing Contem.porary ter who, in the 1930's, asked her how it felt to be the first woman ever to con­ duct the Boston Symphony Orchestra, Choral Music By is an illustration: "My dear sir, I have been a woman for some forty-odd years now. I have gotten over my original astonishment." Wom.en Com.posers Nevertheless, this may be a time of compensation - an opportunity to make By Linda Mankin up for the years of neglect that women's Foothill College music has faced. One of the ironies of Los Altos Hills, CA choral music is that women greatly out­ number men in its performance. There is hardly a director of a mixed choir who is not looking for more men to balance the women's sections, and women's choruses outnumber men's. Yet the cording, most often a promotional Assuming you as a choral director amount of choral music performed that record sent by the publisher. Other ways wish to program more music by twenti­ is by women composers probably com­ of discovery mentioned were publishers' eth century women composers, how do prises less than half of one percent. This, sample copies and music-store browsing. you locate the repertoire? Standard cata­ despite the fact that there is much acces­ Of those who did not program logues and books such as "Choral Music sible choral music being written today women's music in the last three years, in Print" are useless without a specific by women. . most claimed unfamiliarity with any; name in mind. Some women go by To discover how much twentieth-cen­ fewer found none to their liking. Asked pseudonyms, initials, and names not tury choral music by women was being how they could nest be informed of the readily identifiable as women's, such as performed in the Northern California availability of such music, the over­ Wen-Ying Hsu, Glad Robinson Youse, area, I sent questionnaires to 350 grade whelming majority, 75%, cited sample Vally Weigl. Conversely, some names school, high school and college choir copies. Next in decreasing order were that appear to be feminine are not. A directors within a fifty-mile radius of choral reading sessions, reviews of publisher contacted for names of women San Francisco. While the responses re­ women's works in professional publica­ composers mentioned Lynn Shurtleff, present only the activity in that area, tions, catalogues specifically listing who happens to teach at a university they may reflect the situation elsewhere women's works, and promotional near me, so I know he is a "he." A re­ in the country. I considered the 30% re­ records. Interest in programming more cently compiled discography of women's sponse high, since pollsters anticipate oHhis music seemed high. Two thirds of music contained works by Gail Kubik. about a 10% return on any mailed sur­ the respondents would do more of it, one When I sang Kubik's folk song arrange­ vey. fourth might do more; only a few were ments with the Robert Shaw Chorale, Most of the respondents, slightly not interested. the composer's picture on the cover was more men than women, directed mixed The question that elicited the most definitely that of a man. choirs. One fourth directed women's comments was, "Do you feel that any However, more and better sources for choirs also, and another 25% conducted special effort should be made to pub­ women's m,usic are appearing. The most children's choruses. An almost equal licize choral music specifically by comprehensive listing of women's choral number of women and men, two-thirds women composers?" Comments ran the works, with which all choral directors of those replying, had programmed gamut from "Special effort should be should become familiar, is the Block and some contemporary music by women in made to publicize women's music to Neuls-Bates bibliography, Women in the past three years. Directors were ask­ make known its existence. Then, de­ American Music, published in 1979. Itis ed to name composers and compositions cisions can be made to perform it or not divided into thirty-year periods through featured. Certain names appeared more based on the usual considerations of 1978, and lists composers with six or frequently than others (six times or quality," to " ... anyone really looking more published works to their credit. more): Natalie Sleeth, Emma Lou will find lots of good material by women References to choral music include Diemer, Williametta Spencer, Joyce ... " to "Women's Music or Women's names of works, voicings, instrumenta­ Eilers, Jane Marshall, Alice Parker, Truckdriving Associations ... or any tion, duration, publishers, and record­ Mary Caldwell and Kathryn Davis. other such separatist sexist and, belittl­ ings if available. Almost 500 choral Some selections were named more than ing organizations are not needed ... " works are named in the 1950-1978 sec­ once, such as Spencer's At the Round One respondent went so far as to write tion. For sheer magnitude of output, Earth's Imagined Comers and Diemer's "A good composer is sexless," a state­ Alice Parker and Natalie Sleeth head the Three Madrigals, both for mixed choir. ment sure to be disputed by those in list, with close to 50 works apiece. Other All names and works mentioned were question! While there were vehement re­ prolific composers are Bitgood, Cooper, compiled and are available from the actions on both sides, most people felt Diemer, Hoover, Hruby, Jordan, Ketter­ author to anyone interested. 1 that although it wouldn't hurt to pub­ ing, Lorenz, Stewart, Warren, Weaver The popularity of certain works and licize women's music, all music must and Youse. composers may reflect the way people ultimately survive on its own merit, re­ Partial listings exist, such as discovered the music. The largest num­ gardless of the gender of its composer. "Selected Music for Senior and Junior ber, 25%, learned of it at a choral direc­ An interesting sidelight was that, while Clubs" compiled by Julia Smith in her tors' reading session. The next largest giving one's name was optional, twice as Directory of American Women Com­ group, one fifth, heard another choir per­ many women as men withheld their posers. Fifty-four choral works are nam­ form it, while one sixth received a recom­ names. Is there some subtle psychology ed in the 1970 edition. Mu Phi Epsilon mendation from a colleague. A smaller at work that still inhibits women from publishes a list of choral music by mem­ but significant group had heard a re- exposing themselves publicly? bers and works entered in its competi- tions. Publishers' names and addresses and sample or "on approval" copies. The task of learning about the com­ are included. Sigma Alpha Iota also has Promotional materials on specific com­ posers themselves becomes easier as a catalogue of women's works. posers are helpful. They often list all more books are published on the subject. Another source for choral music by works by that composer currently in Christine Ammer's Unsung, A History women is the publishers themselves. print. The best source appears to be the of Women in American Music gives Sixteen of the leading publishers of composer herself. fascinating details of composers' lives. choral music were contacted by the It is not necessary to go to the pub­ Another 1980 publication, Jane Weiner author. Three questions were posed: lishers if you have a sympathetic music LePage's Women Composers, Conduc­ dealer. The one to whom I went for help tors and Musicians of the Twentieth 1. Do you have a separate listing of supplied me with names of women com­ Century contains biographies of seven­ 20th-century choral music by posers frequently requested, publishers' teen musicians. Specific works and women composers? phone numbers and assorted catalogues. techniques by composers such as Emma 2. If not, do you have plans for such a Some college and university libraries Lou Diemer, Thea Musgrave and Nancy listing? now have considerable holdings of Vande Vate are described. A number of 3. Do you print any promotional scores and recordings of works by bibliographies of sources of information material about women composers? women. Some have or are developing about women composers now exist. separate listings of these works, making Susan Stern's Women Composers: A Responses varied from an apologetic access easier. A call to yoUr local college Handbook, published in 1978, is useful. salesperson regretting there was no librarian would produce this informa­ Another is Hixon and Henessee's separate listing, to an abrupt "We put it tion, and would indicate an interest in Women in Music: A Bibliography, 1975. all together whoever is good - men having such material available. JoAnn Skowronski's Women in and women," to a representative of one Recordings of contemporary women's American Music: A Bibliography, 1978, of the largest publishing houses who choral works are not as prevalent as includes listings of articles in periodi­ said, "In looking through the catalogue, those of instrumental music, but some cals. I've never noticed anything by a woman fine discs do exist. Several good sources What of the music itself - is today's composer." (His publishing house ac­ are CRI (Composers Recordings, Inc.), choral music by women different from counts for the largest number of works listing among others Elinor Remick that of their male counterparts? A de­ in the Smith Directory of Women Com­ Warren, Louise Talrna, and Judith Dvor­ tailed analysis would require another ar­ posers.) kin; Golden Crest. choruses by Judith ticle._However, a brief survey of choral All major publishers' . choral Lang Zaimontand Emma Lou Diemer; titles reveals no appreciable difference in catalogues include some original works Argo - music of Phyllis Tate and Elisa­ subjects chosen by women and men. In by women. Most do. not list them beth Lutyens; Everest - Lili Boulanger; both groups, sacred titles have the edge separately. However, several of those Westminster - Miriam Gideon; over secular works. contacted are compiling such a list. Odyssey - Pauline Oliveros. (A disco­ It is no longer fashionable to even hint Other publishers were very cooperative graphy with addresses can be obtained that women's music might be more and willing to send marked catalogues from the author.) "delicate," "lighthearted," perhaps

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DECEMBER 1982 Page11 more "frivolous" than men's. One need fers interesting contrasts of texture, with the fine music available by only listen to the opening of Lili Boulan­ music that demands great performing women. ger's Psalm XXIV to realize that the skill. In other words, essentially the 2. When reading clinics are announc­ music has nothing to do with her gender, same kind of musi~ you get from the ed, request that a representative or even her frail physical condition. (She other half of the human race." Composer number of works by women be in­ was sickly during most of her brief Barbara Kolb put it this way: " ... com­ cluded. 24-year life span.) In a recent review for posing a piece of music is very feminine. 3. Request listings of choral works by the Washington Post (May 18, 1982), It is sensitive, emotional, contempla­ women from publishers. This may music critic Joseph McLellan wrote: tive. By comparison, doing housework is encourage more of them to print "What kind of music do women com­ positively masculine. "2 such listings, making researching pose? On the evidence of last night's Those of us who would like to see more such works easier. concert at the Library of Congress (the contemporary music by women on 4. We who direcLchoirs can plan pro­ first in the library's history devoted en­ choral programs can promote it in a grams containing a better balance tirely to compositions by women), they number of ways: of music by women as well as men. write pretty music, intricately struc­ 5. We who teach composition can en­ tured music, music with a lot of drama­ 1. As choral directors we should ac­ courage our female as well as male tic tension, melodic music, music that of- quaint ourselves more thoroughly students to write choral music. (The International League of Women Composers annually sponsors a Search for New Music by Women Students of Any Age.)3 6. We can encourage our institutions to commission works by women. Yale Institute of Sacred Music 7. Although exclusivity should not be overdone, concerts of music entirely by women help inform audiences that such music exists. The pub­ licity attending such concerts is also A graduate center where a valuable public informant. students prepare for ministry, 8. Finally, we can continually seek ordained or lay, which takes ways to promote music by women, in the hope that one day such seriously the power of the special efforts will no longer be arts in worship, as nurtured necessary. by the artist/minister and FOOTNOTES the pastoral musician. 'Please send a stamped, self-addressed envelope to: Linda Mankin, Fine Arts Divi­ sion, Foothill College, 12345 EI Monte Road, Los Altos Hills, California 94022. 2"A matter of Art, Not Sex." Time, November 10, 1975. 3For further information, contact Elizabeth Vercoe, 381 Garfield Rd., Concord, MA 01742.•

Students apply through the Institute LiTERATURJ of Sacred Music for agraduate degree r program at Yale Divinity School· or School of Music which includes jORUM course work in /loth schools and in J related graduate departments. Courses of study are structured for the individual needs of each student while stressing the integrity of Due to oversight, The Choral J our­ theological and musical disciplines. nal wishes to acknowledge publica­ Degree programs: tion permission of the music ex­ cerpt used in the Robert McBain Master of Music article: The Music ofJohn Rutter: Master of Musical Arts Style and Performance Considera­ Doctor of Musical Arts tions, published in the November, Master of Divinity 1982 issue of The Choral J oumal. Address inquiries to: Master of Sacred Theology Yale Institute of Sacred Music Master ofArts in Religion Rutter, 0 Praise The Lord of 409 Prospect Street Dual Degree: Heaven, Hinshaw Music, pages New Haven, Connecticut 06510 Master ofMusic! 22-24, published with permission 203 436'2915 Master of Arts in Religion of Hinshaw Music.

Page12 THE CHORAL JOURNAL · ..it is clear that in Greek and Roman times, in the writings of Hippocrates, Aristotle, Quintilian and others, the basic tenets of vocal hygiene were al­ ,Avoiding Vocal Abuse ready outlined: "regular physical exer­ cise, careful eating habits, avoidance of vocal strain, and simple living. "I In High School Students Anyone who has taught in a high school is aware that vocal hygiene, as By Lane Galloway defined above, is not practiced by the 65 Lower Harrison Street average high school student. The stu­ Princeton, New Jersey dent at an interscholastic football game usually breaks all four rules: sitting wat­ ching the game instead of participating; munching on hot dogs, popcorn, and soft drinks; cheering, yelling, and screaming Many choral directors fail to realize conductor wishes to alter the tonal at frequent intervals. How could anyone that, probably, there is vocal abuse in qualities of an individual or choir, ask characterize this as "simple living"? the rehearsal. It may be easily detected; again, "How does it feel?" This should As a vocal music teacher, one might be look for signs of tension in the face, also be the student's way of identifying tempted to throw arms up in despair at neck, shoulders, and upper torso. Watch a proper singing technique, because it is this situation, and this is just the begin­ the larynx on boys as they sing up a much easier to remember how some­ ning. Other abuses are smoking, drug scale. If it moves upward or in too far, thing feels than how it sounds, especial­ use, polluted air, lack of sufficient sleep, they are probably straining. Listen to ly since the singer cannot properly hear alcoholism, failure to dress adequately the tone of the group. It should sound the sound of his or her own voice. in foul weather, cheerleading, and musi­ light, free, and clear. Many directors In your choir, then, develop a strong cals. abuse young voices intentionally but un­ understanding of good vocal habits, and In short, not only is vocal hygiene wittingly by expecting a sound of be absolutely certain that you convey neglected by high school students, but maturity that is uncharacteristic of the your vocal concepts to every student. vocal abuse is the norm. Any teacher voice at high school age. When the choir Constantly be aware of your students' with a sense of responsibility to the stu­ stops singing, listen for undue coughing vocal activities: look and listen. dent knows that vocal abuse in student and throat clearing. Both are signs of singers must be eliminated if possible, problems. Counteracting Vocal Abuse and counterbalanced with sound vocal Even a careful, observant teacher may education; it positively must not be ig­ miss some clues, and for this reason, in­ All well and good, right? Sure, until nored. dividual or small group voice classes are your strongest soprano gets the lead in essential. At least once a month, every the school musical, or half your alto sec­ Recognizing Vocal Abuse student should be heard. Both the tion goes out for cheerleader, or just speaking and singing voices should be before choir rehearsal a group of The first thing a vocal music teacher evaluated and checked for the following students are smoking in the lavatory. must be able to do to counteract vocal signs of abuse: There is little you can do about the abuse is to recognize signs that a high last of these situations. Any abuse of the school student is abusing his or her 1. Hoarseness or huskiness body stems from personal factors which voice. This comes from two perspec­ 2. Chronic breathiness are usually. beyond a teacher's control tives: (1) observation of the abusive ac­ 3. Loss or reduction in intensity of and jurisdiction. The best one can do is tivity itself, or (2) observation of the high notes of range establish rapport with the students and symptoms. 4. Soreness after singing communicate with them about the value No choral music teacher should be so 5. Blatant, excessive change between of mental and physical well-being as it immersed in teaching as to fail to notice head and chest registers relates to choral singing. Let all of your such things as inadequate dress or diet, students know that they are important smoking, or drug abuse, particularly if it Once the student's voice is established members of an organization which func­ is severe enough to affect the voice. But to be in good health, one stillneeds to en­ tions less well as a whole when each and many activities in which students sure that his or her singing technique is every member is not functioning at his engage out of school (or even in school) not likely to cause damage in the future. or her fullest potential. Make it clear to may not be observable. For this reason, To this end, there is no substitute for a each student that he or she makes a dif­ the teacher should talk privately to in­ proper vocal method which is the basis ference! If you have created a good rela­ dividual students at the beginning of the of every conducting gesture and every tionship with your students, you should school year. Auditions are an ideal time verbal instruction. In the earliest rehear­ be able to be sincere without condescen­ to find out about other interests and ac­ sals of the year, instruct your students sion. tivities. Expect vocal problems for in proper techniques of posture, breath­ With cheerleaders, you have a difficult cheerleaders, actors, debaters, and ing, phonation, resonance, and articula­ task on your hands. I have never been singers in rock groups, gospel choirs, tion. Continue to stress good vocal pleasantly surprised when I have audi­ and show choirs. habits in rehearsals; not only will it pay tioned cheerleaders as potential choir The speaking voice can be a good clue off in terms of the choral sound, but each members. They all have a hoarse, husky to improper singing. As Morton Cooper student will benefit from reduced strain voice quality which lasts well past foot­ points out, and abuse. ball season, and in some cases it never One very obvious but often overlook­ disappears entirely. Many cheerleaders The singing and speaking voices ed, signal of vocal abuse may be should have basically the same pitch speak in a low pitched voice. Their vocal level and range and tone focus. A detected by asking the student, "How folds become roughened, reddened, or marked difference between the singing does it feel?" If it hurts, then the stu­ swollen, and they may develop nodules, and speaking voices should alert the dent is certainly doing something polyps, or contact ulcers. individual to the fact that one of the wrong; if it feels comfortable, then most If the damage is not too severe, cheer­ two voices is not being used properly! likely it is not causing harm. If ever a leaders may be able to sing successfully, DECEMBER 1982 Page 13 but your role as a singing teacher goes dents' voices are to be given any con­ volume for extended periods of beyond helping them sing. A few lessons sideration at all. time. in proper breathing and posture; a stern Ultimately, choral directors must 3. Avoid literature with extreme vocal admonition not to yell so much that it decide just how much time and effort difficulties for newly changed hurts, and if it does hurt, not to con­ they are willing to expend. The following voices. tinue, can avoid some of the harm that suggestions are recommended: 4. Do not let girls sing tenor full-time. may be done to these voices. Meet with 5. Do not give permanent classifica­ the staff member who is in charge of the 1. Be involved in the selection of the tions to newly changed voices. cheerleaders at the beginning of the musical to be produced. Choose with 6. Continually stress good posture and year. Perhaps you can arrange to hold a students in mind who are capable of breath support. brief session with the girls to show them meeting the vocal demands of the 7. Educate and re-educate students how they can make a big sound more ef­ roles. about the way the voice works. ficiently and less harmfully. Of course, if 2. Do not be afraid to cut, modify, and There are many excellent books and you have a student with a strong poten­ transpose as necessary to suit the articles available on the subject of high tial as a singer, discourage her from be­ voices you have available. Do this school vocal method. Also, remember coming a cheerleader. before rehearsals begin and troubles that you cannot expect students to "do This brings us to one of the most de­ arise. (Be sure to get special pub­ as you say, not as you do." You must bated topics for high school choral direc­ lisher permission to make any such practice the same techniques of vocal tors - the musical. "Singingin musicals changes.) hygiene that you expect your students is harmful to young voices," you may 3. Take full charge of teaching the to practice! say, and you are not wrong. But to use songs, and stress sound vocal prac­ Finally, never forget that your vocal this as a reason not to work with stu­ tice. Unless specifically rehearsing method is reflected in everything you dents on their singing in the musical or projec­ for purposes of balance do. You have the power, without saying would be as foolisn as not working with tion, there is no need for students to a word, to avoid harmful singing just by If them on their singing inchoir! there is sing with full voice. Remember that your physical presentation. Take to be a musical in your school, and there many cast members may not be in­ advantage of that power, it can be a are many'good reasons why there should volved in the choral music program, great asset. be, part of our responsibility to the stu­ and they will need basic instruction dents' vocal education is to help them in singing principles. FOOTNOTES through the experience with a minimum 4. Belting is not requisite to being 'John Large, "Vocal Abuse and Misuse," of vocal abuse and a maximum benefit heard. Develop a bright, focused The NATS Bulletin 34 (February 1978): 23. to their overall musical education. sound and emphasize diction. Quotation from Philip A. Duey, Bel Canto in As Robert C. White points out, Its Golden Age (New York: King's Crown Strongly articulated consonants Press, 1951), p. 2l. The first consideration made by a backed by supported breath can 2Morton Cooper, "Vocal Suicide in music director when contemplating a carry to the back of the auditorium. Singers," Music Educators Journal 57 (Sep­ school musical production must be the 5. Ifat all possible, get a good amplifi­ tember 1970): 53. limitation of adolescent voices; cation system; rent it if necessary. 'Robert C. White, "High School Musicals students cannot and should not be ex­ Be sure that it amplifies only the - Accentuate the Musical and Eliminate the pected to do the same things major voices, not the movements and foot­ Voice Abuse," Music Educators Journal 64 Broadway performers do.' steps of the actors, and not the in­ (May 1978): 28.8 struments in the band. If a good Can you imagine that the drama teacher sound system is not financially is going to make this consideration? Or feasible (a mediocre one can be more the dance teacher? To take things a few hindrance than help), reduce the size WORMS INTERNATIONAL steps further, consider the following: of the pit band as much as possible. CHORAL FESTIVAL 6. Be present during blocking and 1. The roles are cast based on acting, choreography rehearsals, or meet June 20· July 11, 1982 singing, and dancing ability; but with director and choreographer who will ensure that the range ofthe during planning, and be sure that Worms, Germany student is suitable for the role in the stage movements do not inter­ which he or she is cast? fere with the singing. 2. A competent dance instructor or 7. Do not allow the well-being of your Internationally known organists student is involved in the choreo­ students to be sacrificed for the & conductors graphy; but who will check that the sake of a professional-level produc­ dancing and stage movements do tion. Excessive rehearsals extend­ 8 days of travel & concerts not interfere with the singing? ing over a long period of time and 3. The students are constantly encour­ lasting to late hours at night are from $799 aged in rehearsals to sing loudly; very taxing on young' people and but when the full pit band is used, their voices. It may not be wise to who will help them sing and be do a musical every year. Contact: heard without straining? Your Vocal Method WORMS FESTIVAL It actually becomes clear that the in­ 1245 Karla Dr. volvement of the choir director in the It should be clear that, on all levels, school musical is a necessity if the stu- the key to counteracting vocal abuse is a Hurst, Texas 76053 sound vocal method. You must deter­ MUSIC NOTES - A new and different mine what approach works for your approach to fund raising. Assort­ students. Here are some basics: Call Toll Free: ment of note papers with musical quotations, done in calligraphy. 1. Always warm up, beginning with (800) 255·9200 Send for free brochure: 1013 Fair­ less strenuous exercises and moving for free brochure mount Ave., W.E., Jamestown, NY through more strenuous ones. 14701. 2. Avoid singing high pitch or loud Page 14 THE CHORAL JOURNAL . This issue of The Choral Journal con­ tains housing and pre-registration infor­ mation for the 1983 National ACDA Convention, to be held in Nashville next The 1983 ational March 10-12, and includes photos and bios of the principals involved in the special performances, interest sessions, and children's choral music at the con­ ACDA Convention vention. The January issue will carry material on all the performing choirs and their directors, and the February issue will Special Peiformances list a complete convention timetable and focus on the unique Worship and the Arts session to be led by Robert Shaw and Howard Swan.

THE SWEDISH RADIO CHOIR

The Swedish Radio Choir, one of the the remarkable skill and extraordinary most prominent vocal ensembles in the training of its singers, has resulted in a world, will make its second tour of the certain emphasis on contemporary United States March 1-20,1983, and one choral music. Most of the 32 choristers of its most significant performances will are highly-trained soloists with many be a special appearance at the ACDA years of vocal and musical studies to National Convention in Nashville. The their credit, and all are superlative musi­ ensemble has made 15 international cians capable of meeting Ericson's ex­ tours since 1965. pectations. They rehearse an average of The Swedish Radio Choir performs a 30 hours per month and their contracts broad spectrum of choral repertoire, but are renewed annually. Eric Ericson

Eric Ericson was trained as a church musician at the Royal College of Music in Stockholm and studied abroad in Basel, Germany, England, and the United States. His professional career began in 1945 with the formation of The Stockholm Chamberchoir, and in 1951 he became conductor of The Swedish Radio Choir (Stockholm) and the Orphei Drangar, a now-famous male chorus bas­ ed in Uppsala, Sweden. The following year he was appointed lecturer in Choral Conducting at the Royal College of Music, obtaining his professorship there in 1968. Ericson has since fostered an entire generation of choral conductors, and Scandinavian choral music has borne his stamp for over a quarter of a century. Eric Ericson's choirs have appeared in prestigious concert halls throughout the world, and have recorded on EMI, RCA, and Telefunken with many famous ar­ tists. A noted teacher and clinician THE SINGING SERGEANTS throughout the world, Ericson has had a profound impact on the craft of choral The Singing Sergeants, the official formed at many White House functions, conducting, and his work has brought to chorus of the United States Air Force, is Carnegie Hall, Kennedy Center, and in the choral medium a stature and mea­ one of America's most versatile and tra­ hundreds of communities across the na­ sure of respect equal to that of the veled choral organizations. They have tion. In bringing the music of America greatest orchestras in the world today. appeared before seven Presidents, per- to the people of the world, The Singing DECEMBER 1982 Page 15 Sergeants have appeared before millions in live performances in over 50 coun­ tries. The repertoire of The Singing Ser­ geants ranges from opera and oratorio to folk songs, pop standards, jazz, and even comedy. Originally formed from within the ranks of The United States Air Force Band, the chorus is now com­ posed of professional vocalists who at­ tended colleges, universities, and music conservatories throughout the United States prior to joining the Air Force. In­ cluded in its membership have been singers formerly with the choruses of Robert Shaw, Fred Waring, Roger Wagner, and Norman Luboff.

THE AIR FORCE SYMPHONY ORCHESTRA

The United States Air Force Sym­ The Air Force Symphony Orchestra is phony Orchestra is the only symphony composed of musicians representing orchestra in the U.S. Armed Forces. It several major symphony orchestras and has performed at official functions given numerous colleges, universities, and by all American Presidents since music conservatories. The woodwind, Truman, and was one of the first Ameri­ brass, and percussion instrumentalists can orchestras to make an overseas con­ also perform in The Air Force Concert cert tour. It has premiered many com­ Band, and the string players form The positions by contemporary American Air Force Band's world-renowned Strol­ composers and given numerous concerts ling Strings and The U.S. Air Force for the National Association for Ameri­ String Orchestra. can Composers and Conductors.

Captain Craig D. Jessop

A native of Millville, Utah, Captain Craig Jessop has received degrees from Utah State and Brigham Young Univer­ sities and was recently awarded a Doc­ tor of Musical Arts degree from Stan­ ford University. In 1976 he was voted the most outstanding new music educa­ tor in the State of Utah by his peers in the Utah MEA, and in 1980 he left his position as a member of the music facul­ ty at Stanford University to become the seventh conductor of the Singing Ser­ geants. Craig Jessop has distinguished him­ self as a baritone soloist, winning first place in the Metropolitan and San Fran­ cisco Opera state auditions. He has ap­ peared as guest artist at the Aspen and Carmel Bach Festivals and has been the featured soloist with the Utah Sym­ phony, Phoenix Symphony, San Jose Symphony, and Mormon Tabernacle Choir. Captain Jessop is also Assistant Conductor of the Air Force Symphony Orchestra. Page16 THE CHORAL JOURNAL The Interest Sessions

BAROQUE PERFORMANCE PRACTICE: HANDEL MESSIAH (I) BACH ST. MATTHEW PASSION (II)

The sessions are planned as illustrated lectures. Main topics will include general history of works, authentic versus free interpretive performances, size and nature of the performing apparatus, matters of dynamics, tempo, phrasing, and articulation. Thursday's session will be presented by Alfred Mann and Donald Neuen. Fri­ day's session will be presented by Phillip Crabtree and Elmer Thomas. Phillip D. Crabtree Musicologist, editor, and conductor, Phillip D. Crabtree holds a Ph.D. from the University of Cincinnati, M.A. from the University of Iowa, and A.B. from Cornell College. He is Professor of Musicology at the University of Cincin­ nati and directs the large music program Donald Neuen at Hyde Park Community United Methodist Church in Cincinnati, having Donald Neuen is Professor of Con­ previously taught in the secondary ducting and Director of Choral Ac­ schools in Iowa and Illinois and the Uni­ tivities for the Eastman School of versity of Hawaii. Music. During 1970-1972 he held the As a scholar/performer active in un­ joint appointment of Director of Choral earthing early music for modern per­ Activities and Assistant Conductor for formance, Phillip Crabtree has publish­ Robert Shaw and the Atlanta Sym­ ed editions of early music as well as ar­ phony Orchestra, and Director of Choral .ticles for various journals and The New and Orchestral Activities at Georgia Grove Dictionary ofMusic. He has pre­ State University. sented lectures and demonstrations for Donald Neuen's choral experience in­ the American Musicological Society, the cludes teaching at all age levels, church American Choral Directors Association, music, and singing professionally with Music Educators National Conference, the Robert Shaw Chorale. He has con­ and American Guild of Organists. As a Alfred Mann ducted all-state choruses and a variety researcher in the areas of the psychology of clinics and workshops in 30 states and of music, music and healing, and the Alfred Mann is Professor of Music­ Canada, is a national patron of Delta metaphysics of sound, he has partici­ ology at the Eastman School of Music, Omicron International Music Fraterni­ pated in numerous conferences. While University of Rochester, and is also Pro­ ty, and was president-elect of the Ten­ remaining active as a conductor, Dr. fessor Emeritus at Rutgers University. nessee Chapter of ACDA prior to joining Crabtree has also edited a regular re­ He is the author and editor of numerous the Eastman School faculty in 1981. His search column in The Choral Joumal and publications 'devoted to Baroque music, editions and compositions are published is a member of the standing committee and is the former conductor of the Can­ by Lawson-Gould and Hinshaw Music, on editorial standards for the American tata Singers (New York) and the Bach Inc. Choral Directors Association. Choir of BetWehem, Pennsylvania. .A member of the board of directors of the International Haydn Society, Alfred Mann is also the secretary for the American chapter of the International fj---\ Bach Society. Known for his recordings The Musicwriter ® of Bach's and Handel's works here and fine quality typewriter, ­ abroad, he is presently completing a new preparing the world's music critical edition of Handel's Messiah. for a quarter fIP century. And the TEMPOWATCH@ the exact tempo as it happens. Make Plans To Attend The 1'luslc I....nt ('.oI"J)oratJon 1983 ACDA National Convention li,r Inlilrma!ion contact 2450 ('.entral l,"ve. Pre-Register! Boulder. ('.olorado 80301

303-442-5500

DECEMBER 1982 Page 17 UNIVERSITY OF CINCINNATI CHAMBER CHOIR/CHAMBER ORCHESTRA

The Chamber Choir/Chamber Or­ in works for chorus and orchestra. chestra is the premier performing The Chamber Choir has performed ensemble at the University of Cincin­ with the Atlanta Symphony Orchestra Eimer Thomas nati's College-Conservatory of Music. It under Robert Shaw, and the Cincinnati has toured extensively throughout the Symphony Orchestra under the leader­ Eimer Thomas is Professor of Choral eastern and southern states, including a ship of Max Rudolf, Thomas Schippers, Music at the University of Cincinnati, recent performance at Lincoln Center. Leonard Bernstein, J ames Levine, College-Conservatory of Music, where The repertoire of the Chamber Choir en­ Julius Rudel, James Conlon, and he heads the Division of Ensembles and compasses all musical eras, specializing Michael Gielen. Conducting. He received his M.M. degree from the University of Michigan and a Doctor of Musical Arts degree from the University of Illinois. In 1973-1974 he was the first to be selected as an Affiliate Artist of. the Atlanta Announcing Symphony Orchestra under Music Director Robert Shaw. This exciting and unique Elmer Thomas has guest-conducted andpreparedchoruses for numerous per­ Adolescent practicum convenes an illustrious formances with the Cincinnati Sym­ panel ofpractitioners in fields phony Orchestra. As Conductor of Voice: associated with the adolescent Choruses for the Cincinnati May Festi­ Perspectives voice to discuss its use. care. and val from 1971-1975, he prepared over 30 development. major works for performances con­ Experts in laryngology, ducted by Bernstein, Rudel, Levine, 1 credit available $chippers, and Rudolf. He is Co­ physiology, psychology, and Founder, Conductor, and Music Director voice and speech therapy will July 25-27. 1983 of the Vocal Arts Ensemble of Cincin­ address a variety ofproblems. nati, a professional chorus in its second University of Minnesota Faculty included in this year's season. Minneapolis Campus program include: Dr. John Cooksey (Specialist, Dr. ~ayneJorgenson Adolescent Voice), Mr. Oren Director of ColloqUium Brown (Voice Therapy), Dr. Clark FOR CHANGE OF ADDRESS Starr (Speech Pathology), an Dr. Leon Thurman Be sure to notify the Editor at: Asssociate Director Adolescent Psychiatrist, an P.O. Box 5310, Lawton, OK 73504 of Colloquium Otolaryngologist. and an additional Adolescent Voice Specialist. Enrollment limited to 100. This publication For a brochure, contact Donna is available in microform. A program ofContinuing Education and Extension, Dacus, Program Director. University of Minnesota Department of Conferences, University Microfilms International Lm University ofMinnesota, 219 300 North Zeeb Road 30-32 Mortimer Street Nolte Center, 315 Pillsbury Drive Dept-P.R. Dept. P.R. an equal opportunity Ann Arbor, Mi. 48106 London W1N 7RA educator and employer S.E., Minneapolis, MN 55455. U.S.A. England

Page18 THE CHORAL JOURNAL CHORAL THEATRE staging of choral works, receiving exten­ DEMONSTRATION sive international recognition. Villa­ Lobos had him elected to the Brazilian Choral theatre is not just the resurrec­ Academy, Rio de Janiero, in 1951. From tion of an ancient idea, but something 1971-1978, he was Eleazar de Carvalho's quite new and different from any other associate in the Festival at Campos do choral form - and very, very exciting. Jordao in Sao Paulo State. Since 1970 Choristers in choral theatre sing from Hugh Ross has been the Executive memory, act in costume, sometimes use Director of The Sullivan Musical Foun­ sets and props, and often cannot see the dation and is currently the American conductor. Their individual perform­ President for the Voci Verdiane Contest ances must be integrated through a com­ in Busseto, Italy. plete understanding of the music and sense of dramatic ensemble. TAMPERING: A 20th-CENTURY After a discussion of the concept of APPROACH TO 19th-CENTURY choral theatre, four contemporary works CHORAL MUSIC will be performed: 1) Jacob Avshalomov's Tom O'Bedlam, with the This session, led by Margaret Haw­ Tri-City Singers of Binghamton, NY, kins, will focus on choral music of the under the direction of David Buttolph; Romantic period and include a discus­ 2) Gregg Smith's Excerpts from Aesop's sion of its special problems and specific Fables, with the choir of SUNY from practices. Particular attention will be Geneseo, NY, under the direction of paid to the following concerns: 1) the Robert Isgro; 3) a new work to be an­ choral conductor's response to an era of CONDUCTING SEMINAR WITH nounced, to be performed by the Hart­ music history that produced largely or­ ERIC ERICSON wick Choral Theatre Ensemble of chestral works and solo vocal literature; Oneonta, NY, under the direction of 2) treating vocal styles that were greatly The first of Eric Ericson's seminars Thurston Dox; and 4) Thea Musgrave's influenced by the age of vibrato; 3) pro­ for master choral conductors in the The Last Twilight, with the Schola Can­ gramming; 4) how to "be romantic" with United States was held at Ohio State torum of New York City under the direc­ music; 5) the art of rubato; 6) how to pre­ University in the summer of 1981, and tion of Hugh Ross, who will be the clini­ sent the musical treasures of this era the response was instrumental in lead­ cian for this session. with minimal forces; 7) the composer's ing to the special Ericson conducting viewpoint concerning the uses of trans­ seminar to be held at the 1983 National lations and reduced forces; and 8) how to ACDA Convention. Ericson will lead live with not being a purist. two sessions demonstrating conducting techniques, with the assistance of a specially-assembled seminar choir. Six student conductors selected from mem­ bers of the seminar choir will be criti­ qued by Ericson in each session. Plans are being formulated to repeat this seminar at Ohio State University in the summer of 1983.

ERICSON SEMINAR CHOIR

The singers participating in the seminar choir represent and are selected from some of the finest graduate level conducting training programs in the country, with selection based on a com­ bination of conducting proficiency and vocal skill. The seminar choir will assem­ ble for pre-convention rehearsals prior to the opening of the 1983 National ACDA Hugh Ross ,il Convention. Twelve singers from.the seminar choir Hugh Ross has been the Conductor of will be designated as active conductors the Schola Cantorum, founded in 1906 Margaret Hawkins for this seminar. Each of the twoses­ for Gustav Mahler and one of the oldest sions will be structured to allow six of and most famous choruses in New York Margaret Hawkins is Choral Director these student conductors to work with since 1929. Born in England, Ross was a of the Milwaukee Symphony Orchestra the seminar choir and be critiqued by student of Ralph Vaughan Williams and and Director of Performance Activities Eric Ericson. began his career in Winnipeg, Manitoba, at the Wisconsin Conservatory of founding the orchestra there in 1923. He Music, where she regularly conducts the worked with Toscanini through the Vocal Arts Consort, the Conservatory 1930s, almost all conductors of the New Chamber Singers, and the Conservatory CHORAL MUSIC RENTAL York Philharmonic from Furtwangler to Singers. A regular guest conductor of Large selection, reasonable rates. Write Bernstein, and was head of the choral the Milwaukee Symphony Orchestra, for listing, terms and rates - New York department at Tanglewood from she is also known for her work as a Choral Society, 165 W. 57 St., New York, 1941-1962 with Charles Munch and speaker, clinician, and guest conductor New York 10019, Att: Mary Robbins Serge Koussevitzky. of choral festivals. Ms. Hawkins has pre­ Hugh Ross has been a pioneer in the pared choruses for such prominent con- DECEMBER 1982 Page19 ductors as Robert Shaw and Lukas Chamber Music Symposium, the Schutz D'Amici, and the Texas Capital Chorale, Foss. Festival in Germany, and the Schubert which have appeared with the Dallas During her 12 years as a high school Festival and Seminar in Austria. Dr. and San Antonio orchestras and perform choral conductor she served as ACDA Beachy has been guest conductor with regularly with the Austin Symphony Or­ Chairman of the High School Standards the Welsh National Opera Company and chestra. An active soloist in opera, and Repertoire Committee that pro­ holds the position of Honorary Profes­ oratorio, and recital, Morris Beachy is duced Monograph #2, An Annotated In­ sorial Fellow at the University of Car­ also active as a clinician and guest lec­ ventory ofDistinctive Choral Literature diff, Wales, where he serves as conduc­ turer. He has authored many articles on for the High School Level. Her ensem­ tor and lecturer. choral technique, repertoire, conducting, bles have performed at many national, Morris Beachy is founder/conductor of and has served on the Editorial Board of regional, and state ACDA conventions, the Austin Choral Union, the Coro The Choral Journal. and Ms. Hawkins is currently serving as co-chairman of the Choral Panel of the National Endowment for the Arts.

DEVELOPING THE VOCAL AND INTERPRETATIVE POTENTIAL OF YOUR CHOIR

The format of this interest session will include a discussion identifying and de­ monstrating specific techniques that will achieve improved results in interpre­ tation through strengthening vocal tech­ nique, color, and diction. In addition, an analysis of the choral rehearsal and how it relates to instructingin singing will be presented. The University of Texas THE UNIVERSITY OF TEXAS Chamber Singers, Morris Beachy, Con­ CHAMBER SINGERS ductor, and the Richland High School Rebel Choir, Patricia Neighbors, Con­ The University of Texas Chamber Contest in Rio de J aniero, at which the ductor, will serve as demonstration Singers has held a prestigious position Chamber Singers was awarded the first groups for Dr. Beachy to illustrate the within the choral field for many years, prize gold medal and $6,000. specific techniques discussed. having received many special invita­ The Chamber Singers has performed tions and awards as well as recognition at regional and national conventions of on an international level for its out­ ACDA, NASM, MENC, NATS, MTNA, standing performances. It has toured and the state convention of TMEA. It Europe and the Middle East under the has also been active in presenting pre­ auspices of the U.S. State Department, miere performances that were recorded served as host ensemble in the Cam­ for Golden Crest Records and Book-of­ bridge Vocal Chamber Music Seminar, the-Month Club Record Division. The was the official music ensemble repre­ Chamber Singers' recording of works by sentative for Texas in the Bicentennial Donald Grantham will be released by Series of State Concerts at Kennedy CRI Records in 1983, and the ensemble Center, performed a series of 16 concerts has received an invitation from the in the Hawaiian Islands, and was Chinese Government to perform in that selected to participate in the Interna­ country in April 1983. tional Villa-Lobos .Choral Festival and r~~~~~~~7;~;~~~~~~~~?

~ ~~.'\ ~ Illfl OF PENZ_ANCE P7ITI [NCE ~ ~ ~ ~ ~ ~ .. ~ . I ~~ ~,,~~~~ r.~ ~ t~"1 i '11&,m'!~~ Ml~Aj)O ICWITHE'~~. Morris J. Beachy ~ "<~~~\ ~;\ mim-ve"ions I Morris Beachy is Director of Choral Activities at the University of Texas, ~ :=.:~:- ~ where he is Coordinator of the Conduct­ i ...,...... - .... -' :':: I ing Division and the graduate program 'it (a size reduction of !he Pian<>-Conduetor score) 'if in Choral Music. Recognized on an inter­ ~ --"'dw~Jd.nr==~.O< ~- 1125 Franci>rosu... 'it~ ...... ~. 'if~ State Department, participated as .." •••- -Oriia e-.. -..I'raI Son Fnoncixo. CA 94109 faculty/conductor for the Cambridge ~~~~~~~~~~~~~~~~~~~~~ Page 20 THE CHORAL JOURNAL THE RICHARD HIGH SCHOOL REBEL CHOIR Comprised of 51 juniors and seniors, Choir has received superior ratings in . the RicWand High School Rebel Choir concerts and sight-reading contests and performs four major concerts annually. has been named Best in Class at both The choir's repertoire includes the the Astroworld Choral Festival (Hous­ Vivaldi Gloria and the Faure Requiem, ton) and the Worlds of Fun Choral Festi­ and they also participate in state and in­ val (Kansas City). vitational choral contests. The Rebel Patricia Neighbors

TECHNICS FOR CHANGE: THE McIver received his early musical The RicWand High School Rebel Choir MATURING TREBLE VOICE training at the Columbus Boychoir has been under the direction of Patricia School, where he was selected by Gian­ Neighbors for the past five years. A Using a high school treble chorus and Carlo Menotti to sing the title role in graduate of Central State University in a university women's chorus, two direc­ Menotti's Amahl and the Night Visitors Edmond, Oklahoma, she received a tors - William McIver and Wayne for NBC television from 1952-1955. He M.M.E. degree from the University of Anderson - will demonstrate the varie­ has coached with Menotti, Stravinsky, Oklahoma, where she was a member of ty of techniques that can be used in safe­ Lukas Foss, and Paul Ulanowsky. In the Oklahoma Chorale under the direc­ ly and successfully training the matur­ Addition, he appears frequently as a tion of B. R. Henson. Patricia Neighbors ing young woman's voice. soloist, adjudicator, and guest conduc­ currently sings with the Schola Can­ tor throughout the Southeast and is the torum of Texas and is a member of author of numerous articles on vocal ACDA, TCDA, TMEA, Sigma Alpha literature and vocal technique. Iota, and Delta Kappa Gamma.

William W. McIver

William Melver is a professor of music and chairman of the voice division in the School of Music at the University of North Carolina, where he teaches voice, THE UNIVERSITY WOMEN'S vocal pedagogy, and conducts choral CHOIR groups. He received A.B. and B.M. degrees from Oberlin College, including The University Women's Choir is the the men's glee clubs from North one year's study at the Mozarteum in oldest established choral group at the Carolina State University and the Uni­ Salzburg, Austria, earned an M.M. University of North Carolina at Greens­ versity of North Carolina at Chapel Hill, degree in applied voice from the Univer­ boro. Composed of approximately 40 several ACDA and MENC conventions, sity of Illinois, and was awarded a under-graduate women, the choir and has also sung in such cities as Atlan­ D.M.A. degree from West VirginiaUni­ presents four concerts annually on cam­ ta, Daytona Beach, Kansas City, and versity. pus. In addition, the choir has sung with Knoxville. DECEMBER 1982 Page 21 Wayne Anderson

Wayne Anderson received his B.M. degree from North Texas State Univer­ sity and M.M. degree from West Texas THE CLOVIS HIGH SCHOOL State University. He is currently in his WOMEN'S CHOIR ninth year as Chor.al Director for Clovis High School in Clovis, New Mexico, The Clovis High School Women's Durango Fine Arts Festival, Rocky where his program has grown consider­ Choir has received superior ratings in Mountain Fine Arts Festival, and Six ably and his choirs have received many both Sightreading and Concert at the Flags Over Texas. In 1981, the Clovis awards and earned an outstanding repu­ district level for the past several years. High School Women's Choir was tation - including receiving numerous The choir has further distinguished it­ selected as the Outstanding Women's superior honors from all major festivals self by receiving superior ratings at the Choir at the Six Flags Over Texas Festi­ in the Southwest. Greater Southwest Music Festival, val. A life member of ACDA and a member of the review board of The Choral Jour­ na~ Wayne conducted the Clovis High School Chorale at last year's Southwes­ tern Division ACDA Convention. He is also active in MENC, currently serving School of as State Vice President in charge of Choral Activities for New Mexico. Music Wayne is the founder and director of the IT A Clovis Community Chorus and is in de­ mand as a guest soloist, vocallchore;tl clinician, and adjudicator.

For information concerning the 1983 ACDA National Convention Ex­ hibits contact:

Bob Davis North Iowa Area Community College 500 College Drive Mason City, Iowa 50401 (515) 423-1264

BUCKNELL A professional music program in an outstanding liberal-arts setting full member: NASM BUCKNELL UNIVERSITY Dept. of Music, Room 107 Lewisburg, PA 17837

Page 22 THE CHORAL JOURNAL MUSIC LEARNING THROUGH THE CHORAL EXPERIENCE: APPLICATIONS OF THE KODALY CONCEPT TO THE YOUNG CHOIR, I AND II Members of the University Children's Choir will demonstrate skill building techniques for teaching choral litera­ ture. These two interest sessions will utilize techniques and pedagogical ideas of Zoltan Kodaly as they are applied to the choral rehearsal. Mary Goetze will leadthe choir through activities and ex­ ercises based on the literature to be per­ formed, all of which are selected and designed to prepare and motivate suc­ cessful sight-singing, musical under­ standing, and artistic performance. Other topics to be covered in these ses­ sions include movable-do solfege, vocal independence, song analysis, memoriza­ tion, and intonation.

UNIVERSITY CHILDREN'S CHOIR

Members of the University Children's and presents concerts frequently choir range in age from 8-14 and come throughout Indiana. from the metropolitan area of Blooming­ The University Children's Choir per­ ton, Indiana, and surrounding communi­ forms a wide variety of challenging ties. Founded in the fall of 1980, the repertoire. Children entering the pro­ choir is associated with the Indiana Uni­ gram spend an equal amount of time in versity School of Music, where it re­ rehearsals and musicianship classes, the hearses and presents two concerts an­ latter of which are based on the tech­ nually. The choir performs with School niques of Zoltan Kodaly and are geared of Music vocal and instrumental ensem­ to the development of vocal technique, bles and with the Opera Theatre, and music reading, and overall understand­ this year will perform Mahler's Third ing. The choir is divided into three Symphony and chorus parts in Hankel groups based on age and ability, and the and Gretel under university conductdrs. most advanced group will serve as the The choir performed for the Indiaha demonstration choir for Mary Goetze's Music Educators Conference in 1981, interest session. Mary Goetze Mary Goetze received a Bachelor of I Music degree in voice from the Oberlin Children And Choral Music Conservatory of Music, the pursuit of which included one year of vocal study At The 1983 NatiJnal ACDA Convention at the Mozarteum in Salzburg, Austria, and she also holds a Master of Music The 1983 National ACDA Convention will be the most historically and musical­ Education degree from Indiana Univer­ ly significant opportunity for children and choral music in America to date. sity, She is certified in both Kodaly and Please note the following special 1performances and sessions that have been Orff techniques. Mrs. Goetze teaches scheduled: music in the public schools of Blooming­ ton, Indiana, and also at the Indiana • One of the seven interest sessions will focus on Kodaly pedagogy in the chil­ University School of Music - where she dren's choral rehearsal, and will be led by Mary Goetze with the assistance of the directs the music program for elemen­ Indiana University Children's Chorus. tary education majors and conducts the • The Cincinnati Boy Choir and Winnipeg Children's Chorus have been University Children's Choir. She has selected by taped auditions to perform for the full convention. conducted many workshops on • An Honors Children's Chorus of 100 select children's voices will work in open children's singing voices, children's rehearsal under the direction of Jean Ashworth-Gam and perform a commis­ choirs, Kodaly arid Orff methods, includ­ sioned work by Michael Hennagin in memory of Wayne R. Hugoboom, a found­ ing regular offerings at the University of ing father of ACDA whose vision included a strong commitment to young voices. Colorado and Indiana University. • A reading session including 25 titles of distinctive choral music for children's Mary Goetze is a member of the Orff voices will be held for the full convention. Certification program at the University of Illinois, where she serves as choral All convention-goers - especially state chairpersons - are encouraged to at­ director and recorder instructor. She is tend a special Children's Choir Luncheon with guests Michael Hennagin and also the 1982-1983 ACDA State Jean Ashworth-Gam. Luncheon registrations may be purchased at registration Children's Choir Chairperson for In­ on Friday afternoon, March 11. diana and a member-at-large of the Organization of American Kodaly Educators national board. DECEMBER 1982 Page 23 This special session will deal with the Wayne Hugoboom Commission: history and performance of Afro­ American folk songs and will be led by 1983 ACDA National Honors Children's Chorus the inimitable Jester Hairston, assisted by the University of Mississippi Concert Singers under the direction of Jerry J or­ The 1983 ACDA National Honors Children's Chorus will be comprised of 100 dan and the Kentucky State University treble-voiced children from throughout the United States, selected on the basis of Concert Choir under the direction of Carl recommendations of their directors. Th~ children will convene in Nashville to H. Smith. rehearse and perform works by di Lasso, Schubert, Kodaly, Faure, and other com­ posers. The closing selection of their performance will be a commissioned work by Michael Hennagin in honor of Wayne R. Hugoboom, ACDA's first and long-time Ex­ ecutive Secretary. Mr. Hennagin's composition will be the first commissioned by the Hugoboom Memorial Fund, which was created by donations in his honor. Commis­ sions from the Fund will be made periodically to reflect Mr. Hugoboom's frequently­ expressed enthusiasm for choral compositions in a contemporary vein that are prac­ tical for performance by young singers and choirs of average ability. Supervision of the Hugoboom Memorial Fund and the awarding of such commissions is the respon­ dibility of the Past Presidents Advisory Council of ACDA.

Public Schools and Kingsway-Lambton United Church in Toronto. Internation­ ally known as a clinician, lecturer, and guest conductor, visitors come from around the world to visit her programs and observe rehearsals.

Jester Hairston

In 1936 Jester Hairston left the world of show business in New York and came to Hollywood as the assistant conductor of the famous Hall Johnson Negro Choir. Hall Johnson was ill during the filming of Lost Horizons, and Hairston took over the responsibilities of training .the choir and arranging the choral music, which had been composed by the late Dimitri Tiomkin. The result was a success, and Hairston became Tiomkin's choral arranger in films for the next Jean Ashworth-Gam, Guest Conductor twenty years, collaborating on Land of the Phar.oahs, Duel in the Sun, The Long Jean Ashworth-Gam is an honor grad~ Michael Hennagin Night, Red River, and many others. uate of the University of Toronto and In 1949 Hairston became one of the ar­ the Royal Conservatory or Music and Michael Hennagin is a noted Ameri­ rangers for the late Walter Schumann Founder/Music Director of the award­ can composer who graduated from the Choir of Hollywood, and it was during winning Toronto Children's Chorus, Curtis Institute of Music in Philadel­ his work with that organization that his which won first place this past July in phia, and has studied with Aaron Afro-American folk song arrangements the International Eisteddfod Competi­ Copland at the Berkshire Music Center, began to attract the attention of choirs tion in Llangollen, North Wales, over 35 Darius Milhaud at the Aspen Music from all over the United States. In 1961 other children's choirs from around the School, and Leonard Stein in Los the State Department began to send world. She also conducted the Toronto Angeles. The recipient of numerous Hairston abroad annually as a good-will Children's Choir in performances that awards and commissions, Mr. Hen­ ambassador. He holds honorary doc­ included Westminster Abbey, Brecon nagin's music is performed throughout torates from the University of the Cathedral, Holy Trinity Church at Strat­ the United States and abroad. Pacific (Stockton, CAl, Tufts University ford-upon-Avon, and· the Opening Michael Hennagin has composed in (Boston, MA), the University of Massa­ Ceremonies of the Biennial Conference virtually all media, including music for chusetts (Amherst, MA), and Luther of the International Society for Music television, motion pictures, as well as in­ College (Decorah, IA). At 81, Jester Education in Bristol. . cidental music for legitimate stage pro­ Hairston is still in constant demand as a Ms. Ashworth-Gam has studied with ductions in New York City and Los conductor, clinician, and lecturer. David Willcocks, Elmer Iseler, and Jon Angeles. He appears frequently Washburn in the course of developing throughout the United States as a guest MAKE THOUSANDS outstanding choral programs at Howard composer, conductor, and speaker. nol hundreds, Make over $5.000 per truckload selling Make Plans To Attend The 1983 ACDA National Convention oranges and grapefruit from Texas or Florida. Call 800-531-7461 for details or Pre-Register! write Langdon Barber Groves. Box 4428. McAllen, Texas 78501.

Page 24 THE CHORAL JOURNAL A Session Of Afro-American Folk Songs

KENTUCKY STATE UNIVERSITY CONCERT CHOIR One of the most active organizations on the KSU campus, the Concert Choir has made several radio and television ap­ pearances and has performed with the Lexington and Cincinnati Orchestras. UNIVERSITY OF MISSISSIPPI The choir has appeared in Montreal CONCERT SINGERS several times, the first being in 1973 when they appeared at the famous Salle The University of Mississippi Concert performed the Durufle Requiem under Wildrid-Pelletier Auditorium there. In Singers is a select group of students the direction of Paul Salamunovich. 1976 the choir gave three performances drawn from all major schools of study at The choir also performed at the ACDA in Nassau-in-the-Bahamas, and the en­ Ole Miss, and a majority of them are Southern Division Convention in Birm­ semble also performed for the Kentucky non-music majors. The choir has toured ingham, Alabama, and sang two major Music Educators Conference in 1975 New York City, Canada, and twice choral works with the Tupelo Sym­ and 1976. traveled to Europe, last year serving as phony. Last April it appeared with In 1978 the KSU Concert Choir was host choir for the Music of the French Leontyne Price and the Jackson Sym­ selected to perform at the Southern Masters International Choral Sym­ phony, and was invited to perform dur­ Division ACDA Convention in Atlanta. posium in Paris. Duringits 17-day Euro­ ing opening weekend festivities at the This season the choir will give concerts pean tour the ensemble rehearsed and World's Fair in Knoxville, Tennessee. in Kentucky and tour the cities of Detroit, Montreal, Toronto, Columbus, Indianapolis, Dayton, Cleveland, and He received a Bachelor of Music Educa­ New York City. tion degree with honors from Florida State University, and has received Carl H. Smith Master of Science and Ed.D. degrees from the University of Illinois, with fur­ Carl Smith, conductor of the KSU ther studies at Indiana University, Concert Choir, is Chairman of the Music Westminster Choir College, and the Juil­ 'Department at Kentucky State Univer­ liard School. Prior to coming to the Uni­ sity and is an Associate Professor in the versity of Mississippi, he served as Co­ department of music. A graduate of Lin­ ordinator of Choral Music Education coln and Tulsa Universities, he has also and conducted the Repertory Choir and studied at the University of Kentucky the University Chamber Ensemble at and Ohio State University. the University of Illinois. He has conducted several perform­ Jerry Jordan has conducted clinics, ances in the Kentucky State Capitol, in­ festivals, and summer music camps cluding the Annual Prayer Breakfast as throughout the South and Midwest. The well as the inaugural ceremonies for choral program more than doubled in his several governors. Currently a candidate first year at Ole Miss, and he is now re­ for the Ph.D. dsgree in Ethnomusic­ sponsible for a program that includes ology at the University of Pittsburgh, seven choirs. During the summer of Carl Smith recently organized the KSU Jerry Jordan 1982 Jordan served as guest conductor Boys Choir and frequently serves as a of the Greater Memphis (TN) Chorale clinician, guest conductor, and adjudica­ Jerry Jordan is Director of Choral Ac­ and conducted them during a tour of tor at various music festivals and work­ tivities at the University of Mississippi. Europe. shops. DECEMBER 1982 Page 25 In the September 1982 issue of The Choral J ourna~ President Colleen Kirk announced the establishment of the President's Address Phillip H. Mark Memorial Fund. The North Dakota State University Concert PhillipH. Mark Memorial Choir, conducted by Edwin Fissinger, will perform at this special convention session devoted to Phil's memory. ook.>_...... REVIE Book Reviews for the Choral J oumal are coordinated by the Committee on Research and Publications, Walter S. Collins, Chairman, (College of Music, University of Colorado-Boulder, CB 301: Boulder, Colorado 80309}. Reviews to be considered by the committee are welcome.'- Publishers of books of interest to choral directors should submit two review copies directly to the Chairman.

Denis Arnold, Giovanni Gabrieli and the Music of the Venetian High Renaissance. London: Oxford University Press, 1979. 322 pp. $65.00. The eminent English musicologist Denis NORTH DAKOTA STATE Arnold has provided in his new book on UNIVERSITY CONCERT CHOIR Giovanni Gabrieli a very model of what such a single-composer study can be. Biographical details, painstakingly drawn from Venetian The NDSU Concert Choir is an under­ the featured choral groups on the documents of the period, are coordinated graduate ensemble comprised of 50 sing­ Cavalcade of Christmas Music, a with their implications in terms of the ers. In the past 13 years it has perform­ nationally-aired CBS radio presentation. musical output itself and of the Venetian ed at two national ACDA conventions, a The ensemble has also contributed to musical culture of the late sixteenth and ear­ divisional MENC convention, and a na­ seven albums issued by Jenson Publica­ ly seventeenth centuries_ Giovanni Gabrieli's tional MENC convention. Since 1978 tions, Inc. music is properly placed in its historical and the NDSU Concert Choir has been one of cultural contexts. Arnold carefully examines the influences from such diverse figures as Giovanni's uncle, Andrea Gabrieli, his (presumed) teacher Lassus, and the cornett player Bassano in order to determine the roots of the composer's style. Thus, for ex­ ample, we are clearly shown why Arnold con­ siders Giovanni Croce (who was maestro di -cappella at St. Mark's while G. Gabrieli was organist) to have been a truer successor of Andrea Gabrieli than was his nephew. On the other side, the music of Gabrieli's pupils is examined for evidence of the teacher's own influence and of the kinds of contemporary Italian music Gabrieli must have been showing them as models. An in­ teresting conclusion along these lines, sup­ ported by historical documents as well as musical styles,.is that his influence seems to have been more pervasive in Germany through his greatest pupil Heinrich Schutz than it was in Italy, where other styles were cultivated after Gabrieli's death. At the same time, Arnold provides ex­ tremely perceptive analyses of almost every known work, along with well-chosen and beautifully-reproduced musical examples. In sum, to read this book is to reap the benefits Edwin Fissinger of painstaking research and sharp insights into the functions of music in Venetian socie­ Edwin Fissinger received his North Dakota State University since ty and ceremony, the music that Giovanni 1967, Edwin Fissinger's compositions Gabrieli knew and studied, his stylistic Bachelor's and Master's degrees in com­ development as a composer, and his place in position from the American Conser­ and arrangements are published ex­ the historical continuum of instrumental and vatory in Chicago, and his doctorate in clusively by Jenson Publications, Inc. of sacred choral music. conducting and literature from the Uni­ He is included in Who's Who in America Richard Cox versity of Illinois. Department chairman and the International Who's Who of University of North Carolina and director of the Concert Choir at Musicians. at Greensboro Page 26 THE CHORAL JOURNAL the Kyrie, Gloria, Sanctus and Agnus Dei for performance in approximately cltil REN'S eleven minutes. Contemporary in nature, the dissonances are usually NER _ heard within a tonal framework. Develo­ c RAl c ped motivically, the piece is challenging but singable by children. Two to four­ part writing dominates this carefully A series of offerings on literature for BRITTEN, BENJAMIN; Missa Brevis structured sonority. children's voices. in D, Op. 63; Boosey & Hawkes. Prepared by Doreen Rao and members A mass setting for boy's voices and LE FLEMING, CHRISTOPHER; The of the ACDA National Committee on organ, the Missa Brevis in D is a work of Echoing Green; Alexander Broude. Children's Choirs for the Choral Joumal. substance and exquisite beauty. Written Conceived as a children's cantata for in a tessitura complimentary to young treble and alto voices, the scope of this EXTENDED CHORAL WORKS singers, the effect is enhanced by organ work is not limited to children. It may be FOR TREBLE VOICES scoring idiomatic to that part of the in­ performed suitably by adult female (Appropriate for Performance by strument most reinforcing to the vocal voices. As the composer notes, The Children's Chorus) parts. The music is organized around Echoing Green is a cantata as much melodic motives in each section which about children as for them. The work is Compiled and Annotated by are repeated in imitation or in modified divided into two parts of approximately form by one or more voice parts. Some twenty-five minutes each which may be Doreen Rao, Music Director passages are homophonic. Although the performed separately, if desired. The The Glen Ellyn Children's Chorus writing in each movement is varied har­ cantata may be accompanied by strings monically and rhythmically the piece is or piano. Each movement is available in BRITTEN, BENJAMIN; A Ceremony unified in general by the key relation­ separate publication. The work is pre­ of Carols, Op. 28; Boosey & Hawkes. ship of 'D' to its relative major (F#) and dominantly unison and two-part texture With the exception of the processional minor. with three-part divisi in the final move­ and recessional texts in Latin ("Hodie ment. Its complexity is not in its har­ Christus natus est") this work is a con­ BRITTEN, BENJAMIN; Psalm 150, monic or rhythmic construction, but in temporary adaptation of old English Op. 67; Boosey & Hawkes. its transparent simplicity of line and carols for treble voice with harp accom­ A simply structured composition, text. Games and dances may be used in paniment. Authors include William Cor­ Psalm 150 is performed in approximate­ its performance. nish and Robert Southwell. Although ly five minutes. The text is from the the first and last movements are in uni­ Psalter using the King James version in PEETERS, FLOR; To Bethlehem, Op. son plainsong, the vocal writing is pri­ English; one of the exuberant songs of 32; World Library of Sacred Music. marily three-part. Eleven titles, some of praise to God. The instrumentation is Scored for two equal voices, solo and which are published separately, contain left to the choice of the conductor, ac­ organ, this lovely work is a predomin­ music ranging from slow, homophonic, cording to the availability of the instru­ antly simple, straight-forward and sensi­ introspective character ("There is No ments. The only requirement is a treble tive setting describing the birth of Rose") to fast, rhythmic, contrapuntal instrument, some percussion and a key­ Christ. Recitative solo connects the uni- . material. This work will provide sub­ board. Basically in two-parts, there are son and two-part choral portions. Organ stantial challenge for young singers. only occasional divisi to three and four interludes develop the primary melodic Due to its clarity and fine construction, parts, and one four-part canon. There are material through embellished variation. it is accessible and may be performed by contrasting relationships rhythmically In the character of celebration, the work children's choir. between duple and triple. Harmonically· climaxes at its conclusion with the uni­ it is very tonal with simple, repetitious son hymn tune, "Venite adoremus." It is BRITTEN, BENJAMIN; Children's statements of praise climaxing on a for­ melodic in character and tonally simple. Crusade, Op. 82; G. Schirmer. tissimo tone cluster. The second section Most unfortunately, this piece is out of Set to a poem, Kinderkreuzzug, by in unison changes into a dancing 7/8 print. Bertold Brecht, this profound work is meter. scored for a children's choir of un­ PERGOLESI, GrOVANNI B.; Stabat changed voices, two pianos, small organ GALUPPI, BALDASSARE; Dixit Mater,' Peters Edition. (chamber or electronic), and a large band Dominus, Psalm 110; Roger Dean. With thirteen movements which in­ of percussion instruments. Two conduc­ For four-part treble voices, piano or clude choral, solo and duet for treble tors are necessary for performance: the strings this setting is one of many treble voices and string orchestra, the work principle conductor, whose special re­ choral works written by Baldasarre maintains interest by the careful tempo sponsibility is the singers, and a sub­ Galuppi for the girls at the Conserva­ relationships between movements as conductor for the percussion band. tory of the Ospedale degli Incurabili in well as the very exquisite writing in in­ There are nine soloists who must come Venice. The work is divided into four dividual movements. Although the str­ from the chorus. The story is of children, movements and is performed in approxi­ ings maintain a relatively thick texture, war and starvation as the children them­ mately ten minutes. Conceived in the the tension created by the harmonic for­ selves experience wandering through Venetian classical period, the score is mula and tessitura of the voices gives Poland, lost in 1939 during World War predominantly homophonic in nature the piece credible performance potential II. It is predominantly dissonant with with regular two to four bar phrases. It - a moving setting of the introspective, wandering glimpses of tonality. There is is repetitious but has the potential for prayerful Stabat Mater text. a recurrent two-part theme on the text interest with the careful use of dynamic "where there was peace" which unifies contrast. Edited by David Larson. PERSICHETTI, VINCENT; Winter the score textually and musically. The Cantata, Op. 97; Elkan-Vogel. instruments respond to the voices which GOEMANNE, NOEL; Missa Hosanna; Set to a Japanese Haiku text, this are generally narrative in function. The Mark Foster. composition is set for unison to four-part work itself has overtones of Britten's This a cappella work for treble voices women's voices, flute and marimba. It is War Requiem. It is gripping and stun­ was commissioned by the Texas Boys performed in approximately eighteen ning both to performer and listener. Choir in 1972. It is a mass presenting minutes and is divided into twelve DECEMBER 1982 Page 27 movements with picturesque texts of This work is part of a larger work, Be­ approximately twenty-five minutes. The winter scenes. Word painting occurs fre­ ware of the Soldier. It is, however, pub­ texture ranges from unison to four-part quently both melodically and harmoni­ lished separately and may be performed writing. The medieval poetry lends itself cally. Dissonance becomes quite domi­ by itself. Itis scored for treble choir, one to the very linear writing of Mr. Thomp­ nant. The third section begins with a piano, four hands, optional flute and son and can be appreciated by adult and canon, returns to the original material clarinet. The piece was originally con­ child alike. The work vaguely reflects a and cadences on a rousing "Amen" in ceived for boys' choir. Most of the writ­ sonata-allegro form although each move­ 'C'Major. ing is in unison and relatively simple. ment can easily stand independently. There are five movements with a very The instrumentation, including strings SCHUBERT, FRANZ; Nature's Har­ sensitive text by William Blake. The tes­ and woodwinds, is highly complimen­ mony; Oxford University. situra is complimentary to young voices. tary to the voices. Itis a lyrical and mov­ A choral suite for soprano and alto ing work which climaxes with a final voices, Nature's Harmony has six move­ SPITTA, HEINRICH; From Heaven four-part Alleluia. ments. The texts are by John Clare. The Above, Ye Angels All; Concordia. work was commissioned for the Choir of A work basedon the chorale tune''von CSONKA, PAUL; Concierto de Wirral County Grammar School for Himmel hoch" is divided into short, Navidad; Peer International. Girls. The three-part texture is set in a 'repetitious sections. Scored for treble Composed in 1958, the Concierto de German, folk-style with texts of love, voices and strings, it modulates with the Navidad is a setting of three traditional springtime and music. Most tonalities instrumental riternelli between each Spanish religious poems for four-part are major and simple; open harmonies movement around the bright key of 'A' treble voices and harp. The writing re­ move in repetitious rhythmic patterns. major. Three-part vocal texture domi­ flects the melodic and rhythmic patterns nates. One movement is in two-part with of Spanish music. The narrow range, SCHUBERT, FRANZ; Serenade, Op. a connecting solo. The same melodic and chromaticism and triplet flourishes of 135; Mercury Music. harmonic material dominates this eight the melodies evoke the spirit of the Fla­ In four parts for alto solo, women's minute work, the variation of which pre­ menco singers. Frequent alternating be­ chorus and piano, this very beautiful sides in the harmonic modulation and tween duple and triple meters and the work moves homophonically. The choral slight rhythmic changes. Preceded by a use of hemiola are reminiscent of the parts interact with the alto solo in an brief sinfonia in 4/4, the remainder of the Polo and other traditional dances of almost antiphonal manner. Although composition is in 6/8. Spain. The use of the harp suggests the the phrases are linear and legato, the guitar, the instrument of the Spanish rhythmic precision in this composition THOMPSON, RANDALL; The Place of soul. Parallel harmonic movement and must be exact. The piano accompani­ the Blest; E. C. Schirmer. the occasional use of canonic imitation ment is strictly supportive, chordal and First performed in 1969 by the Boys' recall the early traditions of Spanish reflective of the melodic contour. Choir of Saint Thomas Church, New sacred music. Divided into three sec- SMITH, GREGG; Songs of Innocence; York, this very lovely work is in four .tions, the work is performed without G. Schirmer. movements with a performance time of pause. (t1hurch flusic1Jnterllatio;na! •. .••. ' :: ~., . ":". ." . _.' . .. ", I ~:... .. ". .'r •• Olhoral]J1estival ··';::;~{.2'·~:~!~;J'X.;;···'

~ ," .: A Competitive Festival for ... :~. . , . Amateur Choirs and Choral Oroups. .':

March 18, 19 and 20-1983 LIMERICK, IRELAND.

For further information and brochure contact: SHANNON DEVELOPMENT CO. 590 5th Avenue New York, N.Y. 10036 -. : TEL: 1-212581-2081 : ... :/.:... \- ..- .SI : <::("i> ===.~=.~:,;:::.:.=" :::;=:t====::;;:=="£. oeveL.-OPlV!eNT ":·~::i~';':·4 ' '-'0,'_'._'_•...... ,.~-"'-"'-'--.---"''''''''''~

Page 28 THE CHORAL JOURNAL DOUG ANDERSON This department is an active extension of the Standing Committee on Vocal Jazz and Show Choirs. We will attempt to review new music for vocal jazz and show choirs, evaluate other materials suited to our purpose, such as films, books and recordings, and uLA in general provide information pertinent to the development and betterment of vocal jazz and show choir programs throughout the United States. Contributions, suggestions por and letters from members of the teaching profession and music industry will be gladly received by the editor. All correspondence should be sent to: Doug Anderson, P.O. Box clloRA CORNER 95, McMinnville, OR 97128. Phone (503) 472-6971.

SUPPLEMENT #15 TO A SELECTED LIST OF SATB CHORAL ARRANGEMENTS: BALLADS/GOSPEL/JAZZ/POP by Dan Schwartz, Department of Music, Jersey City State College, Jersey City, NJ 07305

TITLE ARRANGER PUBLISHER GRADE RHY JHS LG REC COMMENTS

BALLADS ALL THE THINGS YOU ARE Ringwald Shawnee Press iv * AS TIME GOES BY Strommen Warner Bro. iii * ENDLESS LOVE Kerr Hal Leonard iii * 11 also published SAB HOW LONG HAS THIS BEEN GOING ON? Strommen Warner Bro. iii * by the Gershwins I AM BUT A SMALL VOICE Coates Shawnee Press iii * IF EVER I WOULD LEAVE YOU Kunz Hal Leonard v * 1,6 from CAMELOT I GET ALONG WITHOUT YOU VERY WELL Mattson Hal Leonard v * 1,5 IMAGINE (by John Lennon) Esposito Cherry Lane ii *** I MADE IT THROUGH THE RAIN Lojeski Hal Leonard ii * 1,7 IT'S MY TURN Nowak Columbia ii also published SAB LADY Kerr Hal Leonard ii * * 12 LET'S BEGIN AGAIN Rutter Hinshaw ii * LIVING INSIDE MYSELF Nowak Columbia ii also published SAB ONE IN A MILLION YOU Nowak Columbia iii also published SAB ONE THAT YOU LOVE, THE Nowak Columbia ii also published SAB TAKE ANOTHER CHANCE ON LOVE Kunz Jenson iv * * TELL ME THAT YOU LOVE ME Eilers Jenson ii ** published SAB only THEME from "ICE CASTLES" Marzuki Columbia ii TIME GONE (a cappella) Emerson Jenson ii pub. SAB only (3 pages: 75¢) WAY YOU LOOK TONIGHT, THE (by J. Kern) Knowles Jenson iii * a cappella WEE SMALL HOURS (IN THE) (a cappella) Barduhn Hal Leonard v WE STILL HAVE TIME Strommen Warner Bro. ii * 7 WHAT A DIFFERENCE YOU'VE MADE IN MY LIFE Emerson Jenson iii ** WHAT'S NEW? (a cappella) Strommen Warner Bro. iv YOU ARE TOO BEAUTIFUL (by Rodgers/Hart) Strommen Warner ,Bro. iii YOUR BOOK OF LIFE Sandberg Plymouth ii slow waltz CHRISTMAS CHILD IS BORN, A Kunz Jenson iii * CHRISTMAS IS COMING Ades Shawnee Press ii ** POPULAR CAROLING BOOK Grier-Ev. Heritage Mu Pr iiliii 14 carols for 75¢ STAR NIGHT Strommen Alfred ii MARY SANG ALLELUIA Grier-Ev. Heritage ii * HAPPIEST TIME OF THE YEAR, THE Grier-Ev. Heritage iii ** DANCING WITH ST. NICK Grier-Ev. Heritage ii ** GOSPEL/GOSPEL ROCK CARRY THE LIGHT Eilers Jenson iii ** 1 published SAB only EV'RYTIME I FEEL THE SPIRIT Tveit Jenson v * 1 SATB divisi GOSPEL MASS (extended work) Ray Jenson iv ** 1 LET ME RIDE Emerson Jenson ii *** 1 MY COUNTRY 'TIS OF THEE Shaw Hal Leonard iii ** 1 PEACE IN THE VALLEY Buchholz Jenson iii ** 1 PEACE IN THE VALLEY Lojeski Hal Leonard iii ** also published SAB JAZZ JAZZMAN Sandberg Jenson iii JUMPIN' WITH SYMPHONY SID King Studio PR ii * ROUTE 66 Bard Hal Leonard iv * SATIN DOLL Shaw Hal Leonard ii * THAT OLD BLACK MAGIC Shaw Hal Leonard v * Latin style JAZZ (NOSTALGIA) BASIN STREET BLUES Shaw Hal Leonard iii * 1 BIRTH OF THE BLUES Strommen Warner Bro. ii *** FUGUE FOR TINHORNS Lojeski Hal Leonard iii * 4 also published SAB KANSAS CITY Parker Hal Leonard iii full stage band needed ON THE SUNNY SIDE OF THE STREET Johnson Jenson ii 1 TAKE THE "A" TRAIN Kerr Hal Leonard iii * pub. with 4 horn parts DECEMBER 1982 Page 29 POP/ROCK/SHOW AQUARIUS/LET THE SUNSHINE IN Emerson Jenson iii * * * BILL BAILEY'S COMIN' HOME Large Plymouth iii Dixieland style BIRDLAND Mattson Hal Leonard v * 1,2 jazz-rock fusion style BLOW, GABRIEL BLOW Ringwald Shawnee Press iii BLUE MOON Emerson Jenson ii * 1 published SAB only BOOGIE WONDERLAND Shaw Hal Leonard iii * 13 pub. with 3 opt. horn parts BOY FROM NEW YORK CITY, THE Lapin Columbia ii 2 I'M IN THE MOOD FOR LOVE Mattson Hal Leonard v * 1 IMMIGRANT, THE Strommen Cherry Lane ii ** * LET'S START A CELEBRATION Brymer Jenson ii * 1 NEW SEASON, A (extended work) Muro J.D. Wall v * includes a synthesizer part RIDE LIKE THE WIND Metis Warner Bro. iii * ** 4 SAILING Averre Warner Bro. iii ** 8 SHOWER THE PEOPLE .. Strommen Warner Bro. ii * 3 SING OUT AMERICA Grier-Ever. Heritage ii ** SWINGIN' WITH THE SAINTS Hayes Shawnee Press iii *

VOCALISE VOICES EAST Lapin G. Schirmer v * VOICES WEST Lapin G, Schirmer vi *

SUPPLEMENT #2 TO A COMPREHENSIVE LIST OF MEDLEYS PUBLISHED FOR SATB, TWO-PART, SSA, AND SAB CHOIR

TITLE ARRANGER PUBLISHER GRADE RHY SATB SSA TWO-PART SAB

AMERICAN FOLK COLLAGE Grier-Everson Heritage ii * * AMERICAN TRILOGY Grier-Everson Heritage ii * BEST OF WALT DISNEY Averre Hal Leonard ii * BIG COUNTRY HITS Nowak Columbia ii * * * BROADWAY SHOWSTOPPERS Kerr Hal Leonard ii * * * * CHRISTMAS GARLAND, A Emerson Jenson ii * ** * DANCING WITH GEORGE M Grier-Everson Heritage ii * * * DANCING WITH UNCLE SAM Grier-Everson Heritage ii * FAME (selections) Lojeski Hal Leonard ii * * * 50'S ROCK AND ROLL MEDLEY Shaw Hal Leonard ii * * 42ND STREET MEDLEY Averre Warner Bro. ii * * HIGHLIGHTS FROM THE WIZ Brymer Jenson iii * * HOAGY CARMICHAEL: A CHORAL PORTRAIT Sterling Shawnee Press iii * * JOHN LENNON: IN MEMORIAM Konowitzl Cherry Lane II * Esposito ON BROADWAY Emerson Jenson iii * * * * * SELECTIONS FROM THE WIZ Nowak Warner Bro. ii * SONGS OF THE SAINTS Mitchell Jenson ii * THAT GOOD OLD COUNTRY MUSIC Althouse Shawnee Press Ii * * TRIBUTE TO THE DUKE, A Shaw Hal Leonard v * * WINTER MEDLEY, A Fry Columbia ii * *

CODE: RHY: rhythm section parts are included in the choral score or are available separately JHS: the music and lyrics fit the vocal ranges and emotional maturity of junior high school students LG: the arrangement will sound acceptable with a large group of singers (30-90) GRADE: i-Ii easy, iii-iv medium, v-vi difficult, vii professional REC: recordings or cassettes are available: 1. from the publisher 2. recorded by the Manhattan Transfer 3. recorded by James Taylor 4. from GUYS AND DOLLS 5. recorded by the SOUNDSATIONS, Frank Demiero, Director 6. recorded by Lake Washington HS (Kirkland, WA) 7. recorded by Barry Manilow 8. recorded by Christopher Cross 9. 10. rec. by College of the Siskiyous Jazz Choir 11. recorded by Diana Ross 12. recorded by Kenny Rogers 13. Recorded by Earth, Wind and Fire

h ral I Y r olumbia ietur lie ti ns • A TRIBUTE TO ANNE MURRAY (S.A.T.B., S.S.A., S.A.B.) A TRIBUTE TO Arr: Gary D.Fry $1.50 Contains: Snowbird, Could I Have This Dance, Daydream ANNE MURRAY Believer, Put Your Hand In The Hand. Snowbird DavdrcJm BclicH'r • A TRIBUTE TO STEVIE WONDER (S.A.T.B., S.S.A., S.A.B.) C\lukfl H,l\'cThi, D.11Kl' Arr: Gary D. Fry $1.50 Put Your Hillld In The Hand Contains: Sir Duke, I Wish, Isn't She Lovely, Master Blaster (Jammin'), That Girl, Superstition, My Cherie Amour, You Are The Sunshine Of My Life.

• A TRIBUTE TO AIR SUPPLY (S.A.T.B., S.S.A., S.A.B.) Arr: Gary D. Fry $1.50 Contains: Lost In Love, All Out Of Love, Sweet Dreams, The One That You Love.

Coming Soon! Tributes to OLIVIA NEWTON-JOHN, DOLLY PARTON, THE COMMODORES, CAROLE KING and others! \- '\. For more information, write to Educational Director ColumbiaPictures Publications Adivision of Columbia Pictures Industries, Inc. 16333 N.W 54th Ave.,P.o. Box 4340· Hialeah, Fl. 33014 Frank J. Hackinson, President TOLL FREE (800) 327-7643 Jack Bullock, Ph.D, Educational Director

DECEMBER 1982 Page 31 EUIDNDA D. AIJ

American Choral Directors Association NATIONAL HEADQUARTERS c/o Dr" Gene Brooks Lawton, Oklahoma

I have examined the statement of assets, liabilities and fund MONOGRAPH No.1 balance of American Choral Directors Association as of June 30, 1982, and the related statements of revenue and expenses and statement of changes in financial position for the year then ended. I1y examination The GUIDE FOR THE BEGINNING CHORAL was made in accordance with generally accepted auditing standards, and DIRECTOR was prepared to provide guidance of a accordingly included such tests of the accounting records J as well as other auditing procedures t which I considered necessary in the circum­ practical nature to the college senior, the beginn­ stances. ing choral director. The information is to be sup­ In my opinion the financial statements referred to above present plementary to the course work a student may have fairly the financial position of the American Choral Directors Associ­ ation as of June 30, 1982, the results of it's operations. and the changes completed or to their other choral experiences. in it's financial position in accordance with generally accepted account­ ing principles which have been applied on a basis consistent with that MONOGRAPH No.2 of a previous year. /Y.C AN ANNOTATED INVENTORY OF DISTINCTIVE Eulonda D. Alkim CHORAL LITERATURE FOR PERFORMANCE AT Certified Public Accountant THE HIGH SCHOOL LEVEL by Margaret Hawkins is designed as a useful supplement to the choral director's own knowledge of choral repertoire. The AMERICAN CHORAL DIRECTORS ASSOCIATION publication is concerned primarily with literature for the mixed choir. STATEMENT OF ASSETS r LIABILITIES AND FUND BALANCE

FOR YEAR ENDED JUNE 30 r 1982 MONOGRAPH No.3

Current Assets, THE CHORAL JOURNAL: AN INDEX TO Petty caah $ 65.00 VOLUMES 1·18 by Gordon Paine is an important Cash in bank - Cache Road National Bank 7.120.97 Cash in bank - Time Deposits 103.691.27 source of information on nearly every topic of con­ Other investments 6.706.76 cern to the profession. It is the hope of the awthor Accounts receivable 8,087.23 Interest receivable 3.476.08 that it will make The Choral Journal more accessi­ Prepaid insurance 673.04 ble to researchers. Total current assets $129.820.35 Fixed Assets, Land improvement $ 2.730.00 Mail Orders To: Office building $224,242.47 Less accumulated depreciation 16.454.~ 207,787.92 The Choral Journal Furniture & fixtures $ 35.897. Less accumulated depreciation 13,524.02 22,373. 66 P.O. Box 5310 Total assets Lawton, OK 73504 LIABILITIES AND FUND BALANCE Quantity Liabilities, Notes ·payable $ 16.000.00 Payroll taxes payable 1,657.34 Defe=ed income 3.962.00 Monograph No. 1 ($3.50) Total cu=ent liabilities $ 21.619.34 Fund balance June 30. 1982 ~41 092.~~ Total liabilities and fund balance $ 62:711. MonoQraph No.2 ($3.50)

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Page 32 THE CHORAL JOURNAL ALL MUSIC PUBLISHERS SHOULD SEND THEIR OCTAVOS FOR REVIEW TO: ACDA National Headquarters, P.O. Box 5310, Lawton, Oklahoma 73504

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AGAPE related, suggesting that performance of the intonation, and expressive communication. complete work might be more satisfactory. It is difficult to infer the potential aural ef­ Psalma and Hymns, Alan Luff, Unison, Ac­ Each anthem makes use of the same "the­ fect of the work from its notation. In any companied, #AG 7251, 80¢. matic" pattern of repetitions of the three case, an impressive or pleasing effect will These pieces are ideal for the church with alotted pitches. The first anthem presents surely derive from spatial and coloristic ele­ limited resources. The texts emphasize the this pattern (which constitutes a section of ments. conviction that the words of Scripture can 36 measures in triple meter) four times in suc­ William J. Bullock and should be the chief source of our praises. cession, each time beginning in a different Individual titles are: Prologue to a Christmas choir. The second anthem follows the same AUGSBURG Service, Harvest Psalm, The Canticle of the procedure, though the sustained tones of the Rock, Benedicite, Psalm 43, Psalm 16, Easter first anthem are consistently shortened to a Honor! Honor! Arr. James H. Laster, SSAA Flowering, and Psalm 104. They are highly single beat, resulting in numerous short with keyboard, #11-0582, 70¢. recommended for any church situation. silences; the pattern occurs five times in­ Spiritual that calls for crisp rhythmic con­ Edward Deckard stead of four; and the short pauses previous­ cepts and occasional tough four-part har­ ly' placed at the conclusion of each iteration mony. Sudden key change up a half step after ALEXANDER BROUDE, INC. of the pattern are introduced instead within introduction. Considerable unison or two­ the pattern. The third anthem is the most part singing, with a fair amount of repetition. Tantum Ergo, Op. 65, No.2, Gabriel Faure, distinctive by virtue of its quadruple meter Could be a very effective piece if performed William Sisson, ed., SSA, Organ or Piano, and slower tempo, a freer presentation of the with freedom in the spiritual style. AB 950, 65¢. pattern (once only) in much longer notes, and Jake Rittenhouse A restrained and fluid piece, Faure's Tan­ the occasional use of all three pitches simul­ tum Ergo epitomizes the serenity so often taneously. The title derives from the work's Four Hymns for Male Voices, William associated with his work. The supple lines four-word text: "Creator, Son, Holy Ghost." Heyne, TTBB, #11-1841, 50¢. sing easily and the harmonic modulations Pitch is obviously not the only repetitive Abide, 0 Dearest Jesus - Vulpius, will appeal to both the singers and the listen­ aspect of the work. Its challenges, then, lie in #1560-1615; All Ye Who Here on Earth Do ers. Very well suited for high school treble voices, this piece would be a nice selection for contest and festival use. Highly recommend­ ~ ed. BROUDE BROTHERS LIMITED Gregory K. Lyne 170 Varick Street / New York, NY 10013

- ASSOCIATED MUSIC PUBLISHERS Music for the Holidays

Trinity: Three Anthems on Three Notes, Joaquin Nin-Culmell: La Virgen lava panales. SATB, tamb. Sp-Eng. 0.65 Tom Johnson, 4-part, a cappella, #A-803; Gerald Cockshott: Angels Sang That Christmas Morn. SATB. Eng. 0.50 $3.95. This is a curious set of anthems on three Gerald Cockshott: Carols from Three Nations. SATB. Fr-Dut-Eng. 0.85 pitches (G, A, B-flat) for four antiphonal uni­ Herbert Haufrecht: Reflections on the New Year (.from Benjamin son choirs of women's or men's or mixed Franklin's Poor Richard's Almanack). SATB. Eng. 0.75 voices. The choirs may be of. any size but should be balanced in strength and color. Al­ William Billings: An Anthem for Thanksgiving. SATB. Eng. 0.85 though the anthems may be performed indi­ Seth Calvisius: Joseph, lieber Joseph mein. SATB. Ger~Eng. 0.85 vidually or as a group, they are very closely Guillaume Costeley: Allons, gai gai. SATB. Fr-Eng. 0.60 FOR CHANGE OF ADDRESS Jan Meyerowitz: Silesian Lullaby. SATB. Eng. 0.45 Be sure to notify the Editor at: Complimentary reference copies will be sent uflon request. P.O. Box 5310, Lawton, OK 73504 DECEMBER 1982 Page 33 Dwell - Cruger, #1598-1662; Awake, Thou triplets in the accompaniment create a ~ Spirit, Who Didst Fire Kirkengesangbuch, bluesy effect. It should be very useful in a ~ : #1541; A Mighty Fortress is Our God ­ youth choir situation. ~VP Luther, #1483-1546. Edward Deckard Educational ToU/i ConsUltants, Inc. Four well-known, often-sung hyinns ar: ranged in a' conservative manner, and taste­ BROADMAN PRESS fully designed for use within a service for­ The recognized professionals in mat. The voicings allow for the "Germanic" Collection: Songs for Children's Voices: musical tours for 20 years! formula of rich male singing. There are op­ Sometimes I Feel Like Singing A Song, tional endings for final stanzas. Suitable for Terry Kirkland, Unison with keyboard, high school or church choirs. #4526-23 (no price given). 16 North Braddock Street George Bragg Excellent short numbers for small children Winchester, Virginia 22601 in a church school or young children's church Spirit of Mercy, Sam Batt Owens, SATB choir. Songs of different moods and different Call toll-free: 1-800-336-2515 with organ and handbells, #11-2022, 65¢. seasons. Modern sound with easy accompani­ This stately anthem reminds one of the ment. In Virginia, collect: 703- 667-7814 English hymn tradition with its poetic text Jane Dilling Griffith set to long, sweeping phrases. It has three 1983 FESTIVALS stanzas, the first repeated at the end, and the CAMBIATA PRESS third departing from the others melodically. March 26-30 Quebec, Canada Although it is scored for STB, altos may dou­ I Got Shoes; arr. Wm. E. Melton, Jr.; SACB; Festival International De Musique-Quebec ble the soprano part. The third stanza is TTB a capella; #S981156; 60¢. and requires some mtturity in the tenor part This is an excellent arrangement of a well­ April 14-16 Houston, Tx. which soars to an A. The organ and hand­ known spiritual. The fresh approach to the Six Flags Astroworld (All ensembles) bell accompaniment is interwoven quite skill­ harmonies will appeal to both singers and the April 15-18 Nassau, Bahamas fully. The vocal arrangement provides ulti­ audience as the piece is experienced together. Bahamas Cruise Festival of Music mate performance flexibility including adults Ranges are excellent in each of the voices. April 21-23 Atlanta, Ga. and children, men's chorus, and women's The syncopations associated with the chorus. rhythm of this spiritual remain vibrant and Six Flags Over Georgia (Band) James A. Brown, Jr. compelling. Young choirs will thrive musical­ April 21-23 Dallas, Tx. ly through singing music carefully notated in Six Flags Over Texas (Band) BECKENHORST PRESS, INC. the areas of style and dynamics. Junior High April 28-30 Atlanta, Ga. choirs and less advanced or mature high school choirs wj.ll want to consider program­ Six Flags Over Georgia (Band, Orchestra, Victory; setting by John Ness Beck; SSATB; Keyboard; #BP1100; 50¢. ming this captivating arrangement especial­ and Chorus) This setting by John Ness Beck is based on ly designed for changing voices. April 28-30 Dallas, Tx. the h;ymn Victory by G. P. Sante da Pale- . Rose Mary Owens Six Flags Over Texas (Band, Orchestra, strina (1588) and adapted with Alleluias by and Chorus) William H. Monk (1861). This composition CHORISTERS GUILD ,April 28-30 St. Louis, Mo. would be ideal for the good church choir to prepare for a festive'celebration or other Miracle of Grace, Betty Ann Ramseth, two Six Flags St. Louis (All ensembles) event needing a dynamic anthem. The range equal voices and keyboard (or unison voices May 5-7 Los Angeles, Ca. for male voices is not demanding; however, and flute), A-241, 50¢, Sig Flags Magic Mountain (All ensembles) the tessitura for the first sopranos is fairly A lightly moving 6 setting of an appealing, May 5-7 Jackson, N.J. high, even though the top note is only a high well-written poem. rfhe ABA form presents a A-flat. Frequent and effective modulations fine, arching melody on stanza one, a move­ Six Flags Great Adventure (All ensembles) .create added excitement throughout the en- ment to relative minor and a new but related May 5-9; May 12-15; May 19-23; tire score. There is an opportunity for congre­ melody on stanza two, and a canon on the May 26-30; June 2-6; June 9-13:: gational participation in singing the unison principal tune for the voices (or unison sing­ June 16-20; June 23-27 Washington~ I melody with the choir. This is followed by a ers and flute) on the final stanza. The piece moves gracefully through its octave range (e D.C. and Virginia melismatic treatment of the "Alleluia, Amen," leading up to a strong, chordal end­ to e) and should be most effective, though National Heritage Festival of Music ing. Although the accompaniment is not difficult. May 12-15 Orlando, FI. specified only as keyboard, the voicing of an Dr. Dwight Gustafson Three Worlds of Florida Festival organ would greatly magnify and strengthen June 23-27 Montego Bay, Jamaica the superb setting of this well-known hymn. CONCORDIA Rose Mary Owens Jamaica Festival of Music Our Soul Hath Patiently Tarried for the June 21-June 28 Switzerland BELWIN MILLS Lord, Maurice Greene, John V. Mochnick, Festival International De Musique-Suisse arr. and ed., SA with two violins and con­ Confitemini Domino, Costantini/ed. Theron tinuo, #98-2532, $1.90. The editor states that, "this composition is CONCERT TOURS Kirk, three-part treble (or two trebles and cambiata) a cappella, Pro Ch 3002, 50¢. a duet from an extended orchestral anthem ,, ," The original accompaniment included A nytime of year depending on A simpler piece in the seventeenth-century stilo antico of the Roman school that is quite viola which in this version has been incor­ destination and availability. suitable for young voices. Vocal ranges are porated into a more compressed version for limited, and the vocal lines are grateful. Un­ two violins and continuo. The editor sug­ fortunately, editorial adjustments are un­ gests that other woodwind or string instru­ U.S.A. MEXICO marked and incipits, text source, and transla­ ments may be employed in place of or in addi­ tion to the violins. The spirited setting of EUROPE JAPAN tion for the Latin are absent. The duple "stanza" is followed by an alleluia in triple Psalm 33: 20, 21 is suitable for any general JAMAICA CANADA meter. A useful addition to the concert reper­ occasion. The stringed instruments frequent­ toire of young choirs. ly reinforce the vocal lines and at other times BERMUDA NASSAU Dr. Dwight Gustafson stand in antiphonal juxtaposition to them. Neither the voice nor the instrumental parts BOURNE should prove overly difficult in this cliarming Baroque piece. What is your will? Floyd E. Werle, 2-part, Organ, #B214312-352, 75¢. FOR CHANGE OF ADDRESS The vocal lines are rather simple, much of Be sure to notify the Editor at: the time in unison or in canon. The driving P.O. Box 5310, Lawton, OK 73504 Page 34 THE CHORAL JOURNAL Surely He Hath Borne Our Griefs, Healey Kyrie, Dies irae, Offertorium, Sanctus, Bene­ planing harmonies in the refrain. The stanzas Willan, Dale Wood, arr., SATB with Key­ dictus, and Agnus Dei & Requiem. In fact, should sing quite easily. The'high tessitura of board, #98-2520, 45¢. much about the work is conventional, from the divisi refrain will be more difficult. An ef­ This short composition should prove inter­ the violin filigree work and the numerous se­ fective, useful piece for those who enjoy this esting to choral directors of small church quences and diminished seventh chords to style of writing. choirs. Originally for two-part choir and the use of homophonic or polyphonic tex­ Dr. Dwight Gustafson organ, Dale Wood has transformed this piece tures in setting particular texts and the into an appealing work for mixed choir. The obligatory application of fugal technique in G.I.A. PUBLICATIONS ranges are very modest, and the length of the the "Quam olim Abrahae" and "Cum sanctis work would suggest its use as an auxillary to tuis" (both of which, incidentally, are re­ Mass of the Divine Word, Howard Hughes, the main anthem. The chromatics are not dif­ peated in toto). On the other hand, some sec­ S.M. UnisoniSATB, organ, 2 trumpets, flute ficult, nor is the rhythmic treatment. tions approach profundity; for example, the & bells, $2.50. Dr. Dennis K. Cox opening "Requiem," which is a precursor of This is a joyful setting of the Mass that Mozart's setting of the same text twenty uses the I.C.E.T. text. All the meters years later, and the "Domine Jesu Christe," through the "Holy, holy," (Sanctus) are 6/8. CORONET PRESS the chromaticism of which recalls Bach. The Practically all the rest are 2/4. Other liturgi­ soloists are used as a quartet, though they cal action may cover this sameness in the The Heavens Are Telling, Joseph Haydn, often are assigned the same melodic material meters. Intonations for the cantor or deaconl arr. Wagner, SATB chorus with keyboard, one at a time. Both choral parts and solo priest and celebrant are in medium ranges. #CP124, 65¢. parts present no particular problems. The setting would be appropriate for any If you are a musical purist concerning the Selected movements might be performed liturgical church or others wanting a new arranging and adaptmg ofclassics, this selec­ separately with keyboard accompaniment communion service. tion is probably not for you; however, if you (not the Dies irae, though, which is too long Robert E. Snyder are looking for a tastifully edited, arranged, and repetitive), but a performance of the and simplified rendition of The Heavens Are complete Requiem would suffer critically G.SCHIRMER Telling from Haydn's The Creation, this without the orchestral accompaniment. A piece may be of use to you. sympathetic, insightful interpretation of the Fahr Wohl (Farewell) op. 62 no. 4, J. Brahms, The vocal parts and keyboard accompani­ work could make it rewarding for singers and Ed. Maynard Klein, Eng. Text M. Klein ment have been simplified to make this work audience alike. SATB acc. 12385.70. accessible to smaller church choirs and William J. Bullock This is a relatively easy four part Brahms younger choirs with an average accompanist. song biding farewell to summer. Set in a This arrangement has incorporated the ori­ FRED BOCK MUSIC COMPANY graceful 6/8, the moderate ranges and ginal trio sections into their respective choral strophic treatment (three verses) will make parts. Also, the customary number of mea­ Shepherd Carol, John Hess, SATB with teaching easy. A director of a high school sures have been reduced from 186-82 through piano, B-G0235, 60¢. choir will find this a good song to introduce deleting repetitive phrases and keyboard in­ An easy-flowing piece in a modified con­ hislher choir to lovely Brahms writing. The terludes. An organization with limited capa­ temporary ballad style. The rhythmic pat­ song would also work well with a madrigal bilities could be exposed to a choral master­ terns of the melody and the abundance of choir of any level. No. 12384 is another piece through this edition. seventh and ninth chords reinforce the ballad Brahms song also Ed. by Mr. Klein. John V. Sinclair style. Unison stanzas contrast with six-part, Tom Council Look To The Lord, Ronald Kauffman, SATB with Keyboard, CP 104, 65¢. The strophic form of this homophonic an­ them will present no problems to even small New recording by---­ church choirs. A contemporary text by Wilson Zaring and limited vocal ranges make America s foremost this anthem suitable for Youth or Adult Choirs. Careful voice leading by the com­ choral group ... poser will make this anthem sing well im­ mediately. Dale Peterson THE DALE WARLAND SINGERS SING NOEL CURTIS MUSIC PRESS Christmas Music of Daniel Pinkham Under the Stars, Ralph Strom, arr. Curt Hansen, SSA, accompanied, No. 8220, 65¢. Selections: Christmas Cantata-Company at the Creche-Fan fares- Christ- In the right setting for performance, this mas Eve-Evergreen-The King and the Shepherds-Come, Love We God- could be an effective piece for a treble group. To Think of Those Absent-Magnificat. This arrangement does little with the second record, 23~1916 $8.98 cassette, 23-1917 $8.98 sopranos and altos vocally to make the parts interesting, beyond the usual supporting roles. We've all seen this kind of writing be­ OTHER WARLAND RECORDS fore. However, the melody is lovely and com­ Americana-A Bit of Folk Choral Mosaic bined with the accompaniment in 6/8 rhythm one gets the floating feeling of a barcarolle Favorite tunes skillfully sung. Choral masterpieces from Bach to rather than a lullaby. The chromaticism, record, 23-0980 $8.98 Argento. reminiscent of the Thirties, adds to the im­ cassette,23-0981 $8.98 digital record, 23-1454 $8.98 pression. However, for those who still enjoy the less academic approach to choral usage, Carols of Christmas Echoes of Christmas this might be an interesting piece to attempt, digital record, 23-1317 $8.98 14 favorite carols. especially Ii girls trio or small group. cassette, 23-1318 $8.98 George Bragg digital record, 23-1621 $8.98

EDITIO MUSICA BUDAPEST 426 S 5TH ST • BOX 1209 • MPLS MN 55440 3224 BEVERLY BLVD· BOX 57974 • lA CA 90057 Requiem in C Minor, Michael Haydn, SATB 57 E MAIN ST • COLUMBUS OH 43215 Chorus and Soloists, Piano or Orchestra (full 2001 3RD AVE· SEATILE WA 98121 score and parts on rental), #3224; $12.50. Michael Haydn's Requiem is in a conven­ tional six movement layout: Requiem & DECEMBER 1982 Page 35 I Never Saw Another Butterfly, Joel M. Har­ tune Cotswold by Brent Smith is a straight Let God Be Praised and Glorified, John F. dyk, Four-Part Chorus with Oboe Ace., forward, predictable hymn-anthem. Wilson, SATB (div.) with keyboard, #A 542, #3242, $3.95. Although easy, the strong tune coupled with 65¢. Also available in TTBB, #A 543, 65¢. Joel Hardyk has written this work for four­ Routley's vigorous setting makes this an­ Big full-sounding (particularly at the begin­ part chorus of young voices. All four parts them effective for large or small church ning and the ending), exciting number, with are in the treble clef and the harmonies are choirs. The text by Charles Wesley is interesting and moving accompaniment. very dissonant and penetrating, demanding especially suited for Eastertide or funerals. Some unison and contrasting quiet sections. solid knowledge of parts. Hardyk's music is Dale Peterson Modern sounding harmonies - moderately set to five poems written by children who liv­ easy for a good average choir. The TTBB ar­ ed in a concentration camp during Hitler's They Shall Come, Maxine W. Posegate, rangement is excellent for a moderately good reign. When singers and audience alike un­ SATB, Piano (organ), A-5954, 60¢. men's choir. derstand what they are singing about, this The text is taken from St. Luke 13 and Jane Dilling Griffith work is compelling and begs intolerance of all Revelations 4, 5 and 7. Eventhough it is human suffering. SATB, there are passages in unison and two­ Beth Kossuth part much of the time. It should be a good H. W. GRAY PUBLICATIONS selection for the smaller or less advanced HAL LEONARD choir. It is approximately 2% minutes in The Stars Declare His Glory; Hal H. Hopson; duration. SATB; Organ; #GCMR 3450; 50¢. Happiness is When You Sing. Dick Averre, Edward Deckard This anthem features beginning and clos­ two equal parts, Keyboard 08599155.70. ing sections based upon polymetric composi­ A singable song for two equal parts from HINSHAW MUSIC INC. tional techniques. This rhythmic treatment Youth Sings Out series. Song could be used allows the music to have meaningful textual with almost any combination of voices, but Come As A Child, Mark Wilson, two-part emphasis. Although the harmonic treatment would be appealing to young girls or boys in choir with keyboard, HMG-427, 55¢. is basically chordal, and at times mildly dis­ elementary or middle school. The series in­ A very accessible piece for young voices sonant, there is one of two middle sections in cludes a page of teaching and performance with unison stanzas and two-part refrain. the composition that is a simple two-part suggestions including a section of staging Ranges and tessitura are moderate. The writ­ vocal fugue. Ranges are comfortable for all ideas. This song also has an optional au­ ing is simple and predictable. The poem, voices and the organ part could be easily dience participation. A teacher looking for based on the "forbid them not" incident from played by someone possessing slightly above material for this age group would do well to Christ's ministry, is appealing in the average skills. The text is not of a seasonal look at this song as well as songs in this children's choir context. nature. A choir with a limited number of sing­ series. ers might have difficulty in achieving the Tom Council Thou Wilt Keep Him in Perfect Peace, louder dynamic levels frequently required in Samuel Wesley, ed. Hinshaw, SATTB with this selection. Church choir directors will find HAROLD-FLAMMER organ, HMC-506, 65¢. this anthem versatile and readily usable Wesley's beautiful five-voice motet is throughout the church year. Risen with Christ, Arr. Eric Routley, SATB, presented in a clear, well-printed format; Rose Mary Owens A-5934, 60¢. albeit, without editorial notes, recognition of Eric Routley's arrangement of the hymn sources and identification of· editorial Come, Labor on, T. Tertius Noble, Roderick changes, a fault not present in some other Pierce Thompson (arr.), SAB, organ, Hinshaw printings of repertoire pieces. The #GCMR-3457; 60¢. International Understanding editorial dynamic markings are perhaps too Rev. Thompson has supplied vocal parts to profuse but are logical, given that the direc­ Dr. Noble's free organ accompaniment to the through Musle and the Arts tor understands the basic style. A worthy hymn tune Ora Labora. The arrangement concert piece with long flowing lines and consists of four verses, the first and fourth in beautifully rising phrases that climax well unison. The second verse is in two parts and fall gracefully away. The style is grateful (melody in the women, counterpoint in the for the individual voices, and choirs will en­ men) and the third verse in three parts joy the expressive possibilities of Wesley's (melody in the men, counterpoint of sixths modified stilo antico. and thirds in the sopranos and altos). The ter­ Dr. Dwight Gustafson tian harmony is rich (parallel diatonic· Musart International, Inc. seventh chords, altered chords, transient CONCERT TOURS ABROAD HOPE PUBLISHING COMPANY modulations) and the texture full. Except for PROGRAMS PLANNED BY AN one unnecessarily high alto measure and an This Is the Day/Think on These Things; John awkward diminished fifth in the bass, the INTERNATIONAL STAFF F. Wilson; SATB divisi; a capella; #A 523; vocal parts are not difficult. The substance of • Itinerary Design- 40¢. . the work is always in the organ part, how­ • Land Arrangements- hotels, homestays, Two separate titles are included in this oc­ ever. Church choir directors with enough transportation, city tours, tour gUides, concert tavo. Directors of good church choirs will men for only one part should consider this ar­ bookings and promotion, special services welcome these two short selections as possi­ rangement, if they are in need of a work • Transatlantic transportation- ble call to worship or introit material. This Is whose text exults the virtues of work. the Day is a setting of Psalm 118:24 with William J. Bullock Years of experience assures you of reliable, chordal building and modulations stronger professional service. We are interested in than the melodic treatment throughout the people and our aim is to provide an enriching vocal parts. Mezzo-soprano and baritone JENSON cultural experience. parts are present throughout so that a total ARANCA RIHA, European office of six separate choral parts are consistently I Really Like Being a Girl, Doug Nichol, Two­ EVA SZACIK BROWN, American office sung. The chOi':lal modulations are effective­ part with piano, #443-09012, 65¢. A cute, sassy, peppy piece that is a winner Clip and mail to: ly written and should sound quite difficult to the listener while remaining relatively easy for any young girl. It is a good song to help Musart International, Inc. for the choir to master. Think on These teach diction, being a patter song. It is the Things is based upon the scripture Phillip­ type of fun song that will soon appear on pro­ BOX 71, DURHAM, NH 03824 pians 4:8. Much of this piece is written for grams in most schools very shortly. (Doug NAME _ four parts although there is some divisi sing­ will enjoy his Rolls-Royce). You'll enjoy the ing indicated. Mr. Wilson retains his effec­ piece. It is half unison and half two-part. ADDRESS tive writing of chordal changes, yet in this "Boop Boop-i-doo." composition presents the changes within a TELEPHONE--'- _ :."!,1.odic framework. Church choir directors Spring Song, Linda Spevacek, SSA with will find several possibilities for performance piano and flute, #437-19013, 75¢. o Please send more information in these two short sacred compositions. This is an attractive setting for three-part o Please call me Rose Mary Owens women's chorus of an anonymous text that is Page 36 THE CHORAL JOURNAL occasionally found on plaques in gardens. It rather strophic in form and contain jovial In the beginning some of the sounds are speaks of "The kiss of the sun for pardon and "fa-la-la" sections which accentuate typically impressionistic. The composer uses con­ the songs of the birds for mirth. For one is satirical lyrics while the Ward number is trapuntal movement which produces certain nearer God's heart in a garden, than any­ basically through composed and has an dissonances that are eventually resolved. where else on earth." The flute part is an in­ allegorical text. Some of the contrapuntal movement is tegral part of the piece, but another instru­ These well edited pieces are designed for a related to chromaticism. A rising motive ment could be substituted. A gentle, rather mixed chorus with a male section of limited notated as a diminished seventh appears in rowa~ic piece. Good for teaching 8ve jumps range. All of the voice parts lie weg within the structure at the second appearance of the (E -E ) to your girls. . their respectiv.; ranges. (Sop. C1-E 2; Alto Agnus Dei. At miserere there is slightly bi­ Robert E. Snyder G-C2; Bari. B _D1) The performance notes tonal sound which eventually resolves as and suggested interpretive markings are before. Dona nobis is less dissonant, the Let's Start A Celebration, Mark Brymer, helpful and in accordance with performance technique is added tones, 6ths, 9ths and SATB, #445-12014, 95¢. practices of the musical era. 7ths. The composer has set the text with a A show choir piece which is well written This collection of madrigals provides an ex­ sincere awareness of the meaning. Difficult with a balance of unison and four parts to cellent way to acquaint a choir of limited re­ but probably worth the work. keep it interesting for performer and listener sources to quality musical literature. Wesley S. Coffman alike. The addition of drums, bass, guitar and John V. Sinclair keyboard will add sparkle. Unlike other LUDWIG MUSIC PUBLISHING CO. pieces from the same idiom, the words have LAWSON-GOULD substanance which reflecf thought on the The Star Spangled Banner, John Stafford composers part. This might be a good intro­ Deposuit Potentes (from Magnificat); Gian Smith, Arthur Frackenpohl (arr.), SATB ductory piece for a director who is consider­ Battista Pergolesi, Dolores Ambrister, arr; (div), Brass (3trp, 3trb) and keyboard (piano ing programming show choir tunes. Dura­ SSA; piano; #52175; 60¢. or organ), or Band and/or Orchestra, #L-1194 tion: 3 minutes. This arrangement is adapted from the cor­ (Brass), #QSM-34B (Band), #QSM-340 (Or­ responding movement from the SATB chestra); choral score - $1.00 (#L-1194). A Child Is Born, Alec Wilder/Thad Jones arr. Magnificat whose authorship is attributed This arrangement of our National Anthem by Jack Kunz, SATB, #407-03014, 75¢. by some to Pergolesi's teacher, Durante was written for and first performed at the Excepting the last period, this piece is basi­ (ChoralJouma~March, 1979, p. 18). The con­ 1980 Olympic Winter Games in Lake Placid, cally unison and has several embellished four trapuntal movement works well for women's New York. In B-flat major, the tune is tradi­ part chords. The ranges are good and the voices; all parts have a balanced amount of tionally harmonized. The work's impressive phrases are so divided as to avoid the prob­ melismatic movement and there is some effect is generated primarily by a full bodied lems of extended breathing. Ideally suited voice crossing. Ranges are a bit extreme with texture, especially at the .dose, rhythmic for the choir embarking is imminent. The a low f for the altos and a high a in the first brass fanfares, and sturdy choral voicing (oc­ text is secular. Also, there is an extended soprano part. The piece could be performed tave doubling of melodic lines, placement of solo for the first 30 measures (Tenor or by either high school or college groups. the melodic lines of some phrases in inner Soprano). A Child Is Born deserves a closer Mary C. Breden voices, wide spacings, and unisons). With the look by you. Duration: 2 minutes. flexibility of multiple accompaniments, this Gerald J. Luongo Agnus Dei (from Petite Messe Pour Notre is a welcome new alternative to more familiar Dame); Daniel Goss; SATB; a cappella; settings of the National Anthem. Go for It!; Joyce Eilers; 3-part mixed; key­ #52178; 60¢. William J. Bullock board; 402-07040; 75¢. I suppose someone, somewhere needs, or is looking for, another one of those "message" songs for their junior high youngsters. Well here is one that should fill the bill. It's snap­ NE py, with simple harmonies, an occasional four note chord and syncopation, and it reinforces the good old "American" way - work and for you'll achieve. If this is your meat, Joyce Eilers does it as well as anyone. LENT Music, I Like a Lot!; Theron Kirk, Frank Pooler edition; 3-part equal voices;' Piano; 427-13070; 75¢. CRUX FIDELIS Sop.lSATB & organ A cute canon-like piece for 3 equal voices Roger-Ducasse (362-03340) .55 from the pen of Theron Kirk is a nice way to introduce harmonies to a young group and a nice program piece as well. Each part has its JESU, JESU, GOD INCARNATE SATB a cap. own little melody which is then sung in dif­ Anton Bruckner/Marshall (332-40152) .50 ferent combinations till all combine for a nice bright homophonic ending. Ranges generally from C to C with extension up to E for the o BLESSED JESUS SATB a cap. ending make it within the young folks' capa­ Felice Anerio/Marshall (332-40151) .50 bilities. John P. Ribble SEE MY DARK EYES SATB a cap. KENDOR MUSIC, INC. Tomas Luis de Victoria/Payson (312-41372) .55 Three English Madrigals; ed. James Hudson, SAB, a cappella, #4054, 65¢. all with English and Latin texts Fa La, Now Weep Now Sing written by Thomas Weelkes, In Health And Ease Am I composed by John Ward, and the Heury For FREE examination copy, please indicate selection(s) and write Youll madrigal Whiles Joyful Springtime today on institutional letterhead to DEPT. 6CJ. Hurry, offer expires Lasteth are the three madrigals in this collec­ tion. January 31, 1983. The Weelkes and Youll madrigals are

FOR CHANGE OF ADDRESS Be sure to notify the Editor at: P.O. Box 5310, Lawton, OK 73504

DECEMBER 1982 Page 37 MAJETEK - CESKEHO HUDEBNIHO years. Characterized by solid texts and taste­ FONDU - Prague ful, practical arrangements, these works are applicable to situations with modest to am­ MUDROSLOVI, Petr Eben, composer, ple choral resources. While two numbers, SSAA, a cappella, #S-99; (words of wisdom). both folk tunes, are acappella, the others While this work has a 1975 publication have organ, piano, or keyboard accompani­ date, the fact that 7 years have elapsed ment. This book will provide through teach­ reaching America does nothing to diminish ing and performance opportunities for a bet­ the delightful quality of Eben's five­ ter understanding of choral styles. movement work. Each movement bears the James A. Brown, Jr. title of a dance: Preludio, Allemande, Sarabande, etc. and contains both McAFEE MUSIC CORPORATION Czechoslovakian and Latin texts (the latter making this·work very performable for those When in our music God is glorified, Don unfamiliar with eastern European McAfee, SATB, with handbells (4 octaves), languages). Eben has combined driving DMC 1204, 45¢. rhythmic patterns with lilting melodies to Don McAfee, who has a way of creating at­ achieve striking musical effects. Precision is tractive works that do not require expansive, required to allow choral lines to interact, yet difficult parts, has crafted a lovely unison a finesse found in experienced choirs is also composition for use with handbells. Four oc­ needed to achieve a satisfying performance. taves are required for performance or a key­ All movements contain light dissonances board instrument may be substituted. The which enrichen the harmonic texture and work loses something for this reviewer with­ challenge the proficient womens chorus. out the handbells however. McAfee uses text Ranges are quite managable and unusual by F. Pratt Green which makes the piece phrasings are marked by the composer. This usable as an anthem or an introit. The unison work is recommended as an interesting and melody is imitated between high and low challenging addition to repertoire for advanc­ voices to create the sound of a carillon ed high school and college womens choirs. change. A rhythmic alleluia chorus serves to The work has no published price and will like­ bring the anthem to a close. The closing ly take some time to obtain once ordered. chord opens into six parts for an exciting contrast. This anthem is recommended for an average choir of either adults or teenage TRI PISNICKY POD PANTOFLEM, Jiri youth. It is highly recommended that young Tem!, composer, SSATB, a cappella,#S-374; choirs have some baritone voices to provide (3 Ballads about henpecking). contrast when required in the score. Three movements whose styles vary Herbert A. Goodrich dramatically form ·the basis for this work. The first, Komu je najlepsi, uses a combina­ tion of triplet figures and multiple time NEIL A. KJOS MUSIC COMPANY signatures to produce a driving, resolute, and dynamically explosive introduction. Solid Psalm 150; Dale E. Ramsey; SATB; Accom­ harmonies coupled with homophonic writing panied (Organ); #ED. 5994; 70¢. and fortissimo endings require a large choir This inspiring anthem utilizes as its text with unforced power. The second movement, the Revised Standard Version of the Bible Dyz jsen sel z hospody, emulates a popular and would be an excellent selection for direc­ dance in 3/4. Male voices provide an underly­ tors of fine church choirs or colleges seeking ing rhythmic pattern for the dance tune, literature of a religious nature. The accom­ found first in the soprano, then passed paniment is full of running sixteenth notes, among the other voices while the rhythmic and the composer interweaves the chordal flow of the dance continues. Extremes in choral parts effectively with the accompani­ dynamics are again present as the movement ment. The lush harmonies found in the first concludes. The final rubato movement, Kdes section of choral singing are followed by sec­ byl, Tanko allows the conductor to 'play' tional solo lines in the middle portion of the • Musical Growth and with the choral textures. A contrasting cen­ music. Unison singing dominates the final Cultural Enrichment tral theme marked Maestoso and Dram­ section. Many composers treat this text in • Internetional Competitions matico is followed by a return to opening such a way that a musical climax is achieved and Festivals if Desired material. An accelerando leading to a triple through increasing dynamic levels. Mr. • Directors - FREE forte shout concludes the work. This piece is Ramsey uses an opposite approach for a excellent for a competent high school or col­ most effective ending. A skilled organist is required of this fine setting of a very popular Call or Write TODAY lege mixed choir seeking to show variety and power. The work is entirely in Psalm. Rose Mary Owens C-S TRAVEL SERVICE, INC. Czechoslovakian and will pose problems until 11Sll~V 8222 West 95th St. pronunciation is mastered. The score is in Hickory Hills, Illinois 60457 manuscript but very readable and should NOVELLO cause no difficulties. No price is listed on the (312) 737-0269 review score. Requiem, Herbert Howells, SATB unaccom­ Dr. Herbert A. Goodrich panied, #290491 08, (no price given.) Type of Group _ This work written in 1936 by Herbert Howells (b. 1892), an English composer, MARK FOSTER organist, and teacher, was not released for Name _ performance until 1980. Although the com­ Mark Foster Anthems, Book I, compiled by poser preferred the work to be performed un­ Address _ James McKelvy, mixed voices # MF 211, accompanied, Howells provided a limited $3.00. organ part for rehearsalusage which could be Clly _ Here is an excellent collection of anthems used in performance if absolutely necessary. Slale__Zlp, _ for the SATB church choir representing vir­ Salvator mundi, the first of six anthems in Phone _ tually every style from Baroque (Henry this work, has an English text. The D Purcell) to recent contemporary church Phyrgian opening moves through a G tonali­ music (Melody Schlittenhard). The ten selec­ ty before modulating to the concluding D tions are available separately and have been Major tonality. A slow and deliberate tempo released separately during the past twenty combined with soft and intense dynamics ef- Page 38 THE CHORAL JOURNAL fectively express the text. The primarily choir. The words are from the Revised Stan­ melody, and quasi-Baroque accompaniment. four-part choral texture contains some divisi dard Version of the Bible, and the composer Clever and interesting, but not difficult. Sim­ and double chorus sections. lias been rhythmically sensitive to textual ple style and one-octave range make it suit­ Anthem number two, Psalm 23, contains meanings in each of the selections. The organ able for young voices or church choirs of quartal and quintal harmonies. The tempo in accompaniment is not technically demand­ limited resources. this section is predominantly determined by ing, yet harmonically enhances the three-part Dr. Dwight Gustafson speech values. Four-part choral writing ex­ scoring. ists throughout this setting with the excep­ Rose Mary Owens SHAWNEE PRESS tion of the opeuing phrases being sung by soprano, alto, and tenor soloists. Ave Verum by Luigi Zannelli; SATB chorus The Requiem aetemam (1) section uses the THE SACRED MUSIC PRESS with orchestra bells and gong; piano accom­ traditional Latin text. This slow and soft paniment; A-1572; 55¢. piece for double choir has full, beautiful Praise the Lord! 0 Heavens, Adore Him, arr. This is a delightfully unusual setting of chords which freely move from major to Hal Hopson, two-part choir with keyboard. this traditional text on a thirteenth-century minor tonalities. Unison voices sing the early American Gregorian Chant melody. The work has Item number four, Psalm 121 contains the hYmn tune Holy Manna to a quasi-Baroque many fine moments and is usually tonal. It is most dynamic and rhythmic contrasts of the accompaniment. Stanza two, also unison, is performable by an upper-level high school six movements. The piece begins with: a fluid obviously a counter-melody, not as sturdy as choir as well as all college choirs. There are phrase sung by a baritone voice, then sud­ the well-known first stanza tune. Stanza occasional divisi in the voice parts and all of denly changes to a rhythmically exciting three combines the hYmn tune, counter- the ranges within comfortable singing range. homophonic scheme only to conclude with a flowing tenor solo. The fifth selection, Requiem aetemam (2), is similar yet not as predictable as the first Requiem aeternam setting. A mixture of modes (phrygian, dorian, and aeolian) evolves to a final D dominant key center. The power­ ful middle section dramatically accentuates "< the subdued opening and closing sections...... NAME OF YOUR CONCERT· The last anthem, I heard a voice from ..... S~ur Schodland Group Name" heaven, features baritone, tenor, and soprano "",i'" '-': - -.- ---:: -.--.-----.--.- solo phrases inter-weaving with homophonic ..." Your Name, Director ',,-.'.:, .. -.:".', '\ : " choral parts containing some divisi. A state­ ly aura is created through a slow and steady tempo combined with a strong and somber A text. The soft and solemn final statement, Dolby "Blessed are they which die in the Lord; they rest for their labours.", has a great impact after the tumultuous preceeding section. two mo~ed~ri~s The voice parts and their respective ranges informatio~ are very singable for mature voices. The com­ poser specifies that items, I, II, III, and VI may be performed separately as anthems or introits. This work is destined to become a o o standard in choral music literature. John V. Sinclair o o

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THE ROYAL SCHOOL OF CHURCH MUSIC Special Sale 30% Off Seasonal Sentences; Richard Shephard; (offer expires December 31, 1982) SAT/B; Organ; #A252; No price listed. Church musicians will want to give careful consideration to this series of short selec­ tions found under the title of· Seasonal Write or call for details Sentences. The separate titles are as follows: and our free brochure!! Advent, Christmas, Lent, Easter, Pentecost and Trinity. Tenor and bass parts are com­ bined into one male vocal line, and the ranges Alpha Recording Service I 122 South Lamar Ave. I Oxford, MS 38655 I (601) 236-2366 by both male and female parts are easily within the grasp of even the average church

DECEMBER 1982 Page 39 What I find unique about this work is how The music is expertly set and the soprano rhythm throughout. Suitable for concert by each voice line maintains its independent parts are backed up by the accompaniment. advanced high school or college choirs. gregorian-like style - the whole mixture of Alto part is not difficult. Six short songs Dr. Dwight Gustafson which is quite intrigueing. Recommended to follow one another with occasional piano in­ everyone. terludes to cover bits of brief informative TRIUNE MUSIC Dr. Peter E. Tiboris material. A march is the opener, followed by a waltz, a "Latin Beat," Blues, Country All My Heart This Night Rejoices; William The Army of Two; Book, music and lyrics by Music, and closes with a disco. It is a no­ Brown, SATB, unaccompanied, TUM 191, Hank Beebe, a one-act musical about -two nonsense set with both feet on the ground, 60¢. young girls in War of 1812. Score U-36, but hard to keep them still. Rhythmic, tune­ This is an appealing chorale-like setting of Choral Part U-37, (Accpt. Track Tape Cas­ ful. a text by Paul Gerhardt. The nuances found sette N.C. 15, $15.) 65 pp., 8'12 x 11 format, Carl J. Jensen in the text are amplified by the music and the stiff cover. Score, $5.95, Choral Part, $1.00. combination is a wiuning one. The A BB A For "live" performances for which no admis­ You Can Count on Me, Sheila Davis, arr. .form of the poetry is perfect for the lingering, sion is charged the purchase of 7 director's Jerry Nowak, two-part, piano, #EA-23, 65¢. near-nostalgic quality of the text and music. scores and one choral part for every two This piece has a singable melody, a whole­ William Brown has given the choralehymn a singers is required. For performances for pro­ some text, and is a good arrangement for warm and personal statement which is very fit or T.V. or radio apply to publisher for fees. beginning choirs for a variety of reasons. The satisfying in its feeling of completeness. Fun­ The score contains stage directions, costume voice leading is smooth for the lower part, damental in structure: easy in difficulty. suggestions, props list, dance suggestions presenting no difficult intervallic leaps and George Bragg and casting information for five principals contouring to a singable melodic shape. and chorus. There is enough variety to make it interest­ The story line is of two young girls who ing but there is enough identical material in ward off an incipient British attack by pre­ the return sections to make the learning pro­ tending to be leaders in a bandpracticingin a cess easier. The piano accompaniment gives garrison prior to marching out with a defend­ a nice combination of supporting the melody within a background pianistic texture. It ing battalion. Two instruments plus Alpha Recording Service 39 cacophonous percussion supposedly cause a would be fun to use this arrangement as a British withdrawal in the face of being thus duet in a high school variety show. Augsburg Music _. _ .. 35 outnumbered. Impossible? Of course, but all Paul K. Cappers musical comedy plots are impossible. Music Broadman Press 6,11 is about 44 pp., 4 lines to the page; speaking THEODORE PRESSER Broude Brothers _ 33 parts, 15 pp., triple spacing, perhaps 16 lines to the page - but short lines. Couple of male Cradle Song (from "Vespers"), lain Hamil­ Bucknell University 22 singers, but emphasis is on girls. Music un­ ton, SATB with piano, #312-41342, 55¢. adorned melody and forceful. A middle The poem by William Blake is set most Caterpillar Music " _. _.9 school could have a good time with this new sympathetically as a gentle lullaby. The Choralyre Company _ _.3 musical. three lower voices hum a mildly dissonant ac­ companiment for sopranos in the opening Columbia Pictures Publications . _.31 Good Time Music; Bob Mitchell, arr. by and closing stanzas. Unison tenors and Hawley Ades, for two equal voices, keyboard basses are given the tune on the middle stan­ CoS Travel Service _ 38 za, with a -quiet SSA accompaniment above. accpt., format 8'12 x 11, large type, 19 pp., Delta Airlines _ 8 $2.00. Title page calls it a montage of dif­ The piano introduction and postlude under­ ferent styles of music which can be per­ score the mood of the piece, and the accom­ EducationalTour Consultants 34 formed by a unison, two or three-part chorus. paniment gently propels the quasi-siciliano Florida Baptist Convention 30 Great American Choral Festival .. _C2 Ithaca College 22 George Bragg Edward Deckard Rose Mary Owens Langdon Barber Groves _ _24 2613 Benbrook Blvd. Associate Professor of Music Dept. of Music Ft. Wortb, Texas 76109 Northeast Louisiana Univ'. Soutbwest Missouri State Univ. Monroe Louisiana 71209 Springfield, Missouri 65802 MollardBatons _. _ .16 Mary C. Breden, Director Women's Chorus Herbert A. Goodrich Dale Peterson, Minister of Music Musart International, Inc.. _ 36 Arizona State Univ. Chairman, Performing Arts Auburn, First Baptist Tempe, Arizona 85287 Rocky Mountain High School P.O. Box 1191 Music Notes .. _ 14 Ft. Collins, Colorado Auburn, Alabama 36830 James Brown, Jr. Music Print Corp. _. _. _ 17 Director of Music Jane Dilling Griffith, Retired Jobn P. Ribhle, Vocal Director Briarwood Presbyterian Church Vocal Music Dept. Doyle High School New York Choral Society _ _.19 3001 U.s. Hwy. 280 South Lindsay Public Schools Knoxville, Tennessee 37920 Birmingham, Alabama 35243 Lindsay, Oklahoma 73052 Prince Publications 20 Jake Rittenhouse William J. Bullock Dr. Dwight Gustafson, Director Music Dept. Shannon Development _ 28 Director of Choral Activities University Concert Chorale Marcos de Niza High Scbool Columhus, College Bob Jones Univ. 6000 S. Lakesbore Drive Suzuki Corp. _. _ _ C3 Columbus, Georgia 31993 Greenville, South Carolina 29614 Tempe, Arizona 85283 Carl J. Jensen John V. Sinclair Theodore Presser .. _. _ _. _.37 Paul K. Cappers, Director 65 Vantage Road Director of Cboral Activities Southington Festival Choir Hamden, Connecticut 06514 East Texas Baptist College University of Minnesota 18 Southington, Connecticut 06489 Marshall, Texas 75670 Beth Kossuth, Director Westminster Choir College C4 Wesley S. Coffman, Dean Kleb Intermediate School Robert E. Snyder School of Music 16503 Steubner·Airline ·Director of Choral Activities Worms International Hardin-Simmons Univ. Spring, Texas 77373 Eastern Illinois Univ. Abilene, Texas 79698 Charleston, Illinois 61920 Symposium _ 14 Gerald Luongo Tom Council 2880 East Cheatnut Ave. Dr. Peter E. Tiboris Yale University (Institute of North Mesquite High School Vineland;New Jersey 08360 School of Music Sacred Music) _. _ _. _.12 Mesquite, Texas The University of Gregory K. Lyne Southwestern LouiSIana Dennis K. Cox Director of Choral Activities Lafayette, Louisiana Chairman of Choral Activities DePaul Univ. University of Maine·Orono 804 W. Belden Ave. Orono, Maine 04469 Chicago, "Illinois 60614

Page 40 THE CHORAL JOURNAL '~cco.pany Your Co.pany.:~ .t

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WE MAKE MEMORIES WITH MUSIC American Choral Directors Association Non-Profit Organization p.o. Box 5310 US Postage Lawton, Oklaho/H PAID Oklahoma City. Oklahoma Permit No. 188

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Announces 1982-83 Nationa! Auditions for Uncfer9radtulte & Gradtulte Study at Westminster

WASHINGTON, D.C. - December 3 BOSTON -February 26 FT. LAUDERDALE - January 12 NASHVILLE - March II ST. PETERSBURG - February 12 WASHINGTON, D.C. - March 12 SAN ANTONIO - February 12 ATLANTA- March 26 DALLAS - February 13 PRINCETON - April 9 DENVER - February 13

Degree Offerings ;,:' Bachelor of Music Church Music - Music Education - Performance with applied music instruction in Organ - Voice - Piano j Master of Music i Church Music - Music Education - Organ Performance Ir Voice Pedagogy and Performance - Choral Conducting ,"-.. ", Piano Pedagogy and Performance - Piano Accompanying and Coaching

Steven Kreinberg Director of Admissions For further information Westminster Choir College and to arrange a personal Hamilton Avenue & Walnut Lane interview/audition write: Princeton, New Jersey 08540 (609) 921-7144