M lUII7 j,Ji
J.p"'I~, 1007 "The Kingsway team including Paul Lam and Oliver Scofield combine all the elements needed for making the Olympic performance year a unique success. Paul Lam,a native of China, and Oliver Scofield, who organized international elements of the Sydney 2000 AI \'1_' ~, __ h"'" yQJI m.>ny 'I\il' 10 11<"1'"'' mV ,IC'I""tm':"t ()/ me a"'I'1I
l! IJJ~'''~' "I am very pleased to see that Kingsway International is arranging the 2008 Perform in Har SC'<'~MI'/C.""",.I mony with Olympic Spirit performance program to contribute to these celebrations in Beijing in the Countdown to the August 8 Opening Ceremony."
I(INGSWAY 3260 E. Woodmen Rd.#200, Colorado Springs, CO 80920-3587 Phone (719) 260-0200 IFax (719) 598-8674 INTERNATIONAL info@kingswayinternational,net Iwww.kingswayinternational.net August 2007 Vol. 48 • no 2
9 The Conductor's Voice: Flow and the Choral Experience 2 From the Executive Director by Patrick K. Freer 3 From the President 20 An Interview with Vance George 5 From the Editor 6 Letters to the Editol" by Susan Medley 53 Career Moves 27 Intrapersonal and Interpersonal Growth in the School Chorus 80 Advertisers Index by Elizabeth Cassidy Parker
35 Repertoire & Standards Articles The Choral journal is the official publication of The American Choral Directors Association (ACDA). ACDA Keeping the Choir in Show Choil" by Brian Lanier is a nonprofrt professional organization of choral direc Status and Competition: Perceptions of Women's Choirs by Lisa Fredenburgh tors from schools, colleges, and universities; community. church, and professional choral ensembles; and industry and institutional organizations. Choral journal circulation: 19,000.
Annual dues (includes subscription to the Choral journa0: Active $85, Industry $135, Institutional $1 10, Retired $45, and Student $35. One-year membership begins on date of dues acceptance. Library annual subscription rates: U.s. $45; Canada $50; Foreign Surface $53; Foreign Air $85. 43 Research Report by L. Brett Scott Single Copy $3; Back Issues $4. The Choral Music of Raymond Murray Schafer: Insights and Influences Permission is granted to all ACDA members to repro 55 Choral Music in the Junior High/Middle School by Marc L. Kaplan duce articles from the Choral journal for noncommercial, Inspiring Middle School Musicians: An Honest Approach educational purposes only. Nonmembers wishing to reproduce articles may request permission by writing 59 Student Times by Rebecca Cole to ACDA. The Choral journal is supported in part by a How to Build an Award-Winning Chapter grant from the National Endowment for the Arts, a fed eral agency. © 2007 by the American Choral Directors Association, 545 Couch Drive, OKe. Oklahoma 73102. 63 Book Reviews by Stephen Town Telephone: 405/232-8161. All rights reserved. 71 Choral Reviews by Lyn Schenbeck The Choraljournal (US ISSN 0009-5028) is issued month ly. Printed in the United States of America. Periodicals postage paid at OKe. Oklahoma, and additional mailing Cover art by Efrain Guerrero. graphic artist. Austin, Texas. office. POSTMASTER: Send address changes to Choral Inside art by Amy Thomas. journal, P.o. Box 2720, OKe. Oklahoma 73101-2720. Musical examples byTunesmith Music
President Hilary Apfelstadt The Ohio State University Executive 614/292-9926 (voice) htJItU £
States, including Carnegie Hall in NewYork City. They also performed at the Southern Division President national convention of the MusicTeachers National Association and state David Castleberry Marshall University conventions of the Oklahoma Music Educators Association. One of his 304/696-3 I27(voice)
National Chair Nancy Cox 580/482-2364 (voice); 580/482-1990 (fax) hrJfJUti: reside t
his day. In 2006, he sat in the fmnt mw for the Ohio State University Male Choirs Women's Glee Club pelformance at the Central Division Convention Frank Albinder Washington Men's Camerata in Chicago, and was effusive in his pl-aise afterwards. 2021986-5867
(Continued on page 4) Editorial Board
Editor Carroll Gonzo Fr~ tf: Executive University of St.Thomas 651/962-5832 (voice); 651/962-5876 (fax)
it r Indiana Choral Directors Association President - Mary Rinck-Evers 7746 North Michigan .Road Fairland, Indiana 46126 In This Issue Treasurer - Paula J. Alles 1471 Altmeyer Rd atrick Freer offers Choral Journal jaspel; IN 47546 readers the first in a three-part Iowa series of articles organized around Choral Directors Association President - Matt E. Huth quotations excerpted from 141 655 SE University interviews of well-known choral conduc Waukee, IA 50263 tors. Freer explains that David DeVenney, in Secretaryrrreasurer - joleen Nelson Woods 209 Oak Ridge Dr a "Research Report" column for the August MountVernon, IA 52314 Carroll Gonzo 2005 issue of the Choral Journal, listed a large American Choral Directors number of intel"views with American choral Association Of Minnesota conductors.These interviews were coded and analyzed using HyperRESEARCH President - judy Sagen 6200 I40th Street W qualitative analysis software. The results of this analysis wel-e widely dissemi Apple Valley, MN 55124 nated in a number of professional journals. Freer's first article outlines how Financial Chair - Charles Hellie these conductors spoke of components of the choral experience that result 306 North Elm in enjoyment, intrinsic motivation, and artistic satisfaction fOI" themselves and Sauk Centre, MN 56378 their choral singers. More to the point, this article includes the conductors' Montana Choral Directors Association discussions about an overview of flow theory, sense of control and autonomy, President - Janet Fox deep concentration, goal clarity, receiving immediate feedback, matched chal 702 N Ter.ry Avenue lenge and skill, loss of sense of time, the merging of action and awareness, and Hardin, MT 59034 disappearance and self-consciousness. li-easurer - Scott Corey 425 Grand Ave Susan Medley's article is an interview with Vance George, former conductor Billings, MT 591 0 I of the San Francisco Symphony Chorus (SFSq, who won four Grammy Awards Nebraska and an Emmy under his baton. The first part of the interview reveals George's Choral Directors Association President ~ Rhonda Fuelberth early years as a conductor and public school teachel~ His teaching career then 10.8 Westbrook Music Building takes him to India, Canada, and to a junior high school in Indiana. George identi Lincoln, NE 68588 fies some of the key musicians in the incipient musical stages of his life who were Treasul-er -Tamara Loftis to have a lifelong influence on the trajectory of his extl"aordinary career. The 25153 Co Rd 28 Arlington, NE 68002 remainder of the interview centers around George's tenure with the SFSC, their repertoire and concert preparation and performances, all of which is punctuated Ohio Choral Directors Association with George's insights, observations, and revelations about the chorus and his President - Gayle Walker 573 Peach Street musical journey with the choir over twenty-four seasons. Westerville, OH 43082 Experienced conductors intuitively have observed and know a great deal Treasurer - Kent Vandock about the intrapersonal and interpersonal growth of their choirs. This social 8192 County Road D phenomenon is a key ingredient to the musical success of a choral program Delta, OH 43515 and the individual singers in it. Elizabeth Parker; in her article, notes that choral Texas students constantly gather information about themselves and their social rela Choral Directors Association President - Robert Horton tionships. Knowing of this ongoing process, Parker focuses on two areas of this . 610 I Research Forest social reality: the student's own process of maturation or intrapersonal growth, The Woodlands,TX 77381 and the progress of the student's social relationships, i.e., interpersonal growth. Treasurer -To Be Filled Her narrative is guided by the writing and wisdom of a number of psychologists: Daniel Goleman, Mihaly Csikszentmihalyi, Reed Larson, Carl Rogers, Howard Wisconsin Choral Directors Association Gardner; and Abraham Maslow. Parker avers that the teacher/conductor can President - James Kinchen, Jr. . P.o.Box81471 incorporate aspects of these psychologists'views into the day-to-day intraper Racine,W153408 sonal and interpersonal evolution of their students. li-easurer - Jim Aagaard UW-Richland 1200 Highway 14 West Richland Center,W153581 Dear Editor: and other texts in the Requiem according ing hoops for them to do us the favor of to their own beliefs. Howevet~ we have singing with us certainly does not aid our Micah Hunter's response in the June solid, concrete evidence from Brahms's cause. I have been involved with com- 2007 ChorolJouma/to Michael Moore'sApril own written correspondence with Carl munity choruses for over half a century, 2007 q article "Brahms's A German Re- Martin Reinthalet~ the organist at Bremen and have observed the ascendency and -c _ quiem and the Matter ofAesthetic Meaning" Cathedral who prepared the chorus and demise of numbers of choruses. I can tell ':'c ---- Gite.s-Ar:tRuf".~.-AQell~-W5~-0ook=TQlks-with---0FEhestFa-f0r:4Re~f1t"-st~petfGf?lT-la,"G€-of~tR~tOU tbis, un less_y:ou_are the only--game in , Great Composers as evidence of Brahms Requiem, that Brahms explicitly resisted town, if you place too many obstacles in having written his Requiem fi"om an overtly pressure to include the name of Christ and front of singers who wish to be in your Christian point of view. Having written more overtly Christian references in the chorus, you have found the formula for about this issue as well in the context of a texts he chose. Among other factors that demise. March 2007 q article "Hope in the Unifying may have motivated this impulse toward Language of Music -Teaching Sacred Music universality, Brahms lived -in an overtly Adrian G. Horn in a Secular Context;' I believe this assertion anti-Semitic Viennese culture, where some Victor, New York and its highly questionable source must not of his closest associates were Jewish. His go unchallenged. apparent desire to write a human requiem As discussed by Malcolm McDonald in that could speak more inclusively to those Dear Editor, his 2002 Oxford Moster Musician Series outside of Christian orthodoxy should be biography of Brahms (in an extended acknowledged and respected. As I read the article by Duane Cottrell footnote on page 396), there are compel- As I tried to suggest in an earliet" essay (Voice Science in the Vocal Rehearsal, May ling reasons why Arthur Abell's book of on this topic, cited above, Brahms can be 2007), I was reminded that one of the recollections of "intimate conversations" an example to us of how some ofthe most best resources for choral directors is no with Brahms, Puccini, Strauss, and others profoundly spiritual music was written by longer in print. Artistic Choral Singing by should be considered highly suspect. Mc- composers who did not identify with or Harry Robert Wilson was the "bible" for Donald writes that while Abell, a German- participate in the explicit religiosity of their those who pursued graduated degrees American violinist, probably did have some time. This is not at all to claim that religious at Teachers College, Columbia University pet"sonal contact with Brahms, the verbatim motivation was not a factor in their work, or fifty years ago. Wilson, whom I believe stenographer's transcript upon which the that they were not responding to the theo- was a founder of ACDA. pioneered book is supposedly based' has yet to be logical implications of the sacred texts they group choral techniques that met all the produced. And much of the evangelical, set to music. But it is to say that a complete concerns about resonance expressed by spiritualist language attributed to Brahms in understanding of these works cannot be Cottrell. One quote proves the point: the conversation is unlike anything found in confined within the narrow parameters of a the composer's many extant letters, which particular religious orthodoxy. The music of Any attempt to develop tend to be devoid of explicitly religious religiously independent composers such as resonance by direct control references. Brahms should be cause for celebration and invariably brings restriction McDonald suggests that the language gratitude by people from a diverse range of and tension of the throat of Abell's Talks is probably closer to the religious and non-religious perspectives.We muscles, with the resultant beliefs of Abell, who published the alleged can find in this music not only the challenge faulty production. Do not direct conversation over fifty years after the and inspiration our personal beliefs need to the voice on the teeth, in the fact, supposedly at Brahms insistence. The develop and grow, but the possibility for a nose, or in the 'masque'. It is the conversations with the other composers broader unity that continues to elude us at vibrating [column of air] which in the book are similar in their composers' great cost. gives resonance to the voice, religious perspectives, though not even a not the sense of vibration in stenographer's record is claimed for these. Thomas Lloyd the teeth, muscle tissue, or bone In sum, in more than fifty years since its Haverford, Pennsylvania tissue. ___ p-ublication, corroborating evidence has ~--- yet to appear in support of the veracity of Dear Editor, Arthur Abell's conversations with famous Baltimore, Maryland composers. Thank you Jo Ann Miller for your insights Certainly the texts Brahms chose for about attendance policies as stated in the his Requiem do include several passages Repertoire and Standards section under fi"om the New Testament, and Mr. Hunter Community Choirs. We too often forget or anyone else is free to interpret these that our singers have other lives, and plac-
6 Chot"al Journal • August 2007 ------
n a "Research Report" column for the August 2.005 Overview of Flow Theory issue of the Choral Journal, David DeVenney listed a Mihalyi Csikszentimihalyi has worked for several decades large number of interviews with American choral to define components of optimal experiences, and the ~. conductors. I DeVenney compiled this list "in the I"esulting theory has come to be known as flow theory.3 In hope that the thoughts expressed by these prominent 1994, Csikszentmihalyi outlined the relationship between American choral conductol"s might assist all of us in the choral music and flow theory in an address to a convention shal"ed pursuit of chol"al excellence."l Just weeks earlier; a of the American Choral Directors Association.4 Subsequent colleague and I had presented a session fOI" a conference research in both music education and choral music supports of choral conductol"s in which we examined the I"esearch the application of flow theory to the choral experience.s base conceming"flow experience" and choral music, using The attitudes, behaviors, musical values, and educational the tel"ms defined by Mihalyi Csikszentmihalyi (pronounced philosophies of conductors can greatly influence the experi Me-high Chick-sent-me-high) and others. At that confel" ences of singers in their ensembles.6 Choral singers report ence, an ensuing discussion resulted in the questions, "Have that their choral music experiences provide valuable op choral conductors described these flow experiences using portunities to develop their musical skills, heighten spiritual discipline-specific terms?" and "How do choral conductors expl"ession, communicate with an audience, collaborate with describe flow experience for themselves and for their others, and achieve artistic growth? On occasion, singers choristers?' , sense that their moment-to-moment involvement moves DeVenney's list, extended to include volume 46 of the beyond the mundane and becomes an optimal experi Choral Journal, served as a vehicle for examining potential ence-an experience where everything seems to be "in answel"S to these questions. A total of 141 interviews were flow." These experiences are characterized by high levels coded and analyzed using HyperRESEARCH qualitative of perceived challenge and perceived skill, a clarity of goals, analysis software. Included in the analysis were interviews deep personal involvement and concentration, self-directed with individual conductors, articles containing interviews ness, self-awareness, the receiving of immediate feedback, with multiple conductors, and two books containing in and a lack of awareness conceming time constraints. When tel"views with many conductors. Articles appeared in the in these situations, people experience a state of flow while Choral Journal, American Choral Review, American Organist, the loss of these conditions disrupts the flow experience. and a Journal of the Conductor's Guild. The remainder of this article explores how conductors have This article is the first in a three-part series of articles variously described these components as they occur within organized around quotations excerpted from these inter the rehearsal and performance of choral music. Conductors views. Because the excerpts only provide brief glimpses are identified within the text or in parentheses following into the thoughts of these conductors, I"eadel"s al"e highly the quotations. encouraged to seek the original, full-length intel"views.This first article outlines how these conductors spoke of com ponents of the choral experience that result in enjoyment, intrinsic motivation, and artistic satisfaction for themselves Sense of Control and Autonomy and their choristers. The second article contains two sec tions: quotations describing the conductol"s' personal expe Voices cannot be violated, individual spil"its rience during rehearsal and performance; and quotations cannot be crushed, and the composer cannot describing their perceptions of the singer's experience and get lost. Communication from the composer how those perceptions can influence decisions conceming and the score through the conductor to pedagogy and rehearsal technique. Finally, the third article the musicians and then from the musicians centers on how these conductors have described their outward is the ultimate standard. work, including issues of excellence, craft, career; leadership, 8 pedagogy, and wishes for the profession. -Ann Howard Jones Conductors in these interviews repeatedly stressed the importance of ensuring that individual singers were equipped with the skills and capabilities necessary for suc Patrick K. Freer is head of the music education division in the School of Music at Georgia State University. He is the author of cessful rehearsal and performance experiences. In the quote the DVD series "Success for Adolescent Singers: Unlocking the above,Jones reflects the complex web of relationships that Potential in Middle School Choirs."
Chol"al Journal •. August 2007 9 Decker said that when they leave, singers a passion to teach" Oameson Marvin).12 judgments. And yet. there are works The awareness of one's own strengths and that I might be working on for the Should be more sensitive to all weaknesses "is imperative if one ultimately fortieth or fiftieth time, and I still see music than they were when they is going to succeed. The conductor has to new illuminations in them. came to me.They should develop a find out who he or she is, accept himself -Michael Dean Lamkin 16 willingness and an ability to express or herself. and then not try to be anyone themselves, and they should improve else" (Daniel Moe).13 For vocally as well. They should feel Said another way, "the older you get, the that they are able to express their When people ... come to grips more you learn it is the creativity and the own individuality as well as that of with those qualities which identifY ability to trust yourself that lead your stu the group. Individuals should learn them as being uniquely theirs and dents along the way" Oohn Cooksey).17 to appreciate each other, and they overcome the fears and traumas of In the end,
their association with the choir? well on the road to being successful Every conductor's choir is a symbol conductors. of what that conductor is as a human It is: being. It's a mirrol~ And I suppose -Robert Page 14 that for me, also a composer, a kind the sharing, the cooperative of exuberance, a kind of quietly venture in great art [that] helps to This becomes a central focus of many aggressive rhythmic definition is a make the singers more alive, more conductors because "to sense the depth very important aspect of my musical sensitive, and more perceptive as of our inner person is vital to our ability personality. So this tends to be the human beings with an awareness of to sense the unique 'special world' of a thing that my choir does best. something beyond themselves. composition" (Weston Noble).IS -Daniel Moe l8 Several conductors commented about -Kenneth Jennings I 0 their growth toward musical independence Lois Wells commented that her choirs in terms of age. The relationship of the individual singer were not equally comfortable with evel"y style of music "because they are limited by to the collective art form results in "our I think the most important element me, the conductor. Generally, most choirs responsibility to help develop the hu that impacts a conductor is the man being while we are helping to de conductor's age. As the conductor's suffer that limitation today, even many of velop the vocal and musical abilities of the age changes, thel"e are different our finer choirs." 19 individual"(Lloyd Pfautsch).11 ways of thinking about the music. Conductors must recognize that the At the same time, conductors need I see that more and more. I also to sense that they, too, are fully capable become impatient with works that Words and body language that of satisfYing the demands of rehearsals, at one time I thought might have [they] use to communicate ... during repertoire, and performances. This growth been fine works but on my tenth rehearsals and performances will process never stops, beginning with "humil or twelfth time through them, I am ultimately affect the sound. A subtle ity, an ability to be objective about yourself. beginning to wonder about their example might be asking for a full a capacity to grow, a curiosity to learn, and value. I begin to make my own value rather than loud sound. If I ask for a loud dynamic, it might result in a harsh sound that would not be desirable. Gestures that I use with the choir must always be musical Cheryl Dupont, Artistic Director and not mechanical.
20 Paul Caldwell, Guest Artist -Dale Warland
sponsored by the The relationship between conductor New Orleans Children's Chorus behaviors and singer autonomy became powerfully evident to Howard Swan when ,-__o"";o:-,:p_e-,n,-to-;,-al_1 c:-:-h_il,d,re,n,'s_c,h-;o_ir-;s,_h...;i9::h,S,.-:C_h_o_o___ I_ t __ r __ e ___b_l_e __ c~h_o__ ir __s~, ~I ___h ____e~f, ____o ____ u~nd himself unable to sing:
What was I to do? I couldn't use my For more information: • application deadline October 1 own voice to illustrate. I had to find New Orleans Children'S Chorus 3300 N. Causeway Blvd., Ste. 444 • performance in St. Louis Cathedral words to describe desired results. Metairie, LA 70002 This led to me watching responses (504) 833-0575 / (504) 2(4-9943 hotel near the historic French Quarter [email protected] the students' response to what I was www.neworleanschildrenschorus.org saying-particularly shown by their
10 Choral Journal • August 2007 eyes. When those eyes began to Deep Concentration what ultimately engages the singers glaze, I knew I was not understood. and brings a deeper concentration This appmach became extended Intensity is the intertwined focus that inevitably facilitates the learning to speech-how did others talk? of every singer and the conductor pm cess. Did they speak too rapidly or too working together. Their joint -Joseph Flummelfelt26 slowly? Everything they would do concentration is so intense, solidified, physically-their walk, stance, smile, and directed that they al"e only fj"own-were these a part of their thinking one thing: sing what they The teaching of technical skills pmmotes personality? Gradually I began to are singing the very best that it can concentration as "it is only aftel-techniques understand that observing in this be sung, second after second, minute have been mastel"ed that the singel- can way and then going fOlward with after minute, hour after hour until be free to become totally involved in the such knowledge became a great tool the rehearsal or concel"t is over pl-imary goal of communicating thmugh for my own teaching, and I could set -every note, syllable, word, and music-making" (Lara Hoggard)P Robert up rehearsals to match the mood or phrase. Shaw's legendal-y attention to I-hythm change things for all who took part came fi-om a belief that concentl-ation in the rehearsal.As I learned to make -Donald Neuen 25 could facilitate a sense of ensemble in his these observations my teaching and choil-s. He explained sevel-al assumptions conducting improved greatly. The focus and concentl-ation neces that gmunded this belief, the fil-st being: sary fOI" sustained chol-al worl< can be -Howard Swan 21 pmmoted fmm the first encountel- with If one wanted to 'communicate,' one a work. had to establish a 'community' in the Ultimately, the goal is that singers pelforming gmup. Others came become responsible for their own Whatever the technical appmach we fj"om the understanding that music musicality and the pmper use of choose to intmduce a work, I always was uniquely a time-art distinct the voice in ensemble or solo work. try to make music because this is fmm the space-al"ts of SCUlpture They must understand how unique their voices al"e.They have to decide individually which areas they need to impmve ... People have a much higher success rate with anything if they realize their own pmgress and "The Art ofPeljorl11ance - gmwth. The Power ofEducation n -Nancy Telfer22
To promote a sense of autonomy for indi-. vidual singers within the ensemble, Robert Page made a point of having evel-Y singer sing an octave at each I-eheal-sal, stating, "this refreshes the students' minds that they are not anonymous in the gmup. When he knows he is needed and he counts in the gmup, he sings better."23 Weston Noble similarly places his singers into a "quartet formation," then asks
If each singer is comfortable with the horizontal arrangement as well ... The comfort, then, not only helps the choir but also the individuals in their own personal solo/vocal Iris Derke Jonathan Griffith development. Each singer practices General Director Artistic Director feeling right about what he 01" she is doing. 877.MYDCINY or 646.216.8419 250 West 57th Street, Suite 1400 24 -Weston Noble New York, NY 10107 E-Mail Inquiries: [email protected] Visit www.DCINY.org for continual updates.
Choral Journal • August 2007 II and painting. Therefore, one of the listen deeply. You conduct with your goal of musical performance is omnipres principal disciplines had to be the ears. It's all about listening; the total ent, yet that goal is only achievable when organization of the elements of awareness of sound, line, and the conductors provide an appropriate se time. It also became obvious to me whole range of color that comes quence of increasingly complex learning as I began to work with professional from understanding how the text goals and opportunities. Sometimes goals 3o and nonprofessional choruses symbolizes the music. arise spontaneously: that almost all of the problems of enunciation were cured by an All of a sudden, right on the podium, attention to metric precision, and These moments of deep concentration I find something that teaches, that most intonation problems were and connection with the composer's voice makes the light come on in the vastly improved by having people result in "a concentrated energy, a drive minds of the chorus. And I'm always arrive at the same moment of music beautifully disciplined and with enormous looking for that. If you have that --=--Simult~meously. 28i----~~~~-=cb=afla~n-c-e~ofneart a.namina"-(Roger Wag-' basic' thing, thatkfl·owfedge-on~io=w=·--- ner).31 something works and how to teach, Yet, several conductors voiced concern you can always improvise on it. I with concentrating too intently on techni don't try to be different for the sake cal precision. Joseph Flummerfelt stated, of being different. I try to be different Goal Clarity for the sake of growth; to figure out, I am also concerned that there's 'How can it be more beautiful?' a kind of going for perfection at I have learned so much from my 33 the expense of spontaneity. We've students. When you have to teach -Margaret Hillis overemphasized the cognitive and someone else, it is a constant give 29 disconnected from the intuitive. and take. In the attempt to say For goals to be clear in the minds of instructive things, I had to clarify singers, conductors often need to verbal He added that for conductors: them. You have to be very specific. ize their thoughts for the entire group to In this manner; it keeps you fresh in hear. Sally Herman commented "it's so Everything begins with completely the quest for the right answers. The crucial for the teacher to narrow his or internalizing the score. We also best teachers are the performers . her concepts, to simplify directives and continually talk about finding a who are constantly learning. drill them over and over. You have to deep connection to the composer's continually remind the students of what voice. This starts with breath as 32 -Abraham Kaplan you want before they understand and an opening, a total awareness, and apply it regularly."34 Helen Kemp related vulnerability that allows one to During choral rehearsals, the primary the clarity of goals to the interest level of young singers:
The way a song is presented is in exact proportion to the children's interest and enthusiasm. If you believe in the music-if you have studied it and know what you/want to do with it-if you have a plan that considers where the children are in terms of their background and culture, and attempt to reach them in terms they can understand and relate to-if you are excited yourself about what you are doing-and if you make your presentation seem fresh and spontaneous, you will get the attention of the children. 35
Robert Shaw added:
It seems sort of silly to say, 'Blend, you rascals: because nothing will ever result from that. I think the conductor has to be able to find out
12 Choral Journal • August 2007 what's wrong. Perhaps the color is because you will be saying the wrong, perhaps the vowel is wrong, wrong thing to the people with the perhaps the pitch is wrong. He or ' even sound. 'Performance Tours, she should be able to say to the singer specifically, 'Your problem is in -Richard Westenberg39 Bands, Choirs, intonation;"Your problem is in color;' 'Your problem is in voweling;' 'Your To facilitate the feedback singers ,Orchestras problem is too much vibrato or not receive during ensemble music-making ARTS BUREAU enough;' or 'Your problem is one experiences, some directors place: of these things: rather than to just FOR THE shout, 'Blend!' So, blend is a result, Confident, experienced singers CONTINENTS not a thing of itself. It's a result of next to at least one other confident EXPERIENCE THE MUSIC the right pitch at the right time on singer [to help] more advanced • Performances arranged in the right dynamic level with the right students challenge one another; feel Great Britain, Ireland, Europe, 36 North America, Australia, vowel. less isolated when projecting their New Zealand a Asia voices, and build friendships with • Experienced tour managers like-minded singers. Seating in this • Sightseeing and fun Receiving of Immediate Feedback manner is one simple strategy that or include any music festival keeps advanced students motivated Such as: Music and Choral Festivals, Vienna When I work with young people, it is and inspired, which in turn aids February 2S-29, May 22-23, June 27-30, not easy for me to conceal the fact retention in choir from year to July 12-15, 2008' June 26-29, July 11-14, 2009 that I love them. They soon know year. ,:'; how I feel and whether or not they Salzburg Music Festivals, Austria 40 June 2S-July I,July 3-6, July 10-14, 200S are meeting my expectations -Julia Shaw July 2-5,July 9-13,2009
-Lois Wells3? No matter the situation, however; "effec Cuba Connection, Anytime except August tive teaching incorporates incidents which Another characteristic of flow expe arise" Oean Ashworth Bartle)41 into the ntp'n~tlnn~1 Society for Music Education Bologna, Italy (Choir.;, bands & orchestras) riences is that feedback is immediate. rehearsal, and conductors need to be -26, 200S Conductors in flow-conducive rehearsals ready to provide the feedback necessary frequently invite singers to provide feed for singers to learn from those moments. Niagara International Music Festival (Choir.;, bands & orchestras) July 9-13, 200S • July 7-10, 2009 back to themselves and to others. When 'Conductor. Francisco Nunez the conductor provides verbal reinforce ment, the feedback needs to be specific ABC Toronto International Choral Festival and related to the goal. Matched Challenge and Skill M;trch 27-30, 200S • Conductor: Stephen Hatfield Harrogate (U.K.J International Youth Music Festival Singers of all ages have difficulty Paramount to our success as .,,': March 21-2S, 200S knowing when they sound good, conductors is assessing the level of because it sounds so different inside the singers we are standing in front ,hltermitional Youth Festival, Bavaria the head. So, they need someone to of and choosing the literature wisely. july 17'24, 200S tell them when their tone improves. Success is based upon how well the Llangollen International Music Eisteddfod, Wales Then they memorize the sound and conductors have not only prepared JulyS:13,200S the physical sensation ... Each week the ensemble, but also how well the singers fill in a self-assessment they have chosen and programmed Aberdeen International Youth Festival, Scotland chart, so they are always aware of the repertoire for the ensemble. , ,July 30-August9, 200S • July 31-AugustlO, 2009 their progress. -Jo-Michael Scheibe42 8 -Nancy Telfer3 Lois Harper, BA, M.Ed, ARCT Repertoire selection is one of the i Arts Bureau for the Continents The specificity of a conductor's feedback central tasks for choral directors, and 350 Sparks Street - Suite 207 becomes especially important on such conductors in these interviews frequently Ottawa, Ontario, Canada K1 R7S8 occasions as: spoke about matching the requirements of TF: 800-267-8526 the repertoire to the needs of the choral Tel: 613-234-3360 When you have one voice in a ensemble. This match between challenge Fax: 613-236-2636 section with an intensive vibrato and and skill is a hallmark of flow experience. E-mail: [email protected] six others with reasonable vibrato, Over time, however. challenges cease to Web: www.abc.ca you cannot look at that section and be challenging, and conductors need to say to them, 'straighten the tone: introduce new levels of challenge to match
Choral Journal • August 2007 13 the heightened skill levels of their singers. on the basis of the choir personnel nical demands of the music you choose, 46 According to Csikszentmihalyi's research, after I audition. whether there is a fit between what they the I"elationship between the challenge of a can do vocally and what they can do in situation and an individual's skills in meeting Hugh Sandel"s agreed, saying, "first of terms of their range and register adjust that challenge has foul" primary designa all, I quickly evaluate the personnel for ments. [Also] consider whether they can tions: flow-both challenge and skill levels which I am going to choose, and I think I"elate to this music emotionally" Uohn 5 are high, apathy-challenge levels are low, of music which will stretch the singers Cooksey). I Rodney Eichenberger ad but so are the skill levels, anxiety-level musically and vocally and yet not be out dressed the need to cal"efully yet continu of challenge exceeds the skill level, and of reach." 47 When asked how to describe ously raise the level of challenge when he boredom-skill levels are higher than the the repertoire he chose for specific cho said,"1 believe it is important to select a fair challenge being presented.43 ruses, Erich Leinsdorf stated "They should amount of literature that requires some ---A-pFinGipal-obj@Gtiv@-foI2-I+IGst=G\;)opal be exactly- right for them."48 stretching bexond the 12 resent It=vel of per- ~-- directol"s "would be to provide the oppor A conductor's sensitivities need to formance in orderto give it a proper read- tunity for interested students to sing and incorporate the adage that "musical skills ing. I think they call that 'education.' ,,52 to grow above their present level ... It's don't seem to go by age. You can't say "Repertoire involves assessments of important to strive for excellence with a that just because someone is six years vocal capabilities of the choir, desired sense of challenge, accomplishment, pride, old and in first grade he or she should be musical development, past experience and a good feeling about the effort and able to do a certain thing in singing. It's as with repertoire (new challenges are im the result" (Douglas McEwen).44 When if each child has his or her own schedule portant) , and the potential of selections choosing repertoire to provide these of development"(Helen l March 13-15, 2008 Ultimately. the match between chal --DC lenge and sl 14 Choral Journal • August 2007 Loss of Sense of Time a conductor directly relate to "one's ability A conductor should be sure that to organize one's time and that of the sing every note he or she conducts, every phrase, every bar, is the most Music has the capacity to inspire, ers. Otherwise, one will never accomplish exciting moment of music in the which allows the peliormer and all that one wants to do. Eventually, people history of the world. I hear pieces listener alike to momentarily join will not respect a pel-son who consistently being performed, and they sound together in a mutual communion of wastes their time."58 quite well. It's all very pleasant, spirit that transcends everyday life but they don't really attain great experiences. From the point of view of rehearsing, I think the hardest thing heights. Why do them? There are so few minutes in life when we are -:Jameson Marvin.57 for [conducting students] to do is making the most of time. I say to performing music. Let's do the best music there is! 60 One of the most frequently cited cha,- them, 'What's the most important acteristics of flow experiences is the sense instrument in the room?' After they name all their favorite instruments, I that time stands still. Many musicians ab Action and Awareness Merge sorbed in the pmcess of intense rehearsal point to the clock. That determines or performance can recall instances when everything. Just the sense of keeping large blocks of time seemed to disappear one eye on the clock while still without notice. Though this is a fairly fre doing thorough work-that's the It's not about us; it's about helping singers to have the courage to be quent occurrence for musicians, the analy hardest thing. fully in the moment of the sound. sis of these interviews with conductors did -Brock McElheran59 not result in many quotations addressing -Joseph Flummelielt6 ' this phenomenon. This may be because Even when working within a schedule, conductors are forced to focus on the McElheran added, Flow experience requires that indi clock, particularly during ,-ehearsals. How viduals simultaneously process information ard Swan stated that the musical tasks of "awareness" and respond to that informa- That's why we're America's leading performance apparel manufacturer. • There's no minimum purchase. • You can get free samples before you buy! • Your satisfaction is always guaranteed. Call us now! Order our new 84 page catalog. It's free. You'll find a design for every school budget at top value prices. Call 1.800.239.6294 See our entire catalog on our website. www.southeastern-performance-apparel.com Performance is our promise. Choral Journal • August 2.007 15 tion "action". For example, conductors achieving of emotion in the tone tion and awareness begins as: in flow-producing rehearsals are able to of a choral ensemble. They also address the needs of individual singers help us to discover the spirit of The singer must first relate to and while leading the full ensemble. Similarly, the composition-the key to the react to the poetry, then examine choristers must cognitively interact with creation and communication of the how the composer reacts to the large amounts of incoming information essence of that particular piece of poetry, and then taste and test 63 in the same moment that they physically music. the result of these combinations. produce sounds responsive to that in- Adapting all of this information and formation. Especially with inexperienced Alice Parker commented about the listen these decisions to the form of the choirs, this process needs to be taught as ing skills that must be employed in the music, to the voice itself, and then singers al"e expected to "change their mind midst of all the other cognitive and vocal to the ensemble is a monumental [email protected]_come-ir:lto_choir;..suddeoly-__sl_ 16 Choral Journal • August 2007 with other people, one becomes happens in choral groups is that Howard Jones).72 a part of a group so that what is people of all kinds and stations and Many of the intel-viewed conductors produced is literally greater than the abilities can get a very real sense of spoke about the enlargement of their sum of all the individual efforts. It's a togetherness, and common concern, own artistic capabilities as a result of cho rather great thing.You can't define it and accomplishment. In a choral ral music's collaborative nature. Weston very well for other people; they have context this might go beyond what Noble noted, "were I to tell the choir all to experience it to know what it is. they might be likely to do otherwise about the music, the singers would have .... From that standpoint, it's more limited involvement. However; if the choir 66 -Howard Swan important that people make music members discover insights about the mu than that they listen to it. sic, the act of singing then has much greater meaning. In addition, the singers can give 69 -Richard Cox the conductor new insights never thought Disappearance of of in score study."73 Others related they Self-Consciousness Conductors must balance the needs of were personally drawn to the reciprocal the ensemble versus the needs of the process of ensemble music as though they Transparency is vulnerability. It is the individual since "you are working with the "couldn't do anything else. I feel that I am capacity to be open within ourselves body of sound but the individuals within the most complete when I am making in order that the music can flow that body of sound are still people. They music with a choir; and I wish I could do it through us-that we can be an are wonderful, producing people, and they all the time" (LarryWyatt),74 Paul Salamu open conduit, a fi-ee vessel. If we like to be referred to by name. I think this novich similarly I-ecalled, are not vulnerable as conductors, if is telTibly important" (Robert Page),7o we don't have the freedom to allow Doreen Rao added the group process of music became the tool through ourselves to be as we are, we can't choral music "is about relationship making which I, very introverted as a youth, take the experiences offered to us and peace keeping. It is a way of being was able to share with others ... by our singers and incorporate them mindful, it is a way of listening to others, These experiences were sometimes with our own and it is a way of being and interbeing."71 so moving that my voice could not Some singers are drawn to choral music even function. Whenever I stand 67 -Weston Noble as an activity "where access to the most in front of a choiJ~ I try to recreate profound artistic works can be made pos those kinds of experiences for the When action and awareness merge, the sible and satisfying for the participant who singers-to take them where I have result is a reflective process that instantly has limited skills as an individual but whose been.75 informs behavior. When self-conscious capacity is enlarged by the group" (Ann ness interferes, howevel~ the merger of action and awal-eness is interrupted, the reflective process is slowed or halted, and the potential for flow experience is ne-' gated. The conductors in these intel-views :!:I""""""""""I""""""""""""""""""""""""""""""""""""""""""" """"""""""""'~ spoke frequently of a choral ensemble's - Minster of Music/Worship power to enlarge the musical experience -= of both conductor and singer. Allen Lan = = The First Baptist Church of Chattanooga, Tennessee is searching to fill the full-time position nom spoke of this ephemeral, corpol-ate of Minister of Music/Worship. Candidates must demonstrate that he/she is classically nature of choral music: trained in choral music but stays current with modern worship and musical styles. One must promote a comprehensive program of traditional and contemporary worship and Somehow a group of people comes =- lead in both venues. Candidates must demonstrate that he/she can lead in developing together, learns the technique = worship and music experiences for a congregation of all ages: be a team player and a =- -and more important-Ieams to leader among staff and congregants. Candidates must demonstrate the personality traits = care. Then something happens. We of leadership, high energy, contagious enthusiasm, vision and versatility. He/she must be can't always make it happen, though. capable of conducting both vocal and orchestral performance and have received training from a seminary or equivalent. A graduate degree in music from a recognized seminary is The applause, the perfection of the - = optional. Applicants should send a resume with a cover letter to: technique, and the tears that are = shed on the way out may be an = First Baptist Church, indication of how much it means to Music Search Committee, some of these people. 68 401 GatewayAve., =- Chattanooga, TN 37402 Choral music is experienced both indi -= or e-mail [email protected]). vidually and collectively: See our web page (www.fbcchattanooga.org) for a comprehensive job description. One of the great things that =i"""""""""""""""""""""""""",""""""""""""""""""""""""""""""""""""""",iT Choral Journal • August 2007 17 Howard Swan spoke powerfully about Conclusion Choral Conductors," Choral journal 38, no. an individual's self-awareness as a condi As seen though these quotations, the 8 (1998): 9. tion for total immersion in the communal qualities of optimal experiences defined 9. Carole Glenn, ed., In Quest of Answers: experience of choral music. He said: by Mihalyi Csikszentmihalyi are implicit Interviews with American Choral Conductors in the convel-sations that choral conduc _ (Chapel Hill, NC: Hinshaw Music, 1991): Music, as an art, requires of those tors have about choral music and the 172. who would serve it, a complete process of making that music come alive 10. Glenn. In Quest ofAnswers. 175. absence of self, of consciousness of for themselves, choral singers, and audi- II. Glenn. In Quest ofAnswers. 7. self. The music is the thing; the text ence members. Part II of this article series 12. Glenn. In Quest ofAnswers. 124. is the thin~. If we have t~ make the will explore in greater depth how these 13. Glenn. In Quest ofAnswers. I 14. composers and the poet.s thoughts conductors describe the personal experi- 14. Glenn. In Quest ofAnswers. 133. ~ou~ow.rLtbo~gbts,~tbere_ls_oo~pJace~ence-of-choral-mtlsic-and-its-relationshi _~. ~1~5'_D_e-;:n7n-;is_~Sh-;-r;:::0:-,-cl-,-<,-;"A-;--n_l_nt7e:::;crv:;-ie~w---,;w::-i-;-,th~W-;,e~St-;-0~n __ for self-consCiousness. It seems that t rt . d hiP Noble," Choral journal 32, no. 5 (1991): 12. when most people sing in a good 0 repe olre an re earsa s. 16. Leland Vail and Anna DeMichael, "Recreating chorus where this is emphasized, the Music of the Classical Masters: and where the direction comes Interviews with Don V. Moses, Founding from one who has learned that he NOTES Director and Michale Dean Lamkin,Artistic or she cannot be self-conscious in DirectoriConductor;" Choral journal 46, no. 9 (2006): 46. the presence of music, the singers I. David P. DeVenney. "Research Report: Da 17. Sally Hook, "Changing Voice and Middle School also learn to act with assurance. Capo - Interviews with American Choral Music: An Interview with John Cooksey This is important, for them both as Conductors," Choral journal 46, no. 2 and Nancy Cox," Choral Journal 39, no. I musicians and for what this does for (August 2005): 49-5 I. (1998): 24. them as persons?6 2. DeVenney. "Research Report." 49. 18. Glenn. In Quest ofAnswers. 74-75. 3. Mihalyi Csikszentmihalyi, Flow: The Psychology 19. Glenn. In Quest ofAnswers. 78. of Optimal Experience (New York: Harper 20. Diana J. Leland, "Dale Warland: An Interview," and Row, 1990); Beyond Boredom and Choral journal 45, no. I (2004): 36-37. Anxiety (San Francisco, Jossey-Bass, 1975). 21. Gordon Paine, "Reflections on a Career: A 4. Mihalyi Csikszentmihalyi and Nina Gilbert. Conversation with Howard Swan," Choral "Singing and the Self: Choral Music as journal 27, no. 8 (1987): 13. 'Active Leisure,'" Choral journal 35, no. 7 22. Janna Brendel, "Vocal Development in the (February 1995): 13-20. Choral Rehearsal:An Interview with Nancy 5. Patrick K. Freer, "Rehearsal Discourse of Choral Part Telfer;" Choral journal 38, no. 2 (1997): Conductors: Meeting the Needs of Young Predominant 27-28. Recordings Adolescents" (Ed.D. dissertation, Columbia 23.William Bartels, "Problems of Choral University, 2003); Lori A. Custodero, Interpretation and Technique (Part 2)," "Seeking Challenge, Finding Skill: Flow PART STUDY RECORDINGS Choral journal 13, no. 2 (1972): 23. Experience and Music Education," Arts Complete choral prodllctions 24. Shrock. "Weston Noble." I O. Education Policy Review 103, no. 3 Uanuary with each voice part highlighted by 25'Alan Raines, "Celebrating Fifty Years of Choral February 2002): 3-10; Arvid J. Bloom and professional singers! Artistry:An Interview with Donald Neuen;' Paula Skutnick-Henley, "Facilitating Flow Choral journal 45, no. 10 (2005): 35. Our library features works such as: Experiences Among Musicians," American Rutter's Requiem, Gloria & Magnificat 26. Jason Paulk, "Perspectives on Sight-Reading Music Teacher 54, no. 5 (April-May 2005): Faure Requiem Choral Repertoire," Choral journal 45, no. 24-28. Mozart Requiem 3 (2004): 33. Vivaldi Gloria 6. William Alfred Gleason, 'The Relationship of 27. Glenn. In Quest of Answers. 54. Handel's Messiah Choral Conductor Behavior to High School 28. Jeffrey Baxter; "An Interview with Robert Mass in G by Schubert Student Attitude and Performance" (DMA Shaw: Reflections at Eighty," Choral journal Coronation Mass by Mozart dissertation,Arizona State University. 1992\ ...... and many more- including titles for 36, no. 9 (1996): 10. Ronald G. Morgan, "A Study of A Director's SA TB, elementary, SSAA and TTBB choir 29. Pearl Shangkuan, "An Interview with Joseph Behaviors and His Students' Perceptions "PPR's study recordings are excellent ..... it's a Flummerfelt," Choral journal 44, no. 10 in a High School Choral Ensemble" (Ph. wondelfztl product done by a company that cares (2004): 12. -about-quality-wOI:k alld makil1ga_pr.odl/cuha,-'s_~_ l;Lc:lis~ertjltiQn, N,,()rtb'lliesterll .Universit)', 3o·-Shangl 18 Choral Journal • August 2007 32, no. I (1982): 19. 44. Glenn. In Quest of Answers. 176, McElheran," Choral Journal 39, no. I (1998): 34. Dennis Shrock, "An Interview with Sally 45. Jerry Blackstone, "Podium and Pen-Choral 32. Herman and Michael Nuss: Elements of Conductor as Composer: An Interview 60. Simons. "Brock McElheran." 35. Successful Junior High School Choirs," with Theodol-e Morrison:' Choral Journal 37, 61. Shangkuan. "Joseph Flummelfelt." 13. Choral Journal 30, no. 9 (1990): 9. no. 10 (1995): 26. 62. Brendel. "Nancy Telfel:" 27. 35-Barbara Tagg and Dennis Shrock,' 'An Interview 46. Glenn. In Quest of Answers. 87. 63. Shrock. "Weston Noble." 10. with Helen Kemp: Childrens' Choirs," Choral 47. Glenn. In Quest of Answers. 88. 64. Mark Gresham, Choral Conversations: Selected Journal 30, no. 4 (1989): 9. 48. Michael Steinberg, "Erich Leinsdorf on Choral Interviews r'orn Chorus! Magazine .(San 36. Glenn. In Quest of Answers. 58. Music and Pelformance," American Choral Carlos, CA: Thomas House Publications, 37. Glenn. In Quest of Answers. 47. ReviewVII, no. I (1964): 8. 1997): 6-7. 38. Brendel. "Nancy Telfel:" 28. 49. Barbara Tagg and Dennis Shrock, "An Intel- 65. Glenn. In Quest of Answers. 21 3. 39. Brown Bradley. "An Interview with Oren view with Helen Kemp: Childrens' Choirs," 66. Glenn. In Quest of Answers. 180. Brown and Richard Westenberg:' American Choral Journal 30, no. 4 (1989): 9. 67. Shrock. "Weston Noble." 12. Organist 19 Oanuary 1985): 66. 50. Glenn. In Quest of Answers. 71. 68. Glenn. In Quest of Answers. 141. 40. Angela Broeker, "An Interview with Six 51. Hook. "Changing Voice." 22. 69. Glenn. In Quest of Answers. 234. Successful Elementary School Choral 52. Glenn. In Quest of Answers. 81. 70. Glenn. In Quest of Answers. 43. Directol-s:' Choral Journal 46, no. 10 (2006): 53. Glenn. In Quest of Answers. 83. 71. Ferreira and Tagg, "Voices and Visions." 14. 43. 54. Paulk. "Perspectives on Sight-Reading:' 29. 72. Ferreira and Tagg, "Voices and Visions." 12. 41. Dennis Shrock, "An Inte,:,view with Jean 55. Dennen. "Margaret Hillis." 18. 73. Shrock. "Weston Noble." I I. Ashworth Bartle: Directol- of the Toronto 56. Thomas Wine, "Reflections About the Choral 74. Glenn. In Quest of Answers. 168. Children's Chorus," Choral Journal 31, no. 2 Profession in the Twenty-First Century: 75. Glenn. In Quest of Answers. 231. (1990): 22. An Interview with Harold Decker," Choral 76. Glenn. In Quest of Answers. 181. 42. Paulk. "Perspectives on Sight-Reading:' 32. Journal 42, no. 2 (200 I): 28. 43. Mihalyi Csikszentmihalyi, Finding Flow: The 57. Glenn. In Quest of Answers. 229. Psychology of Engagement with Everyday Life. 58. Glenn. In Quest of Answers. I 19. (New York: Basic Books, 1997). 59. Harriet Simons, "An Intel-view with Brock Choral Journal • August 2007 19 hen the 2005-06 season closed for the San Robert Shaw, Margaret Hillis, and Robert Page. She was I"eally the Francisco Symphony Chorus (SFSq last summer; musical beginning of who I am professionally. it marked the end of an era. Vance George, the After two years in graduate school. I got a call from Madison, conductor; who led them for 24 seasons, retired Wisconsin, for a job interview (University of Wisconsin-Mad i at the conclusion of the Chorus's June Verdi Festival. Under son). I got the job and taught in Madison for seven years. While George's leadership the Chorus won four Grammy Awards, an I was there, Margaret Hillis formed her Chol"allnstitute. The first Emmy, and gained a reputation as one of the finest choruses of one was held in Madison, Wisconsin, and I organized and ran it. its kind in the world. At the close of his tenure with SFSC. I sat· She had them annually after that. She titled me her ballet master down with Vance George to reflect on his career; his chorus, and because Itaught conducting. I was learning conducting from a new the next chapter of his life. person in town, who is now very famous in the world of young ~~~~~~~~~.~~~~~~. ______~_~c70~~~uTct~0~~~,~O~tt~on~_=e_r~n_erMuell~Ma~~~m~him~dwasin Medley your career. and worked with him. He was terribly kind to me, and really George Well, I started very, very young, first year out of college taught me baton technique and a firm grounding in conducting, [Goshen College,lndiana], and Itaught two years at a little school which I feel I have passed on to other choral conductors. He in Mendon, Ohio, just across the Indiana border; population 400. insisted that we always use the baton. "Use your hands because I had a mixed chorus. I probably had eight basses and six tenors, the hands are more expressive" was not allowed. He taught me 15 altos and 20 sopranos, but it balanced. And, I directed the the idea of conducting within a picture frame and staying within junior and senior class play, and we had a band, and we went to that picture frame. He separated parts of the arm into shoul the Pumpkin Festival and marched. der-joint, elbow-joint, and wrist-joint, so that we were aware of a large ball and socket (shoulder), large hinge (elbow), small ball Medley You conducted the band? and socket (wrist), and small hinges (fingers). This separation gave a distinct language to baton use that varied from shoulder· George Yes. And I taught all twelve grades, and I loved it. I had to elbow to wrist to fingers.We learned the same thing with the a little Army collapsible harmonium that I carried from room to left hand. His concern was that conducting a solo clarinet should room. I taught there fOI" two years. I am a pacifist, and during the be from the tip of the baton (wrist, fingers), and not like you were Korean War; I was drafted. I taught to the end of the year; and I conducting the whole ol"Chestra (shoulder). In other words, you got on a plane and flew to India and taught for three years as my were constantly scaling your gesture for the desired result. "No alternate service. It was in an international school called Wood more energy than for the desired result" was Otto's motto. stock,located in the foothills of the Himalayas, 40 miles from Tibet, During the seven years at Madison, Wisconsin, they tried "as the crow flies." Just this past year; they celebrated their I50th desperately to get Robert Shaw to come, and like many large anniversary, so I went back, and they dedicated a choir room in universities, they couldn't understand why Robert Shaw wouldn't my name. want to drop his career and come to Madison, Wisconsin. They After three years in India, I came back, taught for six months invited Margaret Hillis, and her response was the same. In the in Canada, and then went to Northside Junior High School in meantime, I was getting one-year contracts, and finally they hir"ed Elkhart, Indiana. Doris Corns, one of the best junior high teachel"s Don Neuen. Soon after; they hired Robert Fountain. ever; was my great mentor there. After two years of teaching at At that point, Kent State University and their Blossom Festival, Elkhart, I decided to go to graduate school at Indiana University which is like Wolftrap and Tanglewood, hired me. Robert Shaw to become a junior high specialist. When I walked in the door; came to Blossom every summer; so I took the job so that I could there was a brand new degree titled "Choral Conducting." I be around him and watch him work. I was very fortunate to head thought, "Wow! That sounds really interesting," and it was. I stud a six-week program with a chamber choir of 24 singers every ied music history with John White and Julius Herford, Robert summer for I 3 years. Shaw's teacher. I had a sort of musicological bent, so I just loved Sometimes we think we do something for a reason, only to their classes, especially Herford's idea of structural analysis. I had find that life has something even more amazing in store. I hired a great introduction from Mary Oyer at Goshen College, who, in Robert Page to come to Blossom. Bob [then conductor of the my freshman year; gave us a grounding in structure that is with me Cleveland Orchestra Chorus] said to me, "I need an assistant. today; I still include her in my biography, as well as Julius Herford, Would you like to be my assistant?"1 had never really conducted large works, except Haydn's Creation and Bach's St. Matthew, but and Ko,~"'''.r" Susan Medley earned a DMA in choral conducting from the "lrYl<"ln.nnll and sort of thing. So University of Cincinnati College Conservatory of Music. you like to assist me," I said, "Yes, that'd be great." In Cleveland, I She is director of choral activities and associate professor was exposed to repertoire and "sat at Bob's feet," which was like of music at Washington & Jefferson College in Washington, sitting at the feet of Margaret Hillis, because he had sung tenor Pennsylvania. Medley is a former student of Vance George. in her New York chorus. Bob did a lot of guest conducting, so I 20 Choral Journal • August 2007 seven years of great exposure to major Here I am, watching Shaw, my idol from devote that kind of time. It's a huge com repertoire--13 in Kent, and the last seven college days, conducting my choir. After mitment-between 35,000 and 40,000 of those in Cleveland. the first hour he got down off the podium volunteer hours annually. It's been a In July of 1982, Margaret Hillis called and and said, "Vance, this is a fine chorus. In five gradual artistic growth together with visit said,'The San Francisco Symphony Chorus years it can be a great chorus." Five years ing maestros and our resident maestros: has hired me to be an interim conductor. later I was sitting in a Brahms's Requiem Edo de Waart, Herbert Blomstedt, and Mi Could you do the first four months?" I said, rehearsal and was reminded of his words. I chaelTilson Thomas. I just feel enormously "My bags are packed!" Edo de Waari had thought,"He was right. That's a really great grateful and happy that I could be a part of the growth and evolution of the SFSC. Medley As you've talked about these . . one opportunity that really gave you the chance to blossom and to have a sense that this is indeed what I want to do? George Well, moving to San Francisco I learned I was naive about everything. I nevel- thought "This is what I want to do" or'This is where I'm going to go." Every decided he wanted a different conductor chorus.They have grown so much." thing just seemed to unfold-from Mary for the chorus, which had been organized I think it's really just because of the Oyer at Goshen College to Julius Herford in 1973. The very first piece I conducted amount of repertoire we sing and the at Indiana, to a fine chamber group in Mad for Edo was Beethoven's C Major Mass. number of concerts we sing that the ison, Wisconsin, to Otto Werner Mueller He said, "Well, why don't you come for a chorus has grown musically so quickly. Is and Margaret Hillis, then Kent State Uni full year?" I said,"Fine." That invitation grew 23 years quick? Yes, even serendipitous. versity, working with Robert Shaw and . into three-year contracts, and after that, it I'm not claiming that I created this grand Bob Page. The Kent Blossom Festival was was essentially.a green-light contract, so it instrument. Sure, I was absol~tely there. life-changing, and working with wonderful just kept going. I was really involved. I worked on tone New York voice teachers from whom I Shaw came to San Francisco the first quality, language, and understanding what learned a lot about building the voice full year that I was there, and conducted they were singing about. And yet it took and what to do with the voice. I wasn't Brahms's Requiem. I was scared to death. singers, personnel, and people wanting to a strong singer, and didn't learn to sing in graduate school. Then the good fortune to have Margaret Hillis and Bob Page express their faith in me and to I-ecommend me to Edo de Waart.There have been signposts and very important people in name and in stature in my life that line up amazingly Unmatched Customer Service as I look back. At the time, it just seemed like a very natural part of my being . • Free catalog I think the choir and I are con & swatches stantly learning. Last time we performed 'Free sample robes Beethoven's Ninth Symphony. I thought, "The basses' opening 'Freude' has bothered .We'li help with bid me for years. It lies in the middle register, specifications and I've never gotten the R to trill prop • All the attention you erly." So I thought, "Fuh-rrroid, fuh-rrroid, deserve without the fuh-rrroid," and had them sing "fuh" an u+!!!Q~§~. ~~ ___h_a_s_s_le_ eighth note early, scooping from an oc -----~-f--tave-beIElw-whefe-AetateEl-it~jHst~a0et;Jt-· .. - One Harmony Place knocked me right off my feet. New London, OH 44851 1-800-537-2575 . Medley You have spent some twenty 419-929-1506 years preparing your chorus for other con fax 419-929-0122 ductors. How do you work that relation email: [email protected] ~ ( www.thomasrobes.com) ship with the conductors? Do you typically communicate with them beforehand? 22 Choral Journal • August 2007 George It's vel"y kind if they commu George Absolutely, we come back to it Medley There are obviously works that nicate beforehand. Almost no one does; over and over again. In Cleveland we did you've done many, many times. How do almost no one sends a score. Shaw was two performances: Friday, Saturday. Then you keep them fresh? When you go back the only one who sent a SCOI"e that was I came here and we perform fOUl" times a to something, do you ever think, "Oh not cleady marked. week: Wednesday, Thursday, Friday, Satul" this again!" day. The chorus just grows exponentially Medley Do they give you an idea what because we sing so much. Sometimes we George No, I know there is someone the tempo is going to be? sing as many as seven performances of in the chorus and in the audience who is Beethoven's Ninth Symphony. seven of hearing it for the first time. I try to listen Geoll"ge It's my job to prepare them fOI" Mozart's Requiem, or six perfol"mances of with their ears. I don't think it's unlike a re anything fj"om a fast to a slow tempo. My Verdi's Requiem. lationship, where you're grateful every day chorus is enormously flexible. I pl"epare them so the conductor can say, "Do this," and they can do it. The choit" has tre mendous pride in theil" flexibility, rathel" than thinking anyone is wmng; there is no wmng. The conductor is right, I'm right, and the singers are right. We just have to come to an agreement. THE Medley Is this a source of frustration fOI" you? T NK p AN Geoll"ge Sometimes. But I so often get WORKSHOP new ideas and feel really invigorated. Con ductors always say, "What a phenomenal Handel Choral Worksl ?g:t~~g!~,~~~i~~~~ay chorus! I just love this chol"us!" And the chorus is elated, and I'm happy. February 11-17, 2008 Application deadline: September 14, 2007 Medley You have a wondelful opportu Twenty-eight singers will be selected for this workshop by a competitive application process. nity that many chol"al conductors would The workshop includes five days of intensive choral, solo, and orchestral rehearsals. The work shop culminates in a final performance with Maestro Koopman conducting the chorus and the pmbablythink they would die to have, but Orchestra of St. Luke's. Singers between the ages of 21 and 35 are eligible to apply. temperamentally how do you deal with the fact that so much of what you do, such as the repertoire, is out of your hands and THE then you're I"al"ely the one on stage con ducting your chorus in performance? BOBBY McFERRIN George I deal with it in the way that Bob WORKSHOP Page does, or Margaret Hillis did: knowing that one is dealing with the best of the Vocal Improvisation best; working with quality repertoire and Spring 2008 consummate ar-tists. How many people Application deadline: February 5, 2008 get to pl"epare St. Matthew Passion, St.John Passion, Missa So/emnis, and the C Minor Ten-time Grammy Award-winner Bobby McFerrin comes to Carnegie Hall with members of Voicestra to share his pioneering ideas with the next generation of musicians. Singers Mass? When people ask me, "How much between the ages of 18 and 30 are eligible to apply. . conducting do you do?" Once, twice, .fr~·~' Programs of The Weill Music Institute at Carnegie Hall are generously supported by the City of New York: maybe three times a year-Bach's Mass { {~~} Michael R. Bloomberg, Mayor; Kate D. Levin, Commissioner, Department of Cultural Affairs; and Christine Quinn. ~=#' Speaker, New York City Council; and by the New York State Council on the Arts: Richard Schwartz, Chairman. in B Minor, a holiday concert, perhaps a Summel- Pops 01" Carmina Burona. Medley WOI"king with that repertoire might be a once in a lifetime experience for some conductors, or they may never have that opportunity because of their cilTumstances. Choral Joumal • August 2007 23 for that person in your life. We have sung repertoire; I enjoy that. part in choral music. I went to Kansas Messiah manytimes.The only thing I would City for an early ACDA convention. I can say about Messiah, for me, is perhaps "He Medley How has the choral field changed remember Charles Hirt and all those was despised" might be banned for a during your career? white-haired guys standing there. Now, decade. Other than that, it is a virtuosic I'm the old gray-haired guy! masterwork that is devilishly difficult. Every George When I started my career there Moreover, symphony choruses have year I have to reinvent those sixteenth was no choral field. It didn't exist. When I developed.The Cleveland Chorus began in notes in my voice in "For unto us a child was in college, the Robert Shaw Chorale 1956 because Szell wanted Shaw to come is born." The discovery, the freshness, is came every year. We would have whom- and conduct. Two years later Reiner asked always there. Maybe that's a gift. Certainly ever Sol Hurok had on his roster: West- Margaret Hillis, "Why don't you bring your it's my attitude. minster, and HenryVeld and the Augustana New York choir to Chicago?" She did that _"" ______" ______~_""Choir; they- would COme through and sing~r,U/ear or two, and then. e~ablished a MeclleyWhat is the most difflaJlt work concerts every year. Those performances choir in Chicago and the rest is history. So you've had to prepare? George Certainly Missa Solemnis and Harmonium are candidates. They bo~h require a great deal of work. Medley What are your favorite choral works? George I suppose Bach's Mass in B Mi were a tremendous influence upon me. it went from Cleveland to Chicago, then nor and Brahms's Requiem come to mind The Shaw Chorale was becoming more Atlanta and RogerWagner in Los Angeles. instantly, but which one to choose? Well, well known and doing more recordings, The San Francisco Symphony Chorus was how do you make life choices? Do you and there was also the early music that established in 1973. Now there are lots most enjoy making music, cooking, eating, was beginning to surface with Noah of symphony choruses and community or making love? Probably all of them, and Greenberg. I found that terribly fascinating. choruses. Community choruses hire an the one that I'm doing at that moment is Then came the English conductors such orchestra to play for them and symphony the best. as Roger Norrington and his Gabrieli en orchestras tend to either have their own There's also a creative bent in me that semble. Choral music was emphasized at chorus under their own umbrella such as is fed by new music or staging a medieval Lutheran schools, as well as Oberlin and San Francisco,Atlanta, Cleveland, and Chi drama-the things that really spark your Westminster Choir College. Of course, cago, or as in Los Angeles, where the Los inner being and take you outside the pre that's all changed since colleges started Angeles Philharmonic hires the LA Master dictable.I'm very comfortable being musi offering conducting degrees. ACDA, IFCM, Chorale to sing with them. We now have cally stretched, going beyond the standard and Chorus America have played a huge that sort of exchange. None of that musi cal activity existed then. Simultaneity is a very interesting con cept; at the time that Shaw and Hillis were creating major choral changes in the world, . Roger Wagner was doing the same thing through the recreational department in Los Angeles. Amazingly, Marilyn Horne was, at age 18, one of Wagner's mezzo sopranos. Shaw was really the peak. He really set the bar. Medley What are the hallmark experi ences of your career? George I think of moments in my musi cal life such as singing under Mary Oyer on tour-Bach Motet No.4, jesu, Meine Freude, I 0 performances, I 0 little Men nonite churches, and realizing that every performance could be more wonderful and a deeper experience than the last; re- 24 Choral Journal • August 2007 that I could translate that keyboard expe like you to come to one with me." I went Medley What advice do you have for rience of Bach into the voice, and I could with her and discovered that the chorus developing conductors? train choristers to do what I had learned was the ·first community she had ever on the keyboard; going to Madison, Wis been a part of. It was at that point that I George Follow your hear-t. Do your job consin, and conducting Bruckner's E Minor said, "I really have to get off this humble to the best of your ability and with the Moss. It was for MENC, and one of the kick and accept the responsibility of who I greatest integrity. even if it's something that orchestra conductors came up to me am and what I do." I took four Landmark is not considered by the world to be great and said, "That's the first time I've ever courses after that. music-making. You can be just as proud 'gotten' Bruckner." And I thought, "Wow! of doing a little Gel-man folk song with a I could die!" Medley What made you decide to retire junior high choir in three parts as conduct The St. Matthew Passion in Madison, now? ing Beethoven's Ninth Symphony. I've done Wisconsin, under Otto Werner Mueller's both, and it's all the same. It can be in any influence; Kent State University producing George Wanting to guest conduct, travel, place in the wodd. It doesn't have to be in medieval drama for Spoleto for Menotti and live. I want to conduct what I want any gl-and city or edifice, because what's in and creating the Blossom Festival School when I wantThe SFSC is in rehearsals and the heart of the conductor is what is im into what that chamber choir became, performances I I months of the year. Basi parted to the hearis of the singers and, in and the influences that I felt there; and cally. I'm doing now what my mentors did turn, to the hearis of the audience-that's coming to San Francisco, and conduct very much earlier in their lives. Hillis and whel-e it lies. If the heart is there, it's going ing Bach's Moss in B Minor were all peak Shaw guest conducted all the time. Maybe to speak to moms and dads and audiences experiences for me. I should have left after the first or second of any kind, of any size, anywhel-e in the Grammy, but I I-eally felt like this was my wodd. Beethoven said, "From my heart to Medley What do you see as your most home and family. your heari." And I agree. significant accomplishments with SFSC? George Translating all the tools of the trade that I learned under Margaret Hillis and Robert Shaw, Bob Page, Julius Herford, and Mary Oyer-making a synthesis of that and the conducting I learned from Otto Werner Mueller.What I took was that synthesis and added my own particular interest in language and colors of language. One of the things that I do best is to honor the style of the music. Let the music come up off the page, and try to stay out of the way. Let the music speak for itself.This is what has We make you look good! made it possible forthis choirto develop into what they are. It's just such a natural quarter of a century of growth. Medley You are leaving behind a very fine instrument. George I'm leaving a brilliant instrument, there's no question. I think my chorus is one of the best in the world. They love what they do. They have an emotional and a familial connection. It's really like a family. One of my altos came to me about five or six years ago and said, "I just want you to know how much singing in this chorus means to me." She had just fin ished a course called Landmark, an onto logical study of how to be, where you go for a weekend, and you do exercises."I'd Choral Journal • August 2007 25 n the choral classroom, students constantly gather infor Intrapersonal and Interpersonal Knowledge mation about themselves and their social relationships. According to Howa,-d Gardne,~ the development of the self In this article, the focus is on two areas: ( I) the student's is central to an individual's fate and only through it can one own process of maturation, or intrapersonal growth; and "cope with one's surroundings."5 There are two distinct bases (2) the progress of the student's social relationships, 0'- interper of knowledge that form the self: intrapel-sonal and interpersonal sonal growth. An explanation is offered of how the teacher of a knowledge. He defines "intrapersonal" as "access to one's own school chorus can use the wdtings of five psychologists to assist feeling life ... to draw upon [feelings] as a means of understand in CI-eating a dynamic and growth-supportive environment for ing and guiding one's behavior."6 At its most advanced state, the students' progress in choral singing. individual can dissect complicated sets of feelings. To Gardner, interpersonal knowledge is only intrapersonal turned outwards. He defines "interpersonal" as "the ability to notice and make Guiding Questions distinctions among other individuals."7The advanced incarnation • For choral educators, why is it important to support students' of interpersonal allows adults to read emotions even when they intrapersonal and interpersonal growth? are undisclosed and to act upon this knowledge. Gardne,- states that interpersonal and intrapersonal knowledge • How can educato,-s make the most of the writings of five are interdependent as the knowledge of self depends on lessons prominent thinkers to support their teaching practices? learned from others. He defines a sense of self as an "amalgam" or "fusion" of one's interpersonal and intrapersonal knowledge.s • Is it possible to evaluate students' interpersonal and intraper For the purposes of this ariicJe, my discussion of the self will sonal growth in the choral classroom? If so, how? subsume both interpersonal and intrape,-sonal growth. Definitions Intrapersonal Growth: Growth is defined as a physical increase in an organism's size. I CSikszentmihalyi, Larson, and Maslow When living things grow, they progress, internally and externally, Csikszentmihalyi and Larson focus on the individual's intl-ap from simple to more complex organisms.Within a psychological ersonal process alone. They state that individuals grow through context, growth can be defined similady. To Abraham Maslow, conscious choice and students' focus delimits their potential growth is based in challenges that present the individual with a growth. In their research with adolescents, growth can occur controlled level of discomfort. 2 Because children only ,understand when challenging activities require attention. When students very basic needs including loving, belonging, and safety, their level attend to these challenges, they enter into a cognitive "special of growth matches their needs. As individuals become older and environment."9 This state is when one's sensations and thoughts their basic needs are met, their level of need increases. Hence, become ordered without consciously doing anything.The above as one grows, one becomes more complex and seeks furthe, scholars describe this experience as self-transcendence. In this challenges to continue the process. state, an individual experiences harmony between a vadety of To Daniel Goleman, growth is two-fold.3 First, similar to consciousnesses, including goals, thoughts, and emotions.Though Maslow, he defines growth as a challenge that creates discomfort. Csikszentmihalyi has called this "flow," for this article's purposes, In order to grow, the individual must resolve the distress CI-eated this psychological state is referred to as "psychic negentropy." by the challenge. Second, to Goleman, growth is based in neural To Csikszentmihalyi and Larson, adolescence is a time of great networks that result ti-om social interactions. Individuals internal entropy. Teenagers are exhausted because they lack the ability to ize countless cues regarding appropriate and inappropriate social balance their responsibilities. They have extremely wide mood mores. When continual social interactions confront them, their changes in compadson to healthy adults, and the durations of brains build neural circuitry to collect information. Therefo,-e, their moods are very short. Given this information, adolescents growth is not only based in visible social interactions, but also live in varying states of chaos. Psychic negentropy is the opposite hidden circuitry building in the brain. of this. Csikszentmihalyi and Lal-son state: "During psychic negent To Mihaly Csikszentmihalyi and Reed Larson, growth is a con ropy, one acts with clarity, commitment, and enthusiasm."lo In scious choice made by the individual.4 It involves a deep level of order to have this experience, four ingredients must be present. concentration, a positive outlook, and an appropriate challenge. Individuals must exhibit positive feelings toward themselves and Growth is achieved through alignment of thought and action. others, engage their minds actively (psychic activation), be intrinsi cally motivated, and effectively concentl-ate toward the goal. From the list above, psychic negentropy appears to be a high Elizabeth Cassidy Parker directs lower, middle, and upper school level task for an individual. When looking at the collective ingre choruses at the Packer Collegiate Institute, a pre-k through dients, they fall into two areas: focus and motivation. Activating twelfth grade independent school in Brooklyn, New York. She one's mind to focus and concentrate is a willful, conscious choice. is also a PhD student at New York University's Steinhardt Through the teacher's development of an environment where stu School of Culture, Education, and Human Development. dents are positively reinforced for focusing well, students will want Choral Journal • August 2007 27 Still. the process of psychic activation and I"al classroom, they will have higher levels The teacher's role is to help foster these concentration may take several months of of excitement and in turn, develop greater relationships to increase the effectiveness daily work with a pupil. But none of this is intrinsic motivation. of the school chorus. To help students possible without the second area, motiva- On a personal note, this author has begin to integrate at the beginning of the tion. In order to be motivated, students witnessed the benefits of friendships in school year; the teacher can organize social must feel positive about the school chorus the school chorus. For many students, the events such as pizza parties, sectional re expedence, which goes back to focus and school chorus becomes part of their social hearsals that allow smaller groups to come concentration. Motivation can take a great identity as the group's social bonds grow. together; or game nights, when students in deal of time as not every student is drawn Students spend a great deal of time to teract without making music.These diverse immediately to singing with others. How gether in chorus, potentially several hours activities help to form the social bonds that can a teacher build intrinsic motivation a week. Moreover; many students become make a school chorus strong. irLheGstudelltsUb.estudeot's motivation ... friends.oyer time,or join chorus becausE: PSl'chic negentropy is possible in the must come from an inside desire rather their friends are involved. school chorus. If the classroom environ than an external reward. A new student has particular challenges ment is set up positively, the students are In Csikszentmihalyi's and Larson's study because integrating into the group by challenged appropriately and they build with seventy-five high school students, building friendships takes time. Ideally, all social bonds with friends in the group, then they found that the optimal condition students have friends in the chorus and to Csikszentmihalyi and Larson, they will fOI" growth and highest levels of intdnsic are therefore wod 28 Choral Journal • August 2007 experiences have the ability to change exhibits realness, students feel the license to the student because the teacher is individuals' views of themselves, to change to be who they really are. This creates an honest, open, and genuine, and accepts their perception of the world and release atmosphere of caring.When a teacher ear students for the talent that they bring to the individual for even greater creativity. nestly seeks to know and understand her the class, the singing experience will be When students have a peak experience, students, the students are able to admit one that fosters growth of individuals and they become more unified, more "purely theil- successes and failures. Because the their voices. Perhaps, if the environment themselves." 14 Then, each individual is able teacher is empathic and communicates is trusted enough, when students make to fuse with the world. and listens, students are comfortable asking mistakes, they are not ashamed, or worse, fOI- help.The classroom becomes a place of criticized by classmates. A mistake is simply Interpersonal Growth: trust. Furthermore, if the climate of trust is looked at as a learning experience and Rogers and Goleman built, curiosity can enter the classroom so the environment is supportive enough Though Rogers centers on the thera that students are able to explore and dis for individuals involved to look past the peutic relationship between client and cover new things.The environment, when blunder. Through these experiences of practitioner, many of his ideas can be based on understanding, becomes one of learning from mistakes and successes, transferred easily to the teacher-student cooperation not competition. students feel courageous enough to take relationship. Furthermore, Rogers states In choral music, teenagers focus on us risks because the classroom is a place to that what he has learned is applicable to all ing an instrument that is highly personal, discover new things. relationships. Thel-efol-e, for the purposes the voice.Through a multitude of changes Goleman examines growth through of this article,' 'practitionel-" is equated with in theil- bodies, and perhaps in their speak a neuro-social lens and discusses an in teacher, and "client" with student. ing and singing voices, teens are vulnerable terpersonal economy. Every interaction Rogers emphasizes the role of practi in a singing classroom. Much can be gained we have with others is entered into our tioners in supporiing their clients' growth. through Roger's model of practitioner and mental bank and consequently, individuals It is the practitioners' job to help guide client in the school chorus. If an environ experience net gains and 10sses.To Gole clients to uncover themselves. The self ment is deemed safe and trustworthy man, social growth is built through inter- already exists, it need be only discovered. Practitioners can do this by fil-st demon strating congruence or genuineness. The pl-actitioner must be the person that she says she is. If this occurs, the client per ceives her as trustworihy. Because she is transparent, the client feels safe and can, in turn, be who they are. Aperformance journey with Second, practitioners must accept cli ents for who they are. Through a mutual acceptance of the other, the I-elationship Weston Noble becomes stronger and the environment Massed performance under the baton for growth is created. Roger's posits that if of the Maestro in the the practitioner provides the environment for growth, clients will use it to furiher themselves in maturity. The environment Gewandhaus, Leipzig for growth will allow the client to discovel With optional individual performances the self within. in the Gewandhaus as well as in Berlin, Dresden, In Roger's later wl-itings, he explol-es Halle, Wittenberg, Prague & Vienna another pivotal piece of the pl-actitioner client relationship: communication. IS If Core program July 5-12,2008 people truly listen to one anothel~ they, Maestro Noble looks forward to rehearsing in turn, will be undel-stood. When one with each ensemble joining him on this unique is understood, feelings al-e validated and and compelling musical journey. they continue to develop or grow as individuals. FOR MORE INFORMATION, PLEASE CONTACT Oliver Scofield, President of Kingsway International Thel-e is great significance for music [email protected] education in Roger's writings. First, Rog ers represents a "person-centered mode" of operating. 16 His ideas are built on the teacher's knowledge of self and knowledge of her students. In this environment, when the teacher is a genuine pel-son who Choral Journal • August 2007 29 action. As babies, individuals learn to read pathways connecting us all through our within the choral classroom and, as a result, emotions quickly by reflexive imitation. continued synaptic social growths. in the larger society. When choral educa When one smiles at a baby, the baby tors support their students' growth, the smiles back.These seemingly unimportant Discussion classroom environment becomes a place imitations build considel"able circuitry in of development for all. Students are willing the brain because in order for children to Importance within the to take greater risks, and as a result, realize learn social cues, they must read othel"'s Choral Classroom even better performances. Individuals are physical expl"essions. Music educators can benefit gl"eatly confirmed in this environment and can Similar to Csikszentmihalyi and Larson, from assisting their students' interpel" make infol"med choices about their social Goleman observes that individuals grow sonal and intrapersonal growth in the relationships because they have the skills when they are presented with a challenge chol"al classroom. Adolescence is a time to do so. The choral program benefits tbaLc[eates~dis~omfor:t.Grow:tb through ofentr08X and chaos and students require as a whole because students are able to challenge, in turn, develops I"esilience. support through these turbulent yeal"s. function at intrapersonal an 30 Chol"al Journal • August 2007 To Rogers, this engenders trust. Further keep their vulnerabilities hidden, At the 14 Ibid., 105. more, it is beneficial for educators to same time, he agrees that it is still crucial 15 Rogers, C. R, (1980) A Way of Being. Boston: take these extra steps, because it makes to study and evaluate the development Houghton Mifflin Company. difficult conversations easier to engage in. of interpersonal and intrapersonal knowl 16 Ibid., 202. For example, when the teacher-student edge. In the choral classmom, it is critical 17 Howard Gardner, 251 , relationship base is present, the educator to assess the classmom envimnment can challenge the student to grow thmugh thmugh regular videotaping. It is difficult individual conversations about classroom to gather comprehensive data about expectations and need for risk-taking. students' interpersonal and intrapersonal Teachers must be excellent commu growth while simultaneously teaching. nicators.They must seek to listen to their Thmugh regular written observation of a students and acknowledge that they have student's participation and regular reflec been heard. In the choral classroom, this tion thmugh videotaped I-ehearsals and can be .as simple as knowing the musical performances, choral educators can begin score completely so as to address any un to address their individual student's needs Y,ou know something good when certainty in the rehearsal process. When in the classmom. Educators can change you see and hear it ... teachers know their repertoil-e they have a student's assigned seat to put her/him the ability to be better communicators be closer to a hard-working friend or have ,SO Ii),ORI5! cause the attention can be on the students. a conversation with a student about Additionally, teachers must choose their his/her enjoyment within the ensemble. words carefully if they wish to be effective As Csikszentmihalyi and Larson argue, a in communications with students. student's enjoyment is directly linked to Choral educators can incorporate his/her intl-insic motivation, Therefore, if AM 7:",/"["/:. psychic negentropy or peak experiences educators can assist a student in finding joy ~Quality Sacred Choral ~ Music in Print for Worship and Perfonnance into their rehearsal plan. For example, by within the rehearsal process,' the student choosing a wide variety of songs, students will work harder in class and feel more suc l;j:~~vm1iljf~~~~IgjflOQ1,;,'~ are challenged appmpriately and come cessful. This translates into the individual's ~D,e,(!~ back to class the next day ready to take intrapersonal gmwth. All Good Gifts Around Us SATB, Ace. & FI. on more advanced repertoire. This may translate into finding three different levels ~~ of songs: (I) easily accessible literature NOTES Redeemed (Mendelssohn 'On Wings of Song") SATB, Ace, &FI. that has immediate classmom success; H~D~H~ (2) somewhat challenging repertoire that I American Heritage Dictionary, (1983) New Bethlehem SATB & Ace, (Score & Parts optional) York, NY: Dell Publishing Co, Inc., p. 309, requires a longer concentrated rehearsal Deo Gratias! SATB, a capella hence, slightly delayed gratification; and (3) 2 Maslow, A. H, (1968) Toward A Psychology of Joy Comes in the Morning 2 pI. Children or Adults &Hndblls most challenging repertoire that requires Being, New York: Van Nostrand Reinhold Love Came Down At Christmas SATB, Ace, & Descant even more determination and more Company. Inc. Precious Little One SATB, Ace" Sop solo & FI. Thank God Today SATTBB, a capella delayed gratification. When students are 3 Goleman, Daniel. (2006) Social Intelligence: The New Science of Human Relationships. New 'Tis So Sweet to Trust in Jesus SATB & Ace. presented with a range of repertoire that Tomorrow Shall Be Mv Dancing Dav SATB, Ace, &2 trumpets York: Bantam Dell. requires different skills such as a difficult We Come to Your Table SATB & Ace, 4 Csikszentmihalyi, Mihaly and Larson, Reed, text in another language, a mixed meter (1984) Being Adolescent Conflict and Growth or asymmetrical phrase length, or mUltiple in the Teenage Years, New York: Basic Books, I'm Free to Read The B·I·B·L·E Small Children & Ace, division of voices, it requires them to con Inc. centrate, motivate, and stay positive to the 5 Gardner, Howard. (1983) Frames of Mind: The goal. When a rehearsal plan is constructed Theory of Multiple Intelligences, New York: Joseph, Son of Jacob Unison Children or Adults & Ace. with this same three-level approach, stu BaSlc . B00 ks ,nc.,I p, 239 , The Magnificat- Unison Children or Adults &Ace, dents can reach peak experiences at most 6 Ibid., 239, J~ \!-c~ rehearsals by being presented with a suit 7 Ibid., 239. Sanctus SATB a capella with solo able challenge and asked to meet it. 8 Ibid., 242. 9 Mihaly Csikszentmihalyi and Reed Larson, 1034 North Street, Mount Airy, NC 27030 336-280-0450 (Phone) 336-499-4328 (Fax) 249, Evaluation 10 Ibid., 249, Gardner states that evaluation of the II Rogers, C.R. (1961) On Becoming A Person: A ,self is an extremely intimate area, not to Therapist's View of Psychotherapy, Boston: mention elusive, Particulal-Iy for adoles Houghton Mifflin Company, cents, this is a difficult and highly sensitive 12 A. H. Maslow, 79, matter, because many would prefer to 13 Ibid,,79. Choral Journal • August 2007 31 New music. Newformat. New sight-~ingiJ.tg mate:rials. I.J Experiencing Choral Music is a four-level series designed to build music literacy and promote vocal development for The series is a all students and voice multi-textbook program catagories in G-rades 6-12. supported with print materials and audio recordings that enable glencoe.com students to develop music skills and conceptual 1-800-334-7344 understanding, while proviamg teaChers willi a~ flexible, integrated program. Glencoe Building Brighter Futures For information, call 405-232-8161 LOOK AT THESE GREAT TITLES: Yes! I'd like to add to my library with: MONOGRAPH NO.1 MONOGRAPH NO. 8 Monograph Quantity Price Subtotal Guide for the Beginning American Singing Societies Choral Director and Their Partsongs: Ten o No. 1 $5 (1972) L1~ - Prominent American Composers L u'to1S\O~ _A of the Genre 1860 -1940 and the o da\~ (\ being U? ..... 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A Manual of English Diction DNo.13 $30 for Singers and Choral Directors by Unda Allen Anderson (1988) 109 pgs. by Richard Cox Please ship my order to: TOTAL Name ______MONOGRAPH NO. 12 MONOGRAPH NO.6 A Classified Index of Music Performed American Doctoral Dissertations at American Choral Directors Address, ______and Dissertation Projects Association Conventions on Choral Music Completed or 196Q,.2000_ . In-Progress Through 1889 (2002) 422 pgs. City.______State ___ Zipi.---- (1990) 177pgs. by Sandefur Schmidt by Michael Anderson MONOGRAPH NO. 13 Major Credit Cards Accepted MONOGRAPH NO.7 A Bibliography Mail order form along with check or money order to: The Choral Journal: of Twentieth-Century ACDA Monograph Publications An Index of Volumes 19-32 Hungarian Choral Music P.O. Box 2720 Oklahoma City, Oklahoma 73101 (1990) 177pgs. (2002) 283 pgs. by Scott W. Dorsey TELEPHONE ORDERS CALL 1-405-232-8161 by Karen Wachsmuth OR ORDER ONLINE AT Choral Journal • August 2.007 35 Two Key Ingredients ence elevated levels of frustration during system, be sure the person running the for Show Choir Success: the teaching/learning process. board is well-trained and has a great sense Repertoire Selection and about the production value of the show. Intelligent Use of the Stage Intelligent Use of the Stage: It is unfortunate when a choir has worked Do you have singers who dance, or hard to produce a great show only to be Repertoire Selection: dancers who sing (or some of each)? foiled by sound system problems. When choosing repertoire for your Does your choreographer have a great snow cnoir,-irisimpoFtalirtounde-rstand-sense-about-choraIToncepts?-Remember;-- ~-----~--~----- the possibilities and limitations of your the group should be a choir first! The Fitting The Choreography singers. Be honest when choosing music. placement of singers on stage, choreo- To The Music Look for pieces that will work for your gmphic elements, and other aspects of When deciding on the visual design for choil~ Select a challenging piece, but if it the production (singing on a flat stage, use the music, it is critical for the choreogra does not work in its initial form, "re-route" of platforms, risers, singing in sections or pher to have a sense about the marriage some vocal lines if necessary. mixed arrangements, couples) can greatly of music and movement. The choreog It is imperative that the singers are able impact the overall choral production. rapher should create dances which will to sing the music from memory before Sound reinforcement and amplification coincide with and enhance the music-not moving to the stage for choreography. through the use of microphones and a interfere with it. There are many styles of The singers must demonstrate vocal quality sound system can be very ben choreography repl-esented in the realm of proficiency while standing in place in the eficial, if used properly, but these devices show choir today. Regardless of the type chorus room. Adding choreography will only amplify what they hear-good or bad. used for each song, it is important that the not improve singing accuracy. In fact, the (Microphones will not fix pitches!). The choreographer and director communicate addition of steps will initially retard the added value of a sound system can assist so the singing elements are supported singing progress of the choir. Eventually, the in the achievement of balance between and clear. choir's ability to sing the music will return the choir and accompaniment, whether The rhythmic and harmonic complexity once the choreography is learned. But, in the form of a piano, a stage band, or of the music can dictate the level of physi without a high degree of vocal confidence, pre-recorded tracks. The importance of cal movement the choir should be able to prior to choreography sessions, the choir; a qualified sound board operator cannot perform while singing. Remember; as vocal director; and choreographer will experi- be over-emphasized. When using a sound lines divide, the overall volume of the choir will decrease Gust as in standard concert literature). Passages with less divisi can produce more volume from the singers, al nnn~~~n~nnDnn~~~~~nDn lowing for more involved choreography. A passage with more divisi creates less ovemll volume and would be better supported with simpler dancing. It really is a matter of common sense-maintain a high priority regarding vocal production and build the choreography around those concepts. n Where Voices Are The Only Stars * fJ IJ Details and Dates Coming Soon! I; Music Manager Check our website at www.signatureworkshops.com h,J ~ ~ • Software 5.0™ 13-- - Si.gnatur~Work~hops -Ii I- -CFoss=platfbrm.-.~Mac or-Windows ....- 7131 Grand National Drive, SUite 101 .... _. Orlando,FL32819_. Get information and demos at n 888.440.5245 • Fax 407.345.2890 n www.musicmanager.com rJ . [email protected] fJ Toll Free (800) 282-9220 n *Instrumentahsts Need Not Apply fJ also available for church musicians ... WorshipManager™ ~~n~~~DD~~~~~~~~~D~~n 36 Chol-al Journal • August 2007 Before chol-eographers step in front Excessive vertical arm work places aerobic of the choil~ they must be prepared to bUI-dens on the heart and lungs. Be care teach the steps. The routines should be ful when including lifts in a routine. These clearly written into the musical score 01- require a great deal of energy and strength. on a dance lead sheet. Do not get into a Be safe and smart!When designing a show, situation where choreographers are mak be sure to pace the songs so the perform ing it up as they go along. This is the first ers have some recovery time between step toward losing control of a rehearsal, the most demanding pieces. Solos, smaller leading to a lack of discipline among the ensembles, or even an instrumental inter choir members and a loss of respect for lude can be very beneficial for the choir to the leaders. It is a good idea for the musi catch their breath as they move through cal director to remain in the room while the set. Run the pieces back-to-back in the choreographer is working. If spots are rehearsals in order to build stamina and revealed during the dance routine that reinforce formulas for pacing. need adjusting for the benefit of overall choral sound, the director and choreog rapher can discuss those issues outside How to Advance the Progress the rehearsal setting. Keep the rehearsal of Your Show Choir moving by being organized, prepared to It is important for the director to de teach, and monitoring the progress of the cide upon a philosophical direction for the choir on a regular basis. choir. Possibilities include one that is vocally While it may be desirable for every centered, choreographically dominated, or note to be sung by the choil- facing an ideal, healthy balance of the two. Draw downstage for projection, sometimes on your own personal strengths and utilize a particular move (spin, turn, lift) may them, but recognize your own limitations. momentarily detract fi-om that concept. Perhaps you are familiar with specific styles o There al-e certainly legitimate ways to of music (gospel, classical), but not as well "cheat" singers' positions and still get versed in others Gazz, blues, rock, or musi quality projection (down-stage quarter cal theatre techniques). Don't hesitate to turn right, down-stage quarter-turn left, get help from othel-s who have expertise etc.). This is an area of compromise upon in areas where you are not comfortable which each director must decide. Ci-eative (dancing, staging, sound design, stylistic choreographic choices on one hand may idioms, costuming, sets, props). occasionally dominate vocal elements in Be a good boss when working with the overall scheme of design. However; others and set a professional example. through careful planning and limited use, Be on time, work on time, and if hiring these seemingly contradictory ideas can outsiders, pay on time! All these aspects work together to vitalize the show. of production value will elevate the level Many show choir charts include in of your choir's performance and validate strumental breaks during which the choir your reputation as a good leader. Video can demonstrate more rigorous dance tape your reheal-sals (and watch the tape!). routines. Another way to showcase a more Invite other professionals to work with complex dance feature during a singing you and your choir. Be willing to listen and passage is to select a smallel- group (one, make changes. The result will be a satisfY two, 01- three couples) to perform a I-OU ing, well-balanced show choir organization tine while the rest of the choir maintains which can enhance the vocal music pro the vocal support. gram in your school. Be sure your singers are physically fit for the choreography. Monitorthe demands of the dances so the singers will be able to Submitted by: produce quality sound at all times. Beware Ken Thomas, 1-800-922-3976 of dance moves which are overly taxing. National R&S for Show Choirs Chol-al Journal • August 2007 37 psychologically from: "The women's choir scoring women into the women's choir VVomen's is not the 'good choir"'to"Being a woman does exactly the same thing. is not as good." I am not suggesting that all At the local school level, it is likely that Choirs singers will make that leap, but only that the majority have men in their top choir. it is possible, especially in a society that is Males should never be marginalized in still not quite gender equal. choral music. It should go without say- Status and Competition: Many of the advocates of women's ing, that males should be celebrated and ~e.e(c:ep_tLQo~ofWomen's_Choirs . [email protected]:aged=jusLas·mucn_astne ..woroelJ directly and indirectly to advance the per- are.They also deserve the chance to feel ception of women's choirs as excellent that they are at the top and succeeding. erhaps it is the human need and important Some practices that have Perhaps it is something at the local school to understand their place in contributed to this improvement of status level that needs a careful examination of a hierarchy or the societal are as follows: the conductor's verbal style with regard pressure put upon each of us to women's choirs. Maybe leading a good to rank ourselves against each other that • The top choir at the school is the and open philosophical discussion with the drives school singers to see where they women's choir; singers themselves each year would serve stand. It seems an unchangeable part of the the female singers well. Possibly it would music world. Competition compels singers • Honor choirs determine choir assign" help to continually look at ways to make to improve. Used carefully, it can become a ment by alternating scores between each group distinct with special duties and necessary tool for improving a choir. mixed and women's choirs so that activities particularto it in orderto ensure Because of the way we all learn, humans equal talent is in each group; that each group identifies itself with a self associate past knowledge and attitudes image of worth and excitement. with the new experiences they face. This • Hire an equally well-known conductor Women already know that they out is another valuable trait that can go awry for the women's honor choir as for number men in high school choirs, often and must be managed carefully. What the mixed honor choir; more than 2 to I. They are perceptive singers learn in school, they carry to their enough to realize they have to work twice adult lives, suggesting that attitudes learned o Challenging and meaningful literature is as hard to get to a top status choir because in school affect the sacred community being written and reissued in new of the odds. Rewarding that hard work by and professional choirs' segment of the editions specifically for women's celebrating their efforts is key to keeping profession. ensembles; them excited and proud and coming back When singel"s see consistently that again and again to choral music. the women's choir at schools are second o Research on the history of women's As mentioned previously, much has best or last best, a holding pen for those choirs is being conducted and pub already been done to change these per" who did not make it into the top choir; lished; ceptions but thoughtful advocacy is still they start regarding women's choirs as a needed as we recognize the role of com" substandard chol"al genre. Combined with o Festivals for only women's choil"s are petition and status seeking in the musical the nearly gone but still lingering social held in most states; and community, yet learn to still work within concept that women are not quite equal that to create rich experiences for all of to men, this idea of low status for women's • Create special activities for each choir in our singers. choirs can be damaging to young women's the curriculum to give each a distinct self concept and the attitude towards identity. women's choirs in general. Anecdotally. Submitted by: statements are still too often heard at Although many states have imple Lisa Fredenburgh, honor choirs from singers in the women's mented an equality for honor choirs at Past National R&S Chair choil"s, "Oh, we are only in the women's the state, regional, and local levels, many for Women's Choirs choi( 01" "Wow, laia-nottllinKit V\/;:lSOO- -nw:;;-C:tilr-~~nr't-I:Jr:>t=fir'AC:nf'-nTTfttn-;"~------~---- ing to be this good because it is just the all freshmen and sophomore women women's choir." into the women's group and juniors and It is far more than the status of women's seniors into the mixed choir lowers status choirs that is at stake. It can often follow of women's choirs also, especially if there that women's self perception as women is is no men's choil" made of freshmen and negatively reinforced. It is not too fur a leap sophomores. Of course, placing the lower 38 Choral Journal • August 2007 The Twelfth Annual INTERNATIONAL CHILDREN'S CHOIR FESTIVAL July 8 - 15,2008 Henry Leck, Artistic Director Oxford Coventry London Dr. ROLLO DILWORTH and Dr. DAVID FLOOD, Festival Conductors The Eleventh Annual BRITISH AMERICAN CHURCH MUSIC FESTIVAL JUNE 12 - 18, 2008 Dr. Gerre Hancock and Michael Harris Edinburgh York London TUCSON BOYCHOIR FESTIVAL JUNE 16 - 21, 2008 In cooperation with the Tucson Arizona Boys Chorus Tucson, Arizona FERNANDO MALVAR-RUIZ and Dr. JULIAN ACKERLEY, Festival Conductors MASTERWORK EXPERIENCE WORKSHOP & CAMP JUNE 16 - 21, 2008 For High School Students and Choirs - perform Mozart's Requiem with a professional orchestra and solosits! Dr. ANTON ARMSTRONG, Conductor On the park-like campus of Berry College in Rome, Georgia Announcing... IAmerica's BEST: u.s. Domestic Concert Tours We have brought our expertise and attention to detail home. 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Please contact;Us for pricing and additionaHnformation 42 Choral Journal • August 2007 The Choral Music of Raymond Murray Schafer: Insights and Influences by L. Brett Scott Editors note: The Journal staff welcomes choral tradition is evident in his music, but his mysticism. In this column, I will explore Magen Solomon. a professor at the he also brings a unique voice to this genre, these four areas of compositional influ Universityof Southern California. as the constantly seeking new ways to involve the ence, citing supporting examples from the new editor of the Research column. Dr. singer and audience in the creation and composer's choral output. Solomon was appointed to this post after performance of music. In the midst of this Hilary Apfelstadt stepped down as editor; creative exploration, he never loses sight to accept her responsibilities as president of the abilities and needs of the ensemble Educational Theories elect. and now as president of ACDA. for which he is writing. He is as comfort Many of Schafer's compositions for able writing for children and youth choirs amateur and youth choruses reflect his Some of the illustrations and figures in this as he is for such professional ensembles as strongly held views about music education column can be viewed on the ACDA Web for children and adults. He wants to enable site at Choral Journal • August 2007 43 Schafel- suggests three types ofgraphic uses this type of score in his educational graphic, with no staff, absolute pitches, or scores for use in music education: (I) An workshops, sketching a picture and turning key signatures, and only one time signature. indeterminate score, which leaves the it over to the participants, who use it to It allows musicians who have not mastered exact determination of pitches or other create a musical work. traditional notation to learn and perform musical elements mostly to the musicians, One of the most often performed ex a composition of considerable beauty and and which can be written in such a way amples of an indeterminate score, Epitaph complexity. It also enables the composer as to allow several different organizations for Moonlight, originally appeared as the to create musical gestures that would of the material. His choral comi=>0~i!ions final. chaRter of the ~dLJcatio.naLbo.Qklet b_e Jar too inaccessible witb tr:aditioJlaJ_-:--_~ Epftophfor Moonlight· ar1d Snowforms are When Words Sing,S which in its sixteen notation (Illustration I, A I solo voices I (hum) descend! :.ro-::-_;;-, ------j-----4.P-~•• y ngsernitones -To-.('-hu__ m.;,-) ______'04 -2 (hum) ~P~. 4a(~_-2------~1----- ""', di'~ {r!l·;2-'-(h_u2m....!.)______I..:::f'--n-,.0_or~.~_._w_ah_m ,'-' 4~(hum) I. ~"L" -~,~:u;Lm) I ] 00 tenors div. a4 -\ -2 ~ 30 (hum) I ";" { \-2 t) 4'b (hum) -2 1~(hUm)1 • Epitaph for Moonlight 2; (hum) ah---- 4 basses div. a -2 ~ ForYouth Choir with optional bells iQ_ (hum) _ shi=- edited for book form by Graham Coles { 4b- (hum) --L- © copyright by EMI Canada Limited. 41 Valleybrook Dr. Don Mills. Ontario Optional copyright assigned 1969 to Berandol Music Limited. Scarborough, Ontario Glockenspiels, International Copyright Secured Metalophones, All Rights Reserved Including Public Performance for Proli VIQ[aphpoes, ~ ~--Prihted in CanaCla Triangles Small Bells. etc. ~ Illustration 1. R. Murray Schafer, Epitaph/or Moonlight, 1969, pg 2 © Copyright 1969 by Berandol Music. Used by permission. 44 Choral Journal • August 2007 Sopranos ~ ~--~eb;------'"--___ bb I ------~ d c ~ I ! ~"""-"'\.~S"'\.-~ g f g I hum-+ (i Apingaut.Apinguat ... (etc.) I c Divide into 2 or 3 groups.overlappingl ~ gently and continuously. IApingaut = First snow fall 2'20" 2'25" 2' 30" 2' 35" 2'40" ~I I A sudden burst of energy I (then tapering away Altos Sopranos b f f I e 1'40" 1'45" I' 50" I' 55" 2'00" Illustration 2. R. Murray Schafer, Snowforms, 1983, pg 3. © Copyright 1986 by Arcana Editions. Used by permission. is no staff, key signature, or meter, and only compositions that celebrate nature and at events (Sun), ora combination of both (Fire). one notated rhythm.Two main musical and tempt to reconnect our increasingly urban Fire, a virtuosic composition fOI" SATB cho visual elements are combined to create society with the earth. These pieces can rus uses complex rhythmic and melodic this score. The contours of the snowdrifts describe aural events (Miniwanka), visual counterpoint to simulate the sound and are realized with humming passages that slowly and continuously glissando between the various notes. Interspersed among the snowdrift contours are drawings ofval"ious Inuit words for snow, such as apingaut (first snowfall) and mauyak (soft snow). As with Epitaph, the graphic nature of Snowforms allows a person with little background in traditional notation to perform it (Illustra tion 2., www.acdaonline.org/cj/interactive/ PR~E aug2.007/). HYMN FA 5 H ION 5' Envi ronmentalism 1-800-760-0038 Compositions like Snowforms and Epi taph for Moonlight are not only educational pieces, but are also depictions of natural www.praisehymnfashions.com phenomena. Schafer has written several Choral Journal • August 2.007 45 sight of fire.The opening section consists inspired by early societies' beliefs in the techniques) all the potential sounds of the of eight separated measures, each of magical power of speaking and singing, and human voice. (Figure 2, 5 x7 5 x 7 6 x 6 6 x 6 '7 x5 8 8 8 8 81.~ ~_ ' ...... ""~.. .---.. 1"""\ ...... Soprano OJ ~-~- '1ft e ~-! 0 a i5 ii e i i i5 ii e i5 e i5 ii i e 0 1 e 0 a ! .. ,h ,0 ,h Clackers .. ,n ,n ,n ,m 1\ ~ ~ ~ .--;--.. i"'"'I""-l i"'"'I""-l Alto " OJ !" '1ft i i5 ii e i i5 ii ii i5 e i e i5 ii e i5 i e: i5 ii J"] JT]} rn J"n ,m Clackers ~ 1\ • ..-- ....----. ~- ~;;-;:-.... 1"""'1 ~ Tenor V ~ !::-b-J_ - '1ft i5 ii e i e ! 0 a e i5 ii i i i5 ii e i5 ii e i i5 ii , Clackers .. ,h > ,0 ,n ,h > ,n ,n rn ," ~ ~ ~ ~ ~ b... fi... ~ Bass --- .., ------~~--::" I~ ~i-i5-ii-e- -~~~" ~a-i5-e 'e '1ft! oa e~i5-~-- ~ i i5 ii Clackers .n-1 > ,n II J J 1 .rn rn II II Figure 1. R. Murray Schafer, Fire, 1986, mm. 1-5. © Copyright 1986 by Arcana Editions. Used by permission. 46 Choral Journal • August 2007 Moderate tempo, velY forcefully -I~I last > port...... 1':\ 1':\ gliss. > > > > > filSI T gliss. > > ... a ha ya ha -·ya - ho i - 0 P =:::'11 jasl gliss. > > fast 1':\ > gliss. div. 1/2 gliss. B a ha ya - ha-ya-ho - ha-ya-ho ha-ya-yi - 0 P =:::'11 = ! = voiced note sung while inhaling rapidly; the pitch will be approximate. 2 [A] FastJ = ca. 144-152 pocof " 1":'1 s ~ ~ ~ ~ If''~ rna - lu rna - lu rna - lu rna - III rna - III pocof A H~ :.../ ni-che oi - che ~ pocof T ...... ~ ~ ~ ~ H'::...Y H' we-ta wo-ti wi-to wa-te be-to bo-ti bi-to ba-rna - III rna - lu rna - III rna - lu rna - III rna- pocof PI':\ f ll11t'S. _ B '!!...-' '--' '--' '--' '--' ni-che ni-che ni-che ni-che ni-che- Figure 2. R. Murray Schafer, Chant to Bring Back the Wolf, Magic Songs, 1992, pg. 2. © Copyright 1992 by Arcana Editionis. Used by permission. their meaning), and setting more traditional divorced from their meaning, solely for when viewed from the perspective of the texts in innovative ways. An example of the their sonic impact. Beautiful Spanish Song, first, Schafer has set texts from dozens of written for treble voices, uses this tech the world's languages, including Sanskrit, nique. ancient Persian, and several Native Ameri can dialects. He manipulates these texts in This little piece for treble voices a variety of ways: he will create an entirely was written following a workshop new language, as in Magic Songs, or mix I gave to music educators in Costa together words from multiple languages, Rica in the winter of 1994. One of Professionally as in Winter Solstice and Sun. the assignments to the class was to Tailored Sun, written for SATB chorus, gives an make a list of what they considered Gowns of aural description of a visual event, a day in the most beautiful words in the the sun's life from its rising in Japan to its Spanish language ... When I got back Lasting setting off the west coast of the Americas. to Canada I decided to create a little Beauty piece employing the Spanish words I As the sun moves from east to west over had been given. I don't speak Spanish the various cultures of the world, thirty FREE so what came out was simply my catalog nine different words for sun (from thirty reaction to the words as sounds.The & fabric three different regions) provide the text; result was Beautiful Spanish Song. I 0 as the languages change the musical style samples changes to reflect these cultures. As the composer notes, this technique can Schafer will also use words completely result in settings that are strange and funny 1.800.847.7977" Iyricrobes.com Choral Journal • August 2007 47 words' actual meaning (Figure 3, , , 1\ I,~,..;. . I 0) S in - ere - f - ble 1\ 2 oil > > > pum pum pum 1\ I ..1"1 I ~ 0) tri - qui - tra - que tri - qui - tra - que di - stri - bu - ir que-tzel A pocof 1\ ,---3---, 3 3 3 3 3 2 ~ '0) ~~ ~ \J ~~ 0 it it \J ~~ \J it~ 0 it it sa -Ie - ro - za sa-Ie-ro - za sa -Ie - ro - za sa -Ie - ro - za sa-Ie-ro - za sa-Ie - 1\ ~~,,;, . 'l---.. 1 ~ ~ ~ 0) in - ere - f - ble in - ere - f - ble S p _=pocof 6 1\ • ______: \;.. 6--, ,---6---, 6 2 0) glisor.- can - - - eha eon - eha eon - eha can - eha eon - eha eon - eha eon - eha eon - eha can 1\ I r=l 1 ~ 0) A tri - qui - tra - que tri - qui - tra - que di - stri - bu - ir que-tzel 1\ 3 3 3 3 3 3 0 1- '0) ~ ~~ V ~~ V it it V ~~ V ~~ V it it ro - za sa-le-ro - za sa -Ie - ro - za sa-Ie - ro - za sa-Ie - ro - za sa-Ie - ro - za sa-Ie - Figure 3. R. Murray Schafer, Beautiful Spanish Song, 1994, pg. 4. © Copyright 1999 by Arcana Editions. Used by permission. 48 Chol-al Journal • August 2007 With swaying motion J = ca. 112·116 (repeat once) Solo Voice soJ/Jadillg sigh p::::>- p :::::::=- 1\ indefinite pitch 1" \ 'i" '"""\ S~~~~~~~~~~~~@) Ah-- Ah---- a few alIOs could be added at written pitch if desired 1\ mp! T u - ni - cor - nus the u - ni-corn has one horn in the cluck tongue spoken, soft hand sonorously unvoiced clap p !! ! BI~~~~~~~~~~I.F9 I I I I I I I I I I 1-...1 elk elk che che che che elk clk che che che che elk elk che che Figure 4. R. Murray Schafer, The Unico/'ll, A Medieval Bestimy, 1996, pg. 23. © CopYright 1996 by Arcana Editionis. Used by permission. MCP International is dedicated to full-service international travel and ensemble performance. We offer both festival participation and/or tours that are custom designed for your particular needs and interests. Our professional and experienced staff will manage all of your travel, concert, sightseeing, and accommodation arrangements. We guarantee comprehensive travel preparation and superb concert tour experiences. YORK CHORAL FESTIVAL FREIBURG CHORAL FESTIVAL Craig Jessop, Artistic Director and Conductor Craig Arnold, Artistic Director and Conductor June 6-16,2008 July 5-15,2008 • Participating choirs join a festival chorus that will be in residence in York, • Participating choirs join a festival chorus that will be in residence in England performing Ralph Vaughan Williams' Dona Nobis Pacem and Freiburg, Germany performing American works by Copland, Clausen, Mack Wilberg's Four American Folk Hymns with orchestra, Craig Jessop Leavitt and Stroope with orchestra, Craig Amold conducting. conducting. • Individual choirs may elect to perform selections with their own • Individual choirs may elect to perform selections with their own director on director on the final concert althe Freiburg Konzerthaus. the final concert at the York Minster. • Sightseeing will include excursions to Lucerne, Switzerland; • Sightseeing will include excursions to London and Stratford-upon-Avon in Strasbourg, France; the Black Forest and the Bodensee (Lake England; Bath and Bristol in England; and Edinburgh, Scotland. Constance which borders Germany, France, and Austria). . . Cou~tries where MCP International can provide choirs, bands and orchestras excellent performance, housing, food, and sightseeing opportunities, tailored to your ensemble: FOR MORE INFO: www.manhattanconcertproductions.com ITAI.::Y AUSTRIA . ENGI.::AND Baltic countries of [email protected] - GERMANY CZECH REPUBLIC SCORAND ESTONIA, LITHUANIA, AND LATVIA (212) 946·2713 I Choral Journal • August 2007 49 positions is enhanced by Schafer's incor- up the gates of the heavenly Jerusalem. constructed by alternating a lively melodic poration of the rituals associated with the The Fall Into Light, scored for six SATB motive with passages of profound stillness. spiritual texts. choruses, six percussionists, and children's (Figure 6). Apocolypsis, based on texts from the chorus sets various Gnostic, hermetic, and Christian tradition, is an excellent example mystical writings. These are combined with of this:john's Vision, the first of its two parts, texts by Rilke, Nietzche, and the composer Conclusion set verses from the Book of Revelation himself. This sixty-two minute composi Raymond Murray Schafer's choral and the Psalms. Reguiring nine_soloists,six_. _tioodraws 00 aiL asp-ectsof Scbafer's_ compDsitiQlJs_dr:av~LupD[LCLwid€kraQge-of~-. - different choirs, winds, percussion (includ- wide-ranging musical style. Highly disso influences. Certain recurring themes can ing newly created instruments) and tape, it nant writing and avant-garde techniques be traced in this eclectic mix of styles. Four is heavily modeled on medieval pageantry alternate with more traditional passages. artistic concerns that consistently appear and mystery plays. Many of the elements The Three Hymns which Schafer excerpted are his theories about music education, found in medieval liturgy are present in from The Fall Into Light and published his environmentalism, his unorthodox this composition, which was written to be separately show this more traditional style approach to language and text, and his performed in a cathedral or large church. 12 (Figure 5). mysticism. His educational theories have Part two, Credo, uses poetry by the six- However, Schafer's most traditional strongly influenced the development of teenth-century Italian philosopher and setting of a sacred text is an Alleluia for his graphic approach to notation. His astronomer Giordano Bruno. It is scored SATB chorus, which was written at one sit environmentalism leads him toward musi- for twelve SATB choruses, each named ting and inspired by an acquaintance who cal depictions of the natural world and a after one of the precious stones that make had decided to enter a nunnery. It was return to earth magic to fix the damage [!J Very peacefully J =ca. 80 p r:.. m s " -- - oJ - Ho-ly is God, who is be - fore the first be - gin - ning._ Ho-ly------is God, the all- p r:.. A " oJ "*7If .. **7If Choir Ho-ly is God, who is be fore the first be - gin - ning._ Ho-ly is God, the all- p r:.. T " " 'II Ho-ly is God, who is be - fore the first be - gin - ning._ Ho-ly is God, the all- p .. r:.. B : Ho-Iy is God, who is be - fore the first be - gin - ning._ Ho-Iy is God, the ali- I I I I I 1. 2. 3. 4. 5. f> pp I ~ I s oJ Hum ... f> pp I A oJ Hum ... Shadow Group fI pp I I I T '!I H"m .I ppl 1 B : Hum ... Figure 5. R. Murray Schafer, Three Hymns, 2005, pg. 3. © Copyright 1995 R. M. Schafer. Used by permission. 50 Choral Journal • August 2007 ~ ... ia Al - Ie - lu - ia Al - Ie - lu ia HUITI ______ Figure 6. R. Murray Schafer, Alleluia, 1999, pg. l. © Copyright 1999 Arcana Editions. Used by permission. done by humankind. A wide open ap moves him thmugh the majol- world I-eli NOTES pmach to text selection and interpretation gions to a personal musical language and Raymond Murray Schafel; Creative Music illustrates his view of language as sonic belief system. Education (New York: Schil-mel- Books, elements. His continuing spiritual journey 1976),228. Enjoy a Holland America cruise along the Mexican Ri~iera while preparing for a concert in San Diego with Duain Wolfe and Sir David Willcocks. The tour program includes: • Rehearsals that don't interfere with optional shore excursions during the cruise • Seven night Mexican Riviera cruise aboard Holland America's IUS Oostel'dlll1l, with stopS in attractive ports of call including Cabo San Lucas, Mazatlan, and Puerto Vallarta • The opportunity to meet and perform with choir members from the United States and beyond • Receptions aboard the ship open only to ACFEA choral cruise participants • San Diego sightseeing tour upon completion of the cruise • Farewell dinner the final night of the tour • Grand finale concert in San Diego • Final night's accommodation, including breakfast, at the Embassy Suites in San Diego Prices start at $1,695* plus tax. Book now as space is limited. The cruise departs San Diego, California on February 16, 2008 arid returns on February 23, ,vith San Diego sightseeing, the farewell dinner and the concert rhat day. The tour ends with breakfust on February 24. Choral Journal • August 2007 51 2 I. Bontick and 0. Brusati, eds., Festschrift Kurt 7 Raymond Murray Schafer, Program Notes (Indian River:Arcana Editions, 1996), I. Blaukopf (Vienna: Universal Edition, 1975), Adams, Stephen. R. Murray Schafer. Toronto: University ofToronto Press, 1983. _ Bontick, I. and 0. Brusatli, eds. Festschrift Kurt Blaukopf Vienna: Uni,versal Edition, 1975. Schafer; R. Murray. Creative Music Education. New York: Schirmer Books, 1976. A Sound Education: 100 Exercises in Listening and Sound-making. Indian River: Arcana Editions, 1992. The Thinking Ear. Indian River: Arcana Editions, 1986. Voices of Tyranny, Temples of Silence. Indian River: Arcana Editions, 1993. When Words Sing. Scarborough: Berandol, 1970. Track I: Epitaph for Moonlight A Garden of Bells,Vancouver Chamber Choir (Grouse Records, GR-I 0 I, in association with Arcana Editions, used with permission) Track 2: Snowforms A Garden of Bells, Vancouver Chamber Choir (Grouse Records, GR-I 0 I, in association with Arcana Editions, used with permission) Track 3: Fire A Garden of Bells, Vancouver Chamber Choir (Grouse Records, GR-I 0 I , in association with Arcana Editions, used with permission) Track 4: Chant to Bring Back the Wolf Track 5: The Unicorn Once On a Windy Night, Vancouver Chamber Choir (Grouse Records,GR-1 05 used with permission) All recordings available at 52 Choral Journal • August 2007 Caree Director of Music Ministries A bachelor's degree in music is re music but stay CUITent with modem at Gloria Dei Lutheran Church quired. a master's degree is pl"eferred worship and musical styles. One must in Sioux Falls, SD along with a high proficiency in musical pmmote a comprehensive pmgram of keyboard skills and directing all levels of traditional and contemporary wOI"ship The Gloria Dei Lutheran Church choral ensembles. Candidates should be and lead in both venues. Candidates of Sioux Falls, South Dakota, is search comfortable directing instrumental en must demonstrate that they can lead in ing for a Director of Music Ministries. sembles and have a knowledge and ap developing wOI"ship and music expel"i Qualified candidates must be able to preciation of liturgical arts and practices. ence for a congregation of all ages: be plan and prepare liturgical celebrations More information about this position can a team playel" and a leadel" among staff in collaboration with pastoral staff be found in the display ad on page 74. and congregants.They must also demon members, select and prepare music for strate the personality traits of leadel"ship, all liturgies in collaboration with staff high energy. contagious enthusiasm, vi members, administer the congregation's Artistic Director sion, and versatility. They must be capable music groups and musicians, prepare Position Available of conducting both vocal and orchestral and administer the annual budget for performance and have received training the music program in conjunction with The Master Chorale of South Florida, fi"om a seminary 01" equivalent. A gradu the Board of Worship and the Arts I"ecognized as the premier choral organi ate degl"ee in music fmm a recognized and the Congregation Council, direct zation in South Florida, seeks an artistic seminary is optional. More information recruitment and growth of participa director for a high-caliber semi-profes about this position can be found in the tion in the music program, establish sional volunteer chorus of 125 members. display ad on page 17. and maintain contact with resources Candidates should have a minimum of7 within and without the parish musical years choral/orchestral conducting ex and liturgical community to facilitate the perience with an established reputation growth of new ideas, serve as ex officio for excellence in artistic achievement Director of Music Ministries member of the Board of Worship and and a demonstrated ability to build on at Knoxville UMC the Arts, and work with all staff and the organization's high quality reputation. The I Choral Journal • August 2.007 53 Travel Specialists for Music and Performing Groups Capacity Audiences San Francisco Girls Chorus at Pacific Music Festival, Yale Almnni Chorus audience at Teatro, Sapporo, Japan Municipat Rio de Janeriro, Brazil Prestigious Venues Pra9IAe (hildrerl's MlAsic Festival", Francisco J. Nunez, Guest Conductor Austria & Czech Republic • July 10-21, 2008 Future Conductors 2009 • Joan Gregoryk 2010 • Janet Galvan Choral Arts Society of Washington at Royal Albert Halt Proms Festival, UK Fantastic Destinations Sou.tVt Aw.en.cliI !IV MusLc FestLvliIL Inspiring Middle School Musicians: An HonestApproach by Marc L.I students are as individuals before they are those who don't currently participate in hy should vocal music mat- ..',., ...... '. ,...... " ."'.. ter to someone in middle concerned about who they are as musi the choral program. What a recruiting ?[fjj...... ' ,'., school? In an age where lip cians. By taking action, you will not blurthe tactic! Finally, when a rehearsal is not go , '. . gloss and text messaging lines between teacher and student; rather, ing according to plan, take a break and al-e at the forefront of the typical adoles you will help strengthen your authority and lead a short discussion to find out why. cent mind, how does one motivate middle gain respect. Don't take it personally. There are so school students to take a vested interest many mitigating circumstances that have in making music? These are the questions the potential to negatively influence the I am most often asked as a middle school Encourage Conversation energy of the group. Don't resist it. Gain music educator. Working with sixth, sev Establishing trust begins the first day of perspective, acknowledge the dissonance, enth, and eighth graders can be incredibly school and is a continuous growth process and then concentrate on the music. challenging; however, there are countless that develops throughout the year. This is By encouraging genuine dialogue in rewards. Foremost, I believe motivating not about being the "cool"teacher and it is and out of the classroom, rapport devel this age is more about psychological influ not about becoming friends with your stu ops, providing the key to unlocking each ence than it is about teaching music. Focus dents. Nevertheless, consistently develop student's full potential. The more students on the individual, and you will help create ing personal connections creates positive open up, the more one has the ability to passionate musicians. associations with who you are and what recognize the psychological triggers that you stand for. For example, during the first influence theil- outcomes. Become a real weeks of school, allot students time to person to them, not only a teacher. Building Trust inquire about who you am and what your One of the key elements to building an interests are. After we set proper guide enthusiastic middle school choir is estab lines, be happy to answer their questions. Set High Expectations lishing teacher/student and student/student Also, the social nucleus of any school is the Do you know how many times I've trust Just as breathing is the foundation to cafeteria. Rather than eat in the teacher's heard "But they're twelve," or "You're too propel- vocal technique, trust is the basis of lounge everyday (which has the potential hard on them. You must remember they're a cohesive ensemble. Creating this culture to be a negative environment), take twenty not professionals, they're only in middle is less about conventional pedagogy and minutes and sit down at a table and talk school. Choir should be about having fun, more about personal relationships. One with, not to YOUI- students. This is also an not perfection." Choir should absolutely must take interest in knowing who their effective way to have a pl-esence among be about having fun! Set high expectations Choral Journal • August 2007 55 to bring about consistent momentum there is a problem in the music, address it. Instilling Confidence in rehearsal and follow through during If the problem continues, address it again. The choir that embodies a professional performance. Students will not only enjoy Anthony Robbins, the motivational speaker attitude is made up of musicians who are themselves when they sound great, but says, "Repetition is the mother of skill:'2 completely dedicated to giving their best also develop professional' attitudes when Do not just sing through a piece of music whenever they are in rehearsal. Various they believe in themselves, what they are and hide behind the piano. Students will types of insecurity, however; can prevent doing, and the person who is leading them keep their head in the score and become this goal from being reached. Personally, towards a common Instead, move the this is the most of in- ·~======~~======~~=~~~~~f~~~~~:~~~~~~~~~ many students ~ possible, ~sess smaller ultimately, it is the student who makes the Rehearsal Techniques groups of singers, and hold them account choice to either embrace a professional The word "professional" traditionally able having them sing unaccompanied. attitude or settle for mediocrity. Once the implies that a person performs for money During these moments, the responsibility educator h~ instilled a culture of trust or is a well-schooled specialist. However; of making music transfers from the con and expectation, it is essential to provide at an age when the middle school ado ductorto the student. Pull the music out of an environment that supports individuality lescent is going through myriad physical them, but do not make it for them. and creativity to awaken the full potential and psychological changes, seize the op in each student. This ilPproach will not only. portunity to instill a professional attitude promote vocal and physical confidence, not only about music, but also about life. Honesty is the Only Policy but also it will ~sist students in overcom Develop daily cI~sroom management and Don't be afraid to be honest during ing the ubiquitous identity crisis that per musical routines that communicate high the rehearsal process. Honesty is integral meates the middle school way of life. expectations and set the tone for all of the to maintaining and developing the culture activities that follow. For example, begin of trust and respect that already per- every cI~s by singing an "A" on a hum. vades the cI~sroom environment. When Singing Out and Alone Upon hearing that hum, all students stand your students execute up to expectation, Have you ever prepared your students, up, match the pitch and begin stretching. positively reinforce their triumphs. When had them sing the opening pitches, made The hum conveys non-verbally that class is they're not, don't make them believe they eye contact with each of them, given an ready to' begin and that focus is required. are. Use the appropriate tools to improve, upbeat, watched them breathe, and the During the stretch, layout the goals of the but do not belittle or talk down to them. result w~ a timid entrance followed by lesson and what is going to be accom They will "see rightthrough you,"therefore a collapse in posture? Singing can be in plished. Rehearse with smooth transitions, hurting the bonds you have worked so timidating. Instead of indulging students' intensity, and with clear objectives. When hard to create. reservations, offer a variety of solutions There are multiple ways to provide to break down barriers and cultivate risk honest feedback. Foremost, ~k the stu- taking. "No" is not an option. Students dents to self-reflect. Make them recognize with professional attitudes do not give up their mistakes and they will take respon- even before they begin. If you encounter Path to sibility for their musicianship. Change your resistance, provide alternative solutions. Glorious demeanor: A change in tone and body For instance, select a student that can act language, relaxed or strict, will influence ~ an excellent vocal model without any Singing their state of mind and raise their levels to dispute. Once that student finishes, offer Book 1: Female Voice a heightened state of awareness. In addi- other students the opportunity to try. If tion to providing examples of proper vocal nobody appears interested, randomly call An introduction to pedagogy, use a wide variety of analogies on somebody else. If this student appears voice technique, warm-ups, and visualizations that are accessible, uncomfortable, select someone else to and a formative collection of presenting a clear picture of what just oc- join them. Many times the student that vocalises, songs and arias. curre9. HlJm9rj~ a gr~ilt tQQI. MilDY time~ . will nOitr), alone will take a.chance with -.- ----._-- - -~ Piano/Vocal Book: $19.95 your students will laugh at your creativity, another person or a friend. Small groups Book & CDs set: $39.95 but will be able to see clearly something will yield the same result. Select either they do not want to replicate again. a row, or create a random sample from Choral • Art Songs • Opera the ensemble. This allows the teacher to Diction • AccompanimentsEe ~sess the growth of the choir and it puts Pocket Coach Publications www.PocketCoach.com the student in a position to thrive without feeling weak. Finally, make it exciting. The 56 Choral Journal • August 2007 Dice Game has become very popular at tions that relate to life experiences. These Conclusion King Philip Middle School. Bring in a pair activities will reinforce the "professional" In the five yeal"s that I have taught at of dice from a board game; Callout a attitude of the choir. Also, take rehearsal the middle school level, thel"e al"e many row, throw the dice in the air; look at the time to discuss meaning, interpretation, musical moments that have made pel" number; and then pick a side to count from. and why the music is relevant to their manent impl"ints in my mind. However; "Row three, number seven, from the right." lives. These explanations will enhance the at the fOl"efj-ont of these memol"ies are At this point, the seventh person in the students' connection to the text and to not the notes, I"hythms, 01" dynamics, but third row frorn the right side stands up the music while making them feel emo the students who made them memo and sings the section that is asked for. Since tionally vested in giving their absolute best I"able. Eileen Howel" of Centl"al Columbia the class is playing a game, students will performance. Middle School says it best when she wl"ites, eagerly stand up and sing alone. Shortly "Middle school students have intuition, after; students will begin raising their hands, emotion, empathy, and sensitivity.They are attempting to prove to the teacher and to Don't Forget About Jazz capable of gl"eat ar-tistl"y, gl"eat musician themselves that they can do it. Remembel~ While seal-ching for a balanced program ship, and great undel"standing."s As middle what matters is that the student builds that reinforces vocal skills, don't overlook school educatol"s, we must make the effort confidence and feels rewarded. Notes are vocal jazz. America's true art form, jazz, to build honest I-apport with OUI" students secondary. not only incol-porates much of the same to cultivate theil" passion fOI" music and elements as traditional choral repertoire, bl"ing out the best within each of them. it offers flexibility for independence in Choil" is the powerful vehicle to help them Stage Presence rehearsal.3 Improvisation, which is the showcase theil" unique sense of self and in What does your choir look like when essence of jazz, is a practical, yet artistic dividuality. You can help guide that growth. they are performing? Are their bodies stiff, and entertaining way to encourage solo Believe in youl"self, believe in youl" students or relaxed? Do they appear disinterested singing. There are many texts, instrumen and along the way, take extl"eme pleasul"e and lazy? Do they look like they enjoy tal and choral, that can help facilitate the in being a part of an incl"edibly I"ewal"ding, singing, or do they look like they are at a process of teaching improvisation, so don't exhilal"ating, and satisfYing process. funeral? About two years ago, a clinician be afraid. Incorporate activities where the came to work with my select 7th and 8th entire ensemble improvises simultaneously, grade choir and said,"1 would buy your CD, then allow for small group and solo op NOTES but not your DVD." Although the students portunities.4 Students will sing notes that achieved a high level of musicality, they did are specific to their vocal ranges while I Foxborough High School. Home Page. Choral Journal • August 2007 57 The ACDAEndowment is a tax-deductible avenue through which helpful programs and meaningful projects enhance the art of choral music. It is a select, volunteer body which continues to commission numerous choral compositions from both noted and student conductors, offers prizes and awards to student conductors and student ACDA chapters, and helps fund the new Media and Research Center located at the ACDA National Headquartes in Oklahoma City. It is a valuable adjunct to ACDA, which depends upon your continued generosity to maintain these resources. YOUR GIFTS KEEP GIVING They are perpetual. Only a portion of the Endowment generated income is used for the various projects. They are protected. Endowment gifts are set aside, and kept seperate from operating and capital-fund accounts. They are personal. While the Endowment has a large general fund, you can designate funds for either the Raymond W. Brock Memorial Fund, the Charles Hirt Fund, or the Allen C. Lannom Fund ____ Please accept my gift of $____ for the ACDA Endowment. ____ I have included the ACDA Endowment Trust in my estate plans. ------_-_--=_---_-_ Please send-me-inforntation about the ACDAEndowment-Trlist:----- Name ______ Address ______ City ______State___ Zip Code _____ Mail to: ACDAEndowment, P.O. Box 2720, Oklahoma City, Oklahoma 73101-2720 How to Build an Award-Winning Chapter by Rebecca Cole Editor's Note: The Ithaca College student • Lectures, seminal"s, wOI"kshops, and dis are proud to provide the bulk of the new ACDA chapter is the 2007 Outstanding cussions to supplement knowledge membership fOI" the ACDA Eastern Divi Chapter of the Yeal~ Rebecca Cole was and skills acquired in the classroom sion. We have increased our membership President of the 2006-07 Ithaca College I00% between 2004 and 2006, and cur ACDA Student Chaptel~ She won second • Netwol"i Chol-al Journal • August 2007 59 Continuing Education at the college, and in the town of Ithaca of choral and vocal warm-ups created by As a professional organization, we strive and its surrounding areas. Our members faculty and students; it is used by many to develop professional skills and provide organize, act as guides, and perform as musicians and student teachers. In addi workshops and events aimed at supple- musicians in the Choral Composition tion, we sell bottled water at many of our menting OUI" course work at IC and events Festivals and NYSSMA (New York State service events, which often funds our com provided by our colleagues at IC CMENC. School Music Association) Area-All State munity and outreach donations. Our goal is to offer at least one opportu- Festivals. We co-sponsor the Young Men's nitY-l2er_ mcmth during the academic year. . _ Dax_ofSing[og and assistattbe aoouallC The faculty at IC willingly shares their ex- Gospel Invitational. Our members also Conventions periences and different areas of expertise help the interns and conductors at the Our main purpose is professional de with our chapter which fosters a unique Ithaca Children's Choir by ushering and velopment, so ACDA conventions provide mentor relationship. Recent events include: performing at their concerts. a wealth of opportunities and resources Meet and Greets; Vocal Pedagogy for the To assist those outside our immediate for our members. We actively fund-raise Choral Conductor; CareerWorkshop; community. IC ACDA organized a Hur- and look to all possible resources to Beyond Pitch-Learning/Solfege in the ricane Katrina clothing drive in 2005. Our reduce the cost for student attendees Rehearsal; Gospel Reading Session; Mad- collection was sent to a choral director in at national and divisional conventions. At rigal Workshop;Ti"eble Literature Reading Texas whose school hosted evacuees. This these conventions, our students network, Session/Workshop; Gospel Workshop; year our relief efforts continued when we attend concerts and sessions, participate Handel's Messiah Reading Session; Multicul- partnered with a fellow student organiza in conducting master classes and competi tural Music Workshop; Mozart's Requiem tion for a Hurricane Katrina Water Drive. tions, and sing in honor choirs. Reading Session; Music LibraryWorkshop; Winter and Spring Study-Breaks during finals week.We invite conducting students Fundraising Communication to conduct at our reading sessions so they IC ACDA raises funds in several ways Current news and events are avail may practice and refine their skills. to support our events and service activi able to our members through an e-mail ties. Each year, we create and sell Choral list-serve and our Web site (www. Composition Festival T-shirts to the high ithaca.edu/acda 60 Choral Journal • August 2007 Inspired Performance Tours Others promise custom-created performance tours. Encore delivers. "The concerts just kept getting better as we went along. Our last performance was in Busseto, the birthplace of composer Giuseppe Verdi. It was a real treat for the kids to get to play his music, in his town, in a theater that was built for him while he was still alive. Encore did a great job publicizing our concerts so we always played to packed houses." - Keith Rector, Encore Tours Group Leader, Central Kentucky Youth Orchestra, Kentucky "The venues challenged students to rise to a level beyond their expectations. For our final concert we were on a bill with the Edinburgh Philharmonic - truly a 'wow' experience!" Marge Campbell, Encore Tours Group Leader, Director, Chester County Voices Abroad, Pennsylvania Call us today at 1-877-460-3801, or visit us at www.encoretours.com. encore AOIVISIONorACIS' to u rS 1... Choral Joumal • August 2007 61 on the future of choral music, and sup holds a similar opinion -"A choral piece Composers on Composing for Choir shapes and is shaped by its text" -but he Wine,Tom (editor) plied a list of their output for choir (in the believes that "because audiences rarely GIA Publications, Inc., 2007 case of Mechem, some of his answers are 251 pp. derived from two articles he published in understand the words, they usually hear ISBN: 13-978-1-57999-664-2 (Hardcover) the Choral Journal in March 1973lreprinted and judge the piece as pure music" (p. 88), @$24.95 in March 1998 and in November 2003, as he does. Mulholland and Rutter sug GIA Publications, Inc. (G-7110) respectively).Thus, the composers and the gest a process not unlike the others. The 7404 S. Mason Avenue subject matter they provided comprise former offers: "When I read a text over Chicago,IL 60638 the ten chapters of and over again I hear music in my head. I Choral Journal • August 2007 63 productivity," he indicates, "which some- the duration of one sitting is quite long. He pragmatism that may surprise some read times lead to a composing hiatus of many begins "at about 9:30 in the morning and, ers. Consider the following statement of months. Most of my composing is done with meal breaks ... generallywork[s] until Childs, who believes it is impossible and in a compressed time frame spanning a midnight before [he] calls it a day. For me, unreasonable to control the performance few weeks at a time" (p. 8). Clausen con- it is better to sit down and stick with it:' of a work once it reaches the domain of fesses: "I have not been very consistent [Howevel~] "I probably only spend a total the choral community. in terms of a regular composition time. of two ol-three months of the year actively -Being-a-full=time--cl:loral-director:-is-quite--writing'~-(pp .. JS8-=59_)._Lbe_compositional ___"As a comp-oser and conductor .1 time consuming, and I have tended to regimen of Stroope "includes writing every appreciate the challenges directors write during my down time in between day, [because, in his opinion,] a composer and singers face in recreating my teaching and conducting commitments" needs to cultivate creativity on a consistent pieces with the intent and exactitude (p. 30). Larsen expresses that she strives basis. Creativity is not a spigot that can be I had in mind when writing them. I to write every day. "Ideally, I write from turned on and off" (p. 192). Walker main- b~lieve it important to encourag~ 9:00-1 I:00 in the morning and then do tains "a faidy strict regimen for composing," directors and ensembles to put .thel;' the business part of my music. Then I she confides. "[At I0 am] I set to work for own mark or stamp on the piece write from 5:00-7:00 in the evening and about four hours. Since I compose each (p. 13). sometimes from 9:00-1 I:00 at night" (p. day, I find that four hours is about the right Of Larsen: 47). Mulholland creates in brief periods: "I amount of time forthe energy I have to be compose four hours every day; I tend to creative" (pp. 228-29). When I conceive a piece, I hear write for two hours, take a break, and work Why do they do what they do? "I don't it performed very specifically in two more hours" (p. 128).ln Ruttel-'s case, completely know why I compose music," my head .... Of course, it's not Larsen reflects. "I do know that I have possible to hear a performance of a passion to compose. I do know that I my work that exactly matches my love music and feel as if I am the luckiest own performance. 50 ... 1 quietly, pel-son alive" (p. 57). Mechem's answer privately give ownership over to the encompasses composing and listening to conductor and the choir" (p. 50). GMadrigaJ by music."1 readily admit that my background CT\'111l1" er Paul Brandvik -.u. Author of often determines what I look for in a Of Mechem: C' • fC' The Compleet new piece of music, whether my own or CJCrlpl(9 Madl'igal Dillllel' Booke someone else's .... 1want to love a piece of I work hard to write into the score music, to be delighted by it, to be moved all the information I can to bring This year make the to tears or laughter or in some way taken about a performance as close to RENAISSANCE COME ALIVE what was in my head as possible, but At your University, High School, out of myself" (p. 87). Similarly, Mulholland Middle School or Church writes: "I want to be mesmerized by what of course that is impossible. There I hear: ... The real joy of life comes. from are too many variables .... Here's TWENTY-EIGHT DIFFERENT SCRIPTS painting the picture, not seeing it hung the bottom line: try it my way first; EACH SCRIPT INCLUDES: on the wall. Ci-eative joy fOI- me comes if that doesn't work, find a way that ALL DIALOGUE: does" (pp. 98-99). Greetings, Toasts, Festivities, Concert, from the creative process ... " (pp. 127 and Farewell and 129). Finally, to Rutter"composing ... HUMOROUS RENAISSANCE SKIT is a compulsion.There is no I-eal rhyme or Of Mulholland: (MASQUE) reason for what calls me to put my ideas [M]usic has to go from the pen to REPERTOIRE SUGGESTIONS on paper" (p. 154). Ceremonial Music and Concert the podium. When it is from the The perspectives of the composers on pen, it is one thing, but when it is For more information including synopses score study and preparation reveal nothing on the podium, it is something else. and cast lists for each script, sample pages unexpected-e.g., "Score study is one of and order forms please visit us at: ... 1 want conductors to have the the most impol-tant tasks of the conduc~ www.madrigaldinner.com freedom -to ex-press themselves tOI~ ... Conductors who set aside regulady when performing my music" (p. scheduled daily time for score study have 133). knight-shtick press more investment and understanding in the Box 814 Bemidji, MN 56619-0814 process of music making, and the results Rutter provides the longest and most 218/586-2270 [email protected] often bear that out as well" (Stroope, p. thoughtful response. 194 )-but the suggestions of the compos ~A Division of EXTREMELY LTD. ers for peliorming their music disclose a My job as a conductor is to take 64 Choral Journal • August 2007 the pelformers ... as far as I can never taught composition .... I have taught to recol-dings and attend concerts ... .The on a journey toward the best harmony, countel-point, orchestration, dangel- of just consuming professional performance we can give. On and form and analysis; I believe that most pelformances is that we foI-get the joy that the journey toward the pelfect students who want to study composition comes from participating in choral music" performance, all we can ever really really need to master these skills first ... (pp. 174-175). Finally, Stroope indicates: hope for is to reach a point along . One learns more by trying and failing "I feel the future of choral music is bright that path of discovery, a stage than by waiting for some God- or teacher and will continue to floudsh, thanks to the along the road to a destination given inspil-ation. Howevel~ I believe that concerted efforts of those continuing its that does not really exist. . .. Most all good composers al-e essentially self legacy. No business or discipline ... has a pelformances reveal one aspect or taught. A good composel- needs two problem-free legacy. Our plight as com another; but it is like walking around qualities that cannot be taught: creativity posers, conductors, and administrators a great cathedral-no matter where and an individual musical pel-sonality" (p. is to find solutions to those challenges, you stand, you never see all of it at I02). Ruttel~ on the other hand, taught emphasize the positive, and find ways to once (pp. 163-164). composition forten yeal-s. He admits that strengthen our link in the human chain. .. . Let us now build a legacy that will frame A contrary and entirely understandable he "soon discovered that ... you cannot our time for history to view-to have a view is expressed by Lauridsen: give composers inspil-ation or ideas, nor can you control the quality of a student's taste for high quality repertoil-e, a passion for dynamic leadership, and the rugged When people send me a recording ideas. Talent is the mystery at the heart of their performance of my music, of all creative endeavors .... Technique, inner fortitude not to waver until the job one of the first things I look at is however; is something you can teach" (p. is done" (p. 202). the timing. If the timing is way off, 169). Walkel- does not "think CI-eativity "The purpose of this book," as the edi I don't even listen to the music can be taught. And 'ovel--teaching' can tor writes in the Introduction, "is to help because it means the conductor be dangerous," she stresses. "I know of illuminate some of the intent behind the has not followed the tempo and a composition teachel- whose students composer's vision and help the conductor duration I have suggested. . .. 1 try ended up writing music that sounded like intel-pret the music better for the ensem to give as much indication to the his. The teachel- had a very strong per ble and for the listener" (p. viii). Certainly, conductor and the performer in the sonality, and these students were in theil it has accomplished the former; and an scores of all my works as to what I formative years and susceptible to his influ informed conductol- can realize the latter. want in the performance because it ence. The teacher's imposing personality To reference Ralph Vaughan Williams once is very important to me that these overwhelmed the students, and they nevel again: "We all, whether we are artists or guidelines be followed" (pp. 75-76). found their voice" (p. 236). not, experience moments when we want Although thel-e is so much more that I to get outside the limitations of ordinary In the section "Views on the Teaching should like to mention in this review, the life, when we see dimly a vision of some of Composition and How to Mentor foregoing demonstrates sufficiently the thing beyond. These moments affect us in the Young Composer;" the interviewees contents of the book. Howevel~ befol-e different ways. . .. Those whom we call stressed the importance of learning mu concluding, I would be remiss if I did not list artists find the desire to create beauty ir sic fundamentals, receiving instruction in a few of the opinions of the composers on resistible." In this book, one can learn about harmony, counterpoint, orchestl-ation, and 'The Future ofChol-al Music." Mulholland the how and why of this process from the form and analysis, studying the piano, and writes: "I am more pleased with the choral creators themselves. In my opinion, Com singing in choirs and learning about the scene today than I have been in a long time. posers on Composing for Choir repays the voice. Beyond these absolute essentials, ... Choirs from all over the country are al investment of time to read it. there were converging ideas about the ways surprising me with their excellence. I pedagogy of composition. Childs believes can remember going to conventions thirty Stephen Town, "it is imperative to guide rather than to in years ago and picking out three outstand Book Reviews Editor struct ... .The art of composition does not ing choirs. Now I go to a convention and occur overnight. It is a continually evolving have difficulty picking three choirs that are growth process that requires nurturing not outstanding" (pp. 141-142). Rutter be and a certain amount of maturation" (p. lieves that "the standal-ds for choral music 17). Clausen thinks that "a composition GIA Publications, Inc. have risen enormously:' but he cautions: 7404 S. Mason Ave. curriculum and teacher can only do so "many talented amateurs are no longel Chicago, 1L 60638 much; composers genel-ally teach com active participants, only consumers. Rathel 800-442-1358 position to themselves by study and ab Music for fax 708-496-3828 than singing in a choirthemselves,they pay the Church www.giamusic.com sorption" (p. 32). Mechem writes: "I have others to do it for them while they listen Choral Journal • August 2007 65 Ancient Song Recovered: highly regarded in the Soviet Union. In of the prescribed Socialist Realism man- The Life and Music of later years, he was occasionally "political" dated in the arts at that time. Veljo Tormis in some of his music and consequently not Daitz's approach to her book is some- Mimi S. Daitz always free to do what he wished.Tormis what unusual. Unlike most biographers, Hillsdale, NY; Pendragon Press, 2004 never joined the Communist party. The she includes earlier writings by Tormis 368 pp. KGB files on him during the Soviet period and others, all properly attributed. Daitz $54.00 (thoroughly explored by Daitz) reveal explains her reasoning in a most interest- ~ISBN;=I';;.5¥64Y"'009;o'I=(Paper)I=""=~=~" tripstal etition, and melodic ascension by half-steps Ancient Song Recovered: The Life and that occur frequently in Tormis' music are Music ofVeljo Tormis surely will become the direct descendants from the Regilaul tra most definitive book in English on Veljo Tor dition.Thus, his music helped to preserve mis and his music for several years. There Estonian culture during the Soviet period. are many details not only about musical Music with folk themes seemed to reso form but also about first performances. nate with the authorities as representative The recording sessions supervised by the 66 Choral Journal • August 2007 composer plus the personal interviews are intel"actions. In the thil"d volume, he at conductol"s). particulady informative. Extensive I"eseal-ch tempts' 'to define what it is to be an aware The book is divided into four paris by Daitz not only in libraries but in KGB musician and, consequently, an alive human -Section One (On the Thl"eshold), files and archived minutes of the meetings being" (p. xxx); and a major intention is to Section Two Uourneying In), Section of the Composers Union make this book articulate the need fOI~ and the contents Three (The Resting Place), and Section a trove of information not readily available of, an ethical code fOI" musicians (especially Four Oourneying Out)-pl"efaced by a elsewhere. Among the many interesting facts I learned, for example, was how exact Tormis is with his metmnome mal"kings and how fussy he is that conductol"s fol low them! Bravo! to Mimi Daitz forthis exhaustive volume on one of the major composers for chol"uS in our time. Harriet Simons Boulder; Colol"ado The Musician's Walk: An Ethical Labyrinth James Jordan GIA Publications, Inc., 2006 399 pp. ISBN-I-57999-550-0 (Hardcover) @ $38.95 GIA Publications, Inc. (G-6734) 7404 S. Mason Avenue Chicago, IL 60638 Choral Journal • August 2007 67 foreword by Weston Noble, acknowledg Irish Sister and the Catholic parish school ciano Ours is a walk toward center; turns ments, commentary on the cosmetics of children (pp. 80-85); Wilfred Bunge's es and challenges face us every day, especially the book (About the Photography and say about Weston Noble's daily practice of when dealing with other musicians ... .Thus, Design ofThis Book), and an introduction, humility (picking up trash, pp. 174-76) and you will find that the content of this book and succeeded by "My Ethical Notebook" Jordan's consideration of Noble's journal is arranged according to the path thmugh (ten pages for note-taking), a postscript ing (pp. I97-99); the author's explanation which the labyrinth guides you [see the (LiberaIE<:Juca!i()n Rediscovere<:J bYL.lack~ of the Yardley, . Penns},lvallia, geese (pp. se0iondivisions _abgve]. T~E:cha.[)!E:~s at:. son Newell), reflections, bibliography and 245-48); and, his recollection of an early tempt to describe some of the changes in suggested reading, biographical material mentor's chal-acter (pp. 282-84). direction, from understanding how to 'be' (About the Author and Contributors), and To be sure, Jordan's when with colleagues to learning how to an index (of Quoted Persons). Together story of his visit to a 'be' when sound is present. It is a type of with the chapters by Jordan, there are labyrinth at Chartres awareness that, when fostered and nour contributions by his colleagues-L.Jackson Cathedral led to his use ished, will raise one's musicianship to new Newell, already mentioned,James Abbing of the word and con levels of human experience" (pp. 9-1 I). ton, Richard Floyd,Allegra Martin, Kenneth cept, "labyrinth," as the These issues are elucidated compellingly in R. Raesslel~ and John Yarrington. paradigm and title of the initial chapters, which are, perhaps, the As readers of Jordan's books know, a his third volume, which best of the volume-"Chapter 2: Moving primary literary device employed by the he relates in "Chapter into Light and Wakefulness"; "Chapter 3: author to further his narrative is the story, I:The Musician's Walk: A Labyrinth?": "It The Walk: One Step at a Time"; "Chapter and, in my opinion, the stories in The Mu occurred to me that there is perhaps no 4: The Loneliness of Musicians: Breeding sician's Walk are entirely convincing, deeply better paradigm for the musician's walk Unawareness"; "Chapter 5: The Compas meving; and, perhaps, the best engine ofhis than that of the labyrinth. A beautiful de sionate Musician";"Chapter 6: I andThee"; argument; see, for examples, an evacuator's sign, it is a physical representation of the "Chapter 7: Who Am I? Who Are They?: description of The World Trade Center on music we make in the aesthetic sense: bal Confusion Between Human Self and Musi September I I (p. 58); Jordan's memories anced, symmetrical, and engaging. But upon cal Self"; "Chapter 8: An Ethical Code for of his mother's battle with cancer (pp. closer examination, the labyrinth can be a Artists Defined by Awareness"; "Chapter 59-60 and 316-19); his account of the physical paradigm of the walk of the musi- 9: Sister Music: An Awareness of Love and Its Power"; "Chapter I0: Core vs. Force: A Paradigm for Monitoring the Musician's Walk"; and, "Chapter I I: Musicians Heal Yourselves: Listening in a New Way." SMU·IM§@9WS· A recurring theme of the volume is how to balance the art of music making with the human ego or; rather; how to Study value human relationships on the same Choral Conducting level as our art. In Chapter 3 can be found, with in one paragraph, Jordan's definition of Pamela Elrod great teachers: "they are at all times car ; Newly appointed .• ing and loving to all whom they teach or work with, including themselves. They Director Of .... have respect for others and what they Choral Activities · do, and they learn fmm others by quiet observance. They have the unique ability to be able to rejoice in the achievements . . . own achievements and realizing their w/Choral GondtictirtgED;lphasis .. own gifts, too. They have an overriding passion for care and human condition of For further information contact others. Their subject matter is almost an wagnera:@slrtu:e(li1214:768-3217 afterthought. Because of these character istics, students under their tutelage grow meadows.smu.edu: at alarming rates both as musicians and 68 Choral Journal • August 2007 people .. (pp. 33-34). Conversely, Chapter allow music to speak in an honest voice The Musician's Wa/kAn Ethical Labyrinth 4 presents the first of sevel-al unflattering if they bring disrespect for the human by james jordan will not appeal to every descriptions of unsuccessful conductors. condition and for people to the podium one, because of the message it carries "For too many musicians, there is a naive ... You can hear this in the music. ... The and a writing style that is confessional, ex and unknowing separation between how sound is elusive and lacks a depth of tex istential, intimate, and personal, but many they live while making music and how ture and color" (p. I43)-and "Chapter will embrace it and its many fine chapters. they live when they are not. ... They are 16: The Role of Humility on the journey" The present reviewer liked in particular able to make music at certain high levels -"It has been my experience that artists chapters S, 6, 7, 9, 10, 22, and 2S. As and inspire students in the classroom, who assert their ego upon others and the with other jordan/GIA books, this one is but their being radically changes when ensemble ... are so self-absorbed that they beautifully designed and illustrated, in this they have to deal with people; they often never hear the music that is a product of instance by Martha Chlipala, with a lovely become gruff and angular with others.... their somewhat distorted and portl-ayed font, fine-line ink drawings, and aesthetical They tend to become angry and defend self" (p. I 73)-and "Chapter 2S: Be Not ly-pleasing photographs by Eric I(ephart.ln their anger to themselves as necessary Afraid: Understanding Authentic Presence" closing, through his text,jordan reminds us because they do it 'for music'. But music -"I believe that persons who [take pride that the pdmary reason for our existence was never intended to be a vehicle that in memorizing their scores] use it as a as choral conductors and music educators justifies inhumanity toward others" (p. mask for a type of psychological control is to create and share profoundly meaning 40). The label of "crazymakers" is given over the ensemble .... The false sense of ful musical experiences with the students to these types of individuals in Chapter security actually erects a wall between we are privileged to teach and the audi I 0, where their profiles are amplified. Yet those conductors and their ensembles. ences who attend our concerts. This is another variation is presented in "Chapter My proof of this is in the sound of the authentically impossible unless we possess 14: Relationships and the Music Educator" performance. The sound is never warm humility about who we are and what we by Kenneth R. Raessler, which along with or spontaneous ... because the 'focus' is do, love and passion for making music, and "Chapter 20: A Code of Ethics from the totally on the mechanical elements of the compassion for others. jordan's book is Inside Out: Thoughts on an Ethical Code score" (p. 293). recommended without resel-vation. for Band Directors" by Richard Floyd are jordan's list of ethical standards may two of the finest by the contributors. be found in "Chapter 22: Some Guidelines Stephen Town, Raessler writes: "We all know there are and Further Definitions: An Ethical Code Book Reviews Editor individuals who thrive on petty intrigue for Musicians," but the author cautions that and vindictive backbiting. We have all likely his "is not a specific code of ethics that experienced abuse of student loyalty when will multiply the joy in your professional students are encouraged to take sides in life but rather the awareness that is born faculty disputes. This is the antithesis of the out of a newfound reality. Problems ensue quality relationships among peers needed when unawareness is present" (p. 2S2). to ensure music program success. Because Here, jordan encourages the readers to this is so prevalent, it has as much to do emendate the code according to their .·Director of Music Ministries with the fragmentation and fictionalization life experiences, while in "Chapter 26: for of our discipline as anything. This simply Dedicating Oneself to an Ethical Code," he Knoxville United must not occur" (pp. ISO-SI). suggests that they write their own code of Methodist Church In jordan's view, music suffers because ethics and then abide by it with prescribed of such behavior-e.g., "it is those people checks and balances. Established dynamic program who do not listen closely to the music they with four singing children's make, for if they [did], they would hear in choirs, touring youth choir, sound the reflections of their ways" (p. two adult choirs, hand bell 3 I) and "If anger exists in any form, then ACDA Quick Tip choirs for children,youth and adults, four professional mu music cannot be born. If overpowering sic staff and 12 volunteer staff ego exists, then music cannot speak. If love Make sure to include assistants and accompanists. does not exist in the room, then human your ACDA membership spirits cannot be present" (p. SI )-and he number on your Qualified applicants should refers to specific examples in the book, send their resume to: e.g., see "Chapter 13: The 'Real' Sound of membership renewal form. resu [email protected] Music"-"Musicians will not be able to Choral journal • August 2007 69 CHAPEL Repertoire for Mixed Voices, Vol. 1 This two-CD set is the first in a new series of recordings that highlights performances from distinctive choral repertory sung by the St. Olaf Choir in recent years. Volume One features an eclectic array of extended choral works, including: Mozart's Missa Brevis in B-flat Major (K.22S), Brahms's motet Schaffe in Mir Gott; excerpts from Frank Martin's Mass for Double Choir and Robert Ray's Gospel Mass. It also features selected shorter compositions, including works by Eric Whitacre, Rene Clausen, Daniel Gawthrop and David N.Chiids. Celebration! Boe MemorialChapel This live recording is a compilation of a series of dedicatory events held in Boe Chapel on the St. Olaf campus. These events spanned five days in February 2007 to celebrate the extensive remodeling of Boe Chapel, a newly installed pipe organ and the recently published Evangelical Lutheran Worship book. This two-CD set features a dedication hymn fesitvalled by John Ferguson with the st. Olaf Cantorei and an organ recital and demonstration by the St. Olaf organ faculty. To order, visit stolafrecords.com or call 1-888-232-6523 ST· OLAF RECORDS NORTHFiElD' MINNESOTA' USA www.stolaf·edu Noel Nouvelet Messe Nr. 2 G-Dur (G major), found on the Contents page registers Chester L.Alwes DI67 parts for (ad lib. 2 Oboi (0 2 Ciarinetti) SA divisi, piano,flute Franz Schubert and 2 Fagotti) 2 Trombe,Timpani, Organo, Roger Dean Publishing Co. # 15/ 1941 R STB soli, SATB, Orchestra Violino I, Violino II viola, Violoncello, Con $1.95 c.F. Peters choral score # 10858 $1 1.50, trabasso,2 Soli: Soprano,Tenore, Basso, and Choral Journal • August 2007 71 between sopranos/altos, and tenors/basses rather simple: block chords, frequent use of Lord, I Lift My Eyes to You again; the third and final iteration o.f the A suspensions, and moderate use of arpeg Dana Mengel material has the melody sung in unison giated figures add harmonic and rhythmic SATB/soli, piano by the tenors and basses, while a simple interest. After a short four-measure Abington Press #0687494419 counter-melody is sung in unison by the introduction, the sopra $1.75 sopranos and altos. The tessituro of the nos and altos enter in 72 Choral Journal • August 2007 Do Not Stand At My Grave add interest. Let Not Your Heart Be Troubled and Weep The wol"i( opens with soprano and Ruth Elaine Schram Joseph Twist alto parts on a unison pitch, the lines SATB, divisi, keyboard SATB divisi quickly peeling away into four-part divisi, a Brookfield Press (Hal Leonard) Morton Music MM 2031 technique the composel" uses frequently 08744793 $1.95 throughout the piece. The work is in ter $1.60 ~(0fm Tour Consultants Performing Arts Tours Since19S5 -I , www.acfea.com Choral Journal • August 2007 73 companiment flows gently supporting the jazz rhythm, style, and sonority. The ranges transparent until the last few pages. There parts occasionally. but basically is a rhythmi are not extreme except in the last four seems to be no real tonal center; but the cal harmonization, in broken chords sup measures for most of the voices. A good combination of pitches makes the piece porting tonality for the voice parts. Church college choir or professional community very contemporary. The accompaniment choir members would find the anthem choir would probably find this challenging is a separate entity from the voice parts, appealing, and it would be a good addition piece a most enjoyable arrangement for only reinforcing the harmonic structure. to any church choral library. concert purposes.The piece might be suit This piece is moderately difficult and able as a massed choir number for a high would call for a Corpus Christi,Texas munity chorus. A very Elwood H. Brown proficient high school Corpus Christi,Texas choir could probably He's Got The Whole World perform the piece. It arr. Ray Liebau definitely would add SATB divisi Proverb from 03: This New contrast and variety Walton Music (Hal Leonard) Immense, Unbounded World to any program and WOMI03 Robert Kapilow would show off the capabilities of sensitive $1.70 SATB,piano performers. Some of the vocal ranges are his beautiful unaccompanied lullaby was commissioned in 2005 by a consortium of women's choruses (13 choirs spanning middle school, high school, uni versity. and adult groups from the United States, Canada, and Hong Kong) organized National R&S Chair for Women's Choirs. www.gloriadei:-sd.orgor phone 605~371-3737 ext. 14 Set to a text by Jane Griner (poet of Sing Resume and references maybe ,e-mailed to [email protected] Me To Heaven) that with very minimal Applications will be accepted iriltil the position is filled. adjustment allows the piece to be sung either as a general lullaby, or as a lullaby for In addition an Assistant Musi~ Director ppsition is,lleingcreated. the infant Jesus. Ranges are mostly mod erate, however the alto 2 part descends 74 Choral Journal • August 2007 to e several times. The part-wdting is tal section that sounds deceivingly difficult, ful fOI- opening 01- closing a pelfol-mance, very well-crafted, although there is some but is actually easy to learn and a joy to 01- for a lively church anthem. The music chromatic movement pelform. This rhythmically complex section is accessible to gil"! _. _____ ._ " requidng careful tun is contrasted by a powelful homophonic choil-s, but adult sing- CM""":.C'.D;·.·.·,;)O·c"' ing. There should be SorTlV, LITTU ClIllD climax that precedes the serene ending. el-s would probably r:llQ.UIr:l! no rhythmic difficulties. In conclusion, the chorale had a blast find enough challenge ~~~~,~~~ ! The pl-edominantly singing this work and it was met with an in the changing rhyth- R. ~:.~u~. I soft dynamic through enthusiastic audience response. mic patterns and quick ~~bi) most of the piece will pattel~ The voices are ,.. n. ,,,,,,·,·c'''' " .. ,v,·oC',· require careful breath Glen Carlos often pail-ed, but all management skill by Hollywood, California voices are given parts the singers. This fine piece could be suc that set them off from the other voices cessfully performed by a matul-e women's at times. Everyone will be humming this quartet, or a large women's choir: Alleluia Brasileira I-efi-ain. (Brazilian Alleluia) John Buehler Ralph Manuel DI-ew Collins Baldwin City, I Choral Journal • August 2007 75 the articulations in the .- ... _.. --- .. (Credo in unum Deum), traditionally sung ing melodic line, natural minor (with the UI\1 ~c:.ufll·:C:U,M :..'JJAHiCi vocal parts and have by the priest, are not included, so directors striking flat 7th), predictable. McCullough's the energy required T~OLD 'i would be wise to search outthe chant and very practical arrangement sets off the to sell this old song cm~~~:ogo,r.1 have it sung by a solo- tune with an introduction and interludes to the audience. Adult I ist or section before c.:y:':'~:~:':~~YL;~~'~;l for the keyboard and four hand bells. This singers could perform JJ.,,'ruv~!;kt" the choral opening. r(.Rg){)o.3 avoids the immediate repetition that can this arrangement for Banner's keyboard re- JGrJr.m"I11~", make hymn anthems tediousThe keyboard children I s concerts. duction lies well under '~I~' part is probably best suited to organ, but t-1CR1f~er..t.l!;:..R c TiTe-pianu-parts-are-l5est=left-to-e>' ~~e s:~:~~~~e~ ~~~ c" D~~,:i:)~~ I harmonic motion. That . ~UJ'U OID-:''0tD :','CP,)"S,'':'£ir!",c,;n results in a slow, free piece that holds chords Artistic Director Position Available and rests for a long time.The first solo The Master Chorale of South Florida seeks Artistic Director for high-caliber,semi phrase sets the mood with a free flow professional volunteer chorus of 125 members. Candidates should have minimum 7 years ing phrase that rises over a seven-voice choral/orchestral conducting experience with established reputation for excellence in artistic chord in the choir. The soloist hangs on achievement and demonstrated ability to build on the organization's high quality reputation. the ninth and raised fourth of the chord, See full Job Description at www.masterchoraleofsouthflorida.org. ~--Recognizeaasthe premier cfioral orgariJzafioriTilSoutIfFloriaif,-the lViaster Cfiorale---'- performs major choral/orchestral works throughout the Tri-County area. Part-time position commences August 2008 with prep for 2008-2009 season. Email letter of application and resume to [email protected] or send to Carole Sandvos, Chorus Administrator, Master Chorale of South Florida, 6278 N. Federal Hwy #351, Ft. Concert Choral Music, Anthems, Lauderdale, FL 33308-1916. Spirituals & Black Gospel, ArrennPll'lpnt" www.wertsCh.com 76 Choral Journal • August 2007 eventually resolving languorously. While the premiere pelformance and it was very written ca. I263 fOI- use on Corpus Christi there is plenty of motion, the piece isn't well received by both the audience and while Tantum ergo sacramentum is part of going anywhere, and happily so. It simply the performers. St.Thomas' hymn Pange lingua-corporis floats gently, like a boat at anchor. At Get On The Train takes a series of events wdtten ca. 1264 fOI- use in the institution times, the dynamics rise strongly, but the dudng a troubling time in American his of the new Feast of COl-PUS Christi. Each pause that follows allows the tone to drift tory and transforms them into a pleasing of the two-minute settings can stand alone, away, especially in the kind of reverber aural expedence while encouraging fur but packaged togethel~ offer most sensitive ant room best suited to this music. A ther study into Tubman's heroic exploits. statements imploring aid fine performance would make this music I highly recommend it for mixed choirs in time of war and rever sound effortless, but it is a challenge best at all levels. ent praise. In each piece, suited to excellent church, high school, or the text is well set, allow FLETCHER college choirs. Forrest's piece won the Glen Carlos ing appropriate syllabic o$.\!lrr,uusllOSTt.\. T,\,"1\311:NAJ 2005 ACDA Raymond Brock Memorial Hollywood, California stress through careful s.\Ol ..... U~'ffi,'l1 Composition Contest, and the music is meter change. Harmonic evidence of a good choice. writing is mostly conso- o salutaris hostia nant; however careful Michael Connolly Tantum ergo sacramentum tuning will be necessary to allow disso Portland, Oregon (Second setting) nance resolutions proper space. Rhythms Andrew Fletcher are simple and the soprano range ascends SATB to a~2 while other ranges are moder Get On The Train c.F. Peters #68054. $2.50 ate. There is minimal divisi writing. These David R. Sears Choral Journal • August 2007 77 Spring Hopkins makes frequent use of alliteration composer and author of the text in the Daniel Powers in his poetry that the sensitive conductot" front cover of the music. 2-part, piano will notice and highlight. Descriptive words Santa Barbara Music and unique pht"ases Philip L. Copeland SBMP 612 $1.60 delight the tongue and Birmingham, Alabama composition. The music is SSAA d;v;s;, piano exciting and descriptive with Santa Barbara Music Publishing wonderfully chosen words. Although writ short wol"l< featUl"es SBMP 615 $1,85 ten for two-part choir, the music is quite piano and unison voices. Harmony does The women are frequently divided into six parts and occasionally into seven. The music is triumphant in nature; it begins and ends in dramatic fashion and would serve as an excellent ending to a concert. Excellent background material is includ- 78 Choral Journal • August'l007 ed by the publisher that gives supplemental are telling you." The Lady with the Lamp information on the composer, the poet, Jesu Ukukhanya (Botswana) is a call and Max Helfman other textual sources, and circumstances response piece which would be easy to SATB and solo (medium voice) that contributed to the composition of the teach as such, giving the singers the op Transcontinental Music Publishers work. A recording of a live performance portunity to experience the oral tmdition 993243, $1.50 of the composition is available on the firsthand. Each verse features a soloist and Choral Journal • August 2007 79 WHEREAS, the human spirit is elevated to a broader understanding of ACFEA Tour Consultants 51, 73 itself through study and performance in the aesthetic arts, and ACIS Performance Tours 60 Ambassador Tours 12 WHEREAS, serious cutbacks in funding and support have steadily Arts Bureau for the Continents 13 eroded state institutions and their programs throughout our country, British-European Specialty Tours 39 Carnegie Hall 23 BE IT RESOLVED that all citizens of the United States actively voice Classical Movements 54 ~theirFaffirmati\le~and~collectiV'e=sLlpport-for~necessary~fLlnding=at~the'~-~~ ..... ~t:once'ptTo-urs------.------. -~1~r_""""- local, state, and national levels of education and government, to ensure Concord United Methodist Church 69 the survival of arts programs for this and future generations. Distinguished Concerts'lnternational II Dream Mill Music Company' 3 I Field Studies Center of New York 42 First Baptist Church of Chattarooga 17 FriendshipAmbassadors 30 GIA Publications; Inc. 65 Gladde Music Publications, 35 Glencoe 32 Articles submitted for publication in the Choral Journal should meet Gloria Dei Lutheran Church 74 established specifications. Although the length of articles varies con Hal Leonard Publishing Corporation' 16 siderably, submissions generally consist often to twenty typed, double Hawaii Music Festivals 14 spaced pages. Referenced material should be indicated by superscript Heritage Festivali 62' and end notes. Any artwork and a one- to two-sentence professional KaleidoscopeAdventures 36 identification ofthe author should also be included. Complete writer's Kingsway International IFC,28,29 guidelines can be found on the ACDA Web site at American Choral Directors Association p.o. Box 2720 ~"'~AUTO_';"I)IGIT 352 Oklahoma City. Oklahoma 73101-2720 39152 ACDA 1 08/2007 8106E 111 1l111,J III J111J1I111111.11111111111111111.11I1I11.,.' """ E 1- , E' E E E. Handy pencil holders for rehearsals. New \..IIUli:I:U::JI Cbmpactopens to approx. 17 inches (43 cm) wide The Black Folder in concert (V) - used worldwide configuration. by hundreds of thousands of singers (ECBF-CP version shown). . Bottom straps support single Rear straps / scores and detach to let folders open fully. comfortably secure folders Strong leatherette construction to singers' hands. with metallic trim. rom the moment it was introduced, our Blacl~ Folder has been a hit. And as we've grown to meet. the Fdemand, we'veproadened our repertoire to offer even more support. So now, you can choose options lil~e ring adaptors for hole-punched music, or extra cords to hold your scores. Our most recent folder, the slim Choralex ™ Compact, gives the increased breathing room every singer needs. 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