SARATOGA-POTSDAM CHORAlINSTnuTf "A GREAT CHORUS... " EUGENE ORMANDY

FOURTEENTH ANNUAL SESSION

sponsored jointly by: THE CRANE SCHOOL OF MUSIC STATE UNIVERSITY COLLEGE OF ARTS & SCIENCE POTSDAM, NEW YORK THE SARATOGA PERFORMING ARTS CENTER in conjunction with THE PHILADELPHIA ORCHESTRA RICCARDO MUTI, MUSIC DIRECTOR EUGENE ORMANDY, CONDUCTOR LAUREATE

DIRECTOR: Brock McElheran DATES: August 8 to August 26, inclusive, 1983 PLACE: Saratoga Springs, N.Y. CREDITS: Two to six college credits, graduate or undergraduate

CONCERTS: Choral performances with The Philadelphia Orchestra as follows: Brahms, Alto Rhapsody Conductor: Erich Leinsdorf; Aug. 13 Berlioz, Requiem Conductor: Robert Shaw; Aug. 18 An Evening of Lerner and Loewe Conductor: Franz Allers; Aug. 24 Masterpieces for Chorus and Conductor: Brock McElheran; Aug. 26 Orchestra; with Roberta Peters COURSES: Required CHORUS IN CONCERT (Chorus) Brock McElheran

Electives Afro-American Vocal Music Ann Jones Church Solos Brian Jackson Conducting Technique (Advanced) Brock McElheran Conducting Technique (Elementary) Ann G. Beaucage Creative Movement in the Classroom Margaret Minotti English Diction for Singers Gerald Crawford French Art Songs Gerald Crawford High Fidelity for the Musician Gary Galo Historical Operatic Performances Gary Galo Integrating Music with the Other Humanities Margaret Minotti Jazz and Popular Choral Styling D. Riley, D. Wilson Music of Brahms, The Brian Jackson Musical Theater Production Thomas Holliday Operatic Arias Master Class I, II, III Brian Jackson Piano Teaching -,Philosophies and Approaches Dolores Johnson Russian Choral Music Victor Klimash Singing Techniques for Choristers Carol Randles Study of Choral Masterworks, The Stanley Chapple Wagner's Later Music Dramas Stanley Chapple

ADMISSION REQUIREMENTS: Advanced choral proficiency, plus preferably a degree in music

TUITION FEES: Out of state: grad. $91.50 per credit, undergrad. $58.50 New York State: grad. $71.00 per credit, undergrad. $35.00

ROOM AND MEALS: Air conditioned: $475.00; not air condo $407.00

A limited number of partial assistantships are available for out-of-state choristers, and singers of exceptional ability.

For detailed information, write: The Director Saratoga Potsdam Choral Institute State University College of Arts & Science Potsdam, New York 13676 THE EDPREse

Official Publication of the American Choral Directors Association

Articles are indexed in The Music Index, Music Article Guide, and RILM Abstracts of Music Literature. Microfilm and microfiche available from University Microfilms International 300 North Zeeb Road Julie #4 A:rr,[)~rood Ann Arbor, Michigan, 48106

Copyright © 1983 by the American Choral Directors Association

James McCray, Editor Volume XXIII, No.8 RonnieShaw, Managing Editor

APRIL 1983

Thomas Morley's First Book of Bal/etts to Five Voices: An Introduction For Conductors By David Taylor 5

Putting Horses Before Carts: When Choral Singing Hurts Voices By Dr. Leon Thurman 23

ACDA Announces Dissertation President's Comments 2 Prize Winner 14 From The Executive Secretary 3 International Federation For The Editor's Notebook 3 Choral Music 29 News Briefs 3,16 Conductor's Commentary 30 Choral Reviews 35

St. Stephen's Cathedral in Vienna, Austria.

$YA.TEMIENT of IVUMblEllt$ltJup The American Choral Directors Association is a non-profit professional organization of choral directors with active membership composed of directors from schools, colleges, universities, community and industrial organizations, churches and professional choral groups. Circula­ tion: 10,500. Dues: Active $25.00, Industry $75.00, Institutional $50.00, Retired $7.50 and Stu­ dent $7.50. Membership Year: One year from date of acceptance of dues.

APRIL 1983 Page 1 Affiliated Organizations INDIANA CHORAL DIRECTORS ASSOCIATION President Garrett Epp South Adams High School 1000 Parkway Berne, Indiana 46711 8 Treasurer Ms. Becky Kramer pRESI ENT'S North Judson-San Pierre High School 900 Campbell Drive North Judson, Indiana 46366 COM ENTS IOWA CHORAL DIRECTORS ASSOCIATION Basking in the glow of ACDA's President Seventh Independent National Conven­ T. L. Janssen 509 S.W. Franklin Drive tion, it would be comfortable to let com­ Ankeny, Iowa 50021 placency overwhelm us. It was a fan­ Treasurer tastic Convention; it could never have Bruce Norris 420 Maple reached such a pinnacle of achievement Mondamin, Iowa 51557 without extraordinary contributions by MONTANA CHORAL so many talented and caring members of DIRECTORS ASSOCIATION President our organization and such outstanding Paul Ritter clinicians. We are richly blessed! "Presi­ Box 2428 dent's Comments" in the March issue of Great Falls High School Great Falls, Montana 59401 The Choral Journal expressed sincere Treasurer appreciation for the remarkable musical Thomas Larson insights, expertise and contributions of time and perception made by so many of our Music Department· Northern Montana College nation's musicians, scholars, and teachers who gave of their talents either as clini­ Havre, Montana 59501 cians, conductors, or committee members. We are grateful! NEBRASKA CHORAL In this April column I feel constrained to express some thoughts concerning our DIRECTORS ASSOCIATION President organization's general health and well-being. As your National President, I receive Elmer Schock voluminous input (letters and telephone calls which reflect observations - both 511 East 7th positive and negative) relating to our organization's activity and direction. This is Hastings, Nebraska 68901 Treasurer greatly to be desired; input is decidedly healthy. It demonstrates caring for ACDA. Peggy Sellon . It is my hope thateach and every person who addresses a letter orplaces a telephone 4402 Calvert call concerning ACDA's direction has studied thoroughly the organization's well­ Lincoln, Nebraska 68506 OHIO CHORAL conceived Constitution and Bylaws and the document entitled "Financial Pro­ DIRECTORS ASSOCIATION cedures and Policies for State, Division and National Officers". I must confess that President many of the letters and telephone calls which I receive reflect little or no knowledge John Drotleff 12700 Lake Avenue #1802 of these publications. Lakewood, Ohio 44107 In an organization such as ours, there must be a recognition of the important part Treasurer . which-experience plays in directing our Leadership. We should be aware that each of Loren Veigel 2377 Alabama Avenue N.W. us grows in perception throughout the discharge ofeach leadership opportunity. We North Lawrence, Ohio 44666 do not remain static. We either grow or we wither on any plateau in our individual TEXAS CHORAL growth continuum. DIRECTORS ASSOCIATION President As stated previously, input from our membership is greatly to be desired. Of Carroll W. Barnes course, there is a temptation for any person at any time to imagine that he has the 3414 Columbia Circle answers. The thinking ACDA member is acutely aware that there may be alternate Garland, Texas 75043 Treasurer and divergent points of view - answers which he/she may "see" at any point in time MargaretCavenagh are not necessarily infallible or unchanging. It is important for each of us to main­ 8751 Broadway #3159 tain an "open mind" and to become a "thinking person". To accomplish this goal Houston, Texas 77061 WISCONSIN CHORAL each ofus is called upon to become as well-informed as possible, and to approach any DIRECTORS ASSOCIATION givenproblem from various points of view. Only when we do this, are we able to gain President the perspective necessary for effective leadership. Bill Diekhoff 1427 Monroe Avenue My concern that ACDA remain strong and vital is shared by many. Therefore, I Racine, Wisconsin 53405 am pleased to report to you that I have asked our Past Presidents Advisory Council Treasurer to undertake an assessment of our organization's health, stability and direction on Ruth Knoll Hartford High School the eve of our 25th anniyersary. Itis my opinion that our Past Presidents' combined Hartford, Wisconsin 53027 judgement and experience coupled with their devotion to ACDA will result in a Editorial Board sharpened perception of our organization's state of health and most desirable direc­ Editor tion. The Committee will report directly to the National President and will make James McCray suggestions deemed appropriate regarding future direction for ACDA. The Commit­ Department of Music Colorado State University tee will be chaired by Russell Mathis. Ft. Collins, Colorado 80523 In the weeks ahead, this committee of ACDA's Past Presidents will be attempting to separate the"grain from the chaff" They will welcome input from the member­ Associate Editors John B. Haberlen ship. Only when every ACDA member becomes a truly "thinking person" and Lynn Whitten shares his/her thoughts, can we feel confident that the direction of our organization Members Antonio Molina is ill the be~ ill-.t, of (/~ ~£ Gordon Paine d' Frarik Pooler HarrietR. Simons

Page2 THE CHORAL JOURNAL The 1983 National Convention of the THE WINDS OF EXHAUSTION burnout; therefore, it is essential that American Choral Directors Association Many of us may have already passed choral musicians and other teachers was one of the most successful since that period of yearly "burnout". Secon­ have time for non-academic pursuits. ACDA was organized in 1959. All ex­ dary school choral conductors refer to The time spent almost always reaps hibit space was filled and our exhibit April as the time of fingernails because benefits in terms of iIpproved quality chair, Bob Davis, had a waiting list of it is when they are either hanging on by when returning to the professional con­ exhibitors seeking space. Registration them or biting them off in frustration. cerns. Mental and physical rest is not for the convention set an all time record There are Spring vocal contests, the only important, it is mandatory to suc­ with 2,474 people registering. There musical, choral concerts and, of course, cess. In many ways, I have difficulty were 2,487 choir members performing senior slump which occupy attention. recommending summer school to for the ACDA membership. This was Perhaps the ABC television company teachers, because they need some time the largest number of people to ever at­ could do another epic about choral con­ to "regroup", and attending a six- or tend a convention of the American ductors and call it The Winds ofExhaus­ eight-week summer school simply does Choral Directors Association. tion/ Instead of covering a six-year not permit it. But, by carefully selecting Many people from the ACDA member­ period as the Wouk book did, it could a one-week (or less) workshop in an area ship contributed so much to make this cover a six-week period, and it might of your conducting that needs improve­ convention so successful. The ACDA achieve the same effect. ment, there is still time to do those other membership gives special thanks to This frantic period of activity is true activities of life which are also vital. President Elect, Maurice Casey for his at many levels, and college is no excep­ So, the point in all this is to suggest very careful planning and dedication to tion. In addition to the current industry, that it is not too early to make tentative this convention. universities are preparing for numerous plans for attending a summer workshop. Work has already begun for the 1984 summer workshops. In most cases, the By mid-summer you will be ready to Divisional Conventions. The seven divi­ choral workshops are designed for dust off the academic cells and will want sion conventions will be: Eastern, Balti­ school teachers and church musicians, the stimulation that today is pulling you more, Maryland; Southern, Atlanta, and you are urged to take advantage of into a maelstrom. Even though America Georgia; Southwestern, Dallas, Texas; them. Workshops usually pack large was exhausted after the week-long tele­ Central, Chicago, Illinois; North Central, amounts of information into short vision series in February, the book Sioux Falls, South Dakota; Northwest­ periods of time. They are less expensive stores were not able to keep enough ern, Portland, Oregon; Western, Los than regular summer school offerings copies of its sequel, War and Remem­ Angeles, California. The 1985 ACDA because their durations are shorter, thus brance, on their shelves. And so it is National Convention will be March minimizing living expenses on campus. with us. We may be exhausted, but need 6-7-8-9, in Salt Lake City, Utah. Infor­ Most teachers are workaholics by to look to the future. Summer mation about each of these conventions nature. This is not only true of choral workshops are valuable; make a commit­ will be appearing in future issues of The musicians, but they seem to be in­ ment to motivation now and you will be Choral Joumal. curable. Statistics show a high degree of glad later.

• • • ICDA Summer Convention/Symposium Set High School Director The Iowa Choral Directors Associa­ choir literature, contest repertoire, and Tragically Murdered tion, an affiliate of ACDA, will hold their Christmas music. Packets of music will 9th annual summer convention/ be provided for all registrants. There In New Jersey symposium July 25-29 on the campus of will be interest sessions on uses of com­ North Iowa Area Community College in puters for the choral director, set con­ Mary Christina Thick, choral director Mason City. Sandra Chapman, the con­ struction, and vocal pedagogy. Social ac­ at Franklin Township High School in vention chair, has announced that the tivities include an opening night Bach's New Jersey was tragically murdered headliners for the sessions will be Paul (box) social, an ice cream social, and final after attending a meeting at her high Salamunovich of North Hollywood, Ca; night party. The Plymouth Congrega­ school on Monday night, January 10, Jerrold and Joanne Ottley, the director tional Choir of Des Moines will perform 1983. Mrs. Thick was an active member of the Mormon Tabernacle Choir and on Church Night, and the ICDA compo­ of ACDA and was the manager of the soprano soloist, respectively; Doug sition contest winner will be announced, 1983 Region II Chorus for the Nichol, elementary and junior high spe­ as well as the premier of the ICDA com­ NJACDA. cialist from the University of Toledo; missioned work. Mrs. Thick was considered by all who and voice scientist Howard Rothman of ACDA members from all over the U.S. knew her an outstanding choral director Gainesville, FI. In addition, there will are invited to attend the convention! and teacher. She was married to Robert be eight reading sessions on a variety of symposium; further information about Thick and had one twelve year old son, topics: music for the church year, men's registration and fees may be obtained by Rob. All ACDA will miss Mrs. Thick's literature, women's literature, festival writing Sandra Chapman, 1209 Avenue presence and remember her contribu­ music, music for chamber choir, show C, Ft. Madison, Ia 52627. tion as a choral musician.

APRIL 1983 Page 3 School ofMusic Ball State University

**** Show Choir Workshop Choreography for the Show Choir featuring: Rod Reiner choreographer Presently r:horeographerfor Opryland USA, Nashville. Has performedin summer stor:k at the St Louis Munir:ipal Opera, on Broadway, off-Broadway, television & regional theatre. Has workedwithjerry Lewis, Ror:k Hudson,joel Gray, Ann Miller, Ann Reinking, & Carol Lawrenr:e.

Show Choir concept, development, & design featuring: Larry Boye conductor Direr:tor internationally known Ball State University Singers (winners ofthe Bob Hope 'Searr:h for the Tops' in r:ollegiate talent r:ompetition); Musir: Direr:torofWalt Disney Produr:tions College Program; Direr:tor ofthe AllAmerir:an College Singers, Disney World (Orlando, Florida), Disneyland(Anaheim, California).

Plus Mid-America Show Choir Staff: Pam Hoopingarner choreographer,Show Choirr:olleague ofManlyn Magness GenaJones conductor, Direr:torofChoral Ar:tivities, Der:aturCentral Cleve Scott electronics, Direr:tor ofEler:tronir: Systems for MIme Synthesis Frank Puzzulo keyboard, Professor ofjazz Keyboard

With laboratory experiences in: Sendallinquiries to; -i' Dr Kirby Koriath, coordinator Choreography with Reiner/Mid-American Show Choir .. Graduate Programs in Music Use ofpre-recorded sound ~ School ofMusic Design & function ofthe Portable Stage :::-?' Ball State University * Muncie, IN 47306 Show Choir costumes Mid-American High School Show Choir Principles & techniques ofsound reinforcement Sound system development & sound recording Overview ofelectronic keyboards

As a special feature a Mid-America Sound Recording Clinic will be offered for high school student technicians. Ifpossible, bring your students so that they may receive an in-depth experience with microphones, mixing boards, the principles ofsound reinforcement, Show Choir recording, & the preparation ofa click track.

Page 4 THE CHORAL JOURNAL It is likely that Thomas Morley's popularity with the majority of Th.omas Morley's First Book twentieth-century lovers of his music rests chiefly upon his balletts. In spite of this, the music of Morley's FirstBook of of Balletts to ,Five Voices: Balletts to Five Voices remains largely unknown to many choral musicians. 1 While a few of the pieces in the collec­ tion, such as "Now Is the Month of May­ An Introduction ing" or "Sing We and Chant It," have become fixtures in the repertory of For Conductors many choirs, many of the Balletts are rarely, if ever, performed. By David Taylor Morley's Balletts is a rich source of Director of Choral Activities literature well suited to the needs of Hendrix College many high school and college vocal Conway Arkansas chamber ensembles, literature which will make for interesting and entertain­ well as or even more than a musical ex­ Morley set the tone definitively for a ingprogramming and which will provide perience. The lighter Italian musical class of composition that is musical challenge and enjoyment for forms (canzonetta, villanelle, and ballet­ characteristic of the English books [of choir members and conductors. As an in­ to) were relished for their simplicity in madrigals] that came after him. The popularity and cultivation of the troduction to this music for conductors, contrast to the highly sophisticated English madrigal was inlarge measure this article will examine the historical madrigal, but this predilection for due to him alone. 3 background of the Balletts, survey the simplicity was still the attitude of court contents of the collection, discuss ap­ aesthetes, and had much the same This popularity and cultivation began plicable performance practice considera­ character as Marie Antoinette's fond­ with the publication of Morley's Balletts tions, and add some suggestions con­ ness for her "dairy farm" at Versailles in simultaneously-issued English and cerning performance of the Balletts centuries later. The focus of the can­ Italian versions in 1595. designed to facilitate use of this litera­ zonetta, villanelle, and balletto, like the The new English style which Morley ture by high school and college choirs. focus of the madrigal, was still on the and his successors established differed poem. from its Italian model in several Historical Background on the The consumers of madrigals in respects, most of which stemmed from " Balletts" England, however, were the new gentry the predominantly musical rather than Elizabethan England was deeply in­ and the rising middle class, as well as literary interests of the English com­ terested in the assimilation and imita­ the higher reaches of society; and since posers and music lovers. Since the tion of Continental culture, scholarship, these consumers did not know the long English composers were not as in­ and social conventions. During the last tradition of Italian poetry, and were terested in poetic subtleties of the same three decades of the sixteenth century hearing either Italian which they often kind, they preferred more musical the Petrarchan poetry of Italy and its did not know well or English transla­ elaboration and interest than could be allied musical form, the madrigal, tions which frequently obscured the found in the Italian forms, and tended to became extremely fashionable among sophisticated structure and content of prefer the lighter forms to the madrigal English artists and courtiers. This the originals, they were primarily in­ itself, since many of these lighter forms Italian influence was imported both by terested in the music rather than the were musically less subordinate to the Englishmen who had travelled abroad words of the new Italian pieces. In short, text. English compositions generally and by Italian musicians working in in England the madrigal was very much displayed more melodic interest than England. The influence of Italian poetry a musical and not a literary matter. their Italian counterparts (Reese refers was a strong factor in the "new poetry" Italian madrigals circulated in to their "songfulness"), and generally of Sidney and Spenser, and the Italian England both in manuscript and in in­ avoided devices of the Italian man­ madrigal, together with the lighter fluential printed collections, such as nerists such as extreme chromaticism or secular Italian forms such as the can­ Nicolas Yonge's Musica Transalpina monodic recitative. English composers zonetta and balletto, served as the model and Thomas Watson's Italian Madrigals preferred on the whole to set light and for the sudden and quite imitative Englished, for some time before English frivolous rather than great or serious development of the English madrigal, "a composers began to imitate the Italian poetry: the Italian tradition of setting to rare example," says Jerome Roche, "of models. William Byrd and his genera­ music the greatest native poets had no the naturalization of a foreign form."2 tion were cool to the new style, prefer­ English counterpart. In fact, English In Italy the spirit that generated the ring the native English secular song. composers were frequently content to madrigal was very much a literary mat­ Thomas Morley was the first composer set rough translations of the texts of ter: musical setting of serious poetry by to employ the Italian style. Says Joseph Italian pieces: the greatest Italian poets, such as Kerman, Although choral musicians tend to Petrarch and Tasso, was a highly refer to all sixteenth-century English sophisticated art primarily focused on No other musicians of Morley's secular vocal compositions in­ the structure, the meaning, and even the generation distinguished themselves discriminately as madrigals, there are verbal sounds of the poem. Purely in Italianate composition, and the actually a number of more or less musical considerations were secondary younger men looked instinctively to distinct varieties, as was also true in Ita­ him as their model. But Morley looked ly, and intelligent analysis requires that to the primacy of the word. Madrigals instinctively to Italy; his historic posi­ were composed for literary academies tion is that of a pioneer who digested these be recognized. Carelessness on the and for a highly cultured nobility who the Continental style, naturalized it, part of composers and printers often employed professional musicians and and presented it to his countrymen in contributes to modern confusion in this strove for the highest possible level of a form that they could immediately ap­ regard, since title pages of original artistic and aesthetic sophistication and preciate and utilize further. It is first prints often mislabel some or all of the rarification. For the Italians, madrig~ of all from this point of view that pieces they contain. This sort of confu­ singing was expected to be a poetic as Morley's work should be approached. sion in the original prints was perhaps

APRIL 1983 PageS heightened by the fact that forms and to line, dwelling at the dictate of the albeit within a regular musical frame­ form names newly imported from Italy text on whichever phrase seems best, work, the canzonet bears some resem­ 6 were involved. An approach to Morley's with no fixed ending-point ahead. blance to the madrigal. Balletts, therefore, must necessarily in­ It displays no regular or pre-conceived The light madrigal differs from the volve consideration of the character­ musical pattern, is not strophic but serious madrigal primarily in text and istics which distinguish the ballett from through-composed, and is quasi-contra­ mood. It normally involves light and in­ the other late-sixteenth-century English puntal and quite variable in texture consequential poetry and a frivolous secular vocal forms. rather than homophonic. It attempts to musical mood. It remains a madrigal, Kerman's study of Elizabethan­ reflect in the music the sense and mood however, in that the text governs and no Jacobean secular vocal music distin­ of the poem and even of individual preconceived formal structure is pos­ guishes four main varieties of Italianate words within the poem. The poetry em­ sible. secular vocal compositions by English ployed is normally of a good quality and Morley himself defines the ballett in composers: the ballett, serious madrigal, a serious nature. this way: canzonet, and light madrigal.5 The canzonet borrows characteristics The ballett is normally strophic, from both the ballett and the madrigal There is also another kind ... which primarily homophonic, and usually they term balletti or dances, and are and is in some senses a hybrid of the songs which being sung to a ditty may dominated by an obvious and regular two. Like the ballett, it is strophic and likewise be danced . .. There be also dance rhythm. It is characterized by a subordinates the text to a pre-conceived another kind of balletts commonly bipartite division, and each of these two musical form. Here the division is usual­ called "fa-las." The first set of that sections ends with a fa-Ia-Ia or similar ly tripartite, and this is marked by the kind which I have seen was made by refrain and is repeated in its entirety, in­ repetition of the words and music of the Gastoldi; if others have labored in the cluding the refrain. The ballett is musi­ outer sections, with a non-repeated sec­ same field I know not, but a slight cally the simplest of the four varieties kind of music it is, and, as I take it, tion in the center. The text is also nor­ s and normally employs a predetermined mally light in character. But while the devised to be danced to voices. musical scheme of regular phrase ballett is primarily homophonic, the can­ lengths which takes precedence over the zonet is Kerman points out that Morley's defini­ poetry. The text is almost always of a tion notes both the general Continental light and frivolous character suitable for built up from brief phrases declaimed use of the term to denote any simple to .individual and characteristic little composition suited for dancing and also dancing and entertaininent. melodic ideas, often treated polyphoni­ At the other end of the formal spec­ the specific meaning associated with cally with facile stretto imitations. "fa-Ia" refrain pieces typified by trum is the serious madrigal. As in the This results in many text repeats, Italian model, the text is here the con­ many rests in the voice parts, more in­ Giovanni Gastoldi's already-famous trolling force. In Kerman's words, ner movement, and more complicated Balletti a 5. In discussing English harmonic structure.7 music, says Kerman, "we are justified in the madrigal calls for an extended, restricting the term to Gastoldi's quite "progressive" kind of musical form, These little melodic ideas are often specific idea of a ballett, because it was working forward like a motet from line related to the words, and in this respect, in this sense alone taken up by the

HERITAGE FESTIVALS Invite you to our third year of quality Band and Choral Festivals. Join us in 1984 in * WASUINGTON, D.C. *ORIANDO *ANAUEIM * NASUVILLE * ATLANTA (The Peach Bowl Festival) * MEXICO CITY * NEW ORLEANS (During the 1984 World's Fair season.)

Ueritage Festivals - The New Standard of Excellence For further information call Steve Harmon collect at A division of: (801) 263-3445 or write to Heritage Festivals.

American International %'t&&d~c/M. 302 West 5400 South, Suite 108/ Salt Lake CUy. Utah 84107/ (8011 263·3445

Page 6 THE CHORAL JOURNAL Elizabethans."9 As we shall see, each with a title which indicates the the text, is uniformly homophonic, in­ Morley's reference to Gastoldi is not "humor" of the character supposedly volves no textual repetition, and has a irrelevant to consideration of his own singing and dancing the ballett, e.g., lively and absolutely regular dance Balletts. L'innamorato, Ii contento, La sirena. rhythm of alternating strong and weak (Many of these "characters" undoubted­ beats. Gastoldi's fa-Ia refrains continue The Content of Morley's "Balletts" ly derived from the commedia dell'arte the style of the verse sections. By con­ The pieces which comprise Morley's and the long tradition of mummery.) trast, Morley is clearly not interested in Balletts were the first of their type to be These fifteen balletts are followed by a varied poetic meter - he has selected composed in England. They provide an three-piece Mascherata a Cacciatori the most regular of Gastoldi's poems ­ unusually clear illustration of the Italian (sung by six singers dressed as and is not content with the sparse and origin of the new English style, for they warriors), a canzonetta, and a concluding simple musical style of Gastoldi, but are directly based, both as a collection Concerto de Pastori which is a dialogue adds musical elaboration in a new and, in many cases, as individual pieces, for two four-part choruses.13 English ballett style of his own. on Gastoldi's Balletti a 5 of 1591. Morley's Balletts is clearly modelled The verse sections of Morley's Gastoldi's Balletti had achieved an in­ as a collection on Gastoldi's Balletti. Gastoldi-style balletts are written in stant and overwhelming success. Alfred The English set has the same overall Gastoldi's simple, 'homophonic, and Einstein points out that the influence of dimensions as the Italian, containing fif­ metrically regular manner, and employ this collection both in Italy and in such teen balletts, five non-balletts, and a rhythms and sometimes even melodies foreign countries as Germany and concluding dialogue for double chorus identical to those of the parallel Gastoldi England was the greatest of any light which Kerman cites as the only one of its pieces. Morley does substitute a few music of the time. IO The important char­ sort composed in England. Morley does slightly more varied rhythms, e.g. acteristics of Gastoldi's pieces are those not provide an introduttione or already cited in the definition of the mascherata,' his five non-balletts include JJ f J J ballett: homophony, diatonicism, one madrigal and four canzonets, not J. J/ J regular accent pattern (a rarity in labelled as such, but clearly distinguish­ for Gastoldi's unvaryingly even quarter sixteenth-century art music), regular ed by their compositional style (for in­ notes. The Englishman's new musical phrase lengths (mostly two- or four-bar stance, they have no fa-Ia refrains) and style appears in the fa-Ia refrains. "The phrases), a bipartite division in which differentiated from the two-or-three main interest of Morley's balletts, in each section ends with a fa-Ia refrain and strophe balletts by being settings of on­ contrast to Gastoldi's," says Kerman, together with its refrain is repeated. ly a single strophe.I4 "is in the 'fa las'; they are almost always Most of the pieces in the Balletti begin The music of Morley's fifteen balletts a signal for some virtuoso counterpoint with an anacrusis accompanied by suf­ in part closely follows Gastoldi's style ," with many rapid figurations that ficient rests before the first note to fill and introduces it to England, andin part recall the English instrumental style."16 up a complete measure, something displays important differences which Morley's refrains are longer than which is completely unknown in the reflect the English interest in the music Gastoldi's, and several of them are madrigal, and is undoubtedly connected rather than the poetry of such pieces. As with the fact that the balletti are meant Kerman has pointed out, Morley's for dancing. 11 (The title page is inscribed balletts fall into two groups. Eight of "Balletti per sonare, cantare e ballare.") them are directly based on the poems Einstein cites the Balletti as in fact, if and in many ways on the music of eight not in name, the first madrigal comedy. of Gastoldi's balletti: these correspon­ dences can be seen in Table 1. The re­ To understand Gastoldi's work one maining seven derive textually from the must suppose that a merry company has come together to sing, to play, and poems of Italian canzonets by Marenzio, Additional savings on Vecchi, Croce, and other Italian com­ to dance, and that the revelry has summer stock orders begun to take on the character of a posers; and musically five of these seven comedy, in that the participants depart considerably from Gastoldi's endeavor to represent in imagination musical style. These Kerman labels as I5 every conceivable character.12 balletts in canzonet style. CAllTOll FREE The interest and variety of Gastoldi's The first piece in the set, a sort of "In­ pieces lie in the subtle metrical variety 1-800-858-3000 vitation to the Dance" (Introducttione a of the poetry. His music is extremely i Balletti), is followed by fifteen balletts, simple: it follows exactly the meter of (in Pa. 1-800-372-7000)

Pittsburgh Symphony Orchestra Fast, professional service Carnegie-Mellon University Music of all publishers Summer Music Institute Charge accounts invited June 27-August 5,1983 UNIVERSITY 9th Da/croze Eurhythmics Workshops Choral Conductors' Workshop Marta Sanchez, director Max Peterson, director MUSIC July i8-August 5 July 25-August 5 SERVICE Pre-College Festival Honors Ensembles: Orchestra: June 27-July 8; Band: July 11-22; Choir: July 25-August 5 P.O. Box 354 Hershey, Pa. 17033 Fora brochure write: PSO/CMu/SMI, Music Dept., CMU, Pittsburgh, PA 15213.

APRIL 1983 Page 7 varied by means of different mensura­ key signatures employed are uniformly tion and mensuration signs. Music of tion, the addition of a coda, or the cop.­ incomplete, being modified by frequent the late Renaissance was still temporal­ trasting of rapid movement with long manuscript accidentals. ly controlled by the tactus, the down­ notes. Two theories exist as to who was and-up motion of the conductor's hand Morley's balletts in canzonet style responsible for the translations of the to which the notes of each part were represent even greater musical elabora­ Italian texts (and possibly the addition rhythmically related according to the tion. Not only are their fa-Ia refrains in of some original verse) set by Morley in given mensuration sign. The tactus em­ his more elaborate new style, but their the Balletts. Edmund Fellowes, editor of ployed by Renaissance musicians fell verse sections are composed in the man­ the first modern edition of the collection, within a range describable in modern ner of a canzonet, with motivic imita­ believes that the text is attributable to terms as M.M.60-80 for the half-tactus tion, textual repetition, and rhythmic the English poet Michael Drayton. (i.e., M.M.30-40 for the full tactus)!1 variety rather than Gastoldi's plain Fellowes bases this conjecture on the lit­ Within that range the conductor (then homophony. They can still be classed as tle congratulatory verse for Morley at and now) must choose the appropriate balletts rather than as canzonets by vir­ the beginning of the original print which tempo considering such factors as the tue of their bipartite structure and fa-Ia is signed with the initials M.D. 18 John content and mood of the text; the har­ refrains. This canzonet style can also be Uhler, an American Morley scholar, monic, rhythmic, contrapuntal, or tex­ seen in the music of the non-ballett argues that Morley himself was respon­ tural complexity of the music; the char­ pieces in the collection. sible for both the translations and addi­ acter of the mode of the piece (some Each of Morley's fifteen balletts has tions.19 Whoever was responsible, the modes were regarded as excited, others two strophes with the exception of No. translations have a charmingly English as calm); the occasion for which the piece 3, the famous "Now Is the Month of character. is being performed; and the size and the Maying," which has three.17 (As noted acoustical characteristics of the hall. earlier, the remaining six pieces in the It is engaging to find that Gastoldi's The conductor must know what note collection have only one strophe each.) "La dolce sirena" has turned into values and mensuration signs were em­ Morley's smiling "bonny lass." May is Harmonic analysis of the pieces in the the English springtime and the most ployed in the original notation of a Balletts will reveal thatin their composi­ appropriate time for dancing and sing­ Renaissance work in order to intelligent­ tion Morley was not thinking in terms of ing. Italy knows none ofit. Daffadillies ly apply this knowledge and choose a functional tonal harmony, but was replace roses, and those faithful tempo. This process is made easier in the following a modal harmonic procedure Italian nymphs and shepherds foot it case of Morley's Balletts by the fact that as discussed in his Plain andEasy I ntro­ around a very English maypole.'· the major modern edition of the collec­ duction to Practical Music. English tion by Fellowes faithfully reproduces treatises of the time speak of pieces as Performance Practice Considerations (with one exception discussed in foot­ being "on a key," a way of speaking Information provided by musical note 22) the original mensuration signs which is appropriate to harmonic modal scholarship concerning the sort of per­ (though it often misinterprets them, as procedure and which is usefully distinct formance of the Balletts which would we shall· see when considering propor­ from the phrase "in a key" appropriate likely have been given in Morley's own tions) and transcribes the original note to fully tonal music. In this sense twen­ time can provide indispensable guidance values without reduction (i.e., semi­ ty of the twenty-one pieces in the for the conductor who approaches this breves are transcribed as whole notes, Balletts can be said to be on F, G, or A, music. The following suggestions con­ etc.). It is therefore usable to a degree in the Ionian mode, the Aeolian mode, or cerning performance practices are of­ uncommon among modern editions of a conflation of the Dorian and Aeolian fered for that purpose. Renaissance music. modes. The only piece not on one of 1. TEMPO. The range of acceptable All but one of the pieces in Morley's these three keys is No.9, "What Saith tempi for performances of Morley's Balletts are basically governed by the My Dainty Darling," which is on C. The balletts is indicated by the original nota- mensuration sign C indicating tactus alla semibreve, and the correct basic tempo for their performance therefore lies somewhere in the range d = M.M. 60-80 (where transcribed without reduction, as in the Fellowes edition). CALWNCHORALSCHOOL Their lighthearted texts and relatively Calvin College uncomplicated compositional character­ istics suggest a choice toward the upper Grand Rapids, Michigan part of that range. The exception is No. July 10-15 6, "No, no, Nigella," the mensuration of which is C3, tactus alla semibreve in ses­ quialtera proportion. Since here three Faculty: Kenneth Jennings - Conducting and Interpretation for semibreves are equal to each two tactus Carolyn Jennings high school and college conductors (rather than the normal one-to-one cor­ Judith Bond - Church Music respondence of tactus and semibreve Sigrid Johnson - Elementary and Middle school under the simple sign C), the correct - Applied Voice a~proximately *credit available tempo is o. (d dd) = - Repertoire Reading for all areas M.M.30-40.

For a brochure and more information, contact: Merle Mustert Music Department Rare Liturgical Books: Liber Usualis, An­ Calvin College tiphonale Romanum, etc. St. Gregory Hym­ Grand Rapids, Mich. 49506 nals. Also, a small selection of organ (616) 957-6428 music. Send stamped envelope for list. Octavia Press 4924 Black Road Monclova, Ohio 43542

PageS THE CHORAL JOURNAL 2. PROPORTIONS. Gastoldi's Bal­ knowledge among choral musicians that but it seems likely that when more letti contains only one instance of the Renaissance notation did not include bar singers were present and available vocal use of mensural proportion, but Morley lines, that the singer(s) of each part had doubling may have occurred. At any (in keeping with his general tendency to only his (their) own part and sang it ac­ rate, choral performance of Morley's musical elaboration) employs ses­ cording to its own natural accent pat­ Balletts accords well enough with the quialtera proportion in eight of the tern, and that notes following the general Renaissance practice of using pieces in his Balletts. 23 This is the point editorial bar lines in modern editions of whatever combination of forces was on which most modern editions and per­ Renaissance music should not automati­ available on a given occasion, provided formances go astray. The chief and cally be accented. While the regular that the number of singers on each part perhaps only major defect of the rhythmic patterns which are generally a is kept fairly small. Variety and interest Fellowes edition is its misleading and in­ feature of the ballett proper obviate this can be added by having sections or even accurate indications as to how to relate problem to some degree, care should still whole balletts sung by soloists from the the integer valor and proportional sec­ be taken to avoid regular accentuation choir as a contrast to the choral sound. tions of the pieces involved. Conductors based on the bar line in the seven The vocal sound which Morley had should studiously ignore Fellowes's indi­ balletts in canzonet style and the non­ primarily in mind was very likely an all­ cations of notational equivalency at ballett pieces in Morley's collection male one. The choirs of Morley's day points where proportions exist, and in­ where rhythmic irregularity and were comprised exclusively of men and terpret the relationships for themselves. rhythmic counterpoint are important boys. Morley was a Gentleman of the This is made relatively easy by features. Chapel Royal and Organist of St. Paul's Fellowes's inclusion of the correct 5. EDITIONS. As discussed above, Cathedral (and hence one of London's original mensuration signs. the Fellowes edition is generally reliable and therefore England's leading musi­ The practical problem of if the conductor will do his own work cians) when he composed the Balletts. rhythmic/tempo relationships in the per­ concerning the proportions. It also pro­ Both the men and (perhaps more surpris­ forming of sesquialtera proportion can vides a piano reduction for rehearsal ingly to us) the boys of the Chapel be solved as follows. In integer valor sec­ purposes.25 An experiment which might Royal, St. Paul's, and other leading Lon­ tions the tactus will normally be pro­ prove worthwhile would be the use of don choirs played an active part in the ceeding like this ({t and '1' together, copies (easily made from the microfilm) secular musical life of the capital, sing­ representing the downward and upward of the original part-books. The relative ing at social gatherings ranging from motion of the hand, equal one tactus): simplicity of the music and the easily­ Court banquets to dinners of the city's seen equivalence of the smaller mensural merchant guilds. 26 Itis highly likely that ~ note values with our modern ones (b = the Balletts may have been first and 1\j d jJ)J d, • = J, etc.) should make this practi­ most prominently performed on such oc­ Under sesquialtera proportion (the rela­ cal, and the procedure would surely pay casions by men and boys of the choirs tionship of three to two) the situation dividends in terms of part independence. with which Morley was associated. will be like this: 6. VOCAL FORCES AND VOCAL Some performances in the composer's SOUND. The Balletts are clearly design­ time may also have combined women's ed for entertainment at Elizabethan and men's voices. The social value which ~ ~: f 24 d j;. social gatherings. Morley's collection Elizabethan and Jacobean society plac­ The key to the establishment of the cor­ was undoubtedly performed frequently ed on skilled amateur music-making by rect rhythmic relationship lies in mental­ with only one voice per part on such oc­ both sexes, the relatively wide distribu­ ly subdividing the two strokes of the tac­ casions, the value placed on skilled tion of the Balletts suggested by their tus. At the end of the integer valor sec­ musical performance by amateurs as printing, and the relatively small num­ tion the conductor should mentally well as professionals being what it was, ber of highly trained choral establish- count as follows: ~ d j j ,tJ '1.(" liD 'fE' ...... " '-' '-' A simple-shift to asterclasses in Choral Singing, J d J J J J MConducting, Accompaniment and Perfonnance in concerts. Conducted I a "3'# '" I~ 'If r, '" '-' '-' v ...... '-' ING byJohn Poole, director of the B.B.C while keeping the six-count steady will Singers. produce an exact sesquialtera propor­ T HIS At Dominican College ofSan Rafael in tion. To pass from C3 or 3 (which were beautifulMarin County, California, just . ~I equivalent signs in Morley's time) to C, SUMMER 15 miles north ofSan Francisco. Festi- j. .;,.i. 'ft thi,s procedure can simply be reversed. val sponsored by the San Francisco Civic Chorale and the The triple sections will obviously move Winifred Baker Chorale. one-third faster than the duple ones. 3. OBLIGATORY REPEATS. In John Poole, England's dynamic young choral conductor, each of the fifteen balletts the repeat of has broughtthe B.B.C Singers toprominence as Europe's each half of the bipartite structure is JOHN most prestigious Chamber Choir. With perfonnances written out musically for each verse in throughout Europe, he is ingreat demand. Festival music the original part books and, therefore, POOLE to be studied includes works ofBach, Haydn, Kodaly, and would never have been omitted in English music ofthe 17th and 20th centuries. Elizabethan performances. While these CHORAL Write orcall todayforfullparticulars: repeats can be varied by a changed FESTIVAL Winifred Baker Chorale number of singers, instrumental doub­ 16Highland Avenue San Rafael, C4 94901 ling, or ornamentation, they should not (415) 453-6501 be omitted in modern performances. June 10-24, 1983 Two units ofcollege credit are available from Dominican College 4. INDEPENDENCE FROM BAR for participation in this festival. LINES. By now it is fairly common APRIL 1983 Page9 N 0 R T H W E s T E R N School of M u s I C

Summer, the lake ... and music "

Special Choral Workshops GaryFry, Jazz and Pop Vocal Seminar, July 11-July 15 RobertHarris, Studies in Choral Conducting, July 18 - July 22' Alice Parker, Writing Music for Singing, July 25 - July 29

Master Classes in ~ice Hermanus Baer, July 18 - July 21 Ryan Edwards, JuIy 25 - July 29

Credit Courses RichardEnright, Organ and Choral Repertoire for the Parish Bennett Reimer, Philosophical Bases of Music Education Frank Tirro, Jazz as Aesthetic Education DanielRussell, Teaching Performance Groups Richard Green, History of Music: 20th Century DavidBuch, History of Music: Classic Period John Buccheri, Score Analysis Skills Stephen Syverud, Electronic Music Studio I GaryKendall, Schenkerian Analysis Robert Gay, Techniques for the Singing Actor Thomas Willis, Eros on Stage: From Tristan to Pelleas Private voice studywith the distinguished faculty of the School of Music. Robert Harris directs the summer chorus.

Registration for Summer Session is Monday, June 27. For additional information regarding registration and housing, write SummerSession, SchoolofMusic, Northwestern University, Evanston, Illinois 60201, or call 312/492-3141.

Page 10 THE CHORAL JOURNAL ments suggest the possibility that at boys' voice types, respectively. The mean, countertenor, or tenor to the basic least on some less grand or formal social mean, with a range of approximately c' Cantus, Altus, Tenor, Bassus texture. occasions women's voices may have re­ to e" or f", was the most common boys' The voice assigned to the Quintus part placed those of boys on the Cantus and, voice, and was the high voice called for is indicated by the clef used, within the where appropriate, the Quintus parts in in most vocal music of the period. The context of either the chiavette or chiavi singing of the Balletts. (The range of the treble, a rarer voice usually belonging to naturali combination of clefs. 31 The Altus parts and the common use of male fairly young boys, added a high, brilliant assignment of the Quintus part in the falsetto at the time both indicate that upper range reaching as high as b-flat". various pieces in the Balletts can also be women would have been very unlikely to It was used somewhat sparingly in seen in Table III. have replaced men on the Altus part.) English Renaissance music, perhaps All this suggests several elements in a Elizabethan-Jacobean music em­ both because the voice itself was rather tonal ideal for modern performances of ployed three types of men's voices, rare and because it was held in reserve the Balletts. Overall, what is desirable is namely bass, tenor, and countertenor, for pieces and occasions calling for a clear, bright,light vocal sound without and two types of boys voices, namely special brilliance and verve.28 excessive vibrato or vocal weight. mean and treble. The characteristic It is likely that Morley intended Especially when choral performance is sound of these voice types and the trebles to sing the Cantus parts in Nos. involved, one essential avenue to this ranges of parts written for them by 7-12 and 18-20 in the Balletts, and in­ sort of sound will undoubtedly be a Renaissance composers provide clues to tended means to sing Cantus in Nos. 1-6, degree of restraint in the matter of a vocal sound ideal for modern conduc­ 13-17, and 21. In the Plain and Easy In­ dynamics: a dynamic range in which tors who approach Morley's Balletts. troduction Morley specifically asso­ mezzo-forte or mezzo-piano singing is (The range given by David Wulstan as ciates trebles with pieces scored in the the norm and forte is a maximum level employed for each voice type in English combination of clefs now known as reserved for sparing use seems in­ Renaissance music is given in Table 11.) chiavette (which he calls the "high dicated. (This need not imply the color­ The range of the parts, the clefs used, key"), and means with the combination less absence of dynamic variety or ex­ and the common practice of the time in­ known as chiavi naturali (which he calls pressive vitality which unfortunately dicate that Morley intended the Bassus, the "low key").29 Nos. 7-12 and 18-20 in characterizes many choral performances Tenor, and Altus parts in the Balletts the Balletts are scored in chiavette, of Renaissance music.) Tenors should for the lowest (bass), middle (tenor), and while the other pieces are scored in sing with lyric rather than dramatic highest (countertenor) adult male voice chiavi naturali. The range of the Cantus tenor sound. An authentic sound and the types, respectively. In the case of the part in the two groups of pieces thus originally-intended balance of the parts Tenor and Altus parts in particular this created would also indicate use of will perhaps be most ideally served by implies a sound different in important trebles ill the former and means in the the use of male falsettists on Altus parts respects from the sound the modern con­ latter group; the Cantus part goes to g" when they are available. (The rising ductor instinctively pictures when he or a" in all but one of the pieces scored in popularity of male falsetto sound in sees the label "tenor" or "alto." In chiavette, but only to e" or f" in those popular music suggests that the poten­ Renaissance England the tenor was the scored in chiavi naturali. 30 This corres­ tial availability of such male voices in most common and hence least prized ponds with Wulstan's ranges for the two many high schools and colleges could be adult male voice, and tenor parts avoid­ voice types (see Table II). The clefs greater than many choral conductors im­ ed both extremes of the possible adult assigned and the range actually called agine.) If, as will often be necessary, male range and were regarded as for in the various voice parts in the female altos are used, a bright sound suitable for rather middling or "indif­ Balletts can be seen in Table III. free of noticeable or excessive vibrato is ferent" voices. 27 (It is notable that Morley uses the Quintus part in the desirable. The conductor should also Elizabethan-Jacobean verse anthems Balletts to add a second part for treble, consider reinforcement of "this part by contain far fewer solo parts for tenors than for the other adult male voices.) The countertenor was perhaps the most highly prized voice in Renaissance England. Countertenors sang primarily in male falsetto, adding chest voice for the lower notes of the wide range called for in alto parts of the period. The sound of men's voices singing at the top of the adult male compass in falsetto obviously differs considerably from that of women's voices singing at the bottom of the female compass in chest voice (the sound picture called to mind for most modern conductors by the word "alto"), not only in vocal color and vibrato butin power. Cantus parts in Elizabethan Renaissance music were sung by either means or trebles, the lower and higher

MUSIC NOTES - A new and different approach to fund raising. Assort­ ment of note papers with musical quotations, done in calligraphy. Send for free brochure: 1013 Fair­ mount Ave., W.E., Jamestown, NY 14701.

APRIL 1983 Page 11 some additional singers to compensate was a feature of some Renaissance per­ small high school or college choirs, lies in for the less penetrating sound of female formances, and the conductor who ap­ the wide ranges of Morley's Altus and voices in this range as compared with proaches the Balletts may wish to consi­ Tenor parts (including the Quintus parts countertenor sound. Nearly all modern der this. It seems relevant in this con­ assigned by clef as Altus or Tenor). The conductors will need to use female nection that Gastoldi's Balletti, the Altus parts in the collection have a voices on the parts originally meant for model for Morley's work, was inscribed range from d to d", the lower end of means and trebles, and here, too, a as per sonare as well as per cantare e which poses obvious problems for bright sound free of noticeable or ex­ ballare. Any attempt at producing an ap­ female altos (as does the upper end in a cessive vibrato is indicated. Parts proximation of 'an authentic Renais­ possible substitution by tenors). The originally intended for· means can be sance sound, however, would be Tenor parts employ a basic range of c to sung by sopranos, mezzo-sopranos, destroyed by the use of modern instru­ g', and in three pieces rise to a' and and/or even altos, provided that they ments, and Renaissance instruments b-flat', and the upper end of;this range can easily reach f". Parts originally in­ and skillful players of them may not be can be difficult or even impossible for tended for trebles call for a brilliant high available. A cappella performance is also young high school and college tenors. soprano sound.32 within the proper style. Table IV lists suggested voicings and 7. INSTRUMENTAL DOUBLING. 8. DANCING. The pieces in minor adjustments designed to facilitate It is now commonly acknowledged that Gastoldi's Balletti were clearly intended performance of the Balletts by high instrumental doubling of vocal parts to be danced, as both their musical school or college vocal chamber groups nature and the inscription on the title composed of female sopranos and altos page of the collection make explicit. Ker­ and male tenors and basses. The employ­ man's argument that the music of ment of transposition by either a half or Morley's Balletts was not so intended whole step and/or of the exchange of cer­ seems persuasive on two counts. First, tain portions of some Altus and Tenor THE PRESBYTERIAN Kerman points out that Morley's way of parts, where needed, will bring all but ASSOCIATION OF referring to the dance-related character two of the pieces in the collection within of Gastoldi's work in the Plain and Easy vocal ranges which should be possible MUSICIANS* Introduction suggests that it was not for most such ensembles. The absence of customary to dance balletts in England, a universal pitch standard in the ~(OrganiZed 1970) where they were an alternate kind of Renaissance - although the pitch of purely musical entertainment. Kerman English Renaissance secular vocal Provides a concludes that "the ballett was ap­ music was the closest to our own of the REFERRAL SERVICE parently not danced in England, but pitch standards of the time, one cannot served (with the madrigal and the can­ assume a scientific exactitude or unifor­ for churches needing zonet) as music to be sung and listened mity of practice even here seems to to; an idealized dance, like the allemande justify this small degree of latitude musicians and for church and the minuet of later centuries."33 regarding transposition in modern prac­ musicians, who are members Secondly, this view is supported by the tice. The part exchanges required seem, of PAM, desiring the music itself, for Morley's musical ela­ like the use of female altos rather than Referral Service. borations (elaborate fa-Ia refrains, countertenors, also justifiable, since this phrases of irregular length, canzonet­ technique will put virtually this whole Write: Joseph Schreiber, style verses, and so on) tend to obscure collection of important music within the 3100 Highland Avenue the basic dance structure visible in reach of the great majority of modern Gastoldi's simple balletti. This would vocal chamber ensembles for the first Birmingham, AL 35256 make dancing to Morley's balletts a time. more difficult matter. Any attempt at Morley's Balletts does not have even Additional Services of PAM: dancing the Balletts should certainly be the loose, madrigal-comedy-related limited to the eight balletts modelled on coherence as a single entity which is -Certification Program Gastoldi. found in Gastoldi's Balletti, but the -Co-Sponsor, Reformed pieces in the Balletts can certainly stand Suggestions for Performance alone in performance. A conductor Liturgy & Music One main obstacle to performance of wishing to perform groups of several -Continuing Education in many pieces in the Balletts by modern pieces from the collection can also find summer conferences (spon­ vocal chamber ensembles, particularly several possible bases for selecting such sor, Montreat Worship & ~ Music Conference) BROUDE BRmHERS LIMITED 170 Varick Street /New York, NY 10013 ~~A -Regional Network System providing regional workshops Music for the Holidays in worship and music Joaquin Nin-Culmell: La Virgen lava panales. SATB, tamb. Sp-Eng. 0.65 nationally Gerald Cockshotl: Angels Sang That Christmas Morn. SATB. Eng. 0.50 Gerald Cockshott: Carols from Three Nations. SATB. Fr-Dut-Eng. 0.85 *PAM National Office Herbert Haufrecht: Reflections on the New Year (from Benjamin 1000 E. Morehead St. Franklin's Poor Richard's Almanack). SATB. Eng. 0.75 Charlotte, N.C. 28204 William Billings: An Anthem for Thanksgiving. SATB. Eng. 0.85 Seth Calvisius: Joseph, lieber Joseph mein. SATB. Ger-Eng. 0.85 Guillaume Costeley: Allons, gai gai. SATB. Fr-Eng. 0.60 Jan Meyerowitz: Silesian Lullaby. SATB. Eng. 0.45 Complimentary reference copies will be sent upon request.

Page 12 THE CHORAL JOURNAL groups in the nature of the Balletts as a TABLE I collection. One might consider such Morley Balletts Directly Modelled On Gastoldi Balletti possibilities as performing the fifteen Morley balletts, the six Morley non­ Morley's Balletts, 1595 Gastoldi's Balletti, 1591 (first lines) ballett pieces, the eight balletts modell­ 1. Dainty Fine Sweet Nymph 5. Speme amorosa (Vezzosette ninfe) ed on Gastoldi, or the five balletts in 2. Shoot, False Love, I Care Not 3. II bell'humore (Viver lieto voglio) canzonet style.34 Interesting perfor­ 4. Sing We and Chant It 2. L'innamorato (A lieta vita) mance groupings might also come from 6. No, No, Nigella 15. II Martellato (Possa morir chi t'ama) a mixed selection from all these types, or 7. My Bonnie Lass, She Smileth 12. La Sirena (Questa dolce sirena) the grouping of pieces whose poems con­ 9. What Saith My Dainty Darling 4. II contento (Piacer gioia) nect with each other in some narrative 10. Thus Saith My Galatea 8. II piacer (AI piacer alla gioia) way. A particularly attractive idea 13. You That Wont To My Pipes' Sound 7. Gloria d'Amore (Vaghe ninfe) would be the performance of some or all of the balletts after Gastoldi together TABLE II with the Gastoldi balletti on which they English Renaissance Ranges Of Vocal Parts (Wulstan)35 were modelled. One might even have part of one's choir do the appropriate Renaissance dance with a Gastoldi balletto, followed by the singing of the corresponding ballett by Morley. Conductors considering performance • of music from the Balletts who wish to . ~ know approximate performance times Treble Mean Altus Tenor Bassus for given pieces can use Table V, which shows the length of each piece in tactus, TABLE III to calculate the approximate perfor­ Original Clefs And Ranges Of Parts In Morley's Balletts mance time needed for a given piece at a chosen tempo, and to compare the pieces in the collection in terms of length. l. Dainty Fine Sweet Nymph 2. Shoot, False Love, I Care Not Morley's Balletts seems extremely well suited to the musical needs of high Cantus Cantus school and college vocal chamber (mean) (mean) groups. The pieces in the Balletts will IF ~ ~ ~ provide a degree of challenge to the abilities of the singers without present­ Quintus Quintus ing a degree of difficulty which would (mean) ~ (mean) ~ make mastery of them hard to reach. In IF JF= -- this regard they possess such advan­ Altus A],tus tages as fairly regular rhythm, a large E ~ amount of homophony, and repetition of ~ ~ material. They were also intended by .". their composer to be sung in English. Tenor J== Tenor These pieces have a popular, lively, and l= ~ entertaining character which is easily ~ communicated to audiences. Their ap­ Bassus • peal for audiences and for modern choral Bassus ;IE: fJ: " ~ 9 singers is usually more immediate than ;We that of the Italian madrigal proper, due :Jt:" to the fact that their main focus is musical rather than literary. It can be difficult to communicate to choirs and SAINT MICHAEL'S COLLEGE audiences the poetic sophistication which is the central point of the July 18 to August 5, 1983 madrigal, since they are often quite un­ ELEMENTARY SCHOOL MUSIC familiar with madrigalian poetry and its according to the Ward Method allied music. By contrast, the simple, (full tuition scholarships available) easily graspable underlying form and and the dominance of music over poetry characteristic of the ballett make the AN INTRODUCTION TO GREGORIAN CHANT pieces of Morley's collection easily com­ (full tuition scholarships available) municable. Conductors who study and perform the Balletts will find - also­ themselves and their choirs richly July 4-6, 1983 rewarded. SIXTH ANNUAL CHURCH MUSIC WORKSHOP

CHORAL MUSIC RENTAL For further information: Large selection, reasonable rates. Write DR. WILLIAM TORTOLANO for listing, terms and rates - New York ST. MICHAEL'S COLLEGE Choral Society, 165 W. 57 St., New York, WINOOSKI, VERMONT 05404 New York 10019, Aft: Mary Robbins (802) 655-2000, ext. 2614 or 2508

APRIL 1983 Page 13 3. No\v Is The Honth Of Maying 4. Sing We And Chant It 5. Singing Alone

Cantus Cantus Cantus (mean) ~ ~ (mean) ~ ~ (mean) ~ ~ Quintus ~ Quintus Quintus (mean) (altus) 1E (tenor) ~ IF ~ ~ -- Altus ~ Altus E ~ Altus E ~ *= 71" Tenor l= ~ Tenor E ~ Tenor 1= ~ II ...... Bassus ~ fr Bassus ~ r- Bassus ~ Q: II " II

6. No, No, Nigella 7. My Bonny Lass, She Smileth 8. I Saw My Lovely Phyllis Cantus Cantus Cantus (treble) (treble) (mean) F ~ ~ ~ ~ ~ Quintus Quintus -- Quintus (tenor) (tenor) (mean) 1= i= 1F ~ ~ ~ Altus Altus Altus 1= ~ l= ~ if;= ~ 7 Tenor -- Tenor E Tenor f= ~ l= ~ ~ , ., , Bassus Q; Ba-ssus Bassus ;1E: ~ ~ fl: 5 II " •

AMERICAN CHORAL DIRECTORS ~c;. ASSOCIATION ANNOUNCES DISSERTATION PRIZE WINNER <5 NASHVILLE-Grame Cowen, Director of ~~ Music 355, 356 Choral Activities of the University of Nor­ ~V~ 2 credits, Graduate thern Iowa, was awarded the prize for the O or Undergraduate outstanding doctoral dissertation in 1981 in C ,~ Level I June 20-24, '83 the field of choral music. The award, which ~O O~ Level II June 27-July I, '83 carried with it a cash prize of $250, was ..-.~ ~ Temple University Center City presented to Dr. Cowen at the biennial con­ ....\J vention of the American Choral Directors ~V':~f"'" Gail B. Poch presents a Summer Association on March 10 in Nashville, Ten­ If"'" ~ workshop based on his highly ac- nessee. O~~ claimed sessions at the 1982 ACDA The award-winning study, entitled "Igor ~ Eastem Division and Pennsylvania Music Edu- Stravinski's Threni: A Conductor's Study for ': 11..\ ~~ cators Conventions. Part of the tradition of choral Performance," was completed at the Indiana ~ excellence in Temple's Master of Music Choral University School of Music under the super­ ~~ vision of the late Julius Herford. 0 Conducting Program. Dr. Cowen is the first recipient of this ~~ ~ For complete registration information, contact: award, which will be conferred annually to f"'" Alan Harler, Director of Choral Activities the graduating doctoral student whose thesis Temple University College of Music makes an original contribution to the perfor­ Philadelphia, Pennsylvania 19122 mance and study of the choral art. Tel.: (215) 787-8304 The Association's Dissertation Prize Com­ mittee is now accepting nominations for the COLLEGE OF MUSIC TEMPLE UNNERSllY 1982 award. Nominations must be submitted Helen Laird, Dean A Commonwealth University through the chief music executive of the in­ stitution. All nominations are to be sent to Ray Robinson, Westminster Choir College, Princeton, New Jersey 08540.

Page 14 THE CHORAL JOURNAL 9. \~lat Saith My Dainty Darling 12. My Lovely Wanton Jewel 13. You That Wont To My Pipes' Sound

Cantu, ~ Cantus Cantus (treble) , ~ (treble) ~ ~ (mean) 1F ~ Quintus ~ Quintus Qt!intus (treble) ~ (tenor) l=: (mean) /' ~ F ~ Altus Altus t= ~ E ~ Altus 1E ~ -- Tenor *= ~ Tenor i= ~ Tenor 1E ~ 4- 4- ..- Bassus Bassus Bassus ;tE iJ ~ ,9; ~ 09: til 10. Thus Saith My Galatea • •

Cantus (treble) ~ ~

Quintus (tenor) E ~

Altus iF ~ -- Tenor E ~ A Premiere Performance Bassus E :): 11. About the Maypole New • The Dreadful Dining Car A melodrama in one act and four scenes Cantus (treble) ~ ~ Libretto and Music by Quintus (tenor) i= ~ Daniel Pinkham Altus iF ~ Commissioned for the Centennial Celebration -- at the University of North Dakota Tenor E ~ 1. Performed by the Bassus ~ 9; , University of North Dakota Piano Tuning Course June 27·August 12, 1983 Concert Choir Summer School Terry Eder, Conductor Chautauqua, NY 14722 Concentrated 7 week hands-on ex­ perience tuning, regulating and repairing pianos. For information Sunday, May 1, 1983, 4:00 p.m. contact: Arthur Briggs, Director Chester Fritz Auditorium 1013 Fairmount Ave., W.E. University of North Dakota Jamestown, NY 14701 716-489-3496 Grand Forks, North Dakota

APRIL 1983 Page 15 15. Those Dainty Daffadillies 16. Lady, Those Cherries Plenty

Cantus Cantus (mean) (mean) F ~ iF ~ Quintus -- Quintus -- (altus) E ~ (altus) t= ~ Altus E F Altus E ~ Tenor t= ~ Tenor != ~ Bassus II ~ J} Bass1Js ~ fJ: i • NEWS bRiEfs ••• 17. I Love, Alas, I Love Thee 18. Lo, She Flies

Southern Division Cantus Cantn' ~. President-Elect (mean) iF ~ (treble) ~ Elaine McNamara is currently presi­ Quintus Quintn. ~ dent of Florida ACDA, the largest state (altus) (treble) unit in the southern division. She began E ~ ~ her professional involvement as a mem­ T ber of the music committee of the Altus Altus FloridaVoeal Association, subsequently i= serving that organization as district ~ E ~ chairman and for nine years as executive secretary. During this same period of Tenor Tenor time, Mrs. McNamara has served her 1= E county choral group as chairman three ~ ~ times and has been president of , .. Broward Music Educators Association, Bassus ~ Bassus 3=- representing all music teachers in her fJ: ~ (I county. • Beginning her teaching career as a junior high school teacher in Orlando, she moved to the junior/senior high level after receiving a master's degree, and is JU~. ~ in the nineteenth year as choral director 1:5' T PUBLISHED at Plantation High School. At Planta­ ~~4-.e.~ ~h~ tion she has twice been selected teacher J of the year and was faculty chairman of A CHORAL LEGACY / STUDIES, REFLECTIONS) TRIBUTES the lO-year accreditation study. She also teaches choral methods at Florida Edited by Alfred Mann The chapters of this volume were reprint­ Atlantic University. ed from two special issues of the Ameri­ Mrs. McNamara holds both Bachelor can Choral Review. One of these, plan­ and Master's degrees in music education ned as an offering on the occasion of the from Florida State University. In addi­ composer's seventy-fifth birthday, con­ tion to her teaching duties she has, for tained articles by colleagues and friends nineteen years, been assistant organist, The other, issued five years later, was a selection of his own essays from the pre­ assistant choir director and soprano ceding twenty years which were newly soloist at First Methodist Church in Ft. cast in the form of readings with retro­ Lauderdale. She was a participant in the spective commentary. Together with a first ACDA Choral Symposium in Vien­ complete list of the choral works of na, Austria, and has benefited by par­ Randall Thompson, compiled by Elliot ticipation in workshops with such con­ Forbes, the volume is a rich source for ductors as Robert Shaw, Paul studies of his music and for the writing Salamunovich, Howard Swan, Roger of program notes. Wagner, Robert Page, Charles Hirt, Frank Pooler and many others. Mrs. No. 694/ Paperback $10 E. C. Schirmer Music Company Available at leading music stores 112 South Street McNamara's choral groups earn consis­ or from the publisher. Boston, Massachusetts 02111 tent superior ratings and she is sought as an adjudicator. Page16 THE CHORAL JOURNAL TABLE IV Suggested Voicings and Part Adjustments For High School and College Choirs

Voicings suggested are for Morley's Cantus, Quintus, Altus, Tenor, and Bassus parts, in that order; e.g., SSATB suggests sopranos on Cantus, sopranos on Quintus, altos on Altus, tenors on Tenor, basses on Bassus. (N.B.: the Fellowes edition does not always present the parts in Morley's order, although it does provide his part names in small print.) The adjustments sug­ gested will bring the parts, with minor exceptions, within the following ranges: soprano c'-a"; alto g-e"; tenor c-f#'; bass F#-d'. (Conductors should note that Cantus and Quintus parts originally for means - see Table III - can usually be sung, ifdesired, by middle-range female voices, often referred to as second sopranos or mezzo sopranos.) No. Title Suggested Suggested Minor Adjustments

1. Dainty Fine Sweet Nymph SSATB Exchange Altus and Tenor notes for the last two .- of the fourth bar from the end.

2. Shoot, False Love, I Care Not SSATB Transpose up Ii whole step. The Altus f at "So lightly I esteem thee" can be taken up an octave.

3. Now Is the Month of Maying SAATB Transpose up a whole step, and exchange Quintus and Tenor parts for the last nine " of the piece.

4. Sing We and Chant It SSATB Can be transposed up a half or whole step if desired.

5. Singing Alone SAATB Can be transposed up a half or whole step if desired.

6. No, No, Nigella SSATB Can be transposed up a half or whole step if desired.

7. My Bonny Lass, She Smileth SAATB Have tenors sing Altus and altos Tenor for the first nine d of the A section fa-las, and for all of the B section.

INGING­ ::A VOYAGE OF Oren Brown Juilliard School Facultv; Voice Therapy for 16 yrs. DISCOVERY Washington University School ofMedicine 11th Season OREN BROWNVOICE SEMINAR MASTER CLASSES IN VOCAL TECHNIQUE for Teachers Choral Directors Young Professionals Advanced Students STUDYAND VACATION IN BEAUTIFUL NEW ENGLAND AMHERST COLLEGE August 2-19, 1983 Write for Brochure: Oren Brown Voice Seminar -160 West 73 St. 9G1 - New York NY 10023

Page17 8. I Saw My Lovely Phyllis (S AAT B) (This voicing solves all the range JUST RELEASED! problems except for one Quintus HANK BEEBE'S new fUll-length alto note at f, one bass note at F, biblical musical and several tenor notes aeg'.) "GO OUT SINGING" 9. What Saith My Dainty Darling S SAT B Transpose down one half step. The humorous and moving story of the stumbling yet heroic 10. Thus Saith My Galatea SAATB Exchange Quintus and Tenor Simon Peter parts for the last..phrase ("thus featuring singing roles for Peter, saith my Galatea") of the intro­ Peter's wife, Paul, Nero, a tap­ duction, and for all of the fa-las. dancing beggar, and many others, with seventeen new 11. About the Maypole New ------(Cannot be brought within the songs, depicting the establishing ranges specified: requires two of the early church in the teeth of Tenor parts with a range of d-a'.) the brutality of the Roman Em­ 12. My Lovely Wanton Jewel (S AAT B) (Crossing the Quintus and Tenor pire. parts for the last 21 ~ solves all the range problems except one Also available: tenor phrase which rises for one ~ to a'.) "DAVE" The story of David and Goliath 13. You That Wont To My Pipes' SSATB No adjustment is needed. set in the American West (35 Sound min.) 14. Fire, Fire (S SATB) (Transposition up a half step "REHEARSE, JONAH!" solves all range problems except The story of Jonah and the Whale two ~ at f for the alto.) told as a play in rehearsal. (45 min.) 15. Those Dainty Daffadillies SAATB Transpose up a whole step.

Write: 16. Lady, Those Cherries Plenty ...... (Cannot be brought within the ranges specified: requires two HANK BEEBE Altus parts with a range of d-a'.) 308 Danforth Street 17. I Love, Alas, I Love Thee SAATB Can be transposed up a whole Portland, Maine 04102 step.

18. Lo, She Flies (S SATB) (This voicing solves all the range problems except for two tenor .J International Understanding at g'.) through Music and the Arts 19. Leave Alas This Tormenting SAATB Exchange the alto and tenor parts for the text "Live in love and languish" at the end.

20. Why Weeps Alas (S AAT B) (The Quintus and Tenor parts both have ranges of fog': try mix­ ing altos and tenors on both Musart International, Inc. parts). CONCERT TOURS ABROAD 21. Phyllis, I Fain Would Die Now SSAATTB No adjustments are needed. PROGRAMS PLANNED BY AN INTERNATIONAL STAFF TABLE V • Itinerary Design- Piece Lengths in Tactus • Land Arrangements- hotels, homestays, transportation, city tours, tour guides, concert Tactus lengths indicated are inclusive of all repeats and all verses. If the conductor will select a tempo as discussed in the section of performance practice, a simple calculation will indicate bookings and promotion, special services the approximate length of time needed for performance of a given piece. (E.g., at a tempo of d • Transatlantic transportation- = MM. 72, No.1, "Dainty Fine Sweet Nymph," which has a length of 106 tactus, will last for Years of experience assures you of reliable, approximately three minutes: one tactus = 0 = MM. 36, and at 36 tactus perminute, 106 tac­ professional service. We are interested in tus divided by 36 = 2.9+ minutes.) Final notes have been counted at a value of one tactus. people and our aim is to provide an enriching 1. 106 2. 120 3. 99 4. 46 5. 164 6. 136 cultural experience. 7. 86 8. 218 9. 98 10. 84 11. 190 12. 172 ARANCA RIHA, European office 13. 54 14. 180 15. 86 16. 69 17. 57 18. 72 EVA SZACIK BROWN, American office 19. 87 20. 60 21. 142 Clip and mail to:

Musart International, Inc. FOOTNOTES 'Joseph Kerman, The Elizabethan Madrigal: A BOX 71, DURHAM, NH 03824 Comparative Study (New York: American 'This collection, which contains most of Morley's Musicological Society, distributed by Galaxy, NAME _ ballett compositions, will be referred to throughout 1962), 131. this article as theBalletts. The Elizabethan spelling 'For further consideration of the stylistic char­ ADDRESS of the word ballett (with double "I" and double "t") acter of the English madrigal as contrasted with its will also be used throughout, since it is not only Italian model, see Gustave Reese, Music in the TELEPHONE _ historically appropriate but also serves to Renaissance, rev. ed. (New York: Norton, 1954), distinguish this type of sixteenth century secular 819-826; Roche, op. cit., 120-125; and Kerman's The D Please send more information music from the dance art known as ballet. Elizabethan Madrigal throughout. 'Jerome Roche, The Madrigal (London: Hutchin­ 'Kerman, op. cit. Kerman was also the first D Please call me son, 1972), 124. modem scholar to distinguish the native English

Page 18 THE CHORAL JOURNAL tradition of secular song composition, exemplified not reduce note values, and includes the entire col­ tt:oduction as to virtually rule out Morley's having in the works of Byrd and Orlando Gibbons, from the lection. intended such a transposition in these pieces. For Italian-inspired madrigal, canzonet, and ballett. "Peter LeHuray, Music and the Reformation in more on the performance practice implications of 6Ibid.,.'173. England, 1549-1660 (New York: Oxford University chiavette, see Raymond Sprague, Chiavette, Its Im­ 'Ibid., 145. Press, 1967), 219. plications, and the Choral Conductor: A Practical 'Thomas Morley, A Plain and Easy Introduction "Ibid., 120-121. Solution (Unpublished D.M.A. dissertation project, to Practical Music, ed. R. Alec Harman, foreward by "David Wulstan, "The Problem of Pitch in Six­ University of Colorado at Boulder, 1979), and Thurston Dart (New York: Norton, 1952, 1956),295. teenth Century English Vocal Music," Proceedings Siegfried Hermelink, "Chiavette," The New Groves 'Kerman, 136. of the Royal Musical Association, XCIII (1966-67), Dictionary ofMusic and Musicians, 20 vols., ed. by I°Alfred Einstein, The Italian Madriga~ 3 vols., 97-122, and LeHuray,loc. cit. Stanley Sadie (London: Macmillan, 1980), IV, trans. by Alexander H. Krappe, Roger H. Sessions, "Morley, op. cit., 274 ff. The two clef combina­ 221-223. and Oliver Strunk (Princeton, N.J.: Princeton tions are as follows: 3lMorley, 274-275. University Press, 1949), 602,606. The Lustgarten cantus Quintus !!E!! ~ l!!!!!!.!!. "Fine examples of the sort of female sound appro­

neuer teutscher Gesang, published in 1601 by Hans ~ priate for performance of Renaissance music can be Leo Hassler, is a similar German imitation of ~ ~ ~ It= ~ heard in the recordings of The Clerkes of Oxenford, Gastoldi's balletto style; it is interestingto compare directed by David Wulstan. the three collections. ~~ IE ~ ~ "Kerman, 145. llDenis Arnold, "Gastoldi and the English IF if1 "Nos. 1-15 in the collection are balletts (the eight Ballett," Monthly Musical Record LXXXVI (1956), "Although in much sixteenth-eentury vocal music modelled on Gastoldi are listed in Table I). Nos. 16, 45-46. the use of chiavette clefs frequently indicates trans­ 17, 18, and 20 are canzonets; No. 19 is a madrigal; 12Einstein, II, 605. position down a fourth or fifth, it seems likely that and No. 21 is the dialogue. The five balletts in can­ 13See Giovanni Giacomo Gastoldi, Bailetti a cin­ Morley did not intend his use of chiavette scoring in zonet style are Nos. 5, 8, 12, 14, and 15. que voci con li suoi versi per cantare, sonare, e the Balletts to signal such a transposition. The "Wulstan, lac. cit. range of the Bassus part in the Balletts pieces ballare, ed. H.C. Schmidt (New York, 1970). BIBLIOGRAPHY uKerman was the first to point this out: see Ker- scored in chiavette clefs is virtually identical to that man, 138 ff. in the pieces scored in chiavi natur(Ll~' the Bassus Arnold, Denis, "Gastoldi and the English Ballett," 16For information on the probable textual sources part extends downward to G, F#, or F in all the Monthly Musical Record LXXXVI (1956), 44-52. of the seven balletts not directly based on Gastoldi pieces in the ·collection. Arthur Mendel, Fellowes, The article gives an excellent, short discussion balletti, the dialogue, and the other five non-ballett LeHuray, Wulstan, and other scholars agree that of the origins and character of Gastoldi's Bailetti pieces in Morley's Balletts, see Kerman, 140. English secular vocal music of the late Renaissance a 5 and Morley's use of it as the model for his own 16Kerman, 142. and early Baroque was virtually unique at the time balletts. it also briefly considers the development 17Conductors using the Fellowes edition found in in that the pitch at which it was performed was ap­ of the English ballett after Morley, notably in the Vol. IV of his English Madrigal School (London: proximately our modern pitch, with a' being works of Weelkes and Tomkins. Stainer and Bell, 1921) should note that Fellowes roughly equivalent to 440 cps. (English sacred Brett, Philip. "Thomas Morley," in The New Groves unaccountably omits printing the second stanza music and most Continental vocal music of the time Dictionary of Music and Musicians, 20 vols., ed. with the music of No.9, "What Saith My Dainty was performed at pitch levels between a minor se­ Stauley Sadie (London: Macmillan, 1980), XII, Darling," although he does provide it with the cond and a major third higher than the notated 579-585. poems printed separately at the front of the volume. pitch would indicate to us.) Since, therefore, no up­ Cusick, Suzanne G. "Balletto (Part 2: Vocal)," in I'See Fellowes, IV, xxi, xv. ward transposition is called for in the Balletts to The New Groves Dictionary of Music and Musi­ I'See John Earle Uhler, Morley's Canzonets for compensate for a pitch standard different from our cians, 20 vols., ed. Stanley Sadie (London: Mac­ Three Voices (Barton Rouge, La.: Louisiana State modem one, transposition down a fourth or fifth millan, 19801, II, 92-94. University Press, 1957), 4-7. would take the parts so far below the ranges em: Einstein, Alfred. The Italian Mcidriga~ 3 vols., "Arnold,48. ployed in most Renaissance vocal music and specifi­ trans. Alexander H. Krappe, Roger H. Sessions, 2lFor further consideration of this subject the cally prescribed by Morley in thePlain andEasy In- and Oliver Strunk. Princeton, N.J.: Princeton reader is referred to Joannes Antonius Bank, Tac­ tus, Tempo and Notation in Mensural Music from the Thirteenth to the Seventeenth Century (Amster­ dam: Annie Bank, 1972), Newman W. Powell, "The Function of the Tactus in Renaissance Music," Musical Heritage of the Church VI (1963), 64-84, and Curt Sachs, Rhythm and Tempo (New York, 1953). "No. 10, "Thus Saith My Galatea," opens with a sort of prologue on the text of the title which is out­ side the strophic structure of the ballett proper, and this prologue is governed by sesqnialtera proportion (three semibreves in the time of two), indicated botIl by the mensural sign C3 and the use of minor color in the original print. The first strophe proper, however, beginning at the words "Love long hath been deluded," is in tactus alia semibreve, indicated by the sign C. Fellowes does not indicate the original minor color, and he interpolates an opening quarter rest: the original print should be consulted IN·CONCERT concerning this passage. "The eight are Nos. I, 6, 7, 8, 10, 11, 19, and 21. In Morris D. Hayes, Conductor Nos. I, 7, 8, and 10 Morley employs sesquialtera proportion for musical elaboration of one or both of the fa-la refrains. In No. 11 the reverse is true: the verses are in C3 and the fa-la refrains in C. No.6 is in On their first album, In Concert, the Singing Statesmen per­ C3 throughout the ballett proper, with ouly the form both classic and contemporary favorites. Selections short coda to the second strophe in C. (As cited feature works by Palestrina, Wagner, Bruckner, Schubert earlier, No. 10 opens with a C3 prologue.) Nos. 19 and Thompson, plus favorite folk and popular songs. and 21 are through-eomposed canzonets, and use the proportion for sectional contrast or textual Considered one of the most exciting and versatile choruses in highlighting. the Midwest, the Statesmen have toured extensively, and in "This is the tactus inaequalis of the Renaissance, 1980 performed a successful series of concerts in Norway and .&. ... -l- ..,. Sweden. JJJJJJJ To order, contact: The University Bookstore, DaVies Center, Univer­ , which lengthens the down stroke and shortens the sity of Wisconsin-Eau Claire, Eau Claire, WI 54701. Album price: up stroke so as to align them with two minimas and $5.95 + $2.50 postage and handling +' $.30 sales tax = $8.75. one minima respectively, for convenience sake, rather than placing the up stroke halfway through the second minima: the basic relationship of three minimas to one tactus (i.e., three semibreves to two DEPARTMENT OF MUSIC tactus) is unchanged by this procedure. "The Fellowes edition is preferable to other UNIVERSITY OF WISCONSIN-EAU CLAIRE modem editions now available, since it provides original mensuration signs and complete texts, does

APRIL 1983 Page 19 University Press, 1949, 1971. per cantare, sonare, e ballare, ed. H.C. Schmidt. Morley borrowed from pieces by Gastoldi, Ferreti, In this context Einstein's monumental work is New York, 1970. Vecchi, and Nanino for the Balletts. useful on the Italian roots of Morley's style, Hermelink, Siegfried. "Chiavette," in The New Reese, Gustave. Music in the Renaissance, rev. ed. specifically on the Gastoldi Bailetti a 5 which Groves Dictionary of Music and Musicians, 20 New York: Norton, 1954. were the direct model for Morley's Balletts. See vols., ed. Stanley Sadie (London: Macmillan, See pp. 445-446 for mention of the Italian especially Vol II, pp. 602-607. 1980), IV, 221-223. balletto, and pp_ 819-826 for discussion of the Einstein, Lewis. The Italian Renaissance in Jenkins, P. The Life and Works ofThomas Morley. English madrigal in general and Morley's output England. New York, 1902. Unpublished M.A. thesis, University of Abery­ in particular. The author gives general background material stwyth, 1966. Roche, Jerome. The Madrigal. London: Hutchinson, on the Elizabethan vogue for things Italian. Kerman, Joseph. The ElizabethanMadrigal: A Com­ 1972. Fellowes, Edmund Horace. The English Madrigal parative Study. New York: American Musicologi­ This is one of the better recent histories of the Composers, 2nd. ed. London: Oxford University cal Society, distributed by Galaxy Music, 1962. madrigal. See chapter eight, "The Madrigal in Press, 1948. Kerman discusses the importation of Italian England," for discussion of the relation of This is the earliest book on the history of the secular music into Elizabethan England and Mor­ English and Italian secular music of the late six­ English madrigal, and is still useful, although it ley's central role in this process, and provides a teenth century. Discussion of Morley's balletts should now be read in conjunction with later detailed and instructive comparative analysis of can be found on pp. 128-129. scholarship. See pp. 181-182 for a short discussion Gastoldi's Bailetti a' 5 and Morley's Balletts. Sprague, Raymond. Chiavette, Its Implications, of Morley's Ballets. (See pp. 130-147.) This is the best study of thefield and the Choral Conductor: A Practical Solution.' Gastoldi, Giovanni Giacomo. Bailetti a 5, 4th ed. in print at present. Unpublished D.M.A. dissertation project, Univer­ (1595), in Einstein, Alfred, Einstein Collection of King, J. R. An Aesthetic and Musical Analysis of sity of Colorado at Boulder, 1979. Manuscript Scores, XXIV, iii, MS, Smith College, the Madrigals of Thomas Morley, with Special Tatnell, Roland Stuart. "Falsetto Practice: A Brief Northampton, Massachusetts. Reference between Text and Music and Some Survey," Consort XXII (1965), 31-35. ___ Bailetti a cinque voci can li suoi versi Comparison with the Madrigals ofJohn Wilbye, Uhler, John Earle. Morley's Canzonets for Three John Bennet, and the "Triumphs of Oriana. " Un­ Voices. Baton Rouge, Louisiana: Louisiana State published Ph.D. dissertation, University of University Press, 1957. LOVELYLYRIC Toronto, 1950. This study contains a useful discussion of the LeHuray, Peter. Music and the Reformation in authorship of the poems in the Balletts. Uhler CHOlRGOWNS England, 1549-1660. New York: Oxford Universi­ argues Morley's own authorship of both the ty Press, 1967. original English poems and of the adaptations of ~' We've dressed adult and Morley, Thomas. The First Booke ofBalletts to Five the Italian verses. See pp. 4-7. '.. . youth choirs with varieties Voyces. London: Thomas Este, 1595. Woodfill, Walter L. Musicians in English Society of styles, colors, and fab­ ___. The First Book ofBalletts to Five Voices, from Elizabeth to Charles I (Princeton Studies in rics since 1955. Write for in The English Madrigal School, ed. Edmund History, IX). Princeton, N.J.: Princeton Uuiversi­ our new catalogue and Horace Fellowes, rev. Thurston Dart (London: ty Press, 1953. fabric samples. Satisfac­ Stainer and Bell, 1966), IV. Woodfill discusses the social setting for which • . '.' tion is absolutely guar- __~ A Plain and Easy Introduction to Practi­ Morley's Balletts was written. . cal Music, ed. R. Alec Harmon, foreword by . ':,•...... •.. anteed. Wulstan, David. "The Problem of Pitch in Six­ : Adult gowns from Thurston Dart. New York: Norton, 1952, 1966. teenth-Century English Vocal Music," Proceed­ See p. 295 for Morley's definition of the ballett \...... ; \' $19.95. youth gowns ings of the Royal Musical Association XCIII '., from $16.95. and his discussion of its place in secular music of (1966-67), 97-122. the time, and pp. 274-275 for his treatment of ___. The Interpretation of English Music of chiavette, chiavi naturali, and the ranges of the Period c.150D-1625. Unpublished B.Litt. LYRIC CHOIR GOWN CO. vocal parts. thesis, Oxford Uuiversity (Magdalen), 1967. p.o. Box 16954-AZ Obertello, Alfredo. Madrigali Italiani in Inghilterra. Zimmerman, F. B. "Italian and English Traits in Jacksonville. Rorida 32216 Milan: Valentino Bompiani, 1949. the Music of Thomas Morley," Annuario musical (904) 725-7977 See pp. 346 ff. for material on the texts which XIV (1959), 29. OCALJAZZ TECHNIQUES & MATERIALS WORKSHOPS June 27-July 1 School of Music presenting the nation's leading jazz choir educators Pacific University "What • Scott Fredrickson • Fran k DeM'lero a boost!" Forest Grove, OR • Doug Anderson - Bob Burman, Music Coordinator, • Ed Lojeski • Ken Kraintz Area 6, los Angeles, CA • Peter Taylor • David Caffey "lots of new ideas! July 11-15 -just what I needed. • Kirby Shaw • Jack Kunz I'm keen again!" Lamont School of Music - Janet Warren, N. Vancouver, B.C. University of Denver "Strengths: quality of teachers and their Denver, CO • College credit available on request. ability to teach!" - Melody Bryer, Student, Cal State, long Beach • Workshop emphasis will be on experiencing vocal jazz as a performer and conductor. "As a beginner in vocal jazz, • Workshop fee of $150 two weeks in advance includes August 8-12 I found this workshop packet of the latest jazz choir literature. most helpful Seaver College Campus and inspiring." For more information on college credit, room and board, fees, Pepperdine University - Anne Zumsteg, and a registration form, contact: JAZZ WEST Malibu, CA Syracuse, MO Doug Anderson, Director P. O. Box 95 McMinnville, OR 97128

LET JAZZ WEST MAKE YOU A MORE CONFIDENT TEACHER NEXT FALL

Page 20 THE CHORAL JOURNAL THE AMERICAN CHORAL FOUNDATION

L REVIEW AMERICAN CHOM

KEITH DANIEL HO THE CHORAL MUSIC OF FRANCIS POULENC VIEW

ALFRED MANN Editor ~OA:fSClI" VTz TO Sc ESSA.YS ON lI{]BER.T CliOnA 'vs.L MUSIC

• Articles • Monographs '" International Reports LREVIEW on AMERICAN CHOM Current Performances Performance Practice Books GERHARD HERZ Records Scores BACH SOURCES • Advisory Services IN AMERICA • Research Memos • Madrigal Awards • Reference Library

By affiliation with ACDA membership is available for a yearly subscription reduced from $22.50 to $13.50 Send your check for $13.50 and identify yourself as ACDA member to: The American Choral Foundation 130 West 56th Street, New York, N.Y. 10019

APRIL 1983 Page 21 ~···Look.SeeDibk. See Jane. See everyone. They're ona ;:s;:n;:e-;':;O::;i:;a::t:--'" . Wenger Tourmaster Biser. Seeing everyone. That's the o Choral Risers 0 Acoustical Shells I idea. Goodfor the director. Goodfbrthe audience. Good Name ·for the' performers. I Title I And hearing better? Risers make adifferencethere too. I School I Because voices carry. over heads.. Not into them; I~~ I Risers do make a difference. And nobody makes risers City State Zip _ like Wenger makesthem. SturdY. Safe. Portable. Easy to I Phone: {a/cl__/ Best day/time I setup. Sizes and options to fit anygroup. Shipped ready to use. No assembly needed. Send coupon or Call Toll IWenger Dept. FDA, P.O. Box 448 I Lc~r~ O.:to:.:, ~e~~OJ Free 800/533-0393*." "In Minnesota, Alaska, Hawaii, and Canada Call Collect: 507/451-3010. The vocal "instrument" is not an in­ strument,although we use voices for Putting Horses Before Carts: that purpose. Musical instruments are inanimate objects which are used as ex­ When Choral Singing tensions of human beings. Guitars do not catch colds. Tuba players do not play their tubas to carry on daily conver­ Hurts Voices sation. Voices are human beings. They are By Dr. Leon Thurman made up of living tissues which are part Instructor of Voice and Choral Music of the whole human being's physical and MacPhail Center for the Arts psychical processes. When misused they University of Minnesota may fall into "disrepair." Replacement Minneapolis,Minnesota voices cannot be purchased at the local music store, and there is no such· thing. as "trade-ins." Vocal "repair" is pos­ in mid-rehearsal (Spring concert is two PREDISPOSING CIRCUM- sible, up to a point, but loaners for tem­ weeks away), notices a loss in normal STANCES. Heredity. Some human porary use while repair is underway are loudness after a half hour of "leading" beings have been blessed with laryngeal not possible. the section, and clears his or her throat tissue which is of sufficient innate con­ frequently? What would happen after sistency and tonus, so that excessive QUESTIONS TO LOOK IN MIRRORS 4-5 days of a Summer All State or voicing brings relatively little vocal WITH Honors Choir experience? harm. Others have the opposite innate Do we notice singers who speak in a endowments which predispose them to What happens to a teenage singer who hoarse, rough voice? What about singers frequent disorders when they use voice is in madrigals before school hours, con­ who speak in a low-pitched, forced­ excessively. Most of us are in some mid­ cert choir during school, the show choir quality voice? What do we say to singers dle ground of genetic endowment. after school; is outgoing and involved in who tell us they have a cold or the flu? Psychological Stress Reaction. A four other responsible activities which What do we say to singers who want us vocal athlete's reaction to environmen­ require much talking? What happens to to help them develop a loud, "powerful" tal stress can adversely affect her/his a singer who is also a cheerleader? voice like a favorite actor or rock star? singing ability. A common term for Intense but uniformed drama and Should these circumstances be of con­ stress reaction is "fight or flight music directors think nothing of casting cern to choral conductors? Ifchoral sing­ response." Important parts of the ner­ untrained singer/actors in vocally de­ ing has the potential for hurting voices, vous system, including the brain's manding roles, or repeating musical and therefore people, then do we not have a hypothalamus and pituitary in conjunc­ spoken passages that are very loud or responsibility to seriously examine our tion with the autonomic nervous sys­ high in pitch for 2-3 hours. "We've got taken-for-granted traditions in the light tem, mobilize our body's responses to to learn these parts yesterday, and of information about voice health? And stressors: arousal, increased heart rate we've got to project! Louder, I can't if needed, make some perhaps painful and blood pressure, redirection of blood hear you!" What happens to the perfor­ changes? flow away from the skin and digestive mer and to the quality of the perform­ tract and to the brain and muscles, ance when forced voice use, schoolwork WHAT CAN GO WRONG WITH muscular contraction, dry mouth, etc. stress, and performance stress are all VOICES, WHY, AND WHAT CAN "Everyday stress," such as conflict in combiIied? WE DO? family/peer/employer relationships, Have we ever really listened to the loneliness, high levels of pleasant or voice of a 10- or 16- or 20-year-old singer There are four kinds of circumstances unpleasant stimulation, pressure situa­ who has just returned from a one-week which can influence the development of tions such as performance; evoke rela­ whirlwind choir tour to Washington, voice problems: 1) Circumstances which tively milder forms of the fight or flight where the singers sing against the bus' predispose people to voice problems, 2) reaction. If milder forms of stress reac­ wind and motor noise for many hours; Aggravating circumstances, 3) Disease tion are continuous over relatively long where 52 singers are jammed into a circumstances, and 4) Circumstances periods of time, our bodies may develop 47-seat bus and travel all night to sing a related to vocal misuse. The discussion symptons which interfere with normal 9 A.M. concert, resume traveling, arrive, is "painfully" brief. physical and psychical functioning. 1 go on a tour of the city, perform 2-3 times per day, stay in strangers' homes, arise early on departure day, travel all day and night, sing a 10 A.M. concert ---our 70th year the next day, and arrive home late at night to be told that ifthey miss classes ~"' the next day they will not be able to tour MUSIC PERSONNEL SERVICE, INC. next year? What are the effects of time ...... offering nation-wide opportunity to schools seeking zone changes on voices, especially on qualified music teachers - all levels, all areas of music European tours? Have we really listened to the voice of ...... offering nation-wide opportunity to music teachers a young singer who has been to a choral seeking positions in colleges, universities, public and festival, not quite prepared musically, private schools; positions in church music never studied voice, rehearses loud and long for 5-6 hours for a performance that Richard A. Dickson • Janet H. Dickson night, talks excitedly with old and new Phone: (904) 376-9055 friends, yells down lots of halls, per­ P.O. Box 13985 forms that night with gusto, goes to Gainesville, FL 32604 choir the next day and talks with a raspy voice; 3 days later feels some throat pain

APRIL 1983 Page 23 Stress reaction can result in voice uses needed but not before athletic voicing). and, therefore, changes in vocal ability. that are too effortful, that display abnor­ To maintain proper hydration, Although the mechanism is not well un­ mally low or high pitch levels when adolescents and adults should drink derstood, an underactive thyroid gland speaking; hoarse, husky or rough tone about 7-9 glasses of water per day and (hypothyroidism) can result in qualities when speaking or singing; loss children about 5-7 glasses. Maintaining "hoarsness, vocal fatigue, muffling of ofnormal loudness; frequent sore throat, good hydration is a cornerstone ofgood the voice, loss of range and a feeling of a colds, flu; mouth and throat dryness, vocal health. lump in the throat. Even when thyroid etc. DISEASE CIRCUMSTANCES. In­ function tests are within the low-normal AGRAVATING CIRCUM- fectious laryngitis refers to an inflama­ range, this diagnosis should be enter­ STANCES. When poor diet, insufficient tion of the ·larynx due to a viral or tained ... "4 rest, intense stress, and lack of exercise bacterial infection. Bacterial infections Voice problems may arise for female are present, bodies will be fatigued. are responsive to antibiotics, but viral singers which are related to hormone Voices will have to work harder to get infections are not. Only a throat culture level changes during the menstrual cy­ the same acoustic output, and wear and can determine the difference, and they cle. Just before and during the menses, tear will be greater. Smoking, alcohol, take about 48 hours. The body's natural the folds of many women will thicken, over-the-counter anesthetics, aspirin defenses must conquer viruses, but the resulting in "decreased vocal efficiency, and dehydration may contribute to the "infectee" must help. Here is a list of loss of the highest notes in the voice, development of voice problems. "treatments:" 1) Rest as much as possi­ and vocal fatigue ... "5 One possible The respiratory tract of vocal athletes ble, 2) Maintain hydration, 3) Drink side effect of progestin dominant birth should be coated with a thin, abundant warm liquids, 4) Limit voice use, 5) In­ control pills is a viriliziation of the flow of moisture - mucus. Mucus pro­ hale steam 3-5 times per day, 6) Main­ larynx, thus lowering the pitch range. vides lubrication for the "bump and tain appropriate humidity levels, 40% to More recently produced pills have re­ rub" of vocal fold vibration, thus an eas­ 50% minimum. In motel rooms, hang duced progestin levels and should not ing of vocal "wear and tear." It is also a up wet towels. 7) Gargle with warm or have this effect. Menopausal women first line of defense against upper reasonably hot salt water - about Y2 may experience a lowering of vocal pitch respiratory infection. General dehydra­ tsp. salt to one pint of water. 8) Avoid range due to a thickening of the vocal tion will reduce the amount of mucus the use of aspirinifathletic voicing must fold membrane because of hormonal flow, increase its thickness, and contri­ be continued.3 secretions.5 bute to a reduction of vocal ability.2 Various endocrine dysfunctions can VOCAL MISUSE. Overuse and There are several circumstances which interfere with normal voicing. Many hyperfunctional use are inseparable contribute to dehydration: 1) Breathing dysfunctions can result in alterations in aspects of misuse, but for the sake of dry air, 2) Perspiration, 3) Digestion of the fluid content of the tissue between clear understanding, they will be dis­ food, 4) Consuming dietary diuretics vocal fold covering and vocal muscle. An cussed separately. (caffiene and alcohol are the most com­ increase in fluid content means an in­ Overuse. A weightlifter who does not mon), 5) Taking antihistamines (may be crease in the size and shape of the folds give muscles enough time to recover

University of Minnesota VOICE SKILLS IN CHORAL i~ CONDUCTING at Quadna Mountain Resort Hill City, Minnesota, June 19-26, 1983

Workshop Faculty Dr. Douglas McEwen, Arizona State University Dr. Leon Thurman, MacPhail Center for the Arts Geraldine Braden, MacPhail Center for the Arts Anna Peter Langness, Richards Institute Recreation facilities Anne Young, MacPhail Center for the Arts available for boating, tennis, golf, swimming, Demonstrations/Discussions/Small Group and more. Instruction/lectures/Films/Videotapes/Slides/ Handouts For further information, contact Topics include: Dr. Leon Thurman Voice Skills and Expressive Choral Singing MacPhail Center for the Arts Child, Adolescent, and Older Adult Voices 1128 LaSalle Avenue How Voices Work Minneapolis, MN 55403 Psychology in Voice Use

612-373-1925 Dr. Thurman Preserving Voice Health...and more

MacPhail Center for the Arts, Continuing Education and Extension, University of Minnesota, an equal opportunity educator and employer.15il

Page 24 THE CHORAL JOURNAL from workouts is headed for a reduction pact are thought to be so fatigued that of our singers? Are we aware of how our of strength. The vocal athlete who uses they cannot meet. Other symptoms may traditions may limit the vocal potential voice too strenuously for its degree of include: gradual reduction in the ability of our singers, or even to their develop­ conditioning, for too much time per to sing higher pitches or accurate pit­ ment of voice disorders perhaps after day/weeklmonthlyear, may be headed ches at the top of the lower vocal they leave us. for vocal trouble. Strenuous voice use is register (chest voice); gradual We need another criterion. Not only speaking and singing at consistently diminishing of usual vocal loudness; in­ should choral tone sound "good," it also high or low pitch levels or at loud crease in the intensity of vocal effort re­ should sound healthy. volume over time. The force of vibrating quired to produce usual vocal quality Imagine a vocal tone continuum: At "bang-and-rub" impact is increased in and loudness - a sign that the problem the left extreme there is no tone - only loud voicing, and when singing loudly in is getting worse; increase in such symp­ the quiet sound of air flowing through a full register extremes (belting the chest toms during vocal exertion, and completely open, passive respiratory voice to its upper end). Literally millions decrease during vocal rest; a feeling of a passage. At the other extreme, there of bangs and rubs occur in the course of lump in the throat, and the presence of also is no tone, but the larynx is tightly a concert. laryngeal or upper chest pain. sealed with a tremendously strong com­ Hyperfunctional Use. The lOO-yard pressed air chamber under it, and nearly dash is about to start. The runners have WHAT DOES IT ALL MEAN every muscle in the head and neck join­ been told to run as fast and hard as they FOR US? ing the squeeze. can to get the best time. The gun fires, It means we may need to revise the Ifwe begin at the air-only extreme and the clocks record. They line up again for way we listen to and regard voices. gradually allow some voice to.join the another go. This time they are told to Choral conductors are trained to judge airflow, there would be gradualincreases run their best, but to run smoothly like a the quality of choral performance, in in vocal muscle energy. The tone quality well-oiled machine, with less effort. The part, by listening aesthetically for good would begin as very breathy, and the times are faster. choral tone. That is a fine criterion, but breathiness would decrease as more Singers know the source of vocal there are two problems: 1) There are dif­ voice is allowed to join. Breathy tone sound is located in their "voice box," ferent concepts of good choral tone. Are quality is not always aesthetically ap­ .and when they sing, they usually and they all equally good? If not, what propriate in singing, nor is it an optimal unconsciously use excessive force in the makes the difference between good, not use of voice, but it is healthy - assum­ necessary muscles, and recruit un­ so good, and bad choral tone? 2) The ing a normal larynx. necessary muscles which interfere. That voices of individual human beings com­ If we begin at the extreme of tight is hyperfunctional voice use, and it bine to produce choral tone. Does our vocal muscle tension, and begin to means an increase in wear and tear. desire to create in our choirs an "ideal" decrease it, tone eventually would-begin, Common serious results of voice abuse tone also create vocal problems for some but the quality would be-'cre--aky, tense, are vocal fold hemorrhage (bruising), vocal fold nodules and polyps. A condi­ tion with which many may be unfamiliar has been labeled phonasthenia (also myasthenia laryngis or simply vocal fatigue). It involves a "weakness of the ~ R~horal intrinsic muscles of the larynx, especial­ "The Music Singers" ly of the thyro-arytenoid (vocal fold mus­ cle) and is a very common disease, though it is commonly overlooked. "7 "The voice is usually clear during ex­ ** UNIQUE ** PRACTICAL ** CONVENIENT ** amination. However, if one asks the pa­ The CHORALYRE music folio is the perfect addition to any tient to ... give a demonstration of his church, school, or adult chorus. Used by choruses throughout the strenuous ... vocal performance, he will United States and na . Give your chorus a touch of class. soon exhibit his faulty patterns."8 Write for free brochure - One observable sign of severe phonasthenia is "bowed vocal folds," be­ CHORALllRE COMPANY cause the tissues located at the midline 9428 West Palmetto • Wauwatosa, Wisconsin 53222 where the folds vibrate with greatest im- (414) 527·3899

Fourth Annual hurch usicians orkshop July 21, 22, 23, 24, 1983 Featuring Dr. Elmer Thomas· A full curriculum for choral musicians, conductors &singers A workshop concert: Vivaldi Gloria with orchestra and selected anthems $70 per person (group rates available) Contact Gary Wood, Director ofMusic University Congregational Church 451516th Ave. NE P.O. Box 85678 Seattle, WA 98105 (206) 524-2322

APRIL 1983 Page 25 Name _ Address _ City State Zip _

Interested as: conductor observer singer harsh, edgy, etc. Those tone qualities in­ rest."9 Establish a Voice Health Policy aware of their out-of-choir com­ dicate varying degrees of intense vocal for your choir and listen to each singer mitments? Especially if they are in a fold vibratory impact. Although some speak her/his name every 2 weeks. Any musical? degrees of harsh, edgy, forced tone hoarseness? 8. Cast musicals with great care. Fit qualities are necessary in the perfor­ 2. Always spend time warming up roles to the developed ability of singers, mance of some musical styles, they do voices. Warmups lengthen muscle/ten­ or if a good match is not possible, don't not bode well for the health of voices. If don units and fill muscles with blood, do one and fulfill an educational respon­ that hyperfunctional use is continued thus increasing their temperature and sibility to them. Broadway musicals for excessive amounts of time (relative nutrient supply. They are then more were written for adult professionals, not to heredity and conditioning), there will relaxed and pliable. These conditions af­ 12-21 year old performers whose voices be some form of tissue reaction which fect tone quality and pitch-interval and are still maturing anatomically. will reduce normal vocal quality and be pitch-speed agility in the voice. Ideally, 9. Carefully schedule musical rehear­ heard as hoarseness, raspiness, warmups should begin with body stret­ sals to avoid overuse of voices, and con­ huskiness, etc. ching and massage exercises, followed tinually encourage and reward vocal con­ Somewhere in mid-continuum is an by "stretching and massaging" vocal servation. "ideal" balance between airflow energy muscles that begin softly and breathi­ 10. Have all your singers drink good and necessary muscle energy. As the co­ ly, in upper register, mid-range, and pro­ amounts of water to maintain vocal fold ordination becomes increasingly effi­ ceeds downward from higher pitch lubrication. That should be a corner­ cient, the resulting tone quality will be areas. A minimum of 7-10 minutes is stone of a Voice Health Policy. firm and solid but mellow and rich. recommended. 11. Carefully schedule choir tours so There will be no audible indication of 3. When learning parts, sing softly that they are comfortable, and so the squeeze, muffle, edginess or habitual and breathily to reduce the effects of singers can get 7-8 hours of restful sleep breathiness in the entire developed pitch hyperfunctional use. Silent rehearsal is a per night. Do not allow singing or loud range, nor will there be any sudden good way to memorize. talking on busses for important perform­ changes in tone quality because of 4. Avoid too m,any repetitions of very ance quality and voice health reasons. register transitions. That tone will be high/low/loud paSsages in rehearsals. Suggest that they play quiet games both beautiful and healthy. 5. Encourage and reward singers who such as cards or backgammon, and Singers should not sing if they speak never sing so loud that they lose the never talk to anyone unless they are with a hoarse voice. good quality of their singing sound. close enough to touch. Time zone Hoarseness is a sign of a voice pro­ They should enjoy full-voiced singing, changes "confuse" biological "clocks." blem. If the hoarseness is chronic, that but never give more than they know Schedule rest and low stress activities is, it has been around for 10 days or their voices can give. Solo singers can­ after larger time zone changes. more, a physician should be seen. If not hear themselves as others do. In a 12. Choral conductors can help there is no infection, there should be choral ensemble the problem of auditory singers contain psychological stress re­ almost complete voice rest for about 48 feedback is greater because the presence action and its effects on voices. We hours. If the hoarseness is still present, of sound sources all around the singers should not impose excessive expecta­ a physician should be seen. An further distorts the sound waves enter­ tions on them. We are working with otolaryngologist (ear-nose-throat doctor) ing their ears from their own voices. human beings, not singing machines is the specialist of choice, preferably one Those with "weaker" voices or those which have been made available for our who is interested in the problems of who have less training and experience greater glory. We can be positive people singers. But even if there are only may "overblow" their voices when ask­ (when our stress levels are managed), general practitioners in your area, then ed for "more" in a louder passage. and that is fundamental in any con­ open communication with them, and get 6. After singers have learned the sen­ sideration of stress reaction and its ef­ them interested in the problems of sations of non-interference - making fects on singing quality. Positivity in athletic voice users. Physicians may be well energized sounds with as little ef­ strongleadership evokes more alertness, an invaluable source of information, and fort as possible - teach them to sing physical efficiency and energy, and per­ the relationship may facilitate the more by sensation than by sound. To sonal pleasure. Thus, voices will be used medical treatment of your singers ­ highlight how that feels kinesthetically, with less effort and wear and tear, and especially when you need a singer's have them sing sometimes with fingers with more desired timbre. A voice returned to normal as quickly as is plugging their ears. predominance of negativity evokes the prudent. 7. Should we restrict the number of constricting effects of the fight or flight A Short List ofSuggestions. 1. Teach choirs anyone singer sings in, and be response. We want more of its opposite, vocal conservation and voice hygiene. It's difficult with youngsters who think their voices are indestructable. Teach singers that they are developing a "pro­ fessional" regard for their voices and contributing to the excellence of the The ® choir when they avoid excessive loud Musicwriter .. talking, yelling, overuse, etc. "... over­ fine quality typewriter, ­ work and overexercise do not strengthen preparing the world's music the muscles (ofthe larynx)," but" ... in­ for a quarter pP variably result in a progressive weaken­ centuty. And the ing of the muscles and eventual ruin of TEMPOWATC...® their power . .. It is necessary to warn . .. vocalists that they must always the exact tempo as it happens. give their voices a rest period of absolute Maslc PrInt «AtrporatiOID silence proportionate to the amount of for lnfonnation contact 1£450 Central Ave. overwork that they have found it neces­ Doalder. «Atlorado 80301 sary to do . .. Absolute silence during acute laryngitis is imperative ... All in­ 303-442-5500 flammatory conditions anywhere call for

APRIL 1983 Page 27 the "relaxation response."'O PAINFUL QUESTIONS BEFORE lifetime. So the challenge: Make the 80's 13. Regarding clinic/festival!All THE MIRROR the decade of the voice in choral music! State/Honors Choirs: FOOTNOTES a) To the "at home" conductors - en­ How much time will I spend preparing IHans Selye, Stress Without Distress (New York: Signet Books, 1974) pp. 11-51. courage "defensive voice use" during re­ for performance? How many perform­ 'Van L. Lllwrence, "Post-Nasal Drip," and "Glue hearsals, soft talking and lots of silence ances will there be? What priority will I in the Gizzard: PhlegnI," The NATS Bulletin, 39 when not rehearsing. When observed, give to teaching voice skills and voice (September-October and November-December, reward it with a compliment. PRE­ health? How much rehearsal time will I 1982), pp. 27, 28; and pp. 24, 25, respectively. 'Van L. Lawrence, "Handy Household Hints: To PARE THE SINGERS, so the guest devote to same? Am I a performer for Sing or Not to Sing," NATS Bulletin, 37 (January­ conductor does not feel she/he has to whom voice education is incidental, or February, 1981), pp. 23-25. overwork singers in order to present a am I an educator for whom performance 'Robert Thayer Sataloff, "Professional Singers: reasonably expressive performance. is but one way to teach and learn? Do I The Science and Art of Clinical Care," American Journal ofOtolaryngology, 2 (August, 1981), p. 257. SCHEDULE REASONABLE RE­ need a deeper background in voice? 'Sataloff, p. 258. HEARSAL TIME. Can there be permanent vocal damage 'James Gould, "Quantitative Assessment of b) To guest conductors - Give fre­ from choral singing? There are two po­ Voice Function in Microlaryngology," Folia quent breaks for silence/rest either by tentially permanent damages from ex­ Phoniatrica, 27 (1975), pp. 190-200. 'Chevalier Jackson and Chevalier L. Jackson, stopping rehearsal or by giving back­ cessive voice use: 1) When under stress­ Diseases and Injuries of the Larynx, 2nd ed., (New ground information on the music or ful use, voices tend to make compen­ York: MacMillan Co., 1942), p. 337. some musical skill recently attempted. satory changes in their coordination. 'Godfrey E. Arnold, "Disorders of Laryogeal Allow the singers' to stand and stretch The singer is rarely aware of it (receptor Function," in Otolaryngology, 2nd ed., by Michael M. Paparella and Donald A. Shumrick frequently to revitalize body and mind. nerves probably would not report that to (Phlladelphia: W. B. Saunqers Co., 1980), p. 2476. Encourage them to drink lots of water, consciousness). 2) Ifallowed to use voice 'Jackson and Jackson, pp. 338, 342. and reward defensive voice use and excessively, our singers may be forever IOHerbert Benson, The Relaxation Response (New vocal conservation outside rehearsals. under the impression that they can York: William Morrow and Co., 1975). c) For the singers - If you have a misuse their voices for the rest of their REFERENCES lives with no ill effect. Both results are 1. A fundamental source for this article is Dr. hoarse voice, don't sing. If you feel you Van L. Lawrence, M.D., Otolaryngology, must sing, do so softly and lightly, and counter to our moral responsibility to MacGregor Medical Clinic, Houston, Texas; com­ mouth the words in strenuous passages. protect the short and long term physical pany physician for the Houston Grand Opera, na­ Restyour voice as often as you can. Less health of our singers' voices, and tionally known for his work with professional and enhance their potential for future sing­ amateur users of voice. is more when it comes to vocal quality 2. A fundamental source for this article is Mr. and longevity. You and no one else are ing satisfaction. Oren Brown, Juilliard School, New York; interna­ responsible for the condition and quality Yes, choral singing can cause and con­ tionally renowned voice teacher and one of this of your voice. The professional attitude tribute to voice dysfunction. It should country's pioneers in voice therapy. not. We can contribute to the develop­ 3. Boone, Daniel R. The Voice and Voice Therapy, is one of caring for your "joyful noise 3rd ed., Englewood Cliffs, New Jersey: Prentice­ maker." ment of beautiful, healthy singing for a Hall, Inc., 1983. ~PoP'pourri Unlimited POPULAR CHORAL MUSIC AND CHOREOGRAPHY WORKSHOPS FOR 1983

June 12-17, 1983 June 2~24, 1983 July 17-22, 1983 July 24-29, 1983 Stephen F. Austin State University University of North Carolina Moorhead State University Montana State University Nacogdoches, Texas Greensboro, North Carolina Moorhead, Minnesota Bozeman, Montana

. rrt~~ r'·;·:)I."ii, 'I·.. "..·'.·...•t..... - DAN SCHWARTZ ­ GENE GRIER­ j • AUDREY GRIER ­ SCOTT Composer and Composer and Editor and FREDRICKSON ­ Musical Director of Artistic Director of Principle Choreo­ Composer and the Jersey City the Academy of grapher for the nationally known State College Popular Vocal Arts. Academy of Vocal Jazz and SOUND Popular Vocal Arts. Improvisation IMPRESSIONS. clinician. '\. ..AG2d JOHN RUTTER - One of the NEW MUSIC AND MATERIALS world's foremost composers NEW TEACHING TECHNIQUES NEW CHOREOGRAPHY and arrangers of choral NEW SURVIVAL TECHNIQUES music.

* REGISTRA nON IS LIMITED * $25.00 DISCOUNT FOR REGISTRA nON BEFORE MA Y 1, 1983 PLEASE NOTE THAT JOHN RUTTER WILL BE WITH US AT MOORHEAD AND MONTANA STATE UNIVERSITIES ONLY FOR MORE INFORMATION CONCERNING CREDIT, REGISTRAliON, HOUSING AND MEALS, CONTACT: 'POP' POURRI UNLIMITED., P.O. Box 307 ., Drayton Plains, Michigan 48020 ., Phone (313) 666-3037

THE CHORAL JOURNAL ing members of the Federation. International Federation The formation of the Board was one of the major actions at the Assembly since it will fall directly on this body to forge For Choral Music the future path of IFCM. Persons ap­ pointed to the Board by the founding organizations were: Waldo Aranguiz The American Choral Directors Asso­ participants at Namur and the remark­ Thompson (Chile) AIDC; Marcel Cor­ ciation will celebrate next year its 25th able expression of support through in­ neloup (France) ACJI; Eskil Hemberg birthday. Early in its history the asso­ itial membership in the Federation are (Sweden) NKK-SAMNAM; Kan Ishii ciation had a strong "component of ex­ clear evidence that choral musicians feel (Japan) JCF; Royce Saltzman (USA) change"with choir directors and choral the need to accomplish their interna­ ACDA; Paul Wehrle (West Germany) organizations in other countries. The tional goals without further delay. EC-EFJC; Walter Weidmann (West Ger­ Vienna Symposium in Choral Music Preparations for the establishment of many)AGEC. which took many American choirs to the new Federation were made by an In­ Those elected by the General Vienna in summers to work with the terim Committee appointed by an inter­ Assembly: Walter Collins (USA); Willi best European conductors was co­ national delegation at the 1981 ACDA Gohl (Switzerland); Alberto Grau sponsored by ACDA. Later People-to­ convention in New Orleans. The commit­ (Venezuela); Julien Jouga (Senegal); People tours for choir conductors from tee was chaired by Royce Saltzman and Steen Lindholm (Denmark); Orio Mar­ the United States were sanctioned by included Waldo Aranguiz (Chile), Eskil torell (Spain); Lutero Rodrigues (Brazil); ACDA for the purpose of contacting Hemberg (Sweden), Kan Ishii (Japan), Claude Tagger (France). counterparts in Europe. And in the late Claude Tagger (France) and Walter And additional persons elected by the 70's, ACDA was instrumental in the for­ Weidmann (West Germany). above members of the board were: Gene mation of the Association Interameri­ Approximately 150 delegates from 25 Brooks (USA); Hidenori Itoga (Japan); cana de Directores de Coro in Latin countries came to Belgium to partake in Colleen Kirk (USA); Joszef Maklari America. the birth of the new organization. (Hungary); Richard Ringmar (Sweden); ACDA is primarily an organization Statutes were adopted, a Board and Of­ Gero Schneider (Austria); Guy Saint­ which services conductors in the United ficers elected, and the International Jean (Canada). States but for some years it also has in­ Headquarters designated to be in Officers elected by the Board for a cluded as members persons from other Lawton, Oklahoma for the first three term of three years were: President-Paul countries. At the present time 225 con­ years. Wehrle; First Vice-President -Royce ductors from 26 nations belong to The meeting in Namur had been called Saltzman; Secretary General -Gene ACDA. This international representa­ by the seven founding organizations: A Brooks; Deputy Secretary-General ­ tion and the on-going commitment for Coeur Joie International; American Claude Tagger; Treasurer - Richard exchange were contributing factors in Choral Directors Association; Arbeit­ Ringmar; Regional Vice-Presidents ACDA's decision to cooperate in the for­ sgemeinschaft Europiiischer Chorver­ -Waldo Aranguiz and Kan Ishii; Special mation of the International Federation biinde; Asociacion Interamericana de Advisors - James Bjorge and Herbert for Choral Music. Directores de Coros; Europa Cantat­ Saas. There are organizations similar to Federation Europeenne des Jeunes The IFCM's first Executive Commit­ ACDA throughout the world - The Chorales; Japan Choral Federation; Nor­ tee meeting was held in Philadelphia on Japan Choral Federation, The European diska Korkomitten-SAMNAM. (An October 7 and 8, 1982, in conjunction Federation for Young Choirs, A Coeur eighth place as a founding member has with Choirs of the World Festival. At J oie International, Arbeitsgemeinschaft been reserved for an organization from that time the agenda was prepared for Europilischer Chorverbiinde, and Nor­ the Socialist countries, according to the the meeting of the Board in Nashville, diska Korkomitten-SAMNAM, to name principles expressed at the Helsinki March 12-14, at the ACDA National only a few. A vacuum has resulted from Conference for Security and Cooperation Convention. At this first board meeting, a lack of organized coordination between in Europe.) business procedures were established these various groups. Activities such as The following countries were and specific activities planned including the exchange of repertoire, conductors, represented at Namur either directly or the formation of various Commissions. research, choirs; the planning of festi­ through their membership in interna­ The value of music and choral singing, vals; and the implementation of work­ tional organiZations which were present: as effective instruments for interna­ shops have happened more often by Austria, Argentina, Australia, Belgium, tional cooperation and the exchange of chance than from careful planning. For Bolivia, Brazil, Bulgaria, Canada, Chile, persons and information, has long been the first time seven service organiza­ Colombia, Denmark, Ecuador, Egypt, recognized. However, much needs to be tions have banded together to form a Faroe Islands, Federal Republic of Ger­ done by the new Federation to ac­ world-wide federation which has as its many, Finland, France, Gabon, Great complish these ends. Except for inter­ primary objective the facilitation of ex­ Britain, Greece, Guatemala, Hungary, change between America and Europe, change between nations and the working. Iceland, Israel, Italy, Ivory Coast, other mainstreams of choral singing together for achieving common projects. Japan, Lebanon, Liechtenstein, Mexico, throughout the world appear to exist Important to each of these founding Morocco, Netherlands, New Zealand, largely as isolated traditions with insuf­ organizations, including ACDA, is that Norway, Paraguay, Peru, Poland, Puer­ ficient interaction with each other; and this objective can be achieved without to Rico, Senegal, South Africa, Spain, even between Europe and America there sacrificing the autonomy of the respec­ Sweden, Switzerland, United States, is much room for improvement. Thus, tive participants. Uruguay, Venezuela, Yugoslavia. the Federation has an immense field of The founding of the International Statutes for the new federation, which opportunity to stimulate future contacts Federation for Choral Music in August, had been prepared in advance by the In­ and to share repertoire, research, record­ 1982, at Europa Cantat in Namur, terim Committee, were presented to the ings, publications, conductors, students, Belgium, was an important step in the delegates at Namur for adoption. In choirs - and methodology. world's musical life. Compared to addition to the founding organizations, Certainly the world will not be chang­ sports, music has come very late to the 21 national organizations, 10 choirs, and ed overnight by the International organization of international coopera­ 90 individuals indicated their accep­ Federation for Choral Music, but tion. The diverse national origins of the tance of the statutes by formally becom- singers, conductors, and national/inter-

APRIL 1983 Page 29 national organizations now will have a Members of ACDA are encouraged to structure through which they can bring join IFCM by completing the Member­ CONdUCTOR'S about important improvements in inter­ ship Application form included in the national understanding and worldwide Choral Journal. Members will receive friendship. The Board is confident that quarterly the International Choral Bulle­ COMMENTARY IFCM can accomplish more in these tin which will include information about areas than numerous congresses and repertoire, choral festivals, competi­ declarations from political bodies. IFCM tions, workshops, and general choral is especially hopeful that the Socialist news world-wide. Individual choirs, in­ 1. Describe the choral program at countries will find in the Federation the stitutions, businesses, and libraries like­ your school in terms of types ofclasses, opportunity to share the excellence of wise are encouraged to become mem­ population, and student profile. their choral traditions with the rest of bers. C.A.: Although I've taught in every the world. situation imaginable, I now find myself in what many people would consider a paradise. My school is a private one, INTERNATIONAL FEDERATION FOR CHORAL MUSIC K-9. Each grade has 40-50 students, MEMBERSHIP APPLICATION making my class size seldom over 20. The students tend to be upper class, Name (individual or organization) _ highly intelligent and goal motivated, and not initially of the opinion that Address: _ learning about music is one bit impor­ tant. I see each class once a week for music and each student once a week for chorus. There are three choruses: 5-6, 7th, and 8-9. Many of the more talented Telephone: _ students study piano, violin, etc., privately, and many are involved in fine Type of membership: church choirs. Amount of Dues B.L.: Lesher has approximately 780 o Individual US$ 20 students (7-9), who come from wide socioeconomic and academic back­ o Individual Choir 50 grounds and abilities. 500 students are o Institution 100 presently involved in performing music o Business 500 groups. We enjoy a long tradition of out­ o Library (subscription to Bulletinonly) 10 standing choral and instrumental groups and have strong community, o National Organization parental and administrative support. up to: 100 Choirs 0 100 One quarter of either choir or music ex­ 500 Choirs 0 200 plorations is required in 7th grade; all 1,000 Choirs 0 300 other music classes are electives. Choral 1,500 Choirs 0 400 offerings include The Singing Sevens 2,000 Choirs 0 500 (120 voices each semester), a non-select 10,000 Choirs 0 1,000 choir which fulfills the above require­ over 10,000 Choirs 0 2,000 ment; The Concert Choir (140 voices o International Organization 500 yearly), a non-select 8th and 9th grade o FoundingOrganization (in addition to above; $2,000 maximum) 1,000 choir; and The Viking Voices (53 voices Total amount enclosedin U.S. dollars US $ _ yearly), a select group of 8th and 9th graders. Any category of membership which may be included within a larger category - for 2. What is your budget given by the example, a choir which is a member of a National Organization is encouraged to join in its own right also in order to receive full, direct service. school and how extensive is your fund raising? Send to: International Federation for Choral Music C.A.: Fund raising is done from the ad­ Post Office Box 6303 ministration. None of it is music­ Lawton, Oklahoma 73506, USA generated. In April I list what purchases and expenses should be included for the next school year. The list is in priority New England Conservatory order. We also look at long-range large purchases. After a certain amount has Summer School 83 presents: been allocated, I am free to use it as I need. For example, I budgeted $1,000 for music, $200 for professional con­ A CHORAL WORKSHOP with ferences, $300 to commission a work to FOUR DISTINGUISHED CONDUCTORS be written for my choruses. Total budget for the 1982-83 school year was June 27-July 1 close to $2,500. Marietta Nien-Hwa Cheng, Robert DeCormier, BUCKNELL Lorna Cooke deVaron and John Hugo A professional music program in an outstanding liberal-arts setting For information and application write: Jane Henkel, Directorof full member: NASM Summer School, NEe, 290 Huntington Ave., Boston, Mass. BUCKNELL UNIVERSITY 02115. Telephone: (617) 262-1120. Dept. of Music, Room 107 Lewisburg, PA 17837

Page 30 THE CHORAL JOURNAL it to do things a 25-year old singer can Editor's Note: This is the third installment in a continuing series. The questions this month do. If he cannot reach a pitch in the pertain to the junior high school. The two conductors are Cheryl Anderson, The Lexington School, Lexington, Kentucky, and Barbara Lueck, Lesher Junior High School, Fort Collins, music, I do not advise that he switch oc­ Colorado. Both are outstanding teachers who have excellent reputations in their area as taves or force the sound. Rather, I find junior high choral directors. an alternate pitch or tell him to "fake it" (pretend to sing that note). I allow a lot of freedom in switching parts (especially B.L.: Our 1982-83 budget for choral falsetto as low as they possibly can. important with the girls) and I find that music is $400. The only fund raising (This varies, but most of the time they the more parts there are, the better! that has been done has been to generate end up not knowing when it changes). Five-part madrigals are far more funds for singers to attend a summer" With a relaxed throat, forward tongue successful than three-part pop songs be­ music camp of their choice. The scholar­ and good low breath, we try to sing with cause they put the changing and newly­ ship money has come from a Viking a free, clear tone. changed voices in a comfortable range. Voices solo and ensemble concert and I find that having basses, tenors, and Boys never sing soprano in my choirs for the production of "Coming of Age", a all other categories of male adolescent two reasons: Their concept of masculini­ newly published junior high musical. voices begin with a light head voice ty is highly important "and they will in Students are chosen for camp scholar­ serves several purposes: no one feels the future always sing a part lower than ship money on the basis of their "weird" about his high voice; the sing­ soprano! Mostly, it is important that the academic standing and their leadership ing tone improves because theyuse all of young man, his friends, and his teacher in choir. All the vocal music teachers in the voice properly; they begin to under­ share in the fun and excitement of the the district have listed their choral stand where to place tone; and their emerging instrument. libraries on a central computer and range extends. 4. Explain your accompanist situa­ music is shared often between schools. B.L.: I find working with the male tion. What recommendations do you 3. Describe How you work with the voice change to be the most interesting, have for using junior high pianists? changing voice. challenging and enjoyable part of my C.A.: I have never been fortunate C.A.: Since the changing voice is so job. I believe strongly that junior high enough to have a student accompanist different in each young man, I find it dif­ choral directors should read the fine who could handle all the selections, so I ficult to compartmentalize. Basically, I published research on the changing use a combination. When I have ade­ have all the young men vocalize in their voice by John Cooksey, Frederick Swan­ quate students, I try to select music for soprano (falsetto) range. We use "00" son, and Irwin Cooper. As the young them which is within their capabilities, and work from the top down. We start man's voice changes, I vocalize him give it to them enough ahead of time and on C above middle C and sing, throughout his range and teach him work on it with them outside of class. It "5-4-3-2-1-2-3-4-5-4-3-2-1." We vocalize techniques of good singing that apply to is very important that students have an up as far as is comfortable and then any age. I feel we must treat this emerg­ opportunity to accompany, but they down. As we go down I have them sing ing instrument with care and not expect should not feel "stuckat the bench", nor 1983 Bishop Luers Midwest One hour! Swing Choir Invitational Color! ( as shown nationally on public TV ) Only $75

Send check or money order to: Luers WBGU-TV Troup Ave. Bowling Green, OH 43403 Mail __Luers videocassette(s) $75 each Specify BetaO VHSO %"0

Name _ Organization _

Street/PO Box _

City _ State/Zip _

APRIL 1983 Page 31 Foothill College U. of Wisconsin Ext. los Altos Hills, CA Shell lake, WI Phil MATTSON June 26-July 1 July 24-29

Western Michigan Univ. Whitworth College VOCAL JAZZ Kalamazoo, Ml Spokane, WA July 10-15 July 31-August 5

WORkshops Bucks County Community College MiraCosta College Newtown, PA (Philadelphia) Oceanside CA 198} July 17-22 August 14-19

Comments from past participants ... "The bestsummer workshop I've ever attended! Itgets better "What a week! I had no reason to anticipate the opening of every year. The resources that we receive are unlimited. " school. Now I can't wait!" Dennis Rower, Grand Rapids, MI Jim Cutty, Milford, MI

"The most demanding choral workshop I've ever been to, and "The individual attention, superior quality of literature, effi­ by far the most rewarding!" cient organization, and musical integrity of the workshop Jan DeShera, San Jose, CA made for a truly educational week!" Cheryl West, Harrisonburg, VA

WORKSHOP CONTENT ABOUT THE WORKSHOP The Phil Mattson Vocal Jazz Workshop is presented because of The Art of Vocal Jazz - Vocal jazz is the "art music" of popular vocal literature. Like "classical music," as well as traditional jazz, vocal jazz is the expressed interest of directors and singers in learning the "serious" music. Its primaryconcern is with the music, and with asincere, techniques of ensemble and solo jazz singing used by Mr. Matt­ artistic, and creative re-creation ofthat music. Although it entertains, it is son. not primarily "entertainment" music; i.e., a product. The main focus ofthe The workshop is an extremely intensive one, demanding per­ workshop is to explore the "art" of vocal jazz and to cover in depth those sonal involvement from each participant. Each workshop is limit­ factors which are necessary components of truly artistic ensemble and ed to 34 registrants. solo jazz singing. Registrations are accepted on a first come, first served basis, Rehearsal Technique - Through analysis of rehearsal problems en­ subject to the following conditions: countered by educator-directors, rehearsal efficiency will be thoroughly 1) Choral directors will be given first priority for 24 openings covered. Habits that waste time; techniques that are counter-productive; short cuts to solving musical and vocal problems ... these and other 2) Student and professional singers will be given first priority for aspects of the conductor's job will be discussed and worked with in the 10 openings actual rehearsal situation. The primary goal of the workshop is to sub­ 3) 8 educators at each workshop will be selected to be educator­ stantially improve the conducting and rehearsal technique of all partici­ conductors. They will conduct the ensemble daily and in the pating educators. final concert on Friday evening. plus 4) Music to be studied in depth at the workshop, both ensemble • Vocal Jazz Literature • Vocal Arranging and solo, will be sent to each participant in advance. This will • Jazz Theory • Score Analysis allow for preparation on the part of all participants, and make • Educator Seminars • Vocal Technique possible a higher level of artistic experience for all workshop • Solo Jazz Performance • Scat Singing participants. • Rhythm Sections • Sound Reinforcement 5) Each workshop begins with an opening dinner at 6:00 PM • Private Vocal Instruction • Classical Choral Literature Sunday evening and concludes with a 7:30 concert on Friday evening. The Phil Mattson Singers will be artists-in-residence at all workshops. They will present informal concerts andclinics, and teach private lessons' 6) Reasonably priced housing and meals, averaging $85 per in solo singing. week, are available at each workshop.

Workshop fee is $195. Send $75 with the reservation card below to: Phil Mattson, W. 461 Shoshone Place, Spokane, WA 99203, (509) 747-2582. Write or call if l{OU wish further information. Deposits are refundable up to 30 days before workshop begins. Workshop and housing details will be sent to you upon receipt of reservation.

RESERVATION CARD

Name Address City State Zip SAT B School Teaching or Attending Office Phone Home Phone Voice Part

Enclosed is $75.00 deposit' for workshop at: o Foothill College, June 26-July 1 o Bucks County Community College, July 17-220 Whitworth College, July 31-August 5 o Western Michigan University, July 10-15 o U. of Wisconsin Ext., Shell Lake, July 24-29 0 MiraCosta College, August 14-19 'Make checks payable to Phil Mattson Vocal Jazz Workshop and mail to: Phil Mattson, W. 461 Shoshone Place, Spokane, WA 99203. (509) 747-2582 should they feel overwhelmed. Also, the Because a private school, our breaks purity of vowels, etc. choir needs to hear a musical, sensitive tend to coincide with solo-ensemble con­ -Emphasis on sight-reading. In and correct accompaniment. We pay an tests for the district; therefore, we plan classes we do rhythmic and intervallic accompanist to do the more difficult other events to encourage fine perfor­ drills. Choral time is used for putting pieces for rehearsals and performances, mance: a trip to Cincinnati College­ these skills to work. and it ends up being a nice relationship Conservatory of Music to listen and per­ -Selection·of high quality literature. for both the young pianist and the pro­ form is planned for May, and in October -Musical accuracy is very important fessional. we commissioned an original work from and the music must have life. Itmust be RL.: The only time I have not used composer/conductor James McCray. Dr. sensitive and "come off the page" or it is student accompanists is when I had a McCray visited the school, spoke to the merely drill. fine student teacher with excellent piano school community about composing -Although this is not a choral techni­ skills. I feel it is important to give young music and worked with our students on que, scheduling is of vital importance. people with years of investment in the the work he had written for them. The time of day, the grouping of piano an opportunity to use their skills, B.L.: My large choirs perform most similar abilities, the frequency of rehear­ even if it means starting over occasional­ often at school concerts. The Viking sal time, the establishment of a routine ly. The secrets are to not burden each Voices go out into the community and all are important. player with too many pieces and to state to perform approximately once a B.L.: The choral techniques which are match the song to the player's ability. month. They recently sang for the an­ most useful in junior high are those Teach a young pianist to simplify the ac­ nual Colorado Music Educators Associa­ which are successful in any choral situa­ companiment, if necessary, and choose tion Conference and will soon take the tion. Rehearsals should engage the brain things that have accompaniments other musical, "Coming of Age", to those and heart and body as well as the voice. than piano. Every junior high singer elementary schools whose students will Students should be taught music needs to experience the thrill of in­ be coming to Lesher. The latter project theory, sight reading, and vocal dependence in a cappella singing also. is a result of a State-of-Colorado physiology, practice and hygiene. They 5. What types of activities do you minigrant the choir has received. I think should be given the skills to interpret have for your various ensembles? How it important for a junior high choir direc­ music notation and the skills to be an ex­ often do you perform away from school? tor to choose out of school concerts care­ pressive, communicative performer. It is C.A.: The full chorus performs at fully. The experience should be produc­ my experience that if a singer's heart, Thanksgiving, winter holiday program, tive and positive for both the singers mind and body are engaged, there are Festival of the Arts (March), spring pro­ and the audience, not just "filler" enter­ virtually no classroom or performance gram (May), and graduation. Selected tainment for a banquet. discipline problems. Singers need to be members represent the school at All­ 6. What choral techniques are the held responsible for the learning of State, All-Regional, and All-District most useful in junior high? music through quartet or solo tests. Festivals. As the program grows we will C.A.: -Insistence upon proper use of 7. What repertoire have you perform­ be singing at other civic functions. the voice: breathing, tone production, ed recently that you would recommend

Choral Directors I I

June 13-17, 1983 One Week CREDIT Workshop Madison, Wisconsin

FEATURING: ROBERT FOUNTAIN '"

"This summer workshop will address the long-term development of choral concepts-blend, balance, rhythm, diction, and phrasing - as they apply to secondary school choral ensembles. There are also sessions on vocal development of the adolescent (Clinician: Anthony Barresi) and music reading for the choral ensemble (Clinician: B. H. Diekhoff).

For further information write or call: Dick Wolf, UW-Extension Music Dept., Lowell Hall, 610 Langdon Street, Madison, Wisconsin 53706. Phone: (608) 263-6670.

APRIL 1983 Page 33 as "sure winners"? SATB - Rhythm of Life - Coleman; ment of the Vivaldi "Gloria" by Don C.A.: U- SA - SSA - Gloria in Ex­ Jubilation Celebration - Poorman; Collins. "Let's Begin Again" by John celsis -Haydn (SSA); Follow, Follow Me Frankie and Johnny - Livingston; Three Rutter. Any madrigal from "The A Cap­ -Karlin (SA) ("Noah's Little Art"); Rain­ Madrigals - Diemer; Sanctus and Hosan­ pella Singer" (E. C. Schirmer). The bow Day - Williams (SA); A Girl's na - Mozart; Rise Up, My Love, My Fair medley from "Godspell" arranged by Garden - Thompson (U & SSA) (Fros­ One - McCray; Awake, 0 North Wind Norman Leyden. James McCray's "New tiana); Come, Ever Gracious Son of God from Wedding Cantata - Pinkham; Sw­ Day" and "Appalachian Lament". -Handel (SA); Alleluia, Come and Praise ingin' With the Saints - Hays; God Bless "Three Madrigals" by Emma Lou His Name - Bach (2 part); Hanerot The Child - arr. Kerr; 1 Won't Last A Diemer. "Flying Free" by Don Besig. Halalu - Chass (2 part); On My Journey Day Without You - arr. Lojeski; Choose "My Lord" by Joyce Eilers. "Fa Una from Making Music Your Own Gr. 7 Something Like a Star - Thompson Canzone" by Orazio Vecci. -arr. Eisman - (SA); SAB - Praise the (Frostiana); Daniel, Daniel Servant of Lord - Handel; Flying Free - Besig; It's the Lord - Moore. A Wonderful Thing To Be Me - Besig; B.L.: Any ofthe Brahms "Folksongs". Everybody Needs a Friend - Emerson; SACB arrangements of the first move- LETTER TO TilE EdiTOR •••

HAYSTACK '83 summer program in the Arts Dear Editor: at Cannon Beach on the beautiful Oregon coast Dr. Richard Trame's "Note On Latin weel"l-Iong worl"lshops Pronunciation" makes some pertinent observations but, in my view, draws the gospel - lucius bell wrong conclusion. As he indicates, one july 4-8 who listens to recorded examples of liturgical music can often determine the singing/entertainment - ellen johnson nationality of the choir by noting the july 11-15 hard or fricative consonants or modified choral - bruce browne john cool"lsey vowels which are more related to French july 18-22 or German than to Italian. The absence undergrad/ grad credit of an internationally-accepted standard FEES $116/$150 of pronunciation presents but few prob- REGISTRATION/INFORMATION: haystack '83 lems. Most of us do not play German Portland State University, P.O. Box 1491, Portland, Oregon 97207 (503) 229-4832 recordings to demonstrate Latin pro- L,;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;,J nunciation, and few of us accept into our choirs students who learned their Latin in Germany or France. We do, however, accept students into International Bach Academy our choirs who were trained in other parts of our own country (I have students from twenty-one states in my sixty-five member group), and this makes it even more "beneficial and . desirable to foster a uniform pronuncia­ tion based on the Italian usage," as Dr. Trame writes. It hardly seems dilettan­ Summer Academy tish to insist on "teh deh-oom" when "tay day-oom" implies something total­ ly different in Alabama than it does in JOHANN SEBASTIAN BACH Wisconsin, in addition to introducing a diphthong where the rest of the world sees a pure vowel. I've got some kids »Bach & Brahms« who can stretch a diphthong a country mile. Swabian German differs from August 14-28, 1983 Hochdeutsch. That variation would not Stuttgart justify our pronouncing a German text with American vowel sounds. Nor does the existence of national variants of Artistic Director: Helmuth Rilling Latin pronunciation lessen the desirability of our conforming to the Italianized latin standard. If we allow Master Classes· Seminars ourselves to accept the "Tay Day-oom" because that pronunciation is natural to Concerts · Master Concerts Americans, we're going to find ourselves listening to the "How-Iay-Ioo-yuh Chorus" ere long. For further information, contact: Sincerely, International Bach Academy Cliff Ganus Hasenbergsteige 3, 0-7000 Stuttgart 1 Professor of Music Harding University Searcy, Ark. Page 34 THE CHORAL JOURNAL ALL MUSIC PUBLISHERS SHOULD SEND THEIR OCTAVOS FOR REVIEW TO: ACDA National Headquarters.. P.O. Box 6310, Lawton, Oklahoma 73506

Publishers this issue: Addington Press clo Boosey and Hawkea Curtis Music Press Jackman Music Corp. clo Oxford University Press Hinshaw Music, Inc. 200 Smith St. P.O. Box 19320 Musicarl West 16-00 Pollitt Dr. Box 470 Farmingdale, NY 11735 Minneapolis, MN 55419 733 E. 840 N. Circle Fair Lawn, NJ 07410 Chapel Hill, NC 27514 Orem, UT 84057 Broadman Press Epoch Universal Publications Regeneration Music Services Agape 127 Ninth Ave., North (address unknown) Jenson Publications, Inc. (address unknown) 380 S. Main Place Nashville, TN 37234 2880 S. 171st St. Carol Stream, IL 60187 G.I.A. Puhlicationa New Berlin, WI 53151 Shawnee Press, Inc. Cantus Press 7404 S. Mason Ave. Delaware Water Gap, PA 18327 AMSI (address unknown) Chicago, IL 60638 Kendar Music, Inc. 2614 Nicollet Ave. P.O.Box 278 Studio PIR, Inc. Minneapolis, MN 55408 Choristers Guild Hal Leonard Delevan, NY 14042 224 S. Lebanon St. P.O. Box 38188 8112 W. Bluemound Rd. Lehanon, IN 46052 Augshurg Publishing House Dallas, TX 75238 Milwaukee, WI 53213 Neil A. Kjos Music Co. 426 S. Fifth St. 4382 Jutland Dr. Theodore Presser Co. Minneapolis, MN 55415 Concordia Puhlishing House Hinshaw Music, Inc. San Diego, CA 92117 Presser Place 3558 Jefferson Ave. P.O. Box 470 Bryn Mawr, PA 19010 Beckenhorst Press, Inc. St. Louis, MO 63118 Chapel Hill, NC 27514 Mark Foster Music Co. P.O. Box 14273 P.O. Box 4012 Triune Music, Inc. Columbus, OH 43214 Coronet Press c/o H.W. Gray Puhlications clo Champaign, IL 61820 824 19th Ave. South Alexander Broude, Inc. Belwin-Mills Nashville, TN 37203 Belwin-Mills Puhlishing Corp. 225 W. 57th St. 25 Deshon Dr. Oliver Ditson Co. clo 25 Deshon Dr. New York, NY 10019 Melville, NY 11746 Theodore Presser Melville, NY 11746 Presser Place Bryn Mawr, PA 19010

ADDINGTON PRESS A.M.S.!. composer is followed this will be a very satis­ fying song for the choir repertoire. Ye Choirs of Jew Jerusalem, C. V. Stanford, Thy Glory Flames from Sun and Star. Ray­ OP. 123. An Easter Anthem. mond H. Haan. Early Easter Morning, Richard Harrison A straightforward 4-part anthem suitable This is a comparatively simple setting of Smith. for any SATB choir. There is much variety in the well-known words "Lord of all being" and This is a quiet, unaccompanied song, the the composition, with single melody from the could be used by the not so experienced words being an adaptation of Luke 24, 1-5. It soprano opening, through imitative entries, SATB choirs, as long as the balance of voices is for SATB but only about 8 bars are actual­ key changes (G major G minor -G major) is adequate. Although the timing goes from ly in 4-parts. The rest varies between SA, and time changes 3/4,-4/4,-3/4 (these with the 3/4 to 2/4, this should not create a great pro­ SAT and TB. The time also varies from 4/4 to key changes). The indications of expression blem. If the expression as marked by the 3/4, with one bar even in 5/4, to help the flow given by the composer add to the beauty and satisfaction for both performer and listener. A typical example of the choral works of C. V. Stanford. , Jessie R. Murray • AGAPE HAL HOPSON CHORAL SERIES God, Our Shepherd, Lead Our Footsteps, Bach/Arr. Hal Hopson. For two-part choir (SNTB) or treble voices and piano. This is a 2-part setting of the well known Chorale Sheep may safely graze by J. S. Bach. It is most necessary that a choir sing­ ing this should be capable of really good legato singing. As the parts cross continually it is not necessary that all sopranos take line 1 and altos line 2. Perhaps a suggestion would be to divide both parts and so balance the tonal quality. The second section requires a really true unison for 6 bars, then it breaks into two parts again and voice 2 takes the melody. Voice 1 has a counter melody weav­ ing above and below voice 2. A most in­ o o teresting arrangement with many expression o o marks given by the arranger to help give a satisfying performance. Jessie R. Murray Only Alpha Offers YOU. •••••••• Highest Fidelity 4) Designer Packaging Money Back Guarantee This publication Our Maximum Price $3.95 (per cassette) is available in microform. (Twenty Cassettes minimum) ~~4~ NO ADDITIONAL CHARGES University Microfilms International ~~ Call toll free for details and other prices 300 North Zeeb Road 30-32 Mortimer Street Dept. P.R. Dept. P.R. 1-800-922-2812 Ann Arbor, Mi. 48106 London W1N 7RA U.S.A. England Alpha Recording Service / 122 South Lamar Ave. / Oxford, MS 38655

APRIL 1983 Page 35 ofthe words. Itis a very sensitive interpreta­ BECKENHORST PRESS, INC. changing compound meter throughout, the tion building up to a broad forte "He is four and one-half minute song features a risen". Then, after a pause the first line is This is the Day, Michael Jothen. For Unison flowing, lyric opening motive, a fortissimo repeated "piano". The key signature is 3 choir and piano. climax with paired thirds, and a return of the flats, but the parts move freely through A bright, happy song, with last repeat of "A" section for a quiet close. The use of the many keys. words given an optional descant for voices or optional instruments would add color that is Jessie R. Murray instruments. badly needed for the best effect this number Full of contrast, introduction of simple could invoke.. Itwill probably sound more dif­ AUGSBURG PUBLISHING HOUSE syncopation at several points; also a 2/4 bar ficult than it would be to prepare. found at odd places, all to fit the words. God Be Merciful, Paul Bouman, Two-part Suitable for all ages, but particularly for Lullabye for Lucy, Peter Maxwell Davies. treble with accompaniment, 11-0696, 55¢. younger voices who are looking for some­ SATB unaccompanied; #6090; 50¢. A choral setting of Psalm 67 for two-part thing different to sing at a wedding or other A lullaby setting in slow 3/4 meter of a treble chorus in a rather typical English an­ special day. good text by George Mackay Brown written them format. This, in itself, is not bad, but it Jessie R. Murray in honor of a new-born child. It is mildly dis­ does not lead anywhere, musically from sonant and pan-diatonic (all "white-notes"). where we are. Itcan be very serviceable "ser­ There is a fortissimo climax just before the vice music", one of those settings one uses BELWIN-MILLS end and a full repeat of all 67 measures, fol­ when the worship moves from one focus to lowed by a short pianissimo coda. Itcould be another. Teach Me, 0 Lord, J. L. Franck arr. Elwood somewhat monotonous, but has good possi­ The vocal writing is superior and in­ Coggin. For SAB chorus with accompani­ bilities as a low-key number in twentieth­ terestingly done. One gets the impression ment. century idiom for concert variety. It is not that the singers will find a challenge in sing­ The words of this song are from verse 33, difficult. ing this music, and a comfortable pleasure Psalm 119. Itis a straightforward piece for a Charles Chapman due to the tessitura and the voicings chosen. well balanced SAB choir. It is also well Simple to medium in difficulty. within the capabilities of any inexperienced BROADMAN PRESS George Bragg group members; the range of notes is very good and the rhythms straightforward. It is o Come, 0 Come, Emmanuel. Arranged by In Thee Is Gladness, Giovanni Gastoldi, arr. a very sensitive composition and should be Ted Nichols. SATB, brass and harp, or key­ Joseph Goodman, SATB with keyboard, given a very gentle treatment. board (instrument parts included). 611-2087, 60¢. Jessie R. Murray Verse 1 is unison for male voices and Verse With the exception of the last three mea­ 2 for female. In each case the chorus "Re­ sures, this is an attractive arrangement of joice" is given in 4-parts. Verse 3, called Coda the melody "In dir ist Freude" for a two-part BOOSEY AND HAWKES is to be given a broader atmosphere than the male and female choir. Both parts are preceding verses again we have unison, medium in range and this anthem can be us­ Hunting Season, from Three Seasonal Re­ but this time with all voices, breaking into ed by small to large choirs effectively in flections; Ron Nelson; SATB, piano, and op­ 4-parts for 2 final notes of each phrase. The praise of Christ. The text by Johann tional bass, percussion, violin; #6075; $1.00. "rejoice" chorus, in 4-parts starts "forte" Lindeman is of substance theologically. The This is a lovely setting of a good poem full and comes down to a quiet ending. An in­ keyboard part is independent of the two of images of fall and nature. It is not difficult teresting arrangement suitable for new vocal parts. A good blizzard Sunday anthem. and only mildly dissonant, but should be per­ choirs as well as experienced ones. Robert E. Snyder formed by a choir of mature singers. In Jessie R. Murray

Page 36 THE CHORAL JOURNAL Glory Be To God On High, Bob Burroughs, 53, No.6. SATB and organ (Congregation op­ CURTIS MUSIC PRESS SATB with Brass, #4561-17, no price indi­ tional). My Song Shall be of Jesus, J. Brahms, arr cated other than Code C. This is a smooth flowing song with verses 1 Patricia Hurlbutt. A most effective, brightly scored church and 2 a cappella in 4-parts. There is a very ef­ This songis marked to beperformed "Live­ anthem which begins in unison. The unison fective introduction or "intonation" to each ly, tenderly". Ifthis gentle approach is made beginning is followed by the ladies in four­ of these verses. Verse 2 is unison for choir with special attention to the clarity of the parts. The ladies are in turn followed by the with the option for congregation to join in words, the composer's wishes will be fulfilled. men in four-parts. The SATB chorus unites and has organ accompaniment. This is a very Verse 1 is unison for soprano and alto for 11 for the final twenty-one measures of the song interestingarrangement of a very moving old bars and then breaks into 3rds. Verse 2 is the in a triumphant final "Glory, Blessing, tune. same arrangement but for tenor and bass. In Praise Eternal! Alleluia!" Should be con­ Jessie R. Murray verse 3 we have all four parts, each with own ducted in two. The church choir will enjoy line with just 3 bars of unison. It is an in­ this octavo. CORONET PRESS teresting arrangement of this melody of David A. Bauer Brahms. Come With the Leaves of Green and Berries, Jessie R. Murray CANTUS PRESS Red., Art King. For two or three-part chorus (unchanged or changed voices) with key­ EPOCH UNIVERSAL PUBLICATIONS Forth in Thy Name, Harold Stover. Closing board accompaniment and optional Latin So Peaceful was the Night. Henry Papale. response, for festival or general use two-part American rhythm instruments. For two equal voices, or SATB, a cappella. chorus, with organ and handbells This is an interesting 3-part song, with or A gentle a cappella composition where the Although this is marked two-part the song without the instruments as suggested. The simple arrangements of harmonies help to is unison until the final two amens when the first 16 bars are repeated either once or bring out the beauty of the words.. It is ar­ singers break into two-parts for Canon form; twice, according to the number ofparts used. this is repeated three times or more. The ranged for Verses 1 and 3 in 4-parts, with The first time it is voice 1 only, then voices 1 Verse 2 in 2-parts only. But, the song may be handbells are only used with these final two and 2 on repeat, then ifusing 3 voices, the se­ performed in 2-parts throughout. The music amens. This is a very forceful song mostly in cond repeat is voices 1, 2 and 3. Section E is really quite simple and so is suitable for 4/4 time with one bar of 2/4 and one of 6/4 in follows in unison, all voices for 16 bars, each groups of new inexperienced singers. the middle section. There is an interesting final line breaking into 3-parts. Sections A, Jessie R. Murray change of key in the middle section of the B, C, and D are then repeated this time and song. Details of use of bells are given at the 3rd Voice taking the unison, then the 3rd and G.I.A. PUBLICATIONS end. 2nd voices and lastly the 3rd, 2nd and 1st. A forceful song requiring a good strong This leads to a Coda of 8 bars in 3-parts to A Time For Everything, Noel Goemanne. For vocal tone. complete the song. The actual vocal lines are unison chorus or solo voice with piano or Jessie R. Murray not difficult and the rhythm is quite simple organ. once the choristers adapt to the Calypso These are the famous words from Ec­ CHORISTERS GUILD style. The main interest lies in the unusual clesiastes "To everything there is a season treatment of the different sections. ... ". This is a very interesting work - there Cradle Carol, C. William Goff. Unison/2-part JessieR. Murray is no key signature, but starts with E minor with flute, finger cymbal and keyboard (organ accompaniment, arranged by Adele Dieckmann McKee available). NEW OCTAVOS This is a gently moving song with two verses, where the words tell the story very Breath of God, John Seagard SATB 11-2058 .60 simply. The first verse is unison in G minor, then with two bars of flute and keyboard modulates to A minor for the second verse Drop, Drop, Slow Tears, Sam Batt Owens SATB, hb. 11-2099 .60 which is in a round form. (It is suggested that the flute may be used instead of the 2nd Give Me Understanding, Elwood Jay Johnson SATB 11-4600 .70 voice.) This is a simple, really delightful song, God So Loved the World, Haydn/Lovelace SATB 11-2147 .70 with a range which makes it suitable for all .ages, even the very young. He Who Gives to the Poor, Jean Berger SATB 11-0586 .35 Psalm 23, Charles H. Webb. Unison with key­ board. An adaptation of the 23rd Psalm by It Is a Good Thing to Give Thanks, Paul Bouman SATB 11-0697 .65 Carol Greene. A very beautiful, flowing setting of Psalm Love Divine, All Loves Excelling, Leonard VanCamp 23. The adaptation of the words makes them 2-pt, opt. hb., cello or bassoon 11-1979 .75 very meaningful to younger children. With the easy moving accompaniment the 3/4 Optional instrumental parts for Love Divine 11-1980 5.00 rhythm makes for a graceful composition. There is an odd 5/4 bar and several 4/4 bars, all ofwhich combine to give a most satisfying Praise to the Lord, the Almighty, Robert Lind unison, hd. 11-2088 .60 interpretation of these words. Jessie R. Murray Prayer for Peace, Leland B. Sateren SATB 11-3509 .70

Sing to the Lord aNew Song, Donald Busarow CONCORDIA PUBLISHING HOUSE SATB, opt. cong., brass 11-0698 .80 Holy Spirit, Ever Dwelling, Dutch Folk Tune, 18th cent. Setting by Jan Bender. Op Optional instrumental parts for Sing to the Lord 11-0699 4.00

426 S 5TH ST • BOX 1209 • MPLS MN 55440 3224 BEVERLY BLVD· BOX 57974 • LA CA 90057 57 E MAIN ST • COLUMBUS OH 43215 2001 3RD AVE • SEATTLE WA 98121

Page 37 APRIL 1983 chord and then proceeds to change key ac­ electric guitar, electric bass, and percussion; electric guitar, electric bass, and percussion cording to the meaning of the words and #08233950; 70¢. accompaniment provides the opportunity of finishes with chord of G Major. The time is The rubato tempo, fluid melodic and har­ adding a new twist to this established show­ mostly 3/4 but changes with the natural monic movement, and practical vocal and in­ stopper. rhythm of the words. A very beautiful set­ strumental parts combine to produce an easi­ John V. Sinclair ~ing which will require great sensitivity ­ ly performable selection. The expressive in­ strict observance of all expression marks is terpretive markings are excellent yet not HINSHAW MUSIC INC. essential also watch the triplets, they have restrictive. Such a beautiful melody so ex­ been used to give as natural a flow of words pertly arranged would be a welcome addition I Sing Th' Almighty Power of God, Salvation as possible. Not really suitable for very to most programs. (Kentucky Harmony, 1816) Arr. Milburn young voices but with youth choirs and Price. For Mixed voices, SATB, with key­ older, great satisfaction could be gained with There Is Nothin' Like A Dame; arr. Ed Lo­ board. a studied performance. jeski; TBB with piano, #08266875, 70¢. A spirited unison from tenors and basses Jessie R. Murray This is a new arrangement of a standard in gives this song a fine start. Sopranos 1 and 2 men's choral literature. The three-part for­ and alto join in for last line of Verse 1 with a HAL LEONARD mat, predictable voice parts, practical vocal series of chords as a descant. Verse 2 is a cap­ ranges, and easy keyboard accompaniment pella with the tenors and basses entering I've Grown Accustomed To Her Face; arr. would make this work accessible for a men's with gently accented chords; the sopranos Ed Lojeski; TBB with piano and optional group with limited resources. The optional and altos enter after 3 bars in unison with the tune. Verse 3 gives a variety of 3-part, 4-part and unison bars, and the climax at the end of the song asks for 6-parts. A very interesting composition.

European Concert Tours Our Father in Heaven. Duane Blakey (Am Yisrael Chai). For Mixed, treble or male voices, melody instruments and accompani­ ment with multiple options). - In 5/4 time this is a most unusual interpre­ tation of the Lord's Prayer. The first page "If I take my choir to Europe, can we perform masterworks in shows quite a range of options for voices to the churches where they were first sung? Will we have good be used also of instruments. Itis mostly in audiences? How will we find the best air fare? and what about 2-parts with occasional lines in 3-parts, odd times 4-parts. Great use is made of the vocal our accommodations on tour?" line being echoed by instruments or other voices. It is also suggested that in places, marked "deliberate and forceful" the piano Find the answers to these questions and more with a simple might double the vocal line. Expression phone call to Cultour Inc's office in Northbrook, Illinois. marks are given to help the interpretation. Quite an interesting composition. Jessie R. Murray Our experienced and musically knowledgeable staff is in daily contact with our offices on the continent and in Great Britain. H. W. GRAY PUBLICATIONS (C/O BELWIN-MILLS) They can give you up-to-date information on every aspect of your European concert tour. Name of Wondrous Love, Alice Jordan, SATB, organ, #GCMR-3460; 60¢. A setting of Philippians 2: 9-11. A reverent, A Cultour European concert tour includes: flowing quality prevails in this work. A brief, contrasting climax, however, raises the level • a personalized itinerary of affirmation via secondary dominant and • concert bookings and promotion chromatic mediant harmonies, louder • comprehensive land arrangements (hotels, meals, transpor­ dynamics, fuller accompaniment, a change of meter (3/4 to 4/4), and crisper articulation. A tation, city tours, tour conductors, optional highlights) good deal of the piece, which is in a modified • all air transportation verse form, is scored for women or men alone or in two-part harmony. A cappella measures • complete program integration at the end of the first verse and preceding the quiet concluding bars are especially tender in their expression. Though containing no par­ ticularly creative material, the work is well Call us collect for further information, structured and communicative and deserv­ ing of consideration by the church choir Jeannine Packel, President. director. William J. Bullock

JACKMAN MUSIC CORP.

To Love, to Serve, to Offer All, A. Newell Dayley. Mixed chorus (SATB) and piano. This is a very sensitive song, needful of a sincere and meaningful use of words as well as a smooth flowing melody line. The com­ poser has made a great use of the different tonal qualities of the male and female voices. 666 DUNDEE ROAD SUITE 1608 FOR CHANGE OF ADDRESS NORTHBROOK, IL 60062 Be sure to notify the Editor at: (312) 272,.9260 P.O. Box 6310, Lawton, OK 73506

Page 38 THE CHORAL JOURNAL He uses unisons as well as harmonies to gain KJOS OLIVER DITSON COMPANY the desired effects. The instruction at the beginning "contemplatively" should be Magnificant and Nunc Dimittis, Noel All Poor Men and Humble, Welsh Carol noted and obeyed to bring out the true feel­ Goemanne. Two equal voices with keyboard, "Poverty" arr. Walter Ehret, Text from The ing of this song. GCll1,70¢. Oxford Book of Carols (by permission Jessie R. Murray Employing brief solo sections and occa­ O.U.P.) SAB and piano (also available for sional three-voice minor parallel triad har­ SATB). JENSON monies, this composition of the wonderful A simple setting of this old Welsh carol. "Magnificant" text should be very useful for This arrangement is most suitable for youth Take Another Chance on Love, Jack Kunz. boy and treble choirs. The various meter groups with developing bass voices. It starts SATB with piano and opt. bass. changes fit the text well and should cause lit­ with unison from all voices, then the soprano A freely moving solo opens this song with tle problem. The right hand of the accom­ and alto have a verse in 2-parts finishing with just chords for accompaniment, then the full paniment duplicate the vocal parts much of a modulation from A major, the original key, choir enters on "ooh" below the solo and the the time. The voice ranges are good for to Bb major for the last verse which is in piano accompaniment becomes more moving. young voices. While suitable for any Chris­ 3-parts. An interesting, simple setting with This leads into a four-part choral section tian worship service, these settings would be much scope for developing the young bass unaccompanied; the piano only enters with fine for use by choirs in liturgical churches. voice. one bar at end of one phrase to lead to the Robert E. Snyder Jessie R. Murray next. This form continues throughout the song. A good sense ofpitchis required by the MARK FOSTER OXFORD UNIVERSITY PRESS choir to keep this song in tune with the piano coming in at the end of unaccompanied sec­ For the Lord is a Mighty God, Felix A Maiden Most Gentle, arranged by Andrew tions. Mendelssohn, arr. James McKelvy. Two-part Carter, SAA with piano, Oxford Choral Song with keyboard, MF 233, 50¢. W98, $1.40. Who Needs a Friend? (I Doll), Ruth Artman, This is one of several excellent standard Built on the popular French tune "Ave 3-part mixed voices with piano. choruses of masterworks that Dr. McKelvy Maria," this charming piece gives us a musi­ This is a gentle song with a light rock beat. has edited or arranged and published. Some cal setting of five verses and choruses of text There are instructions given to make this a have been somewhat forgotten unfortunate­ from the Venerable Bede, alternating be­ very smooth flowing piece. It is a fairly ly. Eight measures based on the text "Sing tween three voices a cappella and voices in straight forward composition, making the to the Lord with gladness" have been placed unison with an ingenious yet simple piano most of the syncopated rhythm of rock. At at the beginning of the anthem. The rest is part. The pianist needs little more facility times the altos and basses divide into 2 sec­ the stirring setting for two-part male and than the ability to playa flowing, musical G tions orparts, but this should create no prob­ female chorus that came to us from major scale in the right hand, but the piano lem. This is quite suitable to the inexperienc­ Mendelssohn's pen. Because of its dramatic part, which is the major achievement in this ed as well as established choirs. appeal, it has always been a favorite easy, ef­ arrangement, becomes so much more than Jessie R. Murray fective piece. If for some reason you don't just the scale. have this "oldie but truly a goodie" in your Also noteworthy is the final chorus, where Bethlehem Boy, David Asplund, 2-part, library, this is a good chance to get it. the two alto parts supply a duet of the piano, 448-02012, 65¢. Robert E. Snyder familiar melody while the soprano part This simple, gentle selection would make a nice addition to any elementary school chorus program. Two verses followed by a brief refrain and a slightly different third verse make it singable. Harmony in thirds and sixths to satisfy the ears of the little ones (and moms' and dads'). John P. Ribble If you're not already familiar with our best-selling choral settings for SATB, we'd like you to KENDOR MUSIC INC. be, and so we now offer a FREE REFERENCE COPYOFANY THREE ITEMS from this list. Please include serial numbers and make request to DEPT. 10CJ on institutional let­ Be Glad You're Alive. Leighton J. Tiffault. S terhead. Offer expires May 15, 1983. A (Cambiata) B. ALL PRAISE TO GOD OUR HEAVENLY FATHER This is a smooth flowing song in Waltz time. It would be very useful to inex­ Handel (312-41276) .55 perienced groups, helping them to combine CANTICLE OF PRAISE words and vocalized passages such as when Beck (312-40588) .75 one or two-parts sing "doo-doo". While the ETERNAL LIFE middle section of the song is in D Major Dungan (322-40018) .55 mainly, the song having started in G Major, EVENING SONG TO GOD moves back to G Major for the 3rd section, it moves through many keys which is good for Haydn (352-00220) .75 aural training in younger groups. EXULTATE DEO A. Scarlatti (352-00071) .65 GREAT DAY Have Mercy on the Poor, Jacobus Clemens Martin (312-40080) .65 Non Papa, arr. Lawrence Doebler. This is a 16th-century French Chanson ar­ HOSANNA TO THE SON OF DAVID ranged by Doebler who has remained faithful Moe (352-00212) .75 to the original. It is for four-parts, soprano, o ALL YE NATIONS alto, cambiata and baritone. Dynamics and Schutz (332-13992) .55 tempo marks are suggestions from the arran­ ONCE TO EVERY MAN & NATION ger. As in the Renaissance practice of using instruments with or in place of voices, it is York (312-40098) .55 suggested that strings, woodwinds or syn­ WHEN I SURVEY THE WONDROUS CROSS thesizer would be effective. Traditional bar Martin (312-40785) .55 lines have been replaced by dotted lines to enable each polyphonic line to flow according to the stress of the text. It is a piece of 16th century music very suitable to changing voices. Jessie R. Murray APRIL 1983 Page 39 ,- i I descends fro~ a high G in an ornamental, There are four sections, the first three identi­ TRIUNE MUSIC winding sequence. The chorus repeats, now cal in their 2-part arrangements, but each accompanied by the piano, to bring the piece raised a key (Eb F- G). The lower part My Father's World, Nancy Patsiod, Worship to conclusion. carries the melody to the text while the upper music for children's voices. The parts are not difficult, and the simple voice sings an alleluia descant. The 4th sec­ This is a group of 9 songs most suitable for beauty of the piece should make it a joy to tion is in Bb and scored for SA. The soprano quite young children to sing. Any of the rehearse for precision in blend and intona­ line now carries the melody. The last short pieces may be used in unison with several of tion. section recaps the melody in unison with a the songs having simple harmonizing parts Ronald J. Staheli final four-part alleluia. The range is comfort­ for groups which have members able to han­ able and because of the familiarity and dle a second part or by working with an older Five Partsongs To Poems by Wallace repetition of the tune, there should be anease group. Some songs have a flute obligato, and Stevens, Opus 42. John Gardner. Unaccom­ in learning this work. It would be a good there are several places where bells could be panied mixed chorus. H95.603, $6.00. Church service piece, and one that could easi­ used to accompany instead of the piano. The The text of these five songs, explores rural ly include congregational participation. I foreword gives very helpful suggestions for life - the out-of-doors. The five songs are: (1) find the piano accompaniment a bit heavy the performances of these songs but there is Depression Before Spring, (2) Peter Quince at and dark. A creative accompanist could a large scope for the initiave of the conductor the Clavier, (3) Ploughing On Sunday, (4) Life remedy this easily. to make this performance interesting for the is Motion, and (5) Cy Est Pourtraicte, Sister Sharon Ann Breden performer and the listener. Madame Ste Ursule, et Les Unze Mille Jessie R. Murray Vierges. They have a total duration of 8 STUDIOP/R minutes. The rhythmic and harmonic com­ plexities exibited in the composition limit it Winter Snowflakes, Audrey Snyder, Enter to University, College, and the advanced the Young series, SA with piano, HSV8204, community chorus. Mixed meters are abun­ 70¢. dant. The men are frequently a4, while the This is a delightful number that will be an Alpha Recording Service 35 ladies remain constantly a2. The vocal asset to any winter concert. There are three American Choral Review 21 ranges are very accessible ... without ex­ verses, the first in unison while the other two American International 6 tended ranges. This work was commissioned verses and the two choruses have an alto line Arthur R. Briggs 15 by the Kansas State University Concert that a young girls choir can easily handle. Augsburg Publishing House 37 Choir and their director, Rod Walker, for per­ The gentle flowing piano part enhances the Ball State University 4 formance at the Southwest Division ACDA beauty of this song which tells of the falling Broude Brothers 12 Convention in Lawton, Oklahoma, in March snow and the warmth and security of a Bucknell University 30 1978. Quite a challenge for the excellent winter fire where one can sit and dream of Calvin Choral School 8 choral organization. Highly recommended things gone by or yet to be. Girls will enjoy Carnegie-Mellon University 7 for the advanced choir. singing this piece, and the audience will be Choralyre Company 25 David A. Bauer caught up in its simple beauty. Church Musicians Workshop 25 Sharon A. Kraus Classical Music Seminar C4 REGENERATION MUSIC SERVICES Cultour, Inc 38 THEODORE PRESSER E. C. Schirmer Music Co 16 I Live In A Preacher's House, Derric John­ FredWaring Music Workshop 36 son, solo with optional SATB chorus and nar­ Le Reniement de St. Pierre (Peter's Denial of Group Tours of America, Inc. . 37 rator, HRMS 4009, Price not indicated on oc­ Christ); Marc-Antoine Charpentier, ed. H. Hank Beebe 18 tavo. Wiley Hitchcock; SSATB continuo accom­ Heritage Music Press 28 Program music! A revealing look at par­ paniment, 6 soloists; Latin text only; Holy Names College 11 sonage life through the all-seeing eyes of the H312-41391; $2.95. International BachAcademy 34 parsonage children. Humorous. If you are A narrative mini-oratorio that, despite the Jazz West 20 the son or daughter of a minister, you might recommendation of Manfred Bukofzer, will Lutton Music Personnel Service, add a little humor to your life by performing be of interest mainly to musicologists and Inc 23 this octavo. Easily obtainable by a small the local director of the Collegium Musicum. Lyric Choir Gown Co 20 ensemble for a youth presentation at a Each of the thirteen sections is very short. Musart International, Inc 18 church related activity, perhaps for Steward­ The chorus plays the role of the narrator, Music Notes 11 ship Sunday. Sure to get a smile! while soloists are the characters in the story Music Print Corp 27 David A. Bauer of Peter's denial of Christ. There are some New England Conservatory 30 possibilities for use during Holy Week if the New York Choral Society 13 SHAWNEE director needs an easy score, has a few good Northwestern University 10 soloists, serves a liturgy which will tolerate Octavia Press 8 Alleluia, John Coates, Jr., SSA, piano, Latin, and who is dedicated to declamatory, Oregon Bach Festival 26 HB5162, 65¢. text-dominated seventeenth-century set­ Oren Brown Voice Seminar 17 This religious piece is repetitive, butclever­ tings. Phil Mattson 32 ly based on familiar Church service melodies. Charles Chapman Portland State University 34 Presbyterian Association of , Musicians 12 Saratoga-Potsdam Choral Institute C2 St. Michael's College 13 Temple University 14 David A. Bauer Charles Chspman, Director John V. Sinclair Director of Choral Activities Southwestern Singers Director of Choral Activities Theodore Presser Co 39 Northern State College Sonthwestern Oklahoma State Univ. East Texas Baptist College University of Minnesota 24 Aherdeen, South Dakota 57401 Westherford, Oklahoma 73096 Marshall, Texas 75670 University Music Service 7 George Bragg Sharon A. Kraus, Choral Director Rohert E. Snyder University of North Dakota ; .15 2613 Benhrook Blvd. Fred F. Florence Middle School Director of Choral Activities University of Wisconsin-Eau Ft. Worth, Texas 76109 1625 N. Masters Eastern Illinois Univ. Claire 19 Dallas, Texas 75217 Charleston, Illinois 61920 University of Wisconsin- Sister Sharon Ann Breden Star of the Sea Academy Jessie R. Murray Ronald J. Staheli Extension 33 San Francisco, California 94118 Director, Linnet Girls' Choir Director of Choral Activities WBGU-TV 31 Carlingford, N.S.W., Australia 2118 Brigham Yonng Univ. Wenger Corp 22 WiIIlam J. Bullock Provo, Utah 84602 Westminster Choir College C3 Director of Choral Activities John P. Rihhle, Vocal Director Columhus College Doyle High School Winifred Baker Chorale 9 Columhus, Georgia 31993 Knoxville, Tennessee 37920

Page 40 THE CHORAL JOURNAL ~~~ Vfoir~«cg{~ CHURCH MUSIC MUSIC EDUCATION Bach Cantatas New Approaches to Elementary School Music WILLIAM HAYS Summer Session 19830 FRANCES POE - ELIZABETH POLK June 20-24 GERALDINE WARD - HELEN BUCKMAN Training the Adult Church Choir CHORAL VOCAL RUTH SANBORN .Iune 27-.Iuly I JOHN KEMP Group Techniquesfor Building Choral Sound Training Young Voices (K-I2) June 27-July I FRAUKE HAASEMANN HELEN KEMP Orff-Schulwerk Children's Choirs in the Church (two identical sections offered) .Iune 27-.Iuly I SUE ELLEN PAGE HELEN KEMP June 20-24 and June 27-July I .Iuly 4-8 July 4-8 Vocal Mechanism and Singing Technique Choral Music in the High School Steps to Choral Excellence: THOMAS CLEVELAND WILLIAM TREGO Preparing Large Choral Works Preparation, Procedure, Performance .Iune 27-July I for Church Performance HOWARD SWAN .Iuly 11-15 JOHN KEMP July 4-8 The Performer's Art: Singers and Accompanists Choral Music in the Middle School July 4-8 MARGARET HARSHAW- STEPHEN LORD JOACHIM PARRELLA Conducting Choral Master Works English Choral Tradition MARTIN KATZ- LINDA BABITS .Iuly 11-15 JON BAILEY HILLARY MAYERS JOHN BERTALOT Introductory Kodaly (K-3) July 11-15 Lindsey Christiansen. Coordinator July 11-15 .Iuly 11-15 Choral Arranging 'July 4-8 Orff-Schulwerk in Children's Choirs Intermediate Kodaly (4-6) July 11-15 SUE ELLEN PAGE Master Teachers of Voice .Iuly 18-22 Advanced Choral Writing July 11-15 MARGARET HARSHAW- DANIEL FERRO ADEN LEWIS - JACK PLATT July 18-22 DAN MERRIMAN - CLARICE CARSON Handbells I: Fundamentals ofRinging ALICE PARKER Kindermusik ROBERT IVEY DONALD ALLURED RICHARD MILLER LORNA LUTZ-HEYGE Daniel Pratt. Coordinator July 11-15 July 18-22 Beginning Choral Conducting .Iuly 25-29 .Iuly 11-15 July 11-15 Producing Broadway Musicals Handbells l/: Developing Skills of Intermediate Choral Conducting ARTHUR FRANK Ringing and Conducting July 18-22 Vocal Pedagogy for Conductors andAccompanists .Iuly 25-29 ROBERT IVEY DONALD ALLURED ALLEN CROWELL ROBERT MciVER July 18-22 July 25-29 .Iuly 18-22 Advanced Choral Conducting Gregorian Chant Singer's Diction FATHER GERARD FARRELL JOSEPH FLUMMERFELT HIGH SCHOOL .Iuly 18-22 LOIS LAVERTY July 18-22 .Iuly 25-29 STUDENTS Hymnody: Texts and Tunes Five Perspectives on Choral Conducting HORACE ALLEN MARGARET HILLIS - KENNETH JENNINGS Solo Vocal Repertoire for the Singer, Vocal Camp ALLEN CROWELL July 18-22 RICHARD WESTENBERG - WILLIAM ALBRIGHT Teacher and Church Musician HAROLD DECKER ROBERT MciVER June 26-July 9 Youth Choirs: Organization and Artistry .Ion Hailey. Coordinator .Iuly 25-29 Organ Week· MICHAEL KEMP July IH-22 July 18-22 JOAN LIPPINCOTT - EUGENE ROAN MARGARET HARSHAW MARK BROMBAUGH Sacred Choral Repertoirefor the Church Seasons Building a Boychoir In residence from June 27-July 15 .Iuly II-IS JAMES LITTON PHILIP BRUNELLE Master classes in vocal technique and Piano Week· July 25-29 July 18-22 private voice instruction arc available. WILLIAM and LOUISE CHEADLE Five Perspectives on Church Music Robert Shaw Workshop July 25-29 JON BAILEY - RONALD ARNATT ROBERT SHAW (Write for specialized brochure describing WILLIAM SLOANE COFFIN Charles Schisler. Coordinator ORGAN the high school offerings.) PAUL MANZ 0 PHILIP BRUNELLE Nancianne Parrella. Accompanist July 25-29 Joseph Flummcrfelt. Associate Conductor The Performer's Art: Organ Styles and Repertoire ·Workshop may be taken by teachers for credit. .Iuly 24-August 6 JOAN LIPPINCOTT - EUGENE ROAN SPECIAL PROGRAMS DONALD McDONALD - WILLIAM HAYS PIANO MARK BROMBAUGH TWO GRADUATE CREDITS ARE Alexander Technique .Iuly 11-15 AVAILABLE FOR EACH COURSE LINDA BABITS - HILLARY MAYERS Master Teachers of Piano For catalogue and application. write or call: June 20-24 ADELE MARCUS - MALCOLM FRAGER Practical Procedures for the Church Organist JOHN PERRY - LILY DUMONT JOAN LIPPINCOTT- EUGENE ROAN SUMMER SESSION Music Therapy: Fundamental Techniques WESTMINSTER CHOIR COLLEGE HAROLD ZABRACK ROBERT CARWITHEN 0 MARK BROMBAUGH INGRID CLARFIELD PRINCETON, NJ 08540 July 25-29 Phyllis Lehrer. Coordinator JAMES LITTON .Iuly 11-15 .Iuly 18-22 (609) 924-7416 Seminar jor Music Administrators J. Jay Smith, Administrative Director RAY ROBINSON Piano Pedagogy and Repertoire American Organ Tour: Instrumentsfrom 1870-1980 of Continuing Education July 25-29 PHYLLIS LEHRER MARK BROMBAUGH Daniel Pratt, Associate Dean (write for specialized brochure) .Iuly 18-22 .Iuly 25-29 American Choral Directors Association Non-Profit Organization P.o. Box 6310 US Postage Lawton, Oklahoma 73506 10270NV30-02010 PAID I

Address Correction Requested

PLEASE NOTE THAT THE ACDA NATIONAL HEADQUARTERS HAS A NEW ADDRESS:

P.O. BOX 6310, LAWTON, OKLAHOMA 73596

Eighth Annual CLASSICAL MUSIC SEMI NAR Eisenstadt, Austria August, 1983 Don V Moses, Music Director Schloss Esterhazy, Eisenstadt

Make the Esterhazy Palace, the Haydn Conservatory, and other historic buildings in Eisenstadt and Vienna your primary destination for musical activity this summer!

• Master Classes and Lectures in English • Outstanding European and American Faculty .Orchestral, Choral and Chamber Music Concerts • Expeditions to sites of special musical importance • Choral and Orchestral positions available by audition • University credit available • Assistance with travel arrangements

Hundreds of enrollees from throughout America and Canada have found the Classical Music Seminarto be more than an ordinary summer music program ... "Truly a unique musical experience!" For complete details, please write or call: CLASSICAL MUSIC SEMINAR -F P.O. Box 2779 Iowa City, Iowa 52244-2779 Phone 319-351-5459