Reaching New Heights 2 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA Contents

Articles 5 The President’s Pen: Gratitude is Happiness by Jonathan Talberg, President 6 Dealing With the Unexpected by Lori Marie Rios, President-Elect 7 Collaborating with Venues by Dana Alexander, Northern Region Representative 10 Movement in the Children’s Chorus Rehearsal by Peggy Spool, Children’s Choirs R&S Chair 12 The Power of Curiosity to Drive Learning by Chirstopher Peterson, Southern Region Representative 14 A New Beginning by Julie Ford, Music in Worship R&S Chair 20 31 Flavors by John Knutson, Central Coast Region Representative 24 ACDA Choral Leadership Academy a Success WHEREAS, by Merryl Nelson, Far South Region Representative the human spirit is elevated to a broader understanding of itself 27 All-State Choir Wrap-up through study and performance in by Tammi Alderman, California ACDA Honor Choirs Chair the aesthetic arts, and

WHEREAS, serious cutbacks in funding and support have steadily eroded state Of Note... institutions and their programs 4 Calendar, Advertisers Index throughout our country, 14-17 ACDA Summer Conference Information BE IT RESOLVED General Information - p. 14 that all citizens of the United States Headliner Bio - p. 15 actively voice their affirmative and Interest Sessions - p. 16 collective support for necessary Nuts and Bolts, Tutti - p. 17 funding at the local, state, and 28-30 Thank You: ACDA National Conference national levels of education and Student Scholarships government, to ensure the survival of arts programs for this and future 32-33 Top Five for Your Choir generations. p. 32 - College and University p. 33 - Jazz Choirs CALIFORNIA ACDA MEMBERS ARE 34 Cantate Wins National Award ENCOURAGED TO PRINT THIS ACDA ADVOCACY RESOLUTION 35 California ACDA Directory IN ALL PROGRAMS.

Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 3 Official Publication of the California Chapter American Choral Directors Association Calendar CANTATE 2013 Volume 25, Number 2 Summer Conference at ECCO...... July 28-31 Dr. Geoffrey Boers, headliner David Scholz, editor [email protected] Regional Conferences...... September 7 CSU, Chico Music Dept. 400 W. 1st St. Honor Choirs Chico, CA 95929-0805 Central Region Honor Choir...... November 14-16 530-898-6127 Coastal Region Honor Choir...... November 21-23 SUBMISSION DEADLINES SCVA Honor Choir...... November 21-23 Fall Issue — August 1 (mailed September 1) 2014 Winter Issue — December 1 (mailed January 1) Spring Issue — April 1 (mailed May 1) Western Division Convention...... February 19-22

GUIDELINES FOR SUBMISSIONS All-State Honor Choirs ...... March 20-22 The editor welcomes the submission of articles, announce- ments, reports, music and book reviews, job vacancies, and any other item of interest to the California ACDA mem- bership. Articles should reach the editor no later than the established deadline and should include the following infor- Music washes away from the mation: 1. Title soul the dust of everyday life.” 2. Author’s name and phone/email address 3. Name of school, church, or organization - Berthold Auerbach 4. Author biography (50 words) 5. A good full-face photo The manuscript should be limited to a maximum of two typewritten pages. Electronic text is preferred and may be emailed to the editor at the above address. Advertisers Index The editor reserves the right to edit all submissions. CSU, Fullerton...... 2 GUIDELINES FOR ADVERTISING San José State University...... 9 Charges listed are for camera-ready copy only, submitted CSU, Fresno...... 11 electronically by TIFF, PDF, JPEG, or GIF. Cantate is pro- United Fund Raising Group...... 13 duced in black ink. Advertising copy is subject to editorial approval. The Edi- Tuning at Tahoe...... 15 tor reserves the right to head and/or box any advertisement University of Portland...... 15 bearing confusing resemblance to editorial content. Forum Music Festivals...... 22

ADVERTISING RATES CSU, Los Angeles...... 23

Size...... Single Annual Reconciliation Singers Voices of Peace...... 24

1/6 page (2.5”x5”)...... $55 $110 Pacific Chorale Choral Camp...... 25

1/4 page (3.75”x5”)...... $75 $150 CSU, Fullerton Choral Education Workshop...... 26 1/3 page (2.5”x10” or 3.33”x7.5”)...... $95 $190 USC Thornton School of Music...... 31 1/2 page (3.75”x10” or 5”x7.5”)...... $140 $280 ACFEA Tour Consultants...... 34 2/3 page (5”x10” or 6.67”x7.5”)...... $190 $380 CSU, Long Beach...... back cover Full page (7.5”x10”)...... $275 $550 Cover photo: Sequia National Forest

4 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA The President’s Pen Gratitude is Happiness

During a recent three-day residency at Cal State Long Beach, Vance George was asked what he thinks about as he gazes back over his distinguished career. His response was “gratitude.” After a longish pause he added, “And, of course, gratitude IS happiness.” Jonathan Talberg

As I complete my term as President I marvel David Scholz has revitalized our Cantate maga- Dr. Talberg is President at how two years can fly by so quickly. Lost in zine, giving it a new look, insisting on excellent of California ACDA. the minutiae of overseeing the nation’s largest content, and making it relevant to our constitu- He is Director of ACDA chapter, I tried to distinguish the forest ency. It is selfless work that takes hundreds of Choral, Vocal, and from the trees as much as possible and sought hours of work. Cantate is the only aspect of Opera Studies at CSU to do some big things—rebuild our website, our organization that serves to every member. Long Beach’s Bob Cole increase the quality and timeliness of the sub- David, you continue to make improvements Conservatory of Music, missions in this magazine, come up with a solu- to this important aspect of our organization. Director of Music at tion for the fact that ECCO sells out each year, THANK YOU! First Congregational and push for more youth involvement in the Church of Los Angeles, and Artistic Director of organization. In some cases I was successful Linda Lovass and Dana Alexander have run some of the finest ECCO Conferences in the the Los Angeles Bach (we have almost 300 active student members in Festival. California now!). In some cases I wasn’t (send history of our organization. They are efficient, in your ECCO application NOW if you want friendly, unrelenting, and utter task-masters— to attend. It will sell out). In all cases, where while being friendly, courteous and kind to there’s been success it’s been because a great everyone. THANK YOU! team of committed teacher/artists have come I believe the single most important thing our together to better choral music in California. chapter does each year is to run the regional and Our entire board is a working board; everyone all-state choruses. Tasks include making sure has a job to do and there are important expec- that auditions run smoothly, accompanists are tations that must be met. They have done that hired, music is ordered, e-mails are answered, admirably over the last 24 months. I am grate- travel plans are set, venues are booked, volun- ful to all the R and S chairs and to our elected teers are trained, meals are catered, busses are officers for their commitment. That being said, ordered… the list goes on and on. THANK there are six people who have done so much YOU to Shirley Nute and Tammi Alderman work for our organization that they deserve for their countless hours spent on behalf of a special ‘shout out.’ The most difficult tasks our students. undertaken by our chapter are running the As I move into the position of Past President, office, editing and typesetting Cantate, organiz- I wish the talented and dedicated Lori Marie ing ECCO, and managing our honor choirs. Rios all the best. I know that her varied and These people have done EXCEPTIONAL excellent experience in choral education, sing- work: ing, fundraising, and leadership will serve our Jan Lanterman has administered our office in organization beautifully over the next two Napa for over a decade and has been respon- years. We are fortunate to have someone as sible for budgeting, bookkeeping, official committed to ACDA as Lori Marie at the helm, correspondence, registration for conferences, and I am at her service as we enter the next compliance with the National office, and a chapter. I know she will call on many of you myriad of tasks too numerous to name. She is to help further our mission. I hope you will an amazing asset to our organization and has answer that call. ■ served us incredibly well. THANK YOU!

Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 5 Dealing With the Unexpected

As President Elect, I am required to write an and inspired everyone, listened to anyone article for Cantate. Those of you who know about anything, and fought for anyone he felt me know that it takes me a long time to put was being treated unjustly. He was a scholar, my thoughts on paper. As I started to write my dancer, actor, and athlete, and his soulful con- article, I intended to share my thoughts about science and audacious willingness to speak up “Process vs. Product.” When I remembered made him a friend to all. His parents arranged that my dear friend and colleague Rodger to have him buried in his choir tux because he Lori Mari Rios Guerrero had just written a wonderful article was above all else a singer. I suddenly realized for the Southern California Vocal Association that amidst the tragedy of this student’s death, Ms. Rios is President- newsletter, I decided that his writing said funeral, and two weeks of recuperative drama Elect of California exactly what I was wanting to articulate. within the close-knit HW community, as well as an intense doctoral recital, I had yet to deal ACDA. She is associate Thank you to Rodger for his honesty and professor of music at with my own emotions. College of the Canyons, vulnerability, and for allowing us to reprint his Valencia, where she is article here. I hope you find it as meaningful I must clarify here that I used the phrase the music director of the as I did. “one of my students” above for explanation Chamber Singers and purposes only. I honestly never refer to choral Voices of the Canyons Dealing with the Unexpected students at Harvard-Westlake as “my singers” Community Chorus. Rodger Guerrero, Past President individually or “my choirs” collectively. I have The Southern California Vocal Association always operated under the philosophy that while I certainly belong to them and am thus When I initially sat down and began to com- “their teacher,” they are no more “mine” than pile and organize notes for this article, I fully elegant stallions running free on government intended to address the latest, most exciting owned property. They learn and grow and news concerning the creation of a Coordinated metamorphose under my watchful eye and System of Statewide Choral Festivals. I sincerely within the physical plant in which I work, of planned to update SCVA members on the course. But what they create and accomplish, fantastic reactions to the proposal that Scott musical and other, is theirs. Who they become, Hedgecock and I presented at the CASMEC musicians and people, is but a realization of Choral Round Table on Feb. 23. I envisioned the human potential with which they come an article structured to inform everyone about into this world. Plutarch said, “The mind is not the next steps in this transformational, collab- a vessel to be filled but a fire to be kindled.” orative choral festival process. I had my notes I may ignite the fire, but the students tend to, in order, my ducks all aligned in a row. But then intensify, and develop it. They impact my life emotions overwhelmed me, and my normal, much more than I alter theirs. I thus find it pragmatic approach to writing disintegrated more beneficial as an educator to try to func- into a mixture of indecision, erratic thoughts, tion outwardly from their vantage point rather and numbing sorrow. You see, the night before than from within my limited viewpoint. the CASMEC choral roundtable, as I began to relax in my Fresno hotel room after an incred- The choral community can also be an inward- ibly hectic day, I received the tragic news that looking society, and choral classrooms can sim- one of my students had suddenly, unexpect- ilarly exist as insular environments. We often edly died. emphasize the distinctiveness of the choral experience to such a degree that it becomes an st The 1 Tenor Section Leader in the Harvard- exclusive activity centered upon our actions as Westlake Chamber Singers and Jazz Singers, choral educators. and the most dazzling of lights in any environ- ment, this young man was a star-in-the-making - continued on page 8 and a life-changing human being. He knew everyone, spoke with everyone, encouraged

6 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA Collaborating with Venues: Bringing Community to Concerts

As choral conductors, we are always seeking high school choral directors. new, interesting, and acoustically beautiful venues in which to perform. As your Northern In the Santa Rosa community, this concert has California Representative, I would be remiss always been a special event. However, this year, not to tell you about the new performance the opportunity to have it at Weill Hall at the hall in Northern California that opened in Green Music Center made the concert a far September of this school year. greater community event, bringing together administrators, parents, community members, Dana Alexander Joan and Sanford I. Weill Hall at Green Music and our students in a way that had never hap- Center on the campus of Sonoma State pened before. Many who have little or no University in Rohnert Park, California (just knowledge of the rich choral music programs Mrs. Alexander is North- south of Santa Rosa, approximately an hour at our five high schools had a chance to experi- ern Regional Representa- north of San Francisco), held the official open- ence them, and our students had an amazing tive for California ACDA and Chair of the Cali- ing of the 1400-seat hall in September 2012. opportunity to perform in a hall with world- fornia ACDA Summer This beautiful concert hall is patterned after class acoustic quality, and to share their music Conference at ECCO. Seiji Ozawa Hall at Tanglewood in Boston and with our community. She is in her fourteenth like Ozawa Hall, has excellent acoustics. There are two reasons that I am sharing this year at Montgomery High School in Santa The hall is exquisite in every way. However, event with you: Rosa, where she teaches what is even more beautiful to me is that in First, if you do not already have an All-District three choirs and two addition to booking world-famous performers group piano classes. such as Yo-Yo Ma and Wynton Marsalis, the concert in your community, I encourage you Green Music Center staff has reached out to to start one. I have been a part of the Barclay local schools and allowed many local school Memorial Concert for 14 years now, and it music events to take place in this beautiful never disappoints. Having the concert at Weill venue. Hall took it to new heights this year, but even before we had the good fortune to perform One such event was the Santa Rosa City there, it was always a very special concert in Schools’ annual All-District Concert, the our community. I would be happy to share William Barclay Memorial Concert. William the details of how we go about planning this Barclay was the second choral director at Santa wonderful event with those who are interested. Rosa High School, the oldest high school in It is a worthwhile endeavor, and if you have the city. Upon his passing in 1965, the Barclay a community hall of some type where it can Memorial Concert was established, and it has take place, tap into that resource. It will bring been held annually ever since. Its purpose is to together your community in ways different raise scholarship funds for gifted high school from, and more exciting than, regular school students who plan to continue pursuing music concerts. studies in college. Second, I encourage you to take a tour up to The Barclay Concert is a wonderful event that the North Bay and at least see, if not perform brings our high school choral students together in, Weill Hall at the Green Music Center. There to create beautiful music. Every year, one choir are two events that are open to all choirs each from each of the five high schools in the Santa year. They are: Rosa City Schools District participates in the concert. On the first half of the concert, each The Sonoma State University Fall Choral participating choir performs some selections Festival, run by Dr. Jenny Bent, Director of of its own. Then on the second half, a college- Choral Activities. This coming year the festival level guest conductor is engaged to lead the is scheduled for Friday, November 15th, 2013. entire group of student singers (numbering over 200) in selections programmed by the - continued on page 8 guest conductor and prepared by the individual

Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 7 - continued from page 6

Perhaps this is because choral music is frequently an exclu- (product-centered) just doesn’t work for me. This philos- sionary aspect of the educational curriculum, a punching bag ophy completely strips musical sounds of their social, realistic for shortsighted, budget-obsessed political figures. As a result, significance. Choral octavos are not framed, inanimate works our close community often acts as our best security net. The of art lying still on the wall of a choral art gallery as we pass reassurance we gain from our colleagues’ support and work by, analyze, lecture about, and conduct them. Rather, they frequently gets us through the day. Despite this truth, it is are living, breathing opportunities whose fertile expression misguided to focus our classroom activities and experiences relies upon human interaction of the most profound type. solely upon the idea that music itself can change the lives of How can we undertake these life-altering openings without our students. Rather, we should emphasize the idea that what first developing individual relationships with our students, they accomplish while they are in our care will enable them building upon and valuing each second we share with them? to better their own lives. How can we humanize music’s expressive elements—rhythm, melody, harmony, tone color, texture, and form (Bennett Reimer, In his fantastic book, Music Matters, David Elliott contends A Philosophy of Music Education, 1970/1989)—without first that “The primary values of music and music education over- establishing and fostering the human connection we share lap the essential life values that most individuals and societies with those who would realize those aesthetic facets with us? pursue for the good of each and all: personal growth, dif- Rehearsals are not about the music, and they are certainly not ferentiation, complexity, enjoyment, self-esteem, and happi- about us. They should be embedded in and responsive to ness.” These life values cannot be commanded to occur by the [the] specific context of effort of our students. Music- choral teacher any more than they can be lectured into reality. making is reliant upon the music-makers–our students. Music They cannot be attained via the “Student Is a Blank Slate to curriculum should therefore be about what we experience Be Etched” methodology any more than the aesthetic facets with our students as the result of interactions before, during, of a choral work should supersede the praxial character of its and after the musical work is prepared. The success of this creation and realization (praxis: an action embedded in and respon- praxial curriculum is dependent upon our ability to know all sive to a specific context of effort; from Aristotle, Poetics). Great of our singers, speak with them, encourage and inspire them, choral literature contains a plethora of admirable attributes, and listen to each one of them about anything. not one of which fosters personal growth or self-esteem in a young singer. However, the pursuit of those qualities with The unexpected death of a former student reminded me others, as empowered by a student-centered educational that my work as a music educator must be rooted in student- facilitator who seeks to mediate and not control the musical centeredness. The opportunity to share life-making and environment...well, that’s another matter. Such an interactive, music-making with this phenomenal human being has been constructivist approach can definitely serve to promote com- unpredictably taken away from me forever. Fortunately, like plex discovery and self-awareness and thus result in personal all of you, I’m surrounded by many other elegant musical stal- growth and happiness. lions. May we all treasure each and every one. In the midst of the excessive verbiage above, I do have a Our task is to help every person become his or her genius, an point, and it is this: the traditional philosophy of choral artist, an accomplished human being—and if we’re to achieve music education as aesthetic education, that is, centered that, we must connect to the human experience as deeply as in the appreciation of a musical work’s intrinsic beauty we connect to the centuries of music that we teach. ■

- continued from page 10

The Spring CMEA North-Area 1 Choral Festival – Date TBA I hope this article inspires you to initiate contact or strengthen ties with venues in your community that will raise public For more information about these events, contact Dr. Jenny awareness of your choral program and give your students a Bent at (707) 664-3925 or [email protected]. unique performance opportunity; I hope you consider starting If you are touring to Northern California at other times, the an All-District Festival of some type, if one does not already Green Music Center arranges tours of their facility, if you exist in your community; and I hope you can make it up to contact them in advance. All information can be found on the North Bay to see the beautiful Weill Hall at the Green their website at gmc.sonoma.edu. Music Center. I wish all of you the best as your school year comes to a close, and, as always, don’t hesitate to contact me as your Northern Representative if you have questions. I look forward to seeing many of you at ECCO. ■

8 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 9 Movement in the Children’s Chorus Rehearsal

My voice teacher, freshman year, suggested that Many teachers use movement with vocal I sign up for a dance class. I did so, and it was warm-ups to great effect, and there is lots great fun—I ended up taking as many classes of material available to help you if you need as I could fit in. My initial reaction, however, ideas. To name a few: Charlotte Adams’ Daily was to wonder why she was recommending it. Workout for a Beautiful Voice; Henry Leck’s At that time in the late ’70s, our choir stood Creating Artistry series, which uses Dalcroze and sang – both in rehearsals and performance. techniques; and Rollo Dilworth’s Choir Builders Peggy Spool We occasionally dipped into a piece with cho- series. Watch choral masters at work—either reography, but the movement never made it at conferences or online; there are numerous Ms. Spool is the found- across the barrier to the classical pieces. resources available. ing director of Vivace Youth Choirs and Today, of course, movement is a hot topic— You might also have the choir think of move- maintains a private vocal there are sessions about it at every conference ment for vocal exercises. It’s a great way to get studio. She also serves on you attend, videos on how to do it, “choralog- them thinking more about the connections the board of the Silicon raphy” and so on. Movement is an important between movement and singing. Be careful not Valley Arts Coalition. part of the major music education philoso- to let movement become automatic—there is phies of the 20th century: Orff and Kodaly movement and there is movement. If the choir both incorporate movement through children’s is literally just “going through the motions” game songs and improvisation, and Dalcroze they’ve been instructed to do, it’s not going to is specifically aimed at teaching music through be very effective. If the movement unlocks a movement. It is a no-brainer to think that sing- physical, musical, or expressive door, it can be ers should move, since we are our instruments. a pivotal experience. Movement can help us get to know our voices and how they work. Classical music is as amenable to movement as pop, but that is not always as apparent to our If you work with children or young adults, you young singers. If you work with middle school know that this is an inherent part of your work. or young high school singers, you know they Young singers move by definition. As directors, can slip into movement easily while listening to we can channel their energy into purposeful a pop song. Use a pop song in your warm-ups movement that furthers their choral experi- to move to the beat. Start by asking the students ence, and tap into those children in your choir to tap the basic four-pattern, and try moving who are primarily kinesthetic learners. Instead to eighth notes or half notes. If your students of having to ask them to sit still, we can use are doing that easily, find something that uses their energy to add to the rehearsal. an irregular meter, like Dave Brubeck’s “Take Five.” Transfer that to a piece they are working Movement at the beginning of a rehearsal can on. unlock the kinks of the school day and bring mental energy into focus. Many of us prob- Planning movement into your rehearsal can ably start our stretches by inviting the choir to take a little more work. It may make your drop forward, letting the head hang until all the rehearsals a little “messier” to begin with as tension of the day has melted away, and start the students adjust to it, but it’s well worth the to come up, one vertebrae at a time. Use addi- effort, and the results will be evident in the tional stretches to loosen the muscles needed music. ■ for singing such as head and shoulder rolls. If you have older kids, have them do the backrub conga line! The physical release brings singers into a state of readiness to start the rehearsal.

10 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 11 The Power of Curiosity to Drive Learning

You have probably heard the phrase “You can The first stage, Unconscious Incompetence, is a lead a horse to water, but you can’t make him blissful stage where you know everything. You drink.” I remember musing long ago that “You have complete control of what you are doing, can lead a student to knowledge, but you can’t but you also are not asking any questions, and make him think!” Indeed it can be challeng- are therefore closed to learning. If people offer ing to teach students in ways that are practical you advice on how to improve what you are and meaningful to them, and it is the teacher’s doing, it just slides off and you go about your Chirstopher Peterson eternal quest to frame content in ways that business. Remember, if you are not asking a students will easily digest and ultimately value. question, you don’t care about the answer. You can feed students endless information Dr. Peterson is the The second stage, Conscious Incompetence, is an Southern Regional hoping that something will stick, or you can turn the approach around 180 degrees and try uncomfortable stage that you enter when Representative for to find out what your students are interested you fail at something and it bothers you. You California ACDA and in learning. suddenly realize that there is more to know, is Professor of Music and that you don’t know everything after all. Education at Califor- No one wants to hear the answer to a question You immediately start asking questions that nia State University, that they have not asked. Yet, the traditional you didn’t ask before, and you are now open Fullerton model of teaching and learning views students to hearing the answers as they are offered to as “blank slates” that are ready to soak up all you. For example, if you go to a competition the brilliance that the teacher can throw their with your choir and you don’t do as well as you way through lectures and worksheets. Students expected, you may be thrust into Stage 2 and may be able to regurgitate facts in this model, start asking questions like “How can I teach my but they may not retain the information longer choir to support their breath and tone better?” than it takes to complete the test. Whenever or “How can I communicate more clearly and we give students “answers” to “questions” musically through my conducting gestures?” that they are not asking, the information often Once these Stage 2 questions have entered won’t be stored in long-term memory where your conscious awareness, the answers will it can be applied to new learning. How many appear, almost like magic. You will notice ads tests have YOU passed in your lifetime that in programs for sessions to improve skills, or you would fail today if you took them again? you will overhear a conversation that addresses On the other hand, what have you retained your question, and you will rush over to join it. over the years that is still fresh in your mind? In Stage 1, remember, you weren’t interested in The answer is probably twofold: you remem- hearing the answers. You’ve probably noticed ber the things you use on a daily basis (which this phenomenon when you decide to buy a depends on what you teach, most likely), and certain car: suddenly they are everywhere— you remember the answers to the questions in front of you at lights, in parking lots, and that were important to you. on TV. Were they always there? Yes, but you weren’t ready to bring them into your con- Openness to learning can be described using a scious awareness with the same power as when framework called the “Learning Cycle.” you were first curious about them. Stage 1: Unconscious Incompetence The third stage, Unconscious Competence, is a stage “You don’t know what you don’t know.” that is still a little uncomfortable, but in which Stage 2: Conscious Incompetence you are making progress toward mastery on a “You know what you don’t know.” higher level. You aren’t aware of how much you have improved, and you continue asking Stage 3: Unconscious Competence questions and are open to learning by hearing “You don’t know what you know.” the answers. Stage 4: Conscious Competence “You know what you know.” - continued on page 13

12 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA - continued from page 12

The fourth stage, Conscious Competence, is a wonderful and Remember that I called this framework the “Learning Cycle.” secure stage that is fun to enter. You finally have conscious This is because once you get to Stage 4, you will probably knowledge and control of the improvements you were seek- move into Stage 1 again, but at a higher level than before. In ing from your Stage 2 questions. You finally know what you other words, you will have all the answers once again, but you know, and you can reflect upon and be satisfied with your risk being closed to learning at the higher level. The learning growth and progress. This is the “payoff ” stage where you are cycle never ends, and you can never really “know it all.” It is content with your journey of learning. You are now able to do important to realize that you can be at different levels of the better at the things with which you once failed. learning cycle on different issues in your life. You may be in Stage 1 in your primary relationship, Stage 2 in your conduct- ing, Stage 3 in your quest for health, and Stage 4 in your teach- ing skills. The main point is to allow learning to take place when you feel the uncomfortable experience of falling short of your expectations. My students learn to say “I’m having a Stage 2 experience” when they feel like they failed in front of the class, and to add “Yeah, I’m open to learning!” No one wants to be exposed for what they don’t know or what they can’t do well. But when you think about the power of curiosity, and the unending nature of human learning, you can embrace the idea that Stage 2, Conscious Incompetence, is part of growth, and that it is appropriate to grow and to change and to ask your questions. By examining what students are curious about, and by giving them safe opportunities to try and fail, we can help them move through the learning cycle Are you looking for an easy more elegantly and with the confidence that “no one knows it FUND RAISING PROGRAM all, and learning is never finished.” that saves TIME and produces CONCLUSION phenomenal An essential aspect of the art of teaching is getting the results for your students interested in your subject matter. Learning that is 2013 tours? retained and applied over time is best created by fostering curiosity and by letting students have ample opportunities Frustrated with to try, fail, reflect, and work again in a safe and encouraging too many Choices? environment. “You can lead a student to knowledge, but you can’t make her think” is a true statement. But when students are interested in the content of the class curriculum because UNITED they are curious and wanting to grow through their own ques- Fund Raising Group’s tions, the teaching has a better chance of being practical and online program is safe, meaningful. Some practical ways that you can encourage your choir to want to improve might include taking them to a high- secure and completed in quality choral festival where they will hear groups that are less than 20 minutes. better than they are, recording their performances and review- ing them critically in class for areas of improvement, playing For more information, visit our web site exemplary recordings in class of choirs that are world class, at www.unitedfundraisinggroup.com inviting a skilled clinician to work with your choral musicians, or email [email protected]. or challenging them with a few pieces that are at the very top For immediate assistance, of their ability level. A curious learner is an open learner, and call 1-855-342-6331. an open learner can make incredible progress toward mastery We empower singers and artistry in a very short amount of time. ■ to fulfill their dreams!

Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 13 A New Beginning How Creative Scheduling, a New Covenant, and Ice Breakers Revitalized Our Church Choral Activities

A very important part of the director’s job Pentecost). In January, I required each singer is to compel choral singers to be present to “sign up” for sessions abiding by a new consistently at rehearsals and performances; covenant: within each session no one could the rationale for the necessity of regular and miss more than two events (event = a rehearsal reliable attendance for a team activity is clear. or Sunday performance), and if not available Teachers can lower grades, and choruses with the rehearsal before a Sunday, they did not choral boards can develop peer-sanctioned sing. No exceptions. To sweeten the deal, in Julie Ford mandates to dismiss singers from a concert or addition to learning repertoire for upcoming from the group if attendance is problematic. services, each session was framed with an Dr. Ford, a classical But in a faith-based environment, it can be additional training focus (Session I: breathing and jazz conductor especially tricky to adhere steadfastly to such technique; Session II: improving sight-reading; and vocalist, is Choral rules: a lack of flexibility can be construed as etc.), and each rehearsal included regular non- Director at Saint Mary’s heartless at worst, or insensitive at best. Any musical community-building activities in small College and serves as kind of “exclusionary” stance for an activity groups. In each rehearsal, I set aside at least the Director of of spiritual formation is simply difficult to ten minutes for some kind of a discussion in Music at Lafayette- bear. The Presbyterian environment in which small groups (2-3 people, randomly selected). Orinda Presbyterian I work holds musicians to a particularly high I chose topics that were “ice-breakers” to help Church. musical standard and yet there is equal pres- people get to know each other (e.g., “What is sure to conceive of our presentations not as your middle name and what does that say—or “performances,” but as heartfelt offerings to not—about you?”), and as weeks progressed I God as an expression of our faith. The process included topics of more depth including short of creating these offerings is expected to be as scriptures for upcoming services with a few understanding and forgiving as the scriptures questions to ponder. foundational to our faith. The results? For each session, about 3 differ- This past fall our choral activities seemed to ent singers stepped out for entire sessions, and be stalled: our trajectory toward improvement yet the choral experience within each session was unclear, and a perceived casual attitude was stronger and more satisfying musically regarding participation was causing great and interpersonally. People embraced our exasperation. As I looked toward the spring I break-out sessions and genuinely got to know had to find ways to get the singers to take on a much more about each other. Singers took this shared commitment: to feel more responsible covenant seriously: individuals initiated more not just to me, or to “the church,” but to each communication about absences, kept tallies of other. I came up with a plan based on three their own activity, and self-selected out accord- elements: a redesign of my program into “ses- ing to the rules with a new sense of humility sions” better to align with the ebb and flow of and respect for the team. Our debrief of our choral involvement; the institution of a new Holy Week services included feedback that required and non-negotiable attendance cov- they had never before felt so well-prepared enant outlining higher attendance standards; and unified throughout this typically harried and the infusion of a regular non-musical fel- and intense season, and everyone pointed to lowship based on small group activity within the new sense of commitment, the new way of each rehearsal. organizing our sessions, and the deeper cama- raderie formed through our setting aside time Between January and June, I carved out three to get to know each other. 6- to 8-week sessions, and asked singers either to commit to a solid and non-negotiable com- I believe the marathon nature of church choir mitment to a session, or to step aside until the commitment makes attendance accountability next session. Session I was only 6 weeks (pre- challenging. In my case, creating sessions for Lent), Session II was 8 weeks (Lent-Easter), choir participation feels more like recruiting and Session III was 6 weeks (Eastertide- - continued on page 15

14 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA - continued from page 14 for small sprints, and it is easier for singers to see the impact of their absences and, therefore, to hold each other account- able. Given all that people juggle in their professional and personal lives, committing to a sprint is just more palpable. There were two Sundays when I had to choose SAB literature, but knowing so in advance I found pleasing repertoire and the experience was gratifying. I am already charting out the sessions for next year, and I do so with knowledge that my singers are energized and fully supportive. Inspired by this reorganization, singers organized a social event mid-March at someone’s home, and we have a bowling night scheduled for the end of May. Somehow choir has become more fun as it has become more musically cohesive, and there is no sense of exclusion or top-down enforcement. I have actually gained a few singers who could only commit to a single session but who still feel part of a big team, and the choir is energized to help recruit. This is my last article in my role as R & S Chair for Music in Worship. As I organize a panel for problem-solving issues in our field for a session at ECCO, I invite readers to email me questions, concerns, ideas, and creative solutions that can inform what we offer ([email protected]).MU SOursIC is Aa diverse,T complex, and deeply satisfying area Uof theN IchoralVE Rprofession.SITY OF PORTLAND I give great thanks for the honor of serving in leadership for our state these past four years – a Gloria Deo! ■

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Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 15 California ACDA Summer Conference July 28-July 31, 2013 ECCO: Evergreen Conference Center at Oakhurst

With Dr. Geoffrey Boers Download Information and Registration Forms at www.acdacal.org

It’s that time of year again. Spring is here, Nuts and Bolts for all levels will take place. final concerts are taking place, and summer is We will have our Interfaith Service and daily right around the corner, which means it’s time Tai Chi. All sessions are listed below. There is to register for the California ACDA Summer much to learn from—you won’t want to miss Conference at ECCO! it. Our headliner this year is Dr. Geoffrey Boers, Our conference at ECCO is always a time to Director of Choral Activities at the University reconnect with old friends, make new ones, Dana Alexander of Washington in Seattle. He will lead seven create beautiful music together, and be rejuve- inspiring sessions, one of which will be a nated as we move into a new school year. This Mrs. Alexander is North- Conducting Master Class. (For information year is sure to be no different. on our newly restructured Conducting Master ern Regional Representa- Every year the conference sells out more tive for California ACDA Classes, please see Rob Istad’s description at the bottom of page 19.) quickly, so don’t procrastinate—go to the web- and Chair of the Cali- site (www.acdacal.org), download the registra- fornia ACDA Summer Conference at ECCO. Thanks to your hard-working board, we have a tion form, and mail your registration today! I She is in her fourteenth line-up again this year that is sure to inspire all look forward to seeing you at ECCO. ■ year at Montgomery who attend. Ten wonderful Interest Sessions High School in Santa are planned, covering a wide range of topics. Rosa, where she teaches three choirs and two group piano classes.

16 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA Headliner Bio G eoffrey B oers

Geoffrey Boers

Geoffrey Boers is the Director of Choral renowned Incheon City Chorale. He recently Activities at the University of Washington in led a tour with the choirs at the University of Seattle. Under his direction, the graduate cho- Washington to Riga, Latvia, where they were ral program at the University of Washington invited to participate as special guests to sing has developed into one of the most vibrant at the Latvian Song Festival, joining a choir of and innovative in the country. Their cohort of 15,000 singers. four faculty and fifteen graduate students leads a program of nine ensembles with nearly 500 Through his teaching, Geoffrey is exploring singers participating. Geoffrey conducts the the evolution of the conducting gesture and its UW Chamber Singers, the University’s premier connection with empathy, perception, learning, ensemble of graduate and advanced singers. and the growing science of mirror neurons. He also teaches graduate choral conducting and His exploration has led to new thoughts about choral pedagogy, and serves as faculty advisor choral conducting and teaching with regard to the choral community at the university. to breath, movement, spirit, artistry, personal growth, and cultural development. Recently During the past decade, Geoffrey has become his work has led to the development of local known as one of the Unites States’ leading choral cohorts of teachers and conductors choral conductors and teachers. He maintains interested in ongoing mentorship and musi- an active conducting, teaching, workshop cal development, who themselves develop and clinic schedule, and this past season programs of mentorship and learning based in conducted programs across the U.S and inter- these teachings. He has developed such men- nationally, with concerts in Orchestra Hall torship programs in Seattle, Vancouver, B.C., in Minneapolis, Meyerson Symphony Hall Calgary, Alberta, and Houston, Texas. in Dallas, New York’s Alice Tully and Avery Fischer Halls, the Mormon Tabernacle in Salt In addition to his position at UW, Boers is the Lake City, and Benaroya Hall in Seattle. In conductor of the Tacoma Symphony Chorus addition, he conducted week-long residences and led members of this choir on a concert in Toronto, Ontario, and Mainz, Germany, tour to Germany, Czech Republic and Austria as well as in Seoul, Korea, with the world- in the summer of 2012. ■

“Music produces a kind of pleasure which human nature cannot do without” - Confucius

Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 17 World Music Perspectives Presenter: Dr. Ron Kean, Bakersfield College

More than Mozart and Haydn! Performance Practice in the Classical Era Presenter: Dr. Robert Istad, CSU, Fullerton

Using the Technology You May Already Own Making Your Teaching and Conducting Life Easier Presenter: Dr. Christopher Peterson, CSU, Fullerton

Worship Music Challenges and Opportunities for the 21st Century Panel Discussion: Three directors from different denominations, each representing a small, medium, or large congregation. Convener: Dr. Julie Ford, Lafayette-Orinda Presbyterian Church

Young High School Men Now That You Got ’Em, What Do You Do With ‘Em? Teaching 9th-12th grade boys with no previous vocal experience Presenter: Travis Rogers, Napa High School

The Children’s Choir Rehearsal: Orff and Kodaly Perspectives A two-part presentation for teachers and directors of elementary-age children

Engaging Their Minds and Welcoming Their Hearts A new way to begin a children’s choir rehearsal Presenter: Shane Troll, Pinewood Elementary School; Cantabile Youth Singers

The Kodály Approach: Real-life Applications for the Beginning and Intermediate Elementary chorus Presenter: Gemma Arguelles, Convent of the Sacred Heart, Holy Names University, Kodaly Summer Institute

The XX-Files: Great Literature by Women Composers Co-Presenters: Dr. Magen Solomon, San Francisco Choral Artists Eliza Rubenstein, Orange Coast College, Orange County Women’s Chorus

The Choral Classroom as the Voice Studio Presenter: Daniel Hughes, San Jose Choral Productions

Programming and Presentation: How Do We Foster Transformational Experiences for Audience and Singers through the Choral Canon? Presenter: Janine Dexter, Colla Voce

I nterest sessions Teaching Musicianship: Preparing Students for the Next Level Presenting: To Be Announced

18 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA High School: “Preparation is the Key to Success” N uts & B olts Presenter: Gavin Spencer, Shasta High School

Middle School Presenting: TBA

Elementary School Presenter: Beth Klemm, Central Coast Children’s Choir, Atascadero USD

Community Choirs: Marketing and Development Host: Lori Marie Rios

2-Year College Round Table Discussion Moderator: Ron Kean, Bakersfield College

Four-Year College/University Round Table Discussion Moderator: Dr. Rob Istad, Cal State Fullerton

Interfaith Service Leader: Julie Ford, Lafayette-Orinda Presbyterian Church

Voice Classes (All Levels)

Daily Tai Chi TUTTI

Introducing New Conducting Master Classes! Dr. Geoffrey Boers, Advanced Master Class Dr. Jonathan Talberg, Intermediate Master Class Prof. Lori Marie Rios, Beginning Master Class

New and improved conducting masterclasses for every level are available at ECCO 2013 at no additional cost. These masterclasses are designed to give choral conductors the opportunity to work with master teachers and coaches/mentors on skills to help them meet challenges beyond their university training. The Intermediate and Beginning masterclasses include private coach- ing with a master teacher and podium time in a classroom situation. The Advanced Master Class includes private coaching with the headlining speaker, and public podium time with a professional-level ensemble during one of the conference plenary sessions. Nine conductors (three at each level) will be selected via application. All classes will be open for observation by conference attendees. Conductors interested in participating in the 2013 ECCO Master Classes should submit an application and the required supplemental materials on or before June 1, 2013 (available online at www.acdacal.org).

Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 19 31 Flavors My Favorite Choral and Vocal Jazz pieces

I’ve decided to take a trip down memory lane 4. Gabriel Fauré’s and and Maurice Duruflé’s and list all of my favorite pieces from my 14 Requiems. I’m thankful I can do these years of teaching choral music. Lists like these poignant works with small orchestra and are useful because they can remind us of old chamber choir. These pieces are solemn tunes we’re ready to re-visit, and help us dis- and respectful, comforting and healing, cover something new. As I started organizing interspersed with moments of sublime the list and describing the pieces, I realized that resurrection. In 2006 I dedicated a con- John Knutson all of these pieces revealed something new to cert to a long-time supporter and inspi- me at the time I first performed them, and most ration to our Cuesta College ensembles, Mr. Knutson is Direc- often they contained suspense and surprise for Nancy Victor. She had been diagnosed tor of Choral Studies the audience as well. These pieces inspired me with brain cancer, and I asked her if we at Cuesta College in far beyond the normal choral repertoire, and might perform the Fauré Requiem in her San Luis Obispo, CA, best of all, nearly all of them can be positioned honor. She lived to see her own requiem, where he was voted that in your program to give an energy boost and and died a few days later. She lives on in college’s Teacher of the delight your audience. many ways, but in particular with a schol- Year in 2009. arship in her name, and every time we I’ve grouped my list by style, arranger, or com- hear the Fauré. poser. Where appropriate, I have a little tale to tell relating to my experience with the piece. 5. Christ Lag in Todesbanden, by J. S. Bach. I Sometimes it’s a cautionary tale, and sometimes don’t have a personal story for this piece, a wonderful experience to which I’m sure we but it also lives in my heart as a perfect all can relate. marriage of musical and textual meaning. All of the listed pieces are SATB, unless stated 6. Esto les digo, by Kinley Lange (Alliance otherwise. Music Publishing). I thought this song was too simple for an international choir 1. As Vesta Was from Latmos Hill Descending competition. We only sang it for the and When David Heard, by Thomas Awards Concert, and the judges told me Weelkes. Two of my favorite Renaissance it was our best piece. Cautionary tale: pieces. One is secular, one sacred; one is pieces are rarely “too simple” for any- upbeat, the other very sad; one has lots thing. If music sells to the heart and soul, of counterpoint and the other is more then do it. focused on harmonic structure. They 7. Contre qui, Rose, by Morten Lauridsen, and both are excellent examples of word Dieu!, qu’il la fait bon regarder, by Claude painting. Debussy. Full of tenderness and exqui- 2. Crucifixus, by Antonio Lotti (Eighth site treatment of the text. Note Publications). A prime example of 8. Somewhere, by Bernstein & Sondheim, Baroque affect—in this case; pain, awe, arr. Robert Edgerton (Hal Leonard). A mercy, sacrifice, and love. Singers and deep, stirring meditation that builds to a audiences relate at once as this centuries- classical high point. The vocal lines are old music comes alive. gorgeous, and they reinforce great vocal 3. Liebeslieder Walzer and Neue Liebeslieder, by technique in order to achieve a soulful Johannes Brahms (Carus-Verlag Vertrieb performance. Always an audience favor- GMBH). Teach your students to waltz. ite, whether it’s their first introduction to Teach them about life through the great music from West Side Story, or an amazing German lyricists (including Goethe). new twist on a long-time favorite. These are not just about love, but also about fear. What else is there to learn in life? - continued on page 21

20 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA - continued from page 20

9. A Boy and a Girl, by Eric Whitacre (Hal Leonard). In 17. L’amour de moi, arr. Ward Swingle (Swingle Music). A 2010, I started having my Chamber Singers perform for soothing French folk melody artfully arranged for choir all the vocal jazz participants at the Noon Concert. I and mezzo-soprano. Sounds great with a choir of any thought maybe it was a weird idea to have my classical size. choir perform at a jazz festival. I had a student conduct, 18. Black Is the Color of My True Love’s Hair, arr. René Clausen and I sang tenor. We started with A Boy and a Girl, and (Walton Music). A haunting arrangement in terms of its got a standing ovation after just this first piece. Rather harmonic suspense. Surprise rhythmic effects, topped than sing our other two selections, I shook the student off with a gorgeous clarinet part. conductor’s hand, and had my choir exit. How could we top that? 19. Down in the River to Pray, arr. Marc Hafso (Colla Voce Music). This piece was the best opener I’ve ever done. We performed it throughout our Europe tour in 2011. CHRISTMAS We started in the hall or church just milling about. Then one singer started the melody, and soon was joined by 10. Take 6 Christmas, arr. Steve Zegree (Alfred Publishing). another. Then a third joined as they begin to process, This arrangement, transcribed and adapted by Mr. with the whole choir gradually joining the stage from Zegree, puts your audience, perhaps tired of holiday all parts of the performance space. It was sort of like a songs, into “shock and awe” mode. flash mob, and the audiences were thrilled. They would 11. Christmas Spiritual Medley, arr. Joseph Jennings (Hinshaw stop conversing within five or ten seconds, and the con- Music). Same as above. Especially if you have three men cert could begin with no need for introduction. sing the really high women’s gospel trio part! 20. At the River, arr. Aaron Copland (Boosey & Hawkes). I 12. Silent Night, performed by The Real Group, arr. Anders love this piece. What more can I say? It hits all my left Jalkeus (Walton Music). Also in the same category as and right brain spots just perfectly. above, but this one lulls the audience into loving-a-new- 21. Tres Cantos Nativos, by Marcos Leite (Earthsongs). This baby mode. The pedal B-flat on the first phrase is pure fun piece has its own made-up language. You take the genius. audience on an adventure—as they enter the rainfor- 13. I Saw Three Ships, arr. Mack Wilberg (Hinshaw Music). est they hear jungle noises, then animals, then a distant This is an almost over-the-top opener or closer. The native tribe. One can be very creative here. It’s just a architecture of the arrangement is wonderful, with sketch, meant to elicit creativity. The three songs con- several long buildups, and then handbells. There is one trast in tempo, mood, and groove, so it can be a great section that will challenge your choir’s ears, but it’s short opener. The more rhythmic dance sections are best done and a good stretch for your newer singers, or for a less with percussion. experienced choir if done with combined choirs. 22. I’ve Been in the Storm So Long, arr. Jeffrey L. Ames (Walton Music). This piece was written in response to the dev- FOLK/GOSPEL astation of Hurricane Katrina. If you have the mezzo soloist to carry it off, it is one of the most memorable 14. South African Freedom Songs, arr. Armstrong/Nyberg pieces out there. (Walton Music). You can’t go wrong with triads and 23. Praise His Holy Name, by Keith Hampton (Earthsongs). African drums. Mix in a true and epic success story with This is one of many excellent gospel pieces by Mr. an amazing message, and we all win. Hampton. It sticks out as my favorite because of our 15. Country Dances, arr. Ward Swingle (UNC Jazz Press). This choir tour last spring. We were staying at the Marin is a Swingle Singers piece, but I did it with my 30-voice Headlands Youth Hostel as a home base while doing Chamber Singers. It wasn’t quite as tight, of course, as it high school outreach and evening concerts in the Bay would have been with smaller forces. But the excitement Area. The choir was full of newbies, but sometimes and surprises win over the audience every time. A huge that’s when a group is the most diverse and interesting. favorite for American audiences or abroad. We had a bluegrass violinist, a drummer and bassist, 16. Göta, by Peder Karlsson (Walton Music). This is a Real several good guitar players, and a student who played Group original composition. Epic and wordless, it fuses mandolin. Each evening about ten o’clock the choir a vocal jazz treatment with a Nordic folk music sound. would do a mini concert for the other hostelers—circle Provides contrast and an element of suspense/surprise songs and pop songs they would ad lib. Praise His Holy at your concert. Name brought down the house!

- continued on page 22

Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 21 - continued from page 21

VOCAL JAZZ 24. All the Things You Are, arr. Ward Swingle (UNC Jazz 28. There Will Never Be Another You, arr. Real Group (UNC Press). This arrangement starts out with classic Swingle Jazz Press). This a cappella arrangement is the perfect Singers ballad counterpoint and harmony, and then swing/Latin/ballad combo. breaks into a swing chorus that fuses the Baroque and 29. Georgia on My Mind, arr. Gene Puerling (Alfred jazz as only Ward Swingle can. Publishing). Joyful spirit, fun groove, awesome climax, 25. My Favorite Things, arr. Britt Quentin (available on the improvisation: it’s all here. m-pact website). This Level V a cappella arrangement is 30. Here’s To Life, by Butler & Molinary, arr. Phil Mattson mostly in 5/4. It’s insanely creative and fun. If you have (manuscript: contact Phil Mattson at philmattson.com). a great vocal bass in your vocal jazz ensemble, it’s worth This song sums up the bittersweet and temporary nature the effort. of life. It is a courageous and defiant stand against Time 26. You Must Believe In Spring, arr. Phil Mattson (UNC Jazz the Thief, and Phil Mattson’s arrangement captures the Press). This most delicate arrangement of perhaps the essence perfectly. perfect ballad teaches students about finding their way 31. I’ve Got You Under My Skin, arr. Phil Mattson (Hal through life’s difficult passages. Leonard). Nothing to worry about here, just swing! 27. On a Clear Day, arr. by New York Voices or Singers Harmonically quite easy, and even available in SAB. Unlimited. Also about keeping the faith—knowing that Currently out of print, so contact me or Mr. Mattson the fog will lift and you will find that perfect view. It’s for more information. worth the wait and the journey, even though those “clear days” often last mere moments.

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22 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 23 ACDA Choral Leadership Academy a Success

The 2013 ACDA Choral Leadership Academy, with clinicians Amanda Isaac (Norris School held at the California All State Music Educators District) and Ben Horton (Greenfield Middle Conference (CASMEC) on February 22-23 in School); an excellent lecture/demonstration Fresno, was a resounding success! The fifty “Choral Tone 2.0: Upgrading the Sound of enthusiastic high school and college choral Your Choir” with master teacher Dr. Zachary musicians were led by clinicians Rodney Durlam (Fresno Pacific University); and an Eichenberger and Clayton Miller in singing new outstanding 30-minute concert by Fresno Merryl Nelson literature, honing musicianship skills, learning Pacific University Choir under the direction effective and eloquent conducting techniques, of Dr. Durlam. Friday afternoon continued Mrs. Nelson has directed and experiencing concepts of rhythm, struc- with two extremely practical and useful reading choirs of all ages for ture, and musical expression through move- sessions, the first entitled “Amazing Repertoire 38 years in public and ment. Dr. Chris Peterson (CSU Fullerton) That Works: High-Quality Literature For private schools as well as and Dr. Jonathan Talberg (CSU Long Beach Middle School and Beginning/Intermediate churches. She is currently Bob Cole Conservatory) provided mixing and High School Choirs” with Dr. Anna Hamre, an adjunct professor bonding activities throughout the two days Dr. Chris Peterson, and Dr. Jonathan Talberg and choral director at that inspired a unique (and, we hope, endur- presenting. The second reading session, pre- Cuyamaca Community ing!) camaraderie among the students. The sented by Dr. Chris Peterson, was entitled College in El Cajon, most inspiring of these activities occurred as “Close Harmony: Choral Literature to Recruit California the students arrived on Friday morning. Each and Retain Male Singers.” To cap off this lav- student was assigned to one of five groups in ish day of choral treats was the CAJ-sponsored which they would help each other learn a mad- Jazz Concert, including an awesome perfor- rigal to perform later on Saturday. It was so mance by the All-State Jazz Choir. exciting to travel the halls throughout the two days and witness the combined musicianship - continued on page 25 of these young people, culminating in a per- formance on Saturday afternoon. Organizing the logistics of the whole event and keeping everyone on schedule was Dr. Anna Hamre (CSU Fresno), supported by California Music Educators Association (CMEA) Vice President Artistic Director Scott Hedgecock (Fullerton High School of Position Opening the Arts), who was in charge of registration and many other behind-the-scene details. Reconciliation Singers Voices of Peace (RSVP), based in the Sacramento CA As the State Choral Representative for CMEA, area, is seeking an Artistic Director. Dr. Hamre also worked to provide outstanding Founded thirteen years ago, this select, choral sessions for adults and students alike. auditioned group of 16-18 singers pres- Dr. Hamre’s in-depth professional experience ents two concert sets per year, partnering and her exceptional networking with choral with local charities and programming music colleagues ensured that there was literally repertoire that reflects that charity’s mis- something for everyone in the choral offerings. sion; from classical choral literature and Starting off this diverse choral tapestry was an madrigals to contemporary music, folk amazing concert by Pacific Standard Time, the tunes and jazz. This position is part-time, premier college vocal jazz ensemble from CSU approximately 20 hours per month for 10 Long Beach, under the direction of Christine months. Salary based on experience. To Guter, sponsored by our CASMEC partner, learn more about RSVP, and for a posi- the California Association for Jazz (CAJ). On tion description and application materi- Friday, the ACDA-sponsored choral sessions als, visit: www.rsvpchoir.org included “But I Teach Marches, Not Madrigals!” for all those band/choir directors out there,

24 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA - continued from page 24

The event continued Saturday with the Shew (Fullerton College) entitled “Vocal Jazz first CASMEC Choral Roundtable, called Styling and Interpretation: Just Because You “Coordinated State-Wide System of Rated and Can Doesn’t Mean You Should.” Other ACDA Tiered Festivals and Contests,” led by Southern offerings included a thoughtful lecture by California Vocal Association Past President Beth Ann Turner (Doctoral candidate at the Rodger Guerrero and CMEA Vice President University of San Francisco) entitled “All Fired Scott Hedgecock. Choral educators then Up: Igniting Interest in the Choral Classroom,” enjoyed another choir lecture/demonstration and “Choral Methods for the 21st Century: A by two experienced master teachers: Kathy Student-Centered Approach” and “Quality Blumer, vocal/general music teacher for Clovis Literature in SAB Voicing,” both presented Unified School District and director of Vivace, by Dr. Jimmy Shepherd (Catawba College, a community children’s choir (grades 4-7) that Salisbury, NC). is part of the Bach Children’s Choir program in the Fresno area; and Tammi Spurgeon, cho- Thank you to CAJ and ACDA’s Dr. Anna ral director at Clarke Middle School in Clovis Hamre, Scott Hedgecock, Dr. Chris Peterson, Unified School District. Ms. Blumer worked Dr. Jonathan Talberg, Rodney Eichenberger, with Vivace and Ms. Spurgeon worked with and Clayton Miller, and all our clinicians for the Clark Middle School Advanced Choir and making this year’s Choral Leadership Academy demonstrated techniques to develop superior and the choral strand of CASMEC such a suc- choral programs at the elementary and middle cess. It was a rich three-day feast for choral school levels. CAJ sponsored an enlightening educators! session led by vocal jazz master teacher Jamie

Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 25 26 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA All-State Choir Wrap-up

The 2013 California All-State Honor Choirs Benson, give him a smile and a hug, and thank were an adventure and a great success! him for our students. His time and effort in supporting this event at his university were The adventure started in late September unparalleled. and early October, when 993 students from around the state auditioned for their regional My undying personal thanks to Genevieve Tep, honor choirs. From those who auditioned, Jan Lanterman, Shirley Nute, Joshua Chai, Lou 626 were selected to participate in the Coastal, De La Rosa, Eric Graham, Stacey Kikkawa, Tammi Alderman Central, or Southern Honor Choirs. The top Julie Dana, Tina Peterson, Jon Talberg, Lori 290 regional honor choir members from 113 Marie Rios, and the SCVA and ACDA board Ms. Alderman is chair schools became this year’s All-State Men’s, members for their help and advice through the of the California ACDA Mixed and Women’s Honor Choirs. process. Thanks too, to all the choral directors Honor Choirs and is a and parents who volunteered to assist during DMA candidate at the Behind the scenes, the three regional honor the All-State Honor Choir weekend. USC Thornton School choir coordinators (Mel Carrillo, Tony Dehner, of Music. and Tina Peterson) were hard at work with Congratulations and thank you to everyone their assistants (Aaron Snell, Alice Palmer, and who had a hand in this year’s event! Karen Garrett) to be sure that the students had an incredible experience in November Mark your calendars for next year: and that all the data then came to my assistant, Student Auditions Genevieve Tep, and me for All-State. Scores September 21 & 28 and October 5 were tabulated, venues were confirmed, forms (depending on region) were collated, music was sent, permission slips were alphabetized, and All-State week was Central Region Honor Choir upon us. November 14-16 Our conductors, Dr. Jerry Blackstone, Dr. Rollo SCVA & Coastal Region Honor Choir Dilworth, and Dr. Sharon Paul, selected won- November 21-23 derful programs for the students and we were All-State Honor Choir (Sacramento) set. On Monday morning of All-State week, March 20-22, 2014 however, Dr. Paul fell and severely injured her hand. Her doctors needed to perform surgery For a complete listing of repertoire performed and would not allow her to travel (thankfully, by the 2013 All-State Choirs, please visit our she is doing fine and will make a full recov- website at: www.acdacal.org ■ ery). Fortunately, California is full of talented individuals who are ready and willing to do whatever is needed for our students. By 5:00 that same afternoon, Dr. Charlene Archibeque had agreed to be on the podium in Dr. Paul’s place. All three conductors and accompanists made beautiful music with the students. They were inspiring, thoughtful, engaging educators who took our students to a level of musical artistry that will last in the hearts and minds of all who witnessed the process and the product. The faculty and staff of San Jose State University graciously donated their classroom space and hours of their time so that the choral students of California would have a wonderful experience. The next time you see Dr. Jeffrey

Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 27 ACDA National Conference Student Scholarships

Last year the National ACDA Board decided to give registration waiver scholarships for five stu- dents in each state to attend the National Conference in Dallas, TX. California students were asked to submit essays regarding their involvement in ACDA and the choral program at their college/university. The recipients are outstanding young individuals, all of whom we will soon call “colleague.” If you see one of them, please offer your congratulations. Their thanks to you is below. Scholarship recipients Brianna Beard – Biola University Jimmie Diaz – College of the Canyons Alan Garcia – California State University, Fullerton Maryloie Rivera – San Jose State University Alexis Ronan – College of the Canyons

Dear California ACDA, I was humbled to be a recipient of the Never in my life did I ever expect to receive California American American Choral a scholarship; it just wasn’t ever a thought to Directors Association Scholarship to attend me. I am full of joy and indescribable gratitude this past conference held in Dallas Texas that I was allowed to have experienced this life- 2013. I had no idea what I was in store for last changing opportunity. No words can, or ever semester when I was offered the opportunity will, come close to expressing how thankful I to experience this conference. With constant am to have been awarded a scholarship from research and question of what exactly this con- the American Choral Directors Association. ference would consist of and why it was that I was so lucky to get a scholarship to attend, I Sincerely, Alexis Corinn Ronan luckily received a “steady job” that was going to assist me in paying for all the expenses along my upcoming journey; thus, money was any- thing but an obstacle to overcome. T hank you

“Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.” - Plato

28 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA Dear California ACDA, I wanted to thank you for the opportunity that you have given me to attend the 2013 National ACDA convention. This is my first national convention that I attended, and I am now planning on attending all future conventions. I learned so much about music, the people that work behind the choirs, and about myself. T hank you During the convention, I attended as many lectures, concerts, and reading sessions as I could. I was exposed to so much music that Dear California ACDA, lit a fire in me and inspired me to be the best musician that I can be. During the convention, I am writing to thank you for awarding me I went to every reading session that I could go an ACDA National Convention Student to, even the sessions for which I did not have a Scholarship. I had a very memorable time at packet. It was fun trying to see if I could read the ACDA National Convention in Dallas. something that would be harder for me, and I attended many concerts, sessions, and I saw how much my musicianship has grown. receptions. Also while at the convention, I was able to I really enjoyed attending the Ecumenical meet a lot of nice and interesting people from Service held in the Cathedral de Guadalupe. around the nation. It was exciting seeing some Singing with the congregation and the two of my friends that I met at our regional con- choirs along with being accompanied by the vention from last year’s conference. It was orchestra was an experience that I cannot put rewarding catching up with them and seeing in words. It was an overwhelming feeling of how much can change in a year. I think the joy. best part was attending the lectures and get- This year they held a student reception and ting to know the choir segments because I felt it was encouraging and comforting to see so like I got a glimpse at what make each choir so many young musicians just like me who shared special. the same passion. The future of choral music Finally, I learned so much about myself during is alive, and the students at that reception will this trip. I realized that I am making the right continue the legacy of choral music. choice in becoming a music educator. The trip I love ACDA National Conferences because has also inspired me to push myself to be a you meet people who share the same passion. I better musician and student if I want to be able met so many directors who really deepened my to do what these fine educators are doing at love for choral music, and I am grateful for all the convention. I am so excited to go to our the connections I made in Dallas. There were regional convention next year and to our next directors I met in Dallas that I will never for- national in Salt Lake City. Thank you again for get. Their encouraging words and advice will this incredible learning experience. This has live in me, and I will share them with others truly changed my life, and I am so grateful for once I begin my career as a choir director. being allowed to be a part of this incredible organization. Thank you again for choosing me as one of the scholarship recipients; I am honored and Sincerely, Jimmie Diaz appreciative. The lessons I learned were invalu- able, and I cannot wait to apply them to my future classroom! Sincerely, Maryloie Rivera

Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 29 Dear California ACDA, I wanted to express my sincerest gratitude on being able to attend the National Convention in Dallas this year. Attending the convention allowed me to immerse myself in my future craft, and to meet a great deal of inspirational people. Though just a student, wearing the name badge and attending the various concert and interest sessions allowed me to feel as if I were already a relevant part of the choral world. I wasn’t attending as a student but as a Dear California ACDA, prospective future choral director, which made all the difference in the world. Beyond all the Thank you so much for the scholarship you interest sessions, my favorite experience would awarded me to experience ACDA. It was abso- have had to have been the Dale Warland talk lutely incredible and I learned so much. I am about the Choral Art. He was inspirational and very passionate about choral music, and it was spoke of ideas and viewpoints that I had never such a unique experience to spend the week imagined before. His thoughts on subjects such with people that are just as enthusiastic about as creating a unified sound through match- this music as I am. I have been to ACDA as a ing resonance, or spacing between singers to performer with Riverside Community College provide a more supported projection, were so Chamber Singers under John Byun in Arizona eye-opening. Within his lecture, I felt as if the and Chicago. As great as it was to be a per- countless hours listening to the Dale Warland former, to go as an observer was phenomenal. Singers recordings was finally put into perspec- I got to meet up with old and current direc- tive how much talent and intuition he has. That tors who introduced me to many people who choir wasn’t amazing all on its own. The love, will be great resources to me in the future and effort, and passion he put into his work made taught me a lot when I was there. that group one of the most distinguished choral I am a passionate believer that choral music ensembles. Even more importantly, it showed changes lives. I love teaching, music, and kids, me that the passion for music was more impor- so being able to put all those things together is tant than what most people considered. Yes, a dream come true. Our world today needs this talent is important—but it comes down to the music because it keeps kids out of trouble and passion of wanting to improve your techniques supplements their learning in every subject in and the music you create everyday. By attend- school. I know that music programs are getting ing this convention, I felt as if my passion for cut left and right in schools, and I see it as my music was both enriched and fortified, and I mission to be an advocate for music education am so thankful for the opportunity to attend. to make sure kids always have the opportunity Thank you again, California ACDA! to participate in these programs. I want to help Sincerely, Alan Garcia to make being a part of a choral organization affordable and easy for everyone to access. Of course, none of this will ever be at the expense T hank you of the music itself. It is my goal to absorb as much information as I can so I can help give the best information in the best way I can to my students. I only hope that I can be as influ- ential in the lives of my students as my teachers have been in mine. Again, thank you so much for the opportunity you gave me, and know that every cent was well spent and used for the future of choral music. Sincerely, Brianna J. Beard

30 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA University of Southern California Thornton School of Music Imagine Unique among the premier music schools of the world Being Here

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Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 31 Top Five for your Choir

Dorchester Canticles A Good Understanding Tarik O’Regan Nico Muhly SATB, solo tenor, organ, harp SATB, trebles, percussion, and organ and percussion St. Rose Publishing/Chester-Novello Chester Novello NOV954701 (full score) 14022184 Text: Psalm 98 “Cantate Domino” & Text: selected verses from Psalm 99 & 111 Psalm 67 “Deus misereatur” (in Latin) Robert Istad Muhly’s style is definitely edgy and minimal- O’Regan conceived this beautiful piece to be istic. He is as comfortable composing indie paired with Leonard Bernstein’s “Chichester rock as he is classical choral music. “A Good Psalms” (in the reduced orchestration), and Understanding” will challenge your chorus juxtaposes soaring contrapuntal lines with to find expressive color within the minimalist rock-and-roll influenced rhythms. Both move- framework of its construction, and it offers an ments can be performed separately if desired. opportunity for your mixed ensemble to col- The lydian modality and rhythmic figures are laborate with your treble chorus. The music is challenging, but accessible for most college difficult, but worth exploring! choirs. Dormiva Dolcemente Giovanni Gabrieli, ed. Denis Stevens Gottes Zeit ist die allerbeste Zeit SATB/SATB double chorus a cappella (Actus tragicus, BWV 106) Faber Music Ltd. 0571501125 Johann Sebastian Bach Text: “Dormiva dolcemente la mia Clori” SATB, SATB soli, 2 recorders, 2 viola da (Torquato Tasso) gamba, basso continuo Carus-Verlag Stüttgart Urtext Edition CV I fell in love with this gorgeous madrigal for 31.106/00 double chorus during my doctoral studies at Text: Funeral text taken from Old and USC with Dr. William Dehning. Tasso’s text New Testaments is sensual Italian love poetry about a slightly naughty stolen kiss. Gabrieli’s setting master- This cantata is one of my absolute favorites and fully connects his own “broken choirs” aes- is considered by many scholars to be one of thetic to the romantic interplay of the lovers the great masterpieces of the genre. Although in the poem. Audiences and choirs alike rave the piece was published after his death, Bach about this piece! probably wrote the cantata while he was 22 years old and working in Mühlhausen. The piece features accessible, beautiful material The Rune of Hospitality for chorus and soloists alike. The instrumental Alf Hokum accompaniment is small and perfect for choirs SSAATTBB div., solo acoustic guitar with limited means. The fantastic Stüttgart Walton Music HL.8500032 U niversity Urtext edition by Carus provides affordable Text: Gaelic text about the blessing of scores that are both practical and scholarly. Christ “in the stranger’s guise” C ollege and (Perform in F-Major to avoid problems with the recorder parts.) This piece is an absolute gem! The text makes it appropriate for any time of year, but I typi- cally program it during the holidays. Hokum’s musical language combines beautiful soaring melodic ideas with jazz-influenced chord struc- tures. The solo acoustic guitar adds a folk-like quality to the piece.

32 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA Top Five for your Choir

All Blues Not While I’m Around Miles Davis, arr. Darmon Meader Stephen Sondheim, arr. Kerry Marsh SSATB with rhythm section and optional SSATB with rhythm section horns Kerry Marsh Music UNC Jazz Press (www.kerrymarsh.com)

High energy 3/4 swing tune. Moderately dif- Ballad sensibility with a driving straight 8th- ficult vocal soli section, but totally worth the note groove underneath. An adaptation of Christine Guter effort! Opens up for improvisation, followed Jamie Cullum’s arrangement from the album by a cool jazz a cappella section, then shout Pursuit. Step-out solos throughout the chart. chorus. A New York Voices classic. (Level 4+) Notated piano (with chords), notated bass, drums and additional “pad” part (optional). Beautiful arrangement. Level 3 Dearly Beloved Johnny Mercer & Jerome Kern, arr. Paris Rutherford Waters of March SSATB with rhythm section Antonio Carlos Jobim, arr. Gerhard Guter Paris Rutherford Music SATB with rhythm section and auxiliary

([email protected]) percussion (optional) J

Sound Music Publications (SMP12-040) azz C hoirs Up-tempo sizzling groove. Alternates between Latin and swing. Really spirited and grooving Bossa Nova groove. Portuguese and English chart. Opens up for improvisation, also has with male and female solos. Portuguese pro- a written vocal soli that’s hip, but not too dif- nunciation guide included. The smooth voice ficult. Lots of fun! (Level 3) leading and moderate vocal ranges make this an excellent Latin piece to include in your concert or festival programming. Recorded by For Elizabeth “Vocalogy.” (Level 4) Rosana Eckert SSATB with rhythm section (also available for SSAA) Rosana Eckert Music ([email protected])

This is a Rosana Eckert original song. Up-tempo samba with uplifting lyrics and an exciting gospel-style ending. Includes female lyric solo feature and improvised gospel riffing at the end. (Level 2+)

Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 33 Cantate Wins National Award

The California “Cantate” was awarded “Best Print Newsletter Large Budget” at the National Convention in March, 2013. California President Jonathan Talberg accepted the award on behalf of Editor David Scholz, which was given after ACDA Division editors ‘carefully and thoroughly critiqued each entry.’ “I am especially pleased,” said Talberg, “because our editor, David Scholz, has revamped our newsletter and our R & S Chairs and Regional Representatives have worked diligently to fill it with outstanding content for each issue. Our ongoing series, “Top Five for your Choir” has garnered gratitude from our constituency and our articles have really been top notch over the last several years.”

Quality For over fifty-five years, we have customized tours to fit each group’s unique interests, abilities and expectations. Many satisfied ensembles return year after year, knowing that we can provide them with a memorable experience every time.

“This was such a fantastic tour. “All the tour planning was ACFEA did such a wonderful job excellent. ACFEA staff was of planning. I love to travel, but I always friendly, available, go on these trips to hear the kids professional and returned all calls sing and be with them, and my and emails efficiently. A delight to expectations were far exceeded.” work with you all!” Barry Kerr, Director, Stephen Sano, Artistic Director, Nevada Union High School Choir Stanford University Chamber Chorale

800-886-2055 ACFEA Tour Consultants CST 2063085-40 777 Grand Avenue, Suite 206 Photo: Fullerton University Singers San Rafael, CA 94901 performs in the Chiesa Santa Maria www.acfea.com Trastevere in Rome email: [email protected]

34 • Cantate • Vol. 25, No. 3 • Spring 2013 California ACDA California ACDA Directory

Executive Board Repertoire & Standards President REGIONAL Boychoirs Senior High School Choirs Jonathan Talberg REPRESENTATIVES Joyce Keil Gavin Spencer 562-985-5112 650-678-2001 530-241-4161 [email protected] Bay Area [email protected] [email protected] Lou De La Rosa President-Elect 408-206-7192 College & University Children’s and Lori Marie Rios [email protected] Choirs Community Youth Choirs 818-679-7463 Robert Istad Peggy Spool [email protected] Central 562-822-5952 408-979-9997 Christopher Borges [email protected] [email protected] Vice President 661-204-2689 Travis Rogers [email protected] Community Choirs Show Choirs 707-253-3705 Anna Hamre Genevieve Tep Central Coast [email protected] 559-278-2539 510-928-9108 John Knutson [email protected] [email protected] Executive Secretary 805-546-3195 California ACDA Office [email protected] Ethnic & Multicultural Two-Year College Choirs Jan Lanterman Perspectives Julie Dana Far South 2348 Clay Street David V. Montoya 559-233-3887 Napa CA 94559 Merryl Nelson 626-419-8031 [email protected] 707-255-8012 619-463-5316 [email protected] [email protected] [email protected] Vocal Jazz Junior High/Middle Christine Guter Northern School Choirs 562-985-8138 Dana Alexander To Be Filled [email protected] 707-328-6718 [email protected] Male Choirs Women’s Choirs Steven Kronauer Eliza Rubenstein Southern 310-800-0099 714-432-0202 x21072 Christopher Peterson [email protected] [email protected] 562-453-9851 [email protected] Music in Worship Youth & Student Activities Julie Ford Tammi Alderman 925-283-9990 x224 970-988-5193 [email protected] [email protected]

Event Chairs Summer Conference Regional Honor Choirs Dana Alexander, Chair Central 707-544-5598 Mel Carrillo Communications [email protected] [email protected] Newsletter Editor Website Coordinator Cantate Vacant position Regional Conferences Coastal Contact Regional Tony Dehner David Scholz Contact Jonathan Talberg Representative [email protected] CSU, Chico Music Dept. if you are interested in 400 W. 1st St. this position All-State Honor Choirs Southern (SCVA) Chico, CA 95929-0805 Tammi Alderman Tina Peterson 530-898-6127 [email protected] [email protected] [email protected]

Leading the Way Cantate • Vol. 25, No. 3 • Spring 2013 • 35 PRSRT STD AUTO California US Postage Paid Riverside, CA California Chapter, American Choral Directors Association Permit 1528 David Scholz, editor CSU, Chico Department of Music 400 W. 1st St. Chico, CA 95929-0805

The Bob Cole Conservatory of Music at California State University, Long Beach is thrilled to announce the appointment of Adam Jonathan Con as Director of Choral Music Education. Dr. Con comes to CSULB from Wittenberg College in Ohio where he served as Director of Choral Activities. Widely recognized as an exceptional choral conductor, a respected teacher of conducting and Tai Chi Chuan, and a leader in the advocacy of music education, Dr. Con is in high demand in the United States and Canada both as a guest conductor and choral conducting teacher. Dr. Con’s talent and ability to work with all levels of musical experience is grounded in fifteen years of diverse K-12 public school music teaching which includes Orff, Kodály, and Dalcroze- based general music, French immersion music, middle and secondary school choral, vocal jazz, concert band, and jazz band. His professional conducting experiences include civic orchestras, professional musical theater, community choirs, concert bands, and 32 years as a church choir director and organist.

For more information about the outstanding opportunities awaiting you and your students at the Bob Cole Conservatory of Music, please contact Dr. Jonathan Talberg, Director of Choral, Vocal and Opera Studies, at [email protected]