Fall 2018: Volume 38, Issue 1
From Your President Contents
From Your President ...... 1 Warm Greings om the OCDA! Richard Schnipke
I trust thIs message finds you busy in the midst The Mixed-Age Choir ...... 2 of the December performance and worship sea - Tim & Tracy Carpenter son, and I hope you are able to find some time to Evaluating Cultural Validity enjoy the season not only with your ensembles in Choral Repertoire ...... 4 Julia T. Shaw and singers, but also with important family members and treasured friends. OCDA President OCDA Distinguished Service Richard Schnipke Award ...... 6 I write to you this month with some exciting Amy Gelsone news pertaining to the future of OCDA. Due to the financial solvency of our organization over the past several years and A Conversation with Jocelyn Hagen ...... 8 under the advisement of our organization’s treasurer, Kent Vandock, your Daniel Parsley OCDA board has established a formal Investment Committee. Committee Everybody Needs Somebody, membership is comprised of the OCDA Executive Board members (Presi - Sometimes ...... 10 dent, President-Elect, Vice/Past-President, Secretary, and Treasurer). Over Brad Pierson the summer, this newly formed committee worked to create an OCDA In - Vocal Jazz Group vestment Policy that was approved by the full board at our fall meeting. Listening Primer ...... 11 is fall, OCDA partnered with Ohio-based investments manager Collins Christopher J. Venesile and Gulliford, and on November 28 we made a $50,000 investment of Summer Conference Recap . . . 13 OCDA funds. e intent of this initiative is to maximize the assets of OCDA Christopher Dent in order to further the mission of the organization. While no definite plans Treasurer’s Report ...... 17 pertaining to allocation of the investment profits have been made, initia - Kent Vandock tives including student activities and scholarships, engagement of our re - Upcoming Events ...... 18 tired members, and outreach to underserved communities have been dis - cussed as possible areas for support. I am incredibly excited for this posi - Leadership Roster ...... 18 tive step forward and want to thank all previous board members, especially Treasurer Vandock, for managing our resources in a way that allows for this Advertisers opportunity. Specific questions pertaining to the Investment Committee Bob Rogers Travel ...... 3 can be directed to Kent Vandock, chair of the committee. (Kent’s contact information can be found in the board roster listed in this newsletter.) CMS Publications ...... 15 I also want to take a moment to recognize the entirety of the board for Musical Resources ...... 5 their service to OCDA and specifically for their contributions to this Otterbein University ...... 7 newsletter. In this issue alone, you will find wonderful submissions by our very own Ohio colleagues including articles pertaining to mentorship, Stanton’s Sheet Music ...... 9 building vocal jazz skills through listening, evaluating multi-cultural reper - University of Akron ...... 16 toire, and working with mixed-age choruses, as well as an interview with composer Jocelyn Hagen, and recognition of our 2018 OCDA Distin guished Fall 2018 table of contents 2
Service Award winner. Addition - derful colleagues in our state that day season and look forward to ally, I would like to thank Tim give of their time and talents to seeing many of you at OMEA and Cloeter for his work and dedication serve not only our organization, ACDA conferences in the new as Editor of the OCDA News. We but also our profession. year! d are fortunate to have many won - I wish you all a wonderful holi -
e Mixed-Age Choir Tim & Tracy Carpenter, Lifelong Area: Community R&R Co-Chairs the communIty choIr experIence ensemble (SATB) of singers whose to branch out is one which can embody the spirit ages range from 14 (high school through choral of lifelong learning in choral music. freshmen) to over 80, and whose music. Addi - Whether we are at the earliest mission is to bring timeless and in - tionally, with stages of music learning (what the novative music to Clermont careful seating Cincinnati Youth Choir calls “Pic - County. Our work with this group arrangements colo Coro”), or we are easing into has led us to endorse the blending (as created by our golden years, choral music pro - of voices of different ages to create us), the student vides an opportunity to learn, sing, a signature sound. is span of ages voices can sit and socialize for as long as our has added a wide variety of per - next to a bodies (and voices) allow. In our spectives to our group’s dynamic “model” adult great state of Ohio, there are com - and influenced our programming voice that can help lead them into munity children’s choirs, like the choices in a positive way. good tone and production. e Kettering Children’s Choir e younger voices bring an en - voice in adulthood (with good pro - (www.ketteringchildrenschoir.org ); durance and vigor to our rehearsals duction) tends to be more warm, community choirs for young adults and performances. eir voices with a natural vibrato. In this set - under 45, like Cincinnati’s Young tend to be a bit lighter, but their ting, these young singers have been Professionals Choral Collective work ethic is often energetic, in - able to grow and mature safely, and (ypccsing.org ); and gender-based spiring their older cohorts. eir with structure, monitoring, and en - community choirs like MUSE, the youthful attitude makes them will - couragement. Our teenage singers Cincinnati Women’s Choir ing to approach modern/more dif - enjoy the maturity and support of (www.musechoir.org ), and the men ficult literature without fear or pre - the older choir members. of the Teutonia Männerchor of conceived notions. Additionally, we More mature singers bring ex - Toledo ( gafsociety.org ). Each of have seen students from many of perience to our rehearsals, not only these groups, and many others like the different school districts in our by being great choir members, but them, sound the way they do be - area come together in our choir also by bringing to bear their past cause of the voices of which they and not only work together, but choral performance experience of are comprised. also become friends. ey have classics like the Schubert Mass in We are Tim and Tracy Carpen - begun to see each other at honor G, or the Fauré Requiem , as they ter, co-artistic directors of the Cler - choirs and camps, and their sense enjoy this repertoire from a new mont Chorale ( clermontchorale of community has expanded. ey place in their lives. eir desire for .org ), and OCDA Community R&R have then taken their experiences social interaction through music co-chairs within the Lifelong Area. in our group (and others) back to brings with it a stability in atten - e Clermont Chorale is a mixed their schools, and inspired others dance and continuing participation, Fall 2018 table of contents 3 Fall 2018 table of contents 4 and varied socio-economic back - As we enter into our seventh “becoming,” has been a source not grounds bring natural diversity to year as co-artistic directors of the only of musical accomplishment, the ensemble. Continuing partici - Clermont Chorale, we feel fortu - but also of joy shared and friend - pation allows singers of all ages to nate to have singers spanning eight ships formed. We highly recom - discover changes in their voices, decades of life with us on our jour - mend that choral directors form and to sing through these changes, ney, enjoying choral music and more community choirs, particu - and maintain vocal health. Socially, each other’s company along the larly those whose memberships en - the older members seem to enjoy way. e blending of human voices compass a wide range of ages, and being surrounded by the youth in in the different stages of develop - experience those joys and friend - the group, often viewing them as ment, and the blending of human ships for themselves. d grandchildren pro tempore. beings in the different stages of
Evaluating cultural validity in choral repertoire: ree exemplars illustrating guiding principles
Julia T. Shaw, Repertoire-Spific: Ethnic Music—Developing Voic R&R Chair as school populatIons in the professional organizations such as either in person Unites States have become increas - ACDA offer one avenue through or virtually, or ingly culturally diverse, teacher- which conductors can discover by consulting multimedia re - conductors have turned attention repertoire worthy of consideration sources that can support aural toward how choral music can sup - for exploration with their ensem - learning experiences. port the goals of multicultural and bles. While reading sessions can It is also important to acknowl - culturally responsive education. play a valuable role in educators’ edge that the individual selections Many music specialists gravitate professional learning, some limita - in a reading packet are unlikely to toward diversifying curricular con - tions of the format merit discus - serve the needs of all teachers in all tent as an accessible entry point for sion. First, much of the repertoire situations. is is especially true if participating in these broader edu - that would be ideal for exploration the goal of instruction is to create cational movements, a process in in a multicultural or culturally re - learning experiences that are re - which repertoire-related decisions sponsive curriculum would be sponsive or relevant to the cultural figure prominently. Including learned aurally in its culture of ori - identities of specific singers. us, repertoire representing diverse cul - gin, making reading sessions (as it is not the specific pieces included tural traditions in the curriculum is traditionally structured) an illogical in reading packets themselves, but an important preliminary step to - context for exploring that reper - the thought processes that in - ward attaining truly culturally re - toire. Considering this, teacher- formed their selection, that are sponsive education, and investing conductors are advised to seek av - likely to be most helpful to conduc - effort into making responsible enues beyond reading sessions in tors as they select repertoire that repertoire choices with regard to order to locate repertoire repre - will best serve their specific singers . ways that cultural groups are rep - senting diverse cultural traditions. However, the compact timeframe resented, misrepresented, or un - Selections drawn from aural tradi - of a typical reading session does derrepresented in choral curricula tions can be obtained by consulting not typically allow for in-depth dis - is a worthwhile endeavor. with culture bearers (representa - cussion of criteria that guided the Reading sessions provided by tives of particular cultural groups) selection process. Accordingly, this Fall 2018 table of contents 5
Contact Musical Resources for all of your print music Supplying the Finest in Printed Music Since 1986 needs!!
Music From All Publishers Vast Selection of Imported Works Quantity Discounts on Octavos Textbooks & Educational Materials Extensive In-Store Browsing Area co2020lumn N. w iHollandll descri Sylvaniabe three Road,exem - Toledo, OHpie c43615e that held [email protected] mean - scribed , a n d a n aPh:ccu 800-377-0234rate transla - plars in depth, highlighting guiding ing for them, having experi - tion is provided. Readers also learn principles that can inform conduc - enced it as a member of the cul - of Abril’s personal knowledge of tors’ processes of selecting reper - tural group represented? and connection to Cuban culture: • Is the publication the result of toire from diverse cultural tradi - My family fled Cuba in 1960, extensive research carried out tions. right after Castro’s takeover, with that cultural group? and arrived in Miami before I Exemplar 1: “Uno, Dos, y Tres” An absence of information was born. I was raised in a de - arr. Carlos Abril about the arranger’s/editor’s cidedly Cuban household in a World Music Press, VTS#45 knowledge of the tradition they are transplanted Cuban commu - nity. ... Music was one of our attempting to represent should When evaluating published choral only connections with the octavos, the arranger’s or editor’s raise teacher-conductors’ sense of motherland, since everything expertise with the cultural and mu - healthy skepticism, prompting ad - else had to be left behind. ... I sical tradition represented is a pri - ditional research into the arranger’s recall first learning to sing mary consideration. e following or editor’s credibility. “Uno, Dos, y Tres” in grade school. ... is simple arrange - guiding questions might be in - e inside cover of Abril’s arrangement of “Uno, Dos, y Tres” ment conjures up the sights, formative: sounds, and feelings of my mu - contains contextual details that • Is information provided about sical childhood. (Abril, 2002) the arranger’s or editor’s knowl - provide reassurance regarding the edge of the cultural group rep - integrity of this arrangement. e Another question helpful for resented? origins of the musical genre and as - guiding conductors’ selection • Have they edited or arranged a sociated dance are clearly de - (article continued on page 14) Fall 2018 table of contents 6
OCDA Distinguished Service Award Amy Gelsone, Historian the annual OCDA conference toire, and conducting at the under - including luncheon is a special time each graduate level, and choral literature founding the summer when our membership and conducting at the graduate Bowling Green honors one of its own for outstand - level; supervises student teachers; Children’s Chorus and the BGSU ing performance and service. is and serves on thesis committees Middle School Honor Choir. He year’s recipient has represented not for students pursuing master’s de - has also conducted numerous jun - only Ohio, but the ACDA Central grees. A past president and treas - ior high and high school honor Division as well. We proudly an - urer of OCDA, Dr. Munson is the choirs as well as serving as the nounce that Dr. Mark Munson is current ACDA Central Division choral conductor of the Ohio Am - the 2018 Distinguished Service President. He was vital in the plan - bassadors of Music. During his Award recipient! ning of the first combined North tenure at BGSU, Dr. Munson has Dr. Munson serves as the Direc - Central/Central Division Confer - guided the career paths of numer - tor of Choral Activities at Bowling ence last February which was held ous undergraduate and graduate Green State University, where he in Chicago, Illinois. He also serves vocalists and students of choral has conducted the Collegiate as organist at First United conducting. He has been instru - Chorale, University Choral Society, Methodist Church in Bowling mental in assisting numerous stu - A Cappella Choir, and University Green, Ohio. dents in locating positions follow - Women’s Chorus. He currently Dr. Munson has served the ing graduation. In addition, Dr. conducts University Choral Soci - choral arts in Ohio for decades. He Munson is the founder of the vocal ety; teaches choral methods, reper - has worked with choirs of all ages ensemble Opus 181, and is a for - mer conductor of the Lima Sym - phony Chorus. What characteristics distinguish Mark Munson? e letter of rec - ommendation written by OCDA treasurer Kent Vandock describes it best: “Mark is a forward thinker, and a hard worker. He gets things done. Mark stepped into the role of OCDA President during a time of transition and change. He oversaw the growth of the State Board and major constitution and bylaw changes that were decades over - due. While these may not sound like the most exciting things a pres - ident could undertake, Mark un - derstood that in order for OCDA to grow and thrive, structural, lo - gistical and procedural changes Fall 2018 table of contents 7
Music at Otterbein Building your future... one note at a time
STAND OUT
Degrees O ered: • Bachelor of Arts in Upcoming Audition Dates Music and Business, Saturday, January 19, 2019 Concentrations in • Bachelor of Arts, Saturday, February 9, 2019 Audio Production, Arts Concentrations in General Tuesday, February 19, 2019 Administration and Music Studies, Theory and Management Saturday, March 23, 2019 Composition, History and Literature and Jazz Studies • Bachelor of Music Education • Bachelor of Music in Performance
Contact: Claire Brock, 614-823-1504, [email protected]
otterbein.edu/music Otterbein is an accredited member of the National Association of Schools of Music (NASM) Fall 2018 table of contents 8 needed to take place. is laid the someone who has set an example well. Recognized as an outstanding foundation for future OCDA lead - for countless young singers and as - musician, leader, role model, ership to establish new initiatives piring music educators. ... I didn’t teacher, and friend, Mark Munson within the state and at our Summer realize it at the time, but Mark sys - is creating a legacy through his for - Conference. You see, the work tematically modeled how to be a mer students. Mark’s students are Mark did was never about him—it great family man, musician, and “paying forward” the valuable les - has always been about others.” leader all at the same time.” sons they learned under his tute - e nomination letter continues Mark Munson has proven to be lage. We are proud that Mark can to outline Mark Munson’s out - an outstanding role model for now add OCDA Distinguished standing qualities as a father and a BGSU students and Ohio choral di - Service Award to his long and person. “I think Mark’s greatest rectors, and an outstanding leader growing list of accomplishments! d quality is that of a role model— for not only OCDA, but ACDA as
A Conversation with Jocelyn Hagen: “Composing in the Sacred” Daniel Parsl, Lifelong Area: Music in Worship R&R Chair Jocelyn hagen has been making a and absolutely loved it. My mother point. My name for herself as a choral com - was also my first piano teacher. music often has poser over the past decade. I had I have also absolutely loved col - a rhythmic intensity with deep the opportunity to talk with Joce - laborating with my husband, Timo - melodic sensibility and fun tex - lyn about a smattering of things the thy Takach, in recent years, both as tures. Much of my sacred music is other day, and we got to some top - a composer (we have a jointly com - for advanced adult choirs, but I do ics that might be relevant for you posed extended work called “is have a few very accessible works as you consider music in worship Is How You Love”) and as a per - for church choirs (“I Will Pray and and/or your programming of sa - former (in our band “Nation”). Sing,” “From Heaven Above to cred choral literature. Here are the Making music with him is so satis - Earth You Come,” “Now Our Meet - highlights. fying—he’s a deeply talented man ing’s Over,” “Psalm 121,” “Under the and we have many of the same mu - Stars,” “One Holy Night”). Dp: I understand that there is a sical instincts. It’s also brought us whole family of musicians in your even closer together, which I didn’t Dp: What does the word “sacred” life that has influenced you and think was possible! mean to you? continues to influence you. JH: Dale Warland says that all good JH: I grew up in a family that really Dp: Describe your compositional music is sacred. I think there is style and some of your favorite valued music. My mother was a some truth to this, but ultimately I tools in creating new works. piano teacher and later a professor believe that it is sacred if it means of music education. She was one of JH: I have worked very hard over it is suitable for the church. three sisters making music in her the years at developing my compo - household, and they still get to - sitional voice, and I believe it Dp: can you briefly talk about gether and sing whenever they can. shows. My music doesn’t sound your compositional inspirations? I grew up listening to the sound of like anybody else’s. I rely heavily on Who are your “bread and butter” three women singing in harmony, my craft and the art of counter - influences? Fall 2018 table of contents 9
6ƼDŽ1Ƽǖ166+Ʃ(7Ƴǟƻ,&
1-800-42-MUSICwww.stantons.com “Sheet Music Specialists”
At Stanton’s we search for new music the way you do, looking for teaching opportunities, engaging texts, appealing melodies and harmo- nies, and pieces that will be enjoyed and appre- ciated by your singers and audiences alike. Open Monday-Friday 9:00-5:00 & Saturday 9:00-4:00Your - stantons.com Partner - [email protected] in Music Education!
Your Source for...Classical Vocal - Broadway - Contest Literature - Show Choir - Sacred Choral - Choral Texts - Elementary - Sight Reading Large Works Wedding - Christmas Music Theory - Concert Band - Jazz Ensemble - Marching Band - Orchestra - Ensembles - Methods - Marches - Overtures - Texts - Software - Solos & Ensembles JH: I always preferred listening to JH: We started Graphite Publishing of women from Afghanistan. and performing 20th and 21st cen - in 2006, and it was, from the start, I’m also working on my first tury compositions. I grew up ador - an online music publisher that only multimedia symphony for SATB ing Copland and Barber, then sold PDFs. Back then people choir, orchestra, and video projec - Poulenc and Britten. And now I lis - thought we were crazy! But in truth tions. What a process this has be - ten to a lot of new music, just to we were ahead of the curve, and come! e work is called e Note - see what other artists are doing. over the years we have built a brand books of Leonardo da Vinci, and that musicians trust. It’s been an in - I’m sourcing his notebooks for Dp: What would you consider credible journey. (And if you have texts and images. I’ve been working your favorite sacred composition with museums and animators from you have created so far? yet to check out our site, please do! www.graphitepublishing.com around the world to craft the ac - JH: My “Benedictus” from the ora - Amazing music will be found.) companying video. torio amass has been performed by I love collaborating with con - lots of amazing groups and has Dp: What upcoming projects are ductors, and have been doing more won a few awards. You can find the you most excited for? consortiums in recent years. is 2011 performance by e Singers JH: I’m currently working on two allows groups to band together for (directed by Matthew Culloton) on huge projects! I have a commission the creation of a new piece, split - YouTube. It really is stunning. You from Conspirare called Songs for ting the commissioning cost, and need some great basses to pull it off! Muska, which will premiere in performing multiple premieres. It’s Dp: What’s the deal with March in Austin, Texas. It’s an great for composers because we “graphite publishing”? evening length featuring the poetry get to work with more people and Fall 2018 table of contents 10
receive more performances, and it’s complex, and has recently become great for conductors because they more experimental in nature. In still get the opportunity to be a 2013 she released an EP entitled part of a premiere opportunity MASHUP, in which she performs without undertaking the full cost. Debussy’s “Doctor Gradus Ad Par - nassum” while singing Ed Sheeran’s About Jocelyn Hagen “e A Team.” Jocelyn Hagen composes music Her commissions include Con - that has been described as “simply spirare; e Minnesota Orchestra; magical” ( Fanfare Magazine ) and the American Choral Directors As - “dramatic and deeply moving” sociations of Minnesota, Georgia, (Minneapolis/St. Paul Star Trib - Connecticut and Texas; the North une ). Her first forays into composi - Dakota Music Teacher’s Associa - tion were via songwriting, and this tion; Cantus; the Boston Brass; the been performed all over the world, is very evident in her work. e Metropolitan Symphony Orches - including Carnegie Hall and Lin - majority of her compositional out - tra; and e Houston Chamber coln Center in New York City. Her put is for the voice: solo, chamber, Choir, among many others. She is work is independently published and choral. In 2015, Test Pilot, her currently an artist-in-residence at through JH Music, as well as dance opera collaboration with North Dakota State University and Graphite Publishing, G. Schirmer, choreographer Penelope Freeh, re - regularly composes for their en - Santa Barbara Music Publishing, ceived a Sage Award for “Out - sembles. For ten years she was a Fred Bock Music Publishing, and standing Design,” and the panel de - composer-in-residence for the pro - Boosey and Hawkes. clared the work “a tour de force of fessional choir she also sang in, e For more information or to con - originality.” Her melodic music is Singers, under the direction of tact Jocelyn, visit www.jocelyn rhythmically driven, texturally Matthew Culloton. Her music has hagen.com d
Everybody Needs Somebody, Sometimes Brad Pierson, Mentorship Chair mentorshIp Is not a tool reserved need for mentorship within our a district, for people who are new to the pro - ranks—everybody needs some - county, etc. who fession, young, and struggling. body, sometimes. ere are, how - is aware of peo - Rather, mentorship, at its best, is ever, many barriers to creating a ple who might benefit from added about developing relationships consistent mentorship program. I support, please consider advocat - whereby people are able to share am writing to ask for your help in ing for involvement in the OCDA ideas and experiences for the bet - building a stronger community of Mentorship Program. Encourage terment of every party involved. choral conductors, by considering those who might benefit to enroll via our website, or contact me di - While our Mentorship program the following. rectly and help me get in touch has been successful where imple - Encourage Involvement. Whether with these conductors. mented, we continue to struggle to you are a collegiate educator send - get people involved. is is cer - ing new graduates out into the field Broaden your definition of mentor - tainly not because there is not a as young teachers, or a colleague in ship . Remember that mentorship is Fall 2018 table of contents 11 not for the few, but for the many. career. I will work to pair partici - exchanges and attending concerts — We all can benefit from the wis - pants, through dialogue and plan - the list goes on. dom and experience of our col - ning, with colleagues who can help Mentorship is something we all leagues. I regularly call colleagues, provide varied insight and support. need. Please help us to create a friends, and mentors for their sup - Get people involved in OCDA. meaningful exchange of ideas, and port. We have such a wonderful e primary thing to do is to en - especially to support those teach - collection of educators in Ohio, courage your peers (and remind ers who are early in their career, and an increase in engagement be - yourself) to stay involved in this teaching in a new school or at a tween colleagues can only wonderful organization. is goes new age range, or who are other - strengthen our programs. I would beyond attending our annual sum - wise in need of support. Visit www invite participation in the mentor - mer conference: read and write for .ohiocda.org/interests/mentorship ship program from conductors, re - your OCDA News, visit the web - today to register for mentorship gardless of where they are in their site, support your colleagues with help, or to become a mentor. d
Vocal Jazz Group Listening Primer: History and Style rough Listening Christopher J. Venile, Repertoire Spific: Vocal Jazz R&R Chair all contemporary Forms of group fortable with the style—we would vocal jazz singing arrive at their own style hear two vastly different perform - groups: the first through the aural tradition. Active ances. e student who has no ex - group were the innovators and listening to live and/or recorded perience with contemporary music consolidators of the music that was music of these ensembles is essen - would not possess the “feel” neces - going on around them. e second tial in capturing the style of the sary for stylistic authenticity. group contains the “modern” music. Since the rhythmic compo - Listening to the following sound of contemporary pop/jazz sition of popular music contains groups can energize and motivate that have continued pushing the lots of syncopation, without listen - your singers to try this less familiar boundaries of what are the con - ing, our students would have great genre. As a classical pianist and a temporary sounds of American difficulty in reading and perform - French Horn major in my under - and world music. ing the rhythms with stylistic in - grad, as well as a classically trained eir recordings can be found tegrity. singer, I have never been as chal - at www.singers.com , iTunes, Spo - An example would be putting lenged as when my ears and tify, and other places where jazz two pianists in practice rooms and “chops” were involved in learning recordings are featured. having them learn a Mozart sonata. music arranged in the jazz style. When the piece is learned the pi - Or, as Kerry Marsh, the brilliant Classic Vocal Jazz Groups anists would have slight degrees of arranger, puts it, “the harmonic e Comedian Harmonists A variation in their interpretation. If and rhythmic content is nearly al - pre-war, German, close-harmony we assigned two singers a jazz tune ways informed by contemporary vocal group of five men and a pi - to practice—Student A, who never instrumental jazz” (Kerry Marsh, anist from the 20s and early 30s listens to or performs contempo - kerrymarsh.com ). that influenced future groups, rary music, and Student B, com - What follows are two lists of including the Mills Brothers and Fall 2018 table of contents 12 others. ey split in 1934 to escape talent; his writing is fresh, new, un - the Hi-Lo’s, they are astonishing the Nazi regime. recommended like any other before or since; en - virtuoso voices that smash any album: Auf Wiederseh’n, My Dear ergy and enthusiasm is captured in style they choose. recommended recordings, several available on albums: Here We Are; Covers, Vol. 1 e Four Freshmen A very popu - CD. recommended album: Sud - lar group of horn players that loved Groove For ought GFT can best denly It’s the Hi-Lo’s / e Columbia to sing also; arrangements were be thought of as a vocal group that Years very hip; several good compilations can adapt to any of the styles of the available. recommended album: Lambert, Hendricks, and Ross groups in this list: they can per - Four Freshmen and Five Trombones Completely different type of vocal form an a cappella chart in the group than the above; they pio - manner of a Take 6, swing with a Hi-Lo’s Gene Puerling’s first group neered bop vocalese—taking fa - band like Singers Unlimited, and of four young men with virtuosic mous jazz recordings and writing do hybrid pop/jazz like New York lyrics to the improvised solos; focus Voices. ey came to prominence Important Upcoming is on the accuracy of the transcrip - on NBC’s “e Sing-Off” with Pen - OCDA Eleions tion, innovative lyrics rather than tatonix. recommended albums: loren VeIgel, group sound. recommended Songs of Good Cheer; Inspired; ocDa past presIDent album: Everybody’s Boppin’ Groove For ought All members of OCDA should Les Double Six A short-lived e Manhattan Transfer A New be proud of our active and ded - group of twelve singers, of which York quartet that eventually moved icated Board, who keep our Ward Swingle was a member and to California, they are going on 30 state organization at the top of arranger before starting the years in recording. An eclectic the nation in quality of activi - Swingle Singers in the early 60s. group from the beginning, they ties, membership, and financial e voices doubled the instrumen - have done doo-wop, be-bop, vo - security. You will receive an tal bebop lines. recommended calese, and lush choral arrange - email soon detailing next album: Les Double Six ments. recommended albums: spring’s election for a number Extensions; Vocalese; Brasil e Mills Brothers Billed as “Four of Board positions, but now is Boys and a Guitar,” their style was New York Voices Originally a sex - the time to think about your impeccable and their ability to imi - tet, now a quartet. NYV lead own desire to serve! tate instruments was extraordi - arranger Darmon Meader is a tal - In this year’s election, we nary; heyday was the 1930s and ented writer, sax player, and scat will vote for President-Elect 40s, when they performed with Ella singer. eir style is impeccable, and Secretary, as well as Re - and Louis. recommended album: whether doing vocalese, pop-type gional Chairpersons for the 20th Century Masters: the Best of styles, or Latin. recommended Northeast, Southwest, and the Mills Brothers (e Millenium albums: Sing! Sing! Sing!; Songs of South Central Regions. If you Collection) Paul Simon would like to run for any of e Real Group A Swedish quin - these positions, please do con - Contemporary tet educated at the Conservatory in tact me at [email protected] or Vocal Jazz Groups call 330-685-2558. I will be glad Stockholm. All classically trained, to speak with you about nomi - Accent e latest sensation in the they are an a cappella group that nations and job requirements, world of vocal jazz. e six men swings with a great lead from the and I’ll be happy to work with are each from a different country women and a deep bass. Scope and you toward serving our organi - and recently came together to re - breadth of material is impressive. zation in a more active way. hearse, record, and perform in the recommended albums: Unreal !; United States. In the tradition of Live in Stockholm Fall 2018 table of contents 13
Singers Unlimited A group that ling’s style for Singers Unlimited. e New Collection New commu - never performed live. Gene Puer - Have stayed true to their Christian nity-based jazz choir near Dallas, ling’s vehicle for lush arrange - message. recommended albums: led by recently retired UNT Jazz ments. Four singers provided up to He Is Christmas, Greatest Hits, Best Singers director 8 parts in multi-track recordings of Take 6 Mel and the Meltones Mel engineered in Germany. Several al - Torme’s group from the 1940s-50s bums with jazz greats. In vocal jazz Additional Recommended circles, this is the model for the Vocal Groups Phil Mattson & the P.M. Singers Grammy nominated group, two modern vocal jazz group sound. e Boswell Sisters Classic group recommended albums: Magic terrific recordings from the 1940s Voices; e Singers Unlimited with Rare Silk Denver group from the Chanticleer 12 male voices, spe - Rob McConnell 80s cialize in early music, one jazz CD Swingle Singers Made its reputa - SoVoSo World beat with improvi - Clare Fischer With studio singers tion doing transcriptions of sation and Clare on keys Baroque and classical instrumental University of Miami JV1 Premiere Glad Christian group with a dis - works. Last few decades have been group at Miami independent of founder, Ward tinctive sound UNT Jazz Singers University of Swingle. A double quartet that still Gold Company Premiere ensem - North Texas premiere vocal group programs lots of instrumental ble from Western Michigan Uni - adaptations. recommended al - versity Vertical Voices Kerry Marsh, Julia Dollison, Jennifer Barnes, Greg bums: Around the World; Anyone Just 4 Kicks Kirby Shaw, Vijay Jasperse for Bach, Mozart, Vivaldi? Singh, Randy Crenshaw, Kirk Voicestra Bobby McFerrin’s Take 6 Remarkable group due to Marcy jazz/world beat vocal group the complexity of the arrangements e King’s Singers Longtime (cannot be replicated). Writing for group with several CDs with jazz Vox One From Berklee School of the group is based on Gene Puer - styling music, now on faculty d
Summer Conference Recap Christopher Dent, Summer Conference Coordinator OCDA’s 2018 Summer Conference posers, discussed productive and conference was held this year June 18 –20, on useful warmups, and led a con - boasted great the campus of Otterbein University ducting masterclass. Highlights of performances in Westerville. is year OCDA Runestad’s presentations included by the Granville High School welcomed Dr. Hilary Apfelstadt, a session on composition and im - Women’s Chorus, the Bay High retired Director of Choral Activi - provisation, and sessions about text School Choraleers, e New World ties from e University of and the commission process. Singers from the Columbus Chil - Toronto, and composer and One of the highlights of the dren’s Choir, and the Hilliard Me - arranger Jake Runestad as our cli - OCDA Summer Conference are morial Middle School 8th Grade nicians. Dr. Apfelstadt offered in - the high-caliber performances. Women’s Choir. sight into Canadian choral com - is year was no different and the is year the OCDA High Fall 2018 table of contents 14
School Men’s and Women’s Honors mer Conference, with singers the best music to share with you; Choirs were directed by Dr. Peter grades 4 –8 coming to participate in terrific social events including our Jarjisian and Dr. Gayle Walker. is this rigorous, three-day event. is annual Gemütlichkeit at Quaker one-day event saw over 100 high year’s Children’s Honor Choir was Steak and Lube and the All-Confer - school singers join together from directed by Dr. Kristina MacMullen. ence Party at Brio; and a crowded high schools across the state and is year’s OCDA Summer exhibit hall with several vendors perform several outstanding selec - Conference included jam-packed from across the region. tions. reading sessions highlighting the I look forward to seeing you at e annual Children’s Honor tireless work of our Repertoire & next year’s conference, June 17 –19, Choir is always a huge part of Sum - Standards chairs who hand-pick 2019, at Otterbein University. d
(“ Evaluating Cultural Validity in Choral Repertoire ,” continued from page 5) process is whether members of the Exemplar 2: “e Joy I Feel” over important details of national, cultural group represented would arr. Tim Gregory, transcr. Dan ethnic, cultural, or individual iden - recognize the piece as relating to LeJuene, Hal Leonard #08754126 tity within those broad popula - their lived experiences, or whether is publication of three choral tions. When choral octavos essen - the piece instead offers a distorted, arrangements from Tanzania and tialize culture in these ways (see decontextualized, or stereotypical Kenya also provides helpful con - Erickson, 2005), conductors are view of the cultural group. e textual detail in the octavo’s inside urged to undertake further re - above description of Abril’s per - cover. Upon investigating the search to ascertain the specific na - sonal connection to Cuban culture, arranger’s qualifications, one learns tional, ethnic, and cultural contexts and to this piece specifically, pro - that Gregory is an ethnomusicolo - from which the songs originate. If vide evidence of the piece’s “cul - gist and music educator who has such information cannot be lo - tural validity,” meaning the extent conducted extensive research in cated, an alternative selection would likely provide the basis for a to which selections are typical and Kenya and Tanzania. In addition, more culturally valid learning ex - characteristic of a cultural group the octavo provides detail about the socio-cultural contexts from which perience. (Abril, 2006). Abril advises teach - the songs originate. Importantly, Of course, the amount of con - ers to seek repertoire that is high in the specific ethnic groups and na - textual information that can be cultural validity and low in cultural tions from which the songs origi - provided within the compact space bias (2006). “Uno, Dos, y Tres” is nate are recognized in the octavo: of an octavo’s inside cover is likely one example of a choral arrange - the Meru people in Tanzania and insufficient for developing an in- ment that meets those criteria, the Kamba people of Wamun yu, depth understanding of a given while also being vocally and devel - Kenya. is level of specificity con - piece’s socio-cultural context. is opmentally appropriate for ele - trasts with octavos in which pieces octavo is one of few examples I’ve mentary-aged singers. e details are vaguely designated as “African found that directs teachers toward provided about the piece’s social, folksongs,” for example. Such gen - additional resources through which cultural, and historical context as eral designations are problematic they can continue their study of well as the arranger’s knowledge of in that they portray large groups matters pertaining to cultural con - the cultural tradition are positive (e.g., the population of an entire text and culturally valid perform - features that teachers can seek continent, the population of Span - ance practice. e octavo refers ed - when evaluating additional publi - ish speakers) as though they are ucators to Gregory’s website, where cations. culturally homogenous, glossing field recordings generated within Fall 2018 table of contents 15
ieces for ght-singing contest p the actual OMEA si ositions ow youH can purchSase N r. These quality comp N Id by Dr. C. M. SheGare OMEA S 0G0 and lateTr, compose N I he music conforms to 20 ill-buiGlding practice. T e truly I erfect for intensive sk more, these pieces ar are p nd skill levels. What’s lines for age, group, a ances. guide ed for concert perform al and can even be us re music nd include all measu rbiage appropriate a e e age, meter, and ve here for a complet Texts ar rkings. Everything is and expression ma rst-division rating with numbers e your students to a fi rning experience. Tak musical lea vailable! actice compositions a the finest pr ontest music choral sight-reading c ducation Association The Ohio Music E from vailable for purchase for 2000 and later is a CMS PUBLICATIONS 3136 Englewood Dr. 4 Silver Lake, OH, 4422 re: To order, please click he m www.cmspublications.co the cultures of origin can be heard. traditions are transcribed into most valid learning experience. Such recordings facilitate conduc - standard notation, important de - is can be accomplished by con - tors’ ability to track editorial deci - tails are often not captured in the sulting with a culture bearer either sion-making and carefully consider notated score (e.g., stylistic ele - by having them visit in person or the cultural validity of those deci - ments such as scoops, slides, or via distance learning technology. sions. e videos also feature musi - bends, or pitches that do not corre - Multimedia resources featuring na - cians native to each culture as spond to the twelve-note chro - tives of a particular culture as vocal vocal models, allowing teacher- matic scale). Additionally, for mu - models provide another practically conductors and singers to discern sicians accustomed to learning accessible way to facilitate an aural important details regarding the Western classical music from no - learning experience with your vocal timbre, style, and perform - tated scores, the very presence of choir, a possibility explored in the ance practices with which the standard notation may cue them to next example. music is traditionally performed. apply stylistic details appropriate e availability of such refer - for Western classical music rather Exemplar 3: Vela, Vela ence recordings is a rare and useful than those appropriate to the cul - DVD created by Mollie Spector Stone, feature, especially if teachers are ture of origin (Goetze, 2000). If a available from thechoralimperative consulting a transcription of a piece would be learned via aural .com piece that would be taught via tradition in its culture of origin, Stone’s interactive DVD, Vela, Vela , aural tradition in its culture of ori - teaching and performing it aurally presents e University of Cape gin. When pieces drawn from aural in the classroom would yield the Town Choir for Africa’s perform - Fall 2018 table of contents 16 ances of seven South African make their performances as cultur - emphasize that consulting printed choral arrangements. e DVD ally valid as possible. Interviews choral octavos is not the only, or features South African musicians with South African musicians and necessarily the best, way to locate performing voice parts, pronuncia - an accompanying booklet provide culturally valid repertoire. If the tion, dance movements, and vocal substantive detail about the social, goal is to locate repertoire that is timbre and style, providing models cultural, historical, and political typical and representative of spe - cific cultural groups, beginning by that can support choirs’ efforts to context surrounding each of the pieces. e resource is an out - consulting with people about growth of Stone’s grant-supported repertoire relevant to their cultural research in South Africa, which in - backgrounds and identities is often volved sustained engagement in more productive than starting the the field. Since publishing Vela, process with materials such as Vela in 2004, Stone and collabora - scores or publisher’s catalogues. tor Cuyler have published a series While diversifying curricular con - of DVDs featuring music from Bul - tent does not in and of itself consti - garia, Georgia, and South Africa tute multicultural or culturally re - (also available through thechoral sponsive education, it can offer a imperative.com ), each of which has point of departure for choral teach - been thoroughly researched in col - ers interested in engaging more laboration with natives of each cul - substantively with these ap - ture. Some DVDs feature singers proaches to teaching. rough re - from the United States as vocal sponsible repertoire-related deci - models, which may be helpful in sion making, teacher-conductors encouraging singers that culturally can make important strides toward honoring cultural diversity in the valid renditions of music from cul - choral classroom. tures beyond the realm of their prior experience are attainable, Referenc provided they invest time and ef - fort into research and preparation. Abril, C. R. (2006). Music that repre - sents culture: Selecting music Scholarship Audition Dates: is article has described specific with integrity. Music Educators Saturday, Jan. 26, 2019 examples of choral music drawn Journal, 93 (1), 38 –45. Saturday, Feb. 9, 2019 Find your focus. from Cuba, Tanzania, Kenya, and Monday, Feb. 18, 2019 Erickson, F. (2005). Culture in soci - South Africa, highlighting features ety and in educational practices. that may lead teacher-conductors In J.A. Banks & C.A.M. Banks to include them in their curricula. (Eds.), Multicultural education: School While the specific selections are Issues and perspectives (5th ed., pp. 31 –60). Hoboken, NJ: Wiley. of Music unlikely to be useful to all conduc - Goetze, M. (2000). e challenges of www.uakron.edu/music tors in all situations, the principles 330-972-7590 performing choral music of the [email protected] and questions guiding their selec - world. In B. F. Reimer (Ed.), Per - tion may be informative to educa - forming with understanding: e The University of Akron School of Music tors interested in making their cur - challenge of the national stan - @uakronmusic ricula more representative of cul - dards for music education (pp. tural diversity. It is important to 155 –169). Reston, VA: MENC. d @uakronmusic Fall 2018 table of contents 17
Treasurer’s Report Kent Vandock, Treasurer
1HZVOHWWHU5HSRUW ,1&20( $GYHUWLVLQJ &KLOGUHQ V&KRLU,QFRPH (OHPHQWDU\&KRLU)HVWLYDO,QFRPH +LJK6FKRRO+RQRUV&KRLU,QFRPH ,QW,QF 0HPEHU'HSRVLWV 6XPPHU&RQIHUHQFH,QFRPH 727$/,1&20( (;3(16(6 $&'$0HPEHUVKLS'XHV7UDQVIHU $ZDUGV %DQN&KDUJH %RDUG0HHWLQJV &KLOGUHQ V&KRLU([SHQVHV (OHFWLRQV (OHPHQWDU\&KRLU)HVWLYDO([SHQVHV )HHV +LJK6FKRRO+RQRUV&KRLU([SHQVH ,QVXUDQFH 0LVF 1HZVOHWWHU 2IILFH 20($ 6SRQVRUVKLSV 6WDWH2IILFHU7UDYHO 6XPPHU&RQIHUHQFH([SHQVHV 7D[HV 7UDYHO :HEVLWHH[SHQVHV 727$/(;3(16(6 29(5$//727$/ Fall 2018 table of contents 18 Upcoming Events omea professional Development conference acDa national conference January 31 –February 2, 2019, Cleveland, OH February 27 –March 2, 2019, Kansas City, MO omeapdc.com acda.org Leadership Roster Prident SC Region Chair Historian richard schnipke John mcclain amy gelsone [email protected] [email protected] [email protected] Bowling Green State University Logan High School Anthony Wayne High School Vice (Past) Prident SW Region Chair Rired Reprentative loren Veigel Brian potts Ben ayling [email protected] [email protected] [email protected] Witte Travel Wyoming City Schools Ohio Northern University (ret.) Prident Ele Conference Chair Student Chapter Reprentative Brandon moss christopher r. Dent Vacant [email protected] [email protected] Central Crossing High School Indianola Presbyterian Church Elementary Ftival Chair lei ramos Srary Exhibits Chair [email protected] Zebulon highben holly lewis pemberton Old Trail School [email protected] [email protected] Muskingum University Worthington Kilbourne High School Children’s Honor Choir Chair Jennifer call Treasurer Membership Chair [email protected] Kent W. Vandock marla Butke Cleveland Institute of Music [email protected] [email protected] High School Honor Choir Perrysburg High School Otterbein University Co-Chairs EC Region Chair IT Coordinator ann Johnson Franklin miller eric West [email protected] franklin.miller@legacychristian [email protected] Whitehall Yearling High School .school Defiance High School Jessica myers Legacy Christian School [email protected] Newsler Editor Licking Valley Local Schools NE Region Chair tim cloeter Frank Bianchi [email protected] [email protected] Masterworks Chorale of Toledo Baldwin Wallace Conservatory Mentorship Chair NW Region Chair Brad pierson Beth Vaughn [email protected] [email protected] University of Toledo Bowling Green High School Fall 2018 table of contents 19 Repertoire & Resources MUSIC IN WORSHIP ETHNIC: INTERMEDIATE/ Chairs Daniel parsley ADVANCED VOICES [email protected] lynda hasseler Youth Area St. Timothy’s Episcopal Church [email protected] Capital University Area Coordinator: Doug O’Neal MEN’S CHOIRS SCHOOL CHILDREN Collegiate Area Area Coordinator: Jason Falkofsky Jeremy David Marie Bucoy-Calavan [email protected] [email protected] Saint Ignatius High School Maddux Elementary School COLLEGE/UNIVERSITY SHOW CHOIR COMMUNITY CHILDREN marie Bucoy-calavan Jeff clark Jeanne Wohlgamuth [email protected] [email protected] jeanne@columbuschildrenschoir University of Akron Indian Hill High School .org STUDENT ACTIVITIES Columbus Children’s Choir VOCAL JAZZ Bradley naylor chris Venesile JR. HIGH/MIDDLE SCHOOL [email protected] [email protected] Vacant Ohio University Kent State University SENIOR HIGH SCHOOL WOMEN’S CHOIRS Doug o’neal Repertoire-Spific Area Kristina macmullen [email protected] Area Coordinator: [email protected] Olentangy Liberty High School Kristina MacMullen e Ohio State University Lifelong Area CONTEMPORARY A CAPPELLA Area Coordinators: Brody mcDonald Brody.mcdonald@ketteringschools Tim & Tracy Carpenter .org COMMUNITY Kettering Fairmont High School tim and tracy carpenter ETHNIC: DEVELOPING VOICES [email protected] Julia shaw [email protected] [email protected] Clermont Chorale e Ohio State University Milford First United Methodist Church OCDA News, the official publication of the Ohio Copy and Ad Submission Deadlines: September 15 Choral Directors Association, is published three for the Fall Issue, January 15 for the Winter Issue, and times annually and is distributed without charge to April 15 for the Spring Issue. members of the Association as well as to selected Advertising Rates: a full-page ad is $135 per issue, a members and officers of the American Choral Direc - half-page ad is $80 per issue, and a quarter-page ad is tors Association. Distribution is by PDF file that is e- $45 per issue. A 15% discount is offered on the pur - mailed and posted at ohiocda.org . OCDA reserves chase of three consecutive ads; other discounts are the right to determine inclusion of materials submit - available. Please contact the editor for exact ad sizes ted and to edit all materials proposed for distribution. and other specifications. tim cloeter, editor • [email protected] • 262-527-8151