A in Ghana

Perform
Perform under the direction of
Dr. André Thomas
at th
thee National Theater, Accra Ghana

Meet African choirs and hear their music. Share

your music in villages, schools and churches. Sing
at the historic Cape Coast Castle.

Discover the Culture of Ghana with its Kente

weavers, Drummers, Wood Carvers, Jewelry
artisans, Traditional dancers and the most friendly
people on Earth!

Culture, Warmth & Much More...

I look forward to welcoming you to Ghana
in 2012 and hearing your voices as part of
The African Choral Festival.
President of Ghana
H.E. Prof. John Evans Atta Mills

www.africachoralfestival.com
Organized by the Government of Ghana,Ministry of Tourism and The Ghana Tourist Board
Board.

1-8 0 0 -624-0 1 6 6
 CONTENTS
March 2011
Vol. 51 • no 8

VERYTHIN
G ES E G
AN
CH
CE

HOW CONDUCTORS
INFLUEN

CAN SHAPE MOTIVATION,

CREATE MOMENTUM,
AND REFRAME THE
MUSICAL EXPERIENCE by
Tim Fredstrom
RAMONA WIS
6 20 26

A RTICLES I N SSII D E
6 Influence Changes Ever ything: How Conductors
Conductor s Can Shape Momentum, 2 From the Assistant Director
Create Momentum, and Reframe the Musical Experience 4 From the President
5 From the Guest Editor
by Ramona M. Wis
25 Career Moves
45 In Memoriam
20 A Picture is Wor th a Thousand Words: 59 In Memoriam
Promoting Choral Ar tistr y Through Presentation Technology 80 Advertisers’ Index
by Tim Fredstrom
The Choral Journal is the official publication of The
26 Digital Natives and Immigrant Choral Director
Directors:
s: American Choral Directors Association (ACDA). ACDA
is a nonprofit professional organization of choral di-
Catching Up and Reaching Out rectors from schools, colleges, and universities; com-
by Philip Copeland munity, church, and professional choral ensembles;
and industry and institutional organizations. Choral
Journal circulation: 19,000.

C OLUMNS Annual dues (includes subscription to the Choral

Journal ): Active $85, Industry $135, Institutional
37 Reper toire & Standards edited by Nancy Cox $110, Retired $45, and Student $35. One-year
A Conversation with Rollo Dilworth membership begins on date of dues acceptance.
Library annual subscription rates: U.S. $45; Canada
by Gretchen Harrison
$50; Foreign Surface $53; Foreign Air $85. Single
43 Hallelujah! edited by Richard Stanislaw Copy $3; Back Issues $4.

Jubilate, Amen! A Festschrift in Honor of Donald Hustad

Permission is granted to all ACDA members to
47 Rehearsal Breaks reproduce articles from the Choral Journal for non-
From Super Bowl to Salty Snacks: commercial, educational purposes only. Nonmembers
Opportunities for Advocacy Presented by the Use of “Classical” Music on Television wishing to reproduce articles may request permission
by Theodore Albrecht by writing to ACDA. 545 Couch Drive, Oklahoma City,
Oklahoma 73102. Telephone: 405/232-8161. All
51 Book Reviews edited by Stephen Town rights reserved.

61 Recorded Sound Reviews edited by David Castleberry The Choral Journal (US ISSN 0009-5028) is issued
monthly except for July. Printed in the United States
66 2011 Summer Wor kshop and Festival Listings of America. Periodicals postage paid at Oklahoma
City, Oklahoma, and additional mailing office. POST-
Cover art by Efrain Guerrero, graphic artist, Austin, Texas. MASTER: Send address changes to Choral Journal,
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National Officers
FROM THE Check your pulse and professional desires
if you left Chicago uninspired from a reunion
President
Jerry McCoy
University of North Texas
ASSISTANT with colleagues, discussions during round
tables, one-on-one conversations with an

DIRECTOR
940-369-8389 (voice)
mccoy@music.unt.edu admired peer during a button-hole session, a
Vice-president catch phrase during an interest session, or a
Hilary Apfelstadt
University of Toronto magical moment during a concert. My hope
416-978-0827 (voice)
Hilary.apfelstadt@utoronto.ca for 2011 and choral music education is that each of you
President-elect not only experience an inspirational moment, but also a
Jo-Michael Scheibe
University of Southern California life-changing moment may have presented itself; consider
scheibe@thornton.usc.edu
these opportunities:
NATIONAL TREASURER
Jo Ann Miller
North Dakota State University
jo.miller@ndsu.edu • Helmuth Rilling and the Chicago Symphony;
Craig Gregory
Executive Director
Tim Sharp
405-232-8161(voice) • ACDA’s Premier Shabbat service;
sharp@acda.org

Central Division President

Mary Hopper
• seeing Kettering High School live during Jazz Night;
Wheaton College
630-752-5828 (voice)
mary.hopper@wheaton.edu • a cup of coffee or cocktail with an admired colleague; and
Eastern Division President
Bob Eaton
rpesing@gmail.com • a memorable experience by a performance by a featured chorus.
North Central Division President
Aimee Beckmann-Collier
Drake University Flashback to the mid-1970s—Sunshine Singers from the Mexia State School
515-271-2841 (voice)
aimee.beckmann-collier@drake.edu came to First Methodist Church in Duncanville,Texas, for a public performance.
Northwestern Division President My life would never be the same after that performance. The passion, inspira-
Solveig Holmquist
Western Oregon University tion, dedication, conviction, love of singing, and achievement was overwhelming.
503-838-8437 (voice)
holmqus@wou.edu Was it musical excellence? I guess that depends on your definition of excellence.
Southern Division President Fast-forward to ACDA National Conference Chicago 2011—Joyful Noise
Tom Shelton
First Presbyterian Church
from New Jersey presents an interest session with Allison Fromm and Alice
336-275-9398 (voice)
tshelton@fpcgreensboro.org
Parker on Saturday morning. As Sue Sylvester from Glee says,“they are handicap
Southwestern Division President
capable.” Was it musical excellence? I guess that depends on your definition
Margie Camp
Young Voices of Colorado
of excellence.
303-797-7464 (voice) An educator understands the importance of these life-changing events, and
margie@youngvoices.org
the daunting amount of work to take this journey to Chicago. A teacher may
Western Division President
Cheryl Anderson think it’s “lovely.” Preparation, fund raising, auditions, rehearsals outside the
Cabrillo College - VAPA
832-479-6155 (voice) daily school schedule, sleepless nights, and frayed nerves barely scratch the
cranderson@cabrillo.edu
surface. Can you place your finger on a life-changing moment securing your
Industry Associate Representative
Alec Harris love of choral music?
GIA Publications Inc.
708-496-3800 (voice) Prioritize your experiences with interest sessions, performances, and discus-
Chair, Past Presidents’ Council sions that provide you with knowledge and understanding for the classroom
Michele Holt
Providence College and professional development. Did you stretch yourself and select one session
401-822-1030 (voice)
Holtm@cox.net
outside your musical and intellectual strengths? There’s always a lesson to learn.
National Past Presidents There’s always a new song to sing.You make a joyful noise in everything you do.
† Archie Jones Maurice T. Casey
† Elwood Keister † Hugh Sanders
† Warner Imig David O. Thorsen
† J. Clark Rhodes Diana J. Leland
† Harold A. Decker William B. Hatcher

Craig Gregory
† Theron Kirk John B. Haberlen
† Charles C. Hirt † Lynn Whitten
† Morris D. Hayes James A. Moore
Russell Mathis Milburn Price
† Walter S. Collins David Stutzenberger
H. Royce Saltzman Mitzi Groom
† Colleen Kirk
National R&S Chairs FROM THE The Sunset of An Age

National Chair
PRESIDENT Sunday, February 6, 2011, saw the passing of
Morris J. Beachy, one of America’ s great uni-
Nancy Cox versity choral conductors, a founding member
580/482-2364 (voice)
nrcox@swbell.net of ACDA, and long-time director of choral studies at the
Boychoirs University of Texas at Austin. He was my teacher and friend.
Julian Ackerley
Tucson Arizona Boys Chorus
Morris was the third of the choral giants to pass on
520/296-6277 (voice) whom I thank for whatever artistic success I’ ve had as a
ackerley@boyschorus.org
conductor/teacher, the others being Hugh Sanders and
Children and Youth Community Choirs
Robyn Lana Robert Shaw.
Cincinnati Children’s Choir
513/556-0338 (voice) Jerry McCoy Morris was one of the icons of American university
lanarr@uc.edu choral singing in the mid- to late-twentieth century. Along with
College and University Choirs others of his generation who have passed on—such as Robert Shaw, Roger Wag-
William McConnell
St. Andrews Presbyterian College ner, Robert Fountain, Hugh Sanders, Ron Shirey—Morris did not fear to incite, to
910/277-5262 (voice)
mcconnellwt@sapc.edu
pique, to challenge, to inspire, to rattle our sense of comfort, and challenge our
commitment levels. This generation of standard bearers never equivocated with
Community Choirs
Ron Sayer artistic mediocrity. As these men were, so should we become!
Marshall Community Chorus
660/831-5197 (voice)
I have a friend who calls such teacher/musicians the “gate keepers.” The gate
ronsay@aol.com keepers teach us to ask the hard questions: What should be the function of the
Ethnic and Multicultural Perspectives choral art in the American culture? Should it allow us a forum for looking deeply
Sharon Davis Gratto at ourselves, gods, myths, and communal nobility? Should it enhance and pass on
University of Dayton
973/229-3946 (voice) our concepts of greatness? Should it foster understanding among the tribes that
grattosd@notes.udayton.edu
constitute America and the world? Should it invigorate the spirits of the per-
Junior High/Middle School
Gretchen Harrison former and listener? Should it entertain as well as inform? Their stances on these
Frontier Trail Junior High
913/780-7210 (voice)
questions were manifested in each rehearsal they conducted, each concert they
gharrison.jhms@gmail.com gave, each choice of literature they made, and each discussion they held with a
Male Choirs student, singer, parent, principal, dean, or minister.
Ethan Sperry
Portland State University The loss of one’ s teacher is, in some ways, different from the loss of one’ s
Ethan.sperry@gmail.com other friends. It represents the final passing of the torch to one’ s own generation.
Music in Worship The truth is, no one knows how deep and long the stream of one's legacy runs.
Terre Johnson
Vestavia Hills Baptist Church Our influence, for good or ill, reaches out in ways we cannot imagine. If Beachy
terre@vhbc.com
hadn't taken a chance on me at the University of Texas, I wouldn't be where I
Senior High Choirs am today. He taught me the expressive power of the sounds of words wedded
Amy Johnston Blosser
Bexley High School to singing, and the core of how I build tone in my choirs. He taught me the value
614/539-5262 (voice)
amy.blosser@bexleyschools.org of persistence and perseverance in rehearsals, and the love of the moment in
Show Choirs performance. In the past ten years, I have been fortunate to place a significant
Robert Lawrence
University of Central Missouri
number of graduates in university teaching and professional conducting posi-
rlawrence@ucmo.edu tions across the USA, Mexico, and South Korea. All of them further the legacy
Two-Year Colleges of Beachy's artistry and his unswerving commitment to the deepest expressions
Dianna Campbell
Seminole State College of Florida of the human heart.
407/708-2644 (voice)
campbelld@seminolestate.edu
Our participatory art is the largest and, in many ways, the most influential in
the world. In its myriad manifestations we have the opportunity to shape na-
Vocal Jazz
Kirk Marcy tional character, enhance national work ethics, deepen worship experiences, and
Edmonds Community College
425/640-1651 (voice) broaden our place in the world. As the sun begins to set on this generation of
kmarcy@edcc.edu
American choral titans, the torch and mantle become ours to bear. It’ s time that
Women’s Choirs each of us became involved. It’ s time to stand up for the place of art in education,
Iris Levine
Vox Femina Los Angeles worship, and our national daily life. It’s time to make our case known to every
ilevine@csupomona.edu
American. It’ s our turn, not only to guard the gate, but to open it.
Youth and Student Activities
Joey Martin
Texas State University—San Marcos

Jerry McCoy
joey.martin@txstate.edu
 Editorial Board
FROM THE Welcome to Part 2 of the Choral Journal High

GUEST School Focus series. The high school choral con- Editor
Carroll Gonzo
ductor could be considered the ultimate multi- University of St.Thomas
651-962-5832 (voice)
tasker. Musician, manager, motivator, mental health
EDITOR
<clgonzo@stthomas.edu>

professional, mentor—and much much more! Managing Editor

Ron Granger
What could we address in this series that would ACDA National Office
405-232-8161 (voice)
be relevant, meaningful, and immediately applicable <rgranger@acda.org>
to this readership? Determining which topics to Editorial Associate
David Stocker
include was a major challenge, given the over- 281-291-8194 (voice)
whelming number of possibilities. In addition, this <dstocker@asu.edu>
Board Members
is the first time the Choral Journal has devoted an
Hilary Apfelstadt
entire series to high school choral programs.While University of Toronto
considering the direction to take, I came upon a 416-978-0827 (voice)
Cheryl Frazes Hill Hilary.apfelstadt@utoronto.ca
2009 Roundtable Discussion on the ACDA Web Terry Barham
site. I was struck by the comment of a contributing Emporia State University
620-341-5436 (voice)
member suggesting that ACDA should provide more “nuts and bolts, more <tbarham@emporia.edu>

practical tools for elementary, middle, and high school (choral programs).” It Richard J. Bloesch
319-351-3497 (voice)
was with this idea the authors set forth, providing informative, substantive, <richard-bloesch@uiowa.edu>

and practical articles relevant to the multifaceted demands of high school Kristina Boerger
Carroll University
choral teaching. In the first issue of the series, attention was given to rehearsal 262-524-7183
<kboerger@carrollu.edu>
planning and preparation, techniques for incorporating gesture and move-
David Castleberry
ment into the rehearsal, and selection of repertoire to fulfill curricular goals, Marshall University
including an extensive annotated repertoire list. 4304-696-2963
castlebe@marshall.edu
This month’s edition offers innovative ideas for the high school choral J. Michele Edwards
director to consider. Focusing on conductors’ influence on their ensembles, 651-699-1077 (voice)
edwards@macalester.edu
Ramona Wis explores the question “How can conductors create an envi- Lynne Gackle
ronment where there is always a sense of momentum, where ensemble Baylor University
254-710-3654 (voice)
members take ownership of their experience, and where success defined as lynne_gackle@baylor.edu

more than the final concert, can be achieved without compromising the spirit Sharon A. Hansen
University of Wisconsin—Milwaukee
of the ensemble?” Wis suggests practical advice to achieve these goals in her 414-229-4595 (voice)
sahansen@uwm.edu
article, “Influence Changes Everything.” Tim Fredstrom addresses learning
Paul Laprade
styles in his article “A Picture is Worth a Thousand Words.” Fredstrom posits Rock Valley College
the idea that by through presentation technology, visual images can increase 815-921-3347 (voice)
p.laprade@rockvalleycollege.edu
the student’s perceptions and understandings beyond the conductor’s verbal Edward Lundergan
descriptions. Utilizing technology to better manage those time-consuming SUNY-New Paltz
845/257-2715 (voice)
tasks and to become more connected with the world in which our students <lunderge@newpaltz.edu>

excel is addressed in Philip Copeland’s article “Digital Natives and Immigrant Donald Oglesby
University of Miami
Choral Directors: Catching Up and Reaching Out." Copeland informs “digital 305-284-4162 (voice)
<DOglesby@miami.edu>
immigrants” with extensive explanations and resources.
Ann R. Small
It has been a great pleasure to work with the wonderful authors on this Stetson University
386-822-8976
series. As a veteran high school choral director and now as one who guides <asmall@stetson.edu>
future choral directors, it is my hope that the ideas shared in this focus se- Magen Solomon
University of Southern California
ries will refresh, inspire, and motivate readers to continue the work of this 213-740-3225
wonderful profession with renewed energy and spirit. <magensol@usc.edu>

Richard Stanislaw
Ocean City Tabernacle
609-399-1915 (voice)
Cheryl Frazes Hill rstanislaw@octabernacle.org

Stephen Town
Northwest Missouri State University
660/562-1795 (voice)
Cheryl Frazes Hill is the head of music education and director of choral activities at the <stown@nwmissouri.edu>

Chicago College of Performing Arts, Roosevelt University, and the associate conductor
of the Chicago Symphony Chorus
 S EV E RY THIN
G E G
AN
H
C
CE

HOW CONDUCTORS CAN

INFLUEN

SHAPE MOTIVATION,
CREATE MOMENTUM,
AND REFRAME THE
MUSICAL EXPERIENCE
Ramona Wis

Ramona Wis is the Mimi Rolland Distinguished Professor in

the Fine Arts and professor and chair of music at North Central
College in Naperville, Illinois. She is the author of The Conductor
as Leader: Principles of Leadership Applied to Life on the Podium
(GIA Publications, 2007) and former president of Illinois ACDA.
rmwis@noctrl.edu
 Question 1
Do you believe things can change?
If yes, move to question 2.

Question 2
Do you believe you can change?
If yes, move to question 3.

Question 3
Do you know that the change
you wish to see in others
starts with a change in you?

If yes, read on.

If you answered no
to any of these questions,
read on and see if whether what
you learn changes any of your
answers to yes.

CHORAL JOURNAL Volume 51 Number 8 7

 INFLUENCE CHANGES EVERYTHING
This focus issue of the
Choral Journal is written
with an emphasis on the
“real life” of choral conduc-
tors and teachers—profes-
sionals who come to rehearsal wanting to
teach, to share their passion for music and
for people, and to create an environment
that says musical experience and the pursuit
of artistry matters at every age and experi-
ence level. In this issue, tips, resources, lists,
and suggestions abound, providing us with
direction to improve our work with our
ensembles. But unless we take time to ex-
amine the broader framework within which
our work takes place, we can get caught up
in a “to-do list” of tasks that don’t seem to
make a significant or lasting difference in
our conducting lives or in the lives of those
we lead. In this article, we will explore how
we can use our influence as conductors to
create an experience that is characterized by
motivated singers, ever-increasing momen-
tum, and both a successful musical product
and a meaningful musical process.
8 CHORAL JOURNAL Volume 51 Number 8
A Starting Point:
Understanding Our Influence
Conductors are leaders—and as lead-
ers we can move to an entirely new level
of effectiveness when we understand our
position to influence others for good by who
we are, what we say, and what we do. John
Maxwell’s definition is simple and powerful:
“Leadership is influence—nothing more,
nothing less” (Maxwell, 1998, p.17). If we
are going to move our ensembles forward, if
we are going to lead singers and not simply
manage them, then we will do so by using
our influence.
Influence is defined as the power to affect
the actions or thinking of others. Conductors
are accustomed to thinking of ourselves as
musicians and educators, but how often do
we think of ourselves as agents of change?
More than anyone or anything, we are in
the position to influence the performance,
thinking, and character of our ensembles. If
we want changes in the atmosphere or the
energy of the rehearsal, the “image” of the
ensemble or the overall program, the com-
mitment level of the singers, the quality of
their artistry, the singers’ musical tastes, and
certainly their skill and understanding—it all
starts with us. This is a powerful realization,
requiring us to examine our own thinking
and the way in which we use our influence
by the decisions we make and the way in
which we interact with everyone involved in
the organization, from singers to colleagues
and from parents to administrators.
It is easy to underestimate or misapply
the power of our influence. We underes-
timate it when we tell ourselves that we
are not in control of our professional lives,
and we misapply it when we use coercive
tactics to get others to follow us. Neither is
a realistic perspective on getting the most
from our position of influence.
There are always aspects of our program
that we do not control, though given time
and the power of our influence, we are
usually able to effect some change, even dra-
matic change.We can choose to feel helpless
and complain about our situations or we
can work from whatever starting point we
are given and begin to move and shape our
artistic reality for the better. We do this by
sharing our passion, by casting a vision for
what “could be,” by persuading others with-
out coercing them, and by educating rather
than criticizing.
If we focus less on our feeling influenced
by others and more on ways in which
we can use our own influence on others
(including boards and administrators), we
realize the enormous power we have and
everything changes. But this mental shift
requires our professional maturity to accept
responsibility and think twice before blaming
others for the way things are. If we accept
the power of our influence, we also accept
the responsibility for shaping an environ-
ment where growth can happen and where
the musical experience can be profound,
rewarding, and of the highest caliber. Bottom
line: If change is not happening, we need to
first look inward at ourselves before pointing
the finger at everyone else.This is a sobering
part of our job but it is also the catalyst for
meaningful and lasting change.
How do we use our influence to shape
motivation (isn’t that the singers’ problem?),
create momentum (ditto), and reframe the
musical experience? What “Influence Steps”
can we take to move our ensembles further
down the continuum toward a more suc-
cessful and rewarding musical experience?
Who Are These People?
The Role of Motivation
in Creativity
Creating momentum starts with knowing
our singers so that we can understand what
motivates them. It is not sufficient to think
of them as “freshman boys” or “community
members;” if we are going to be able to
maximize our influence we need to think
from an others-centered point of view. This
can be a challenge for conductors because
our training and experience have been
“me-focused” for much of our lives. We
are expected to be excellent musicians and
technicians, to know how to discipline (man-
age) a group of students, and to understand
how to analyze scores and diagnose prob-
lems, and prescribe solutions in a rehearsal.
But how much time have we spent learning
how to connect with the individuals that
make up our ensembles? How much have
we thought about why singers don’t respond
in the ways we wish they would, and about
how we can influence their response using
positive and long-lasting means?
Our ensembles are composed primarily
of “volunteers”—students of various ages or
community members—and as volunteers,
they are choosing to give of their time for
reasons other than a paycheck. In almost
every case, musicians will be motivated by
some combination of three factors: the mu-
sic itself (the strongest motivator, we would
hope); a sense of community (the social/
emotional/psychological aspect); and the
experience of contributing to a bigger whole
(the human desire for significance). Under-
standing motivation helps conductors to
shape a musical environment that connects
the music, the musicians, and the conductor
in a deep and productive way.
The music Although the impetus for
joining an ensemble is often social in nature,
we want singers ultimately to regard the
music and the creative experience as suf-
ficiently powerful to be the primary reason
for singing. In Drive: The Surprising Truth About
What Motivates Us (2009), Daniel H. Pink
presents compelling research about the re-
lationship between intrinsic motivation and
creativity: “For artists, scientists, inventors,
schoolchildren, and the rest of us, intrinsic
motivation—the drive do [sic] something
because it is interesting, challenging, and
absorbing—is essential for high levels of
creativity.” (p. 46) This means that grades,
awards, social activities, and tours, while part
of the recipe for motivation, cannot be the
driving force for creating an engaged and
high-achieving ensemble. The music and the
experience of creating music must be our
strongest motivations.
Influence:
Choosing Repertoire That
Is Sufficiently Challenging
Step 1 Choosing a high-quality, balanced
program of repertoire is nothing short of an
Olympic event for conductors—it demands
ongoing training (searching for repertoire),
a refinement of one’s sense of foresight (to
envision how effectively each piece can be
learned and performed), as well as an aes-
thetic sense of balance and flow (to ensure
that the rehearsals, and not just the perfor-
mance, offer variety, challenge, and reward.)
Excellent repertoire is not necessarily
technically demanding. Some of the most
beautiful pieces are simple, well-constructed
melodies that offer the opportunity to
develop our expressive abilities rather than
display our technical prowess. Technical
challenges, however, are part of what makes
music interesting (read “motivating”) so
creating variety within a concert program
is essential. Aim for variety in musical styles,
difficulty levels, tone colors, keys, tempi,
accompaniment options, and language and
cultural backgrounds. Remember: you will
live with this music for weeks, maybe months,
before you perform it. The atmosphere of
each rehearsal will be determined by the
music you are studying and preparing, so
choose wisely or you will deflate the singers’
motivation and make it much more difficult
to create a sense of momentum. Put simply:
CHORAL JOURNAL Volume 51 Number 8
if the ensemble finds the music interesting,
rewarding, and challenging, they are more
likely to attend rehearsals and be deeply
“Eastman Classic” Choral Institutes
Each participating conductor will conduct
Voices, the professional chamber chorus in
residence at the Institute.
Choral Conducting Workshop:
American Choral Landscapes
JULY 18-22
WILLIAM WEINERT, DIRECTOR
WITH GUEST CONDUCTOR
CRAIG HELLA JOHNSON
Practical approaches to rehearsal technique,
performance practice issues, conducting, score
analysis and preparation. Each participating
conductor will work with both teachers.
Enrollment is limited to 14 conductors.
Professional Development Hours: 30
Tuition: $2,300/2 credits $625/noncredit
Choral Conducting:
Artistry, Vocal Pedagogy, Musicianship
JULY 11-15
WILLIAM WEINERT, DIRECTOR
FACULTY: ROBERT MCIVER, MONICA DALE
Topics that choral directors and accompanists
address in the context of choral singing: daily
sessions in conducting, singing, musicianship,
class performance, vocal pedagogy, repertory
selection and movement-oriented Dalcroze
Eurhythmics. Enrollment is limited to 14
conductors.
Professional Development Hours: 30
Tuition: $2,300/2 credits $625/noncredit
Also in Sumer 2011
Practical Vocal Pedagogy
JULY 24-29
ROBERT MCIVER, KATHRYN COWDRICK
For school teachers, private teachers, church
musicians, and singers.
$1,500/1 credit $560/noncredit
www.esm.rochester.edu/summer
summer@esm.rochester.edu
1-800-246-4706
in New York State: 585-274-1400
9
 INFLUENCE CHANGES EVERYTHING
involved in the creative process. Using our
influence means choosing excellent music to
provide this opportunity.
A Sense of Community The social or com-
munity aspect of an ensemble is often what
initially attracts singers and in the end, a
lack of community can drive singers away.
Musicians will be freely expressive only in an
environment where they feel safe to make
mistakes and where they are valued for
whatever talents they bring. Asking them to
take artistic risks will be met with resistance
if singers do not feel comfortable with us,
as leaders of the experience, and with the
other members of the ensemble.
Influence:
Create an Environment of Trust.
Step 2 Creating a sense of community is
deeply dependent upon the way in which
we, as conductor/leaders, use our influence
to construct an environment where sing-
ers are “known” in an important way. This
means creating an environment where the
singers can trust us, and where we, in turn,
demonstrate that we trust them.
For singers to trust us, we must be
trustworthy. This means being competent,
prepared, and consistent in who we are
and what we do. If our skills are weak, the
ensemble will be reluctant to trust our
10 CHORAL JOURNAL Volume 51 Number 8
choices and our leadership. If we are un-
prepared, singers will follow suit and take
a similarly casual approach to their own
commitment to the ensemble. And if we
are inconsistent—happy and outgoing one
day, a tyrant the next—singers will have no
confidence in their musical lives, which we,
as their conductors, lead. If we have gaps in
any of these areas, our ensembles will not
trust us to lead and teach them.
Trust must work both ways if we are
going to maximize everyone’s potential and
motivate singers to work at a high level to
accomplish musical goals.The clearest way to
show singers that we trust them is to involve
them in the artistic decision making process,
at whatever level appropriate for them; we
need to do more than drill technique, or
“pound notes and rhythms.” We need to let
singers enter into the artistic process and
show them how to make musical decisions.
Give them some artistic freedom so they
will learn to do more than simply following
our directions on cue. “Living a satisfying life
requires more than simply meeting the de-
mands of those in control. Yet, in our offices
and our classrooms, we have way too much
compliance and way too little engagement.”
(Pink, 2009, p. 112)
Trusting the ensemble in this way is
scary business for conductors, because we
have been trained to be “THE” authority,
the solitary decision-maker and pedagogue
on the podium. We must be strong leaders
with great vision, and the ability to bring
the ensemble to realize this vision—make
no mistake about that. But a critical leap of
faith for conductors is to dialogue about the
music in ways that not only enhance the sing-
ers’ understanding and their performance
but also engage them in the rehearsal and
commit them on a much deeper level to the
goals of the ensemble. Using our influence
means doing more than diagnosing problems
and prescribing solutions: it means also ask-
ing questions, discussing musical intent, or
trying out multiple approaches to solving a
technical challenge and choosing a solution
with the input of the ensemble.
If you think you “don’t have time” to
engage the ensemble in this way, then con-
sider the alternative: singers who are not
motivated because they do not feel valued at
a deep level; singers who don’t take initiative
because we don’t give them an opportunity
to do so; or singers who start over at the be-
ginning of every rehearsal cycle of new music
because we have trained them to obediently
follow instructions without teaching them to
think deeply about why their actions make
sense within a musical context.
Contributing To the Larger Whole
Closely related to a sense of community
is the feeling that what we do matters be-
yond a successful concert or competition.
When we can do something creative and
contribute our talents in a meaningful way,
motivation is strengthened.
Influence:
Inspire Singers With A Cause
Larger Than Themselves.
Step 3 Conductors must constantly rein-
force the idea that what we do in rehearsal is
much more than getting the music “correct”
for the next performance. We are artists,
creating something together that we cannot
create individually. For us, the whole is much
greater than the sum of the parts and the
whole is constantly changing as we grow in
our musical skill and understanding and as
we learn from every performance.
 As conductors, it is our job regularly
to remind the ensemble of the power of
sharing our art with one another and with
audiences. Making sure all musicians know
they are a part of something bigger than
themselves is an important use of our influ-
ence and makes a big difference to the drive
behind the ensemble. They need to know,
This is significant. I am significant. What I do,
matters.
Contributing our music to events such as
concerts for at-risk students or handicapped
individuals is another way to help develop
the ensemble’s sense of significance. Young
people are increasingly interested in service
projects, mission work, or social-justice
initiatives; tapping into this interest is an
important way to connect with our singers
and to contribute our creative talents to a
cause larger than all of us.
When excellent music is at the core of
an environment of trust and a well-defined
sense of significance, motivation will be
consistently high and built on a lasting
foundation. Positive or negative extrinsic
rewards—pizza parties, trophies, grades, or
chair auditions—should be used sparingly, if
at all, since they can actually decrease mo-
tivation in the long run and even negatively
impact our goals and the development of
the ensemble. Ultimately, making music
together is the most powerful community
builder for our ensemble; social events and
rewards aside, it is the act of creating sound
with other committed musicians that most
strongly unites a community of singers.
Knowing what motivates our singers
best allows us to understand how to use
our influence—our skills, our position of
authority, and our foresight—to create the
momentum needed to propel us toward
our collective musical goals, and to do so in
a way that demonstrates our character and
cultivates character in those we lead.
Momentum 101 (. . . 201, 301, 401 . . . !)
Momentum is about planning and manag-
ing our time and energy toward an end goal.
Among our greatest frustrations is the sense
of “stalling:” of going nowhere, or of doing
the same thing over and over while achieving
the same, not-so-good results (which some
say is the definition of “insanity”). Momen-
tum is characterized by an unmistakable
sense of growth, forward motion, success,
and anticipation.To create momentum, con-
ductors need a keen sense of time and how
to use it, whether throughout the concert
season or in the 50-minute rehearsal hap-
pening today.
The Concert Season
Momentum, or lack of it, is first felt in the
way conductors build the concert season.
Finding the best balance between too few
and too many performances is an important
skill for conductors wanting to create a sense
of momentum throughout the year.
Influence:
Build in Enough Time
Between Performances to “Get
Hungry” But Not So Much Time
That The Ensemble’s
Appetite Is Lost Altogether.
Step 4 It is difficult to create and sus-
tain momentum for a long period of time
without a clear goal to work towards. The
perception of “now” creates momentum;
but if the next performance is so far into
the future that the ensemble is thinking of it
as “then,” there will be no momentum—and
that can lead to attendance and attention
problems, re-rehearsing music (because
there was no investment on the part of the
singers the first time around), and general
apathy. Without a healthy sense of urgency,
we may be tempted to cancel rehearsals or
schedule mindless alternative activities (study
halls, movies, puzzle worksheets), all of which
can be an interesting diversion if used spar-
ingly but which can become all-too-regular
substitutions for real musical learning and
experience.
If your season is traditionally built around
two major events, such as holiday and spring
concerts, find other meaningful opportuni-
ties to perform throughout the year so
that the ensemble always has something in
the not-too-distant future. But, these must
be worthwhile events. There will be no
momentum unless singers view the upcom-
ing performance as valid and achievable;
CHORAL JOURNAL Volume 51 Number 8
TRINITY LUTHERAN
SEMINARY
Columbus, Ohio
Summer Music Courses 2010
Courses are for graduate credit or audit.
WEEK ONE June 7–11
Music & Liturgy, 1:00 – 4:30 p.m.
May Schwarz, Professor of Church Music,
Trinity, with Ronald Jenkins, Minister of
Music and Liturgy, First Community Church,
Columbus, Ohio
Playing the Text: Interpretive Hymn
Playing, 5:00 – 7:15 p.m.
Class at First Congregational Church,
Columbus, Ohio (72 rank Beckerath organ)
James Bobb, Minister of Music, First
Congregational Church
Music Technology for Church Musicians,
4:45 – 7:00 p.m.
Mark Lochstampfor, Professor of Music,
Capital University, Columbus, Ohio.
WEEK TWO June 14–18
Perspectives in Choral Conducting,
1:00 – 3:15 p.m.
Robert Ward, Associate Director of Choral
Studies, The Ohio State University,
Columbus, Ohio
Master This! (Organ Literature
Masterclass), 3:45 – 6:00 p.m.
Paul Thornock, Cathedral Director of Music,
St. Joseph Cathedral, Columbus, Ohio
Handbells I, 5:00 – 7:15 p.m.
Jane McFadden, Director of Handbells,
Christ Lutheran Church, Bexley, Ohio;
composer and arranger
WEEK THREE June 21–25
Advanced Handbell Skills (Handbells 2)
1:00 – 3:15 p.m., Jane McFadden
Music and Worship in the African
American Tradition, 3:30 – 7:00 p.m.
Raymond Wise, Affiliated Professor of
Church Music, Trinity Lutheran Seminary
For further information contact:
Professor May Schwarz
Director, M.A. in Church Music
2199 East Main Street
Columbus, Ohio 43209
614-235-4136
www.TrinityLutheranSeminary.edu
music@TrinityLutheranSeminary.edu
11
 INFLUENCE CHANGES EVERYTHING

more important, your program can quickly
become known as an entertainment or ser-
vice program instead of a legitimate musical
ensemble if too many events of this kind
are scheduled. Walking the line between the
two is tricky, especially if your administrators
exert pressure on your performance calen-
dar. Even if they don’t, we acknowledge that
outreach events are a part of what we do
as musicians and they can serve both healthy
musical and non-musical purposes. Being
able to clearly articulate what constitutes
a respectable, balanced, and professional
concert schedule is an important part of the
conductor’s leadership skills and while there
may be occasional compromises, aiming for
credibility and excellence at all costs should
be the goal.
More common than having too few
performances in the season is having too
many—scheduling so many performances
so close to one another that there is no
time to get excited, much less adequately
prepared, for each one. Before scheduling a
Wednesday night concert during tech week
of the spring musical, followed by an out-of-
town tour and festival the next weekend
(which is the weekend before prom), con-
ductors need to think about the energy it
takes for the ensemble not only to prepare
the music in a meaningful way (that is, not
just pounding notes and drilling the music
under pressure) but also to have the physical
and psychological energy to focus on each
upcoming performance. Each performance
is unique, even if the repertoire is the same.
Singers need to be physically “in voice” and
adequately rested. Just as importantly, they
need to want to perform. If the concert
feels like drudgery, like the “same-old, same-
old;” if the singers are exhausted or preoc-
cupied, or if there is a deep anxiety about
not being prepared, momentum will stall.
Be careful not to mistake frenzy for pro-
ductive activity; resist the urge to book more
events than your ensemble can capably and
enjoyably prepare. While a little pressure
(a busy performance weekend with two or
three back-to-back concerts) can add to the
excitement and momentum, we need to use
our sense of foresight and balance to deter-

Choral Conductors Workshop

with Rod Eichenberger

Workshop Locations
Alexandria, Virginia
July 18 – 22, 2011
Cannon Beach, Oregon
August 1 – 5, 2011
For more information, contact:
George Fox University
Performing Arts Department
503-554-2620
CCW@georgefox.edu
or visit
choralconductorsworkshop.com

A five-day professional development workshop for choral conductors at all levels

12 CHORAL JOURNAL Volume 51 Number 8

mine the right schedule for the ensemble at
any point during the season.
The Concert Cycle
How often, on the day of a concert, do we
wish we had “just one more week” (or day,
or rehearsal) before the performance? Then
we would be ready, we think.
The bigger question is: How regularly do
we find ourselves in this same predicament,
wishing we had “just one more”? Do you
accurately predict that every concert week
will be “crazy” or that you will be rushing to
get things ready for the performance? If so,
ask yourself: “Why am I planning, in advance,
to be out of time and unprepared?”
One of the most important skills con-
ductors must acquire is the ability to design
the concert cycle, the period of weeks
leading up to a performance, in a way that
allows for the needed technical learning, the
ongoing development of musical skill and
understanding, and a meaningful musical
experience. Until we master this skill, we
will always be in danger of reliving the same
chaotic and stressful process over and over
and shortchanging what the music and the
musicians can offer. Instead of momentum,
ensembles will experience a series of slow
or perhaps mildly productive rehearsals fol-
lowed by pressured “cram sessions.” Seeing
the concert cycle as a whole and making
smart decisions in advance can prevent this
drama.
Influence:
Subtract At Least Two
Rehearsals From The Number
You Think You Have.
Step 5 If we plan a concert program
based on the actual number of scheduled
rehearsals, we are scheduling too tightly. Al-
lowing no room for the unexpected (snow
days, a flu epidemic, surprise fire drills, or
music that takes longer to learn than we an-
ticipated) means boxing the ensemble into a
corner where singers are being force-fed the
music—hardly an enjoyable or educational
experience.
Learning music may be thought of in
three phases: a reading or introductory
phase, a learning and exploration phase,
and a polishing or performance phase.These Influence:
phases take different kinds of energy and
rehearsal time, with more time spent in the Set Goals To Be Met
middle stage than the others. If the goal is Throughout The Concert Cycle
to teach and not just train, we will want to Instead Of Waiting Until
allow time to talk about the music, explore The Final Performance.
artistic options and musical challenges, work
Step 6 Learn at least one piece relatively
with balance and blend, and ask questions
quickly and use it as a “success piece” that
about everything from the meaning of the
can be sung at the beginning or end of
text to the cultural and social implications
subsequent rehearsals or at any time the
of the pieces we collaboratively bring to a
ensemble needs to “just sing.” Rotate the
polished stage. Scheduling too tightly dur-
other pieces of medium or high difficulty
ing the concert cycle will make this kind of
in and out of rehearsal, and set goals for
teaching and learning impossible.
when these pieces should be “learned”
Devote the early rehearsals to intro-
(capable of being performed with the score
ducing new repertoire but be sure to
in hand and few, if any, technical errors) and
include one or two pieces in the program
when they should be “performance ready”
that the ensemble can learn relatively
(memorized, fully expressive performances).
quickly. This will create an immediate sense
Establish these goal dates with the input
of accomplishment and set momentum
of the ensemble: ask them, “Which piece
on its feet. Program other pieces that
should we have learned for Friday?” Spread
will take more of an investment of time
these finishing goals throughout the concert
and energy and at least one piece that
cycle so the ensemble feels a growing sense
may need most of the rehearsal cycle to
of accomplishment and so your conductor
prepare because it pushes the ensemble to
“checklist” can account for the ensemble’s
its limits of technical and artistic ability. This
readiness as the concert date approaches.
balance of difficulty levels within a concert
Trying to peak all the pieces simultaneously
program ensures that rehearsals will have
in the few days leading up to a performance
momentum because there will be a variety
creates unnecessary stress and compromises
in the way time is used and in the level
the quality of the work you can do in those
of challenge presented throughout each
final rehearsals.
rehearsal.
CHORAL JOURNAL Volume 51 Number 8 13
 INFLUENCE CHANGES EVERYTHING
Influence:
Plan The Final Two Rehearsals
To Focus On Logistics And
On Performing, Not Just
“Running,” The Concert.
Step 7 The final rehearsals always present
new challenges. Bringing in an accompanist
or guest musicians, working with entrances,
exits, and riser arrangements, and adjusting
to the new acoustic of the performance
space take time—we need to plan for that
time. Continuing to build momentum in
those final rehearsals requires that the music
is performance ready and that conductors
use their foresight by preparing the en-
semble for what will be needed as they bring
all the pieces together for the performance.
Set a new and higher bar for concentra-
tion and focus for these rehearsals. Let the
ensemble know they need to trust you; that
adjustments will be needed in this new en-
vironment and they need to respond quickly
and quietly. The stakes are higher during
these final stages and while conductors must
continue to lead with dignity, singers need to
understand that efficiency and focus are key.
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14 CHORAL JOURNAL Volume 51 Number 8
these final rehearsals by planning the singers’
standing arrangements and entrances/exits
in advance. Develop a written lineup or
chart so they know where to go when they
arrive at rehearsal; better yet, rehearse in
concert arrangement during the rehearsal(s)
prior to concert week so that this is one less
thing to spend time on. Give the ensemble
a running order of the concert with details
about entrances and exits, if/when there are
announcements, where they will be seated
before and after their performance, and any
other logistics that they will need to know in
order to be comfortable and professional in
their presentation.To be even more efficient,
find a way to provide this information by
using an ensemble Web site or Facebook
page devoted to communicating with the
ensemble. Referring the singers to these
resources can save valuable time in the final
rehearsals.
Influence:
Have A Plan B And Use It,
If Necessary, Early Enough
In The Process To Make A
Difference And To Preserve
Momentum And Morale.
Step 8 Sometimes things just don’t work
the way we planned; the music doesn’t seem
to be coming together in a timely way. This
happens to even the best ensembles and
while we should spend some time reflect-
ing on what led us to that predicament, we
need to use our influence, our leadership,
to put a Plan B into action early enough
in the process for it to preserve the final
product as well as the morale and energy
of the ensemble.
Whether the Plan B means pulling a
piece from the program, using a small group
or soloist in a particularly challenging passage
or movement, postponing a piece for a later
performance, or singing in English instead of
the native language—the key is to make this
decision before the final days of rehearsal or
it is likely to leave singers feeling that they
wasted their time and efforts. This will most
certainly lead to low morale, even anger, and
a lack of confidence in our leadership and
the ensemble’s ability. Waiting too long to
enact a Plan B can also obscure any benefits
that might have cascaded to the other reper-
toire (such as extra rehearsal time on those
pieces), had we put it into place sooner.
A conductor’s reluctance to use a Plan
B is sometimes the result of a personal ego
struggle rather than an inability to see that
it is the best decision for everyone involved.
Keep in mind that Plan B does not have to
be presented to the ensemble in a defeatist
way (“we failed”). If we are regularly dialogu-
ing with the ensemble about their progress,
assessing where we are and still need to go,
then it should become apparent when a Plan
B is needed. Involve the ensemble in making
this decision. Lead a discussion about a Plan
B in a way that continues to develop the
musicians, helping them to see reality and
to use temporary setbacks as fuel for the
next goal. What one learns by being part of
an ensemble is not only musical in nature; so
much of the learning is about understanding
the creative process, the wise use of time
and energy, and the way in which individual
and group goals depend on each other.
The concept of “peaking for perfor-
mance” is one that athletes know well but
that often eludes conductors and ensembles.
Using these Influence Steps to create mo-
mentum during the concert cycle will greatly
enhance not only the performance, but
also just as importantly, the experience of
learning and preparing the music. Even with
a well-strategized concert cycle, ensembles
and conductors are likely to encounter
surprises; but if the groundwork has been
laid and we have developed a conscious
approach to creating momentum in our re-
hearsals, conductors will be able to re-assess
and re-direct efforts when these surprises
happen ensuring, in the end, a successful
performance and positive experience.
The Rehearsal
Planning and managing our time well
throughout the year and within each concert
cycle will go a long way toward creating
momentum and energizing ensembles for
success. The final piece of the momentum
puzzle is to plan and manage time within
each individual rehearsal. This depends on
creating a context for the musical learning,
layering the learning as a series of ever-
increasing and interesting goals, and involving
singers in the decision-making, assessment,
and goal-setting process.
what we did last time . . . ”) and conductors remember what we did?!”).
will become frustrated (“This is just like the After establishing a context (the first
part we worked on last time! Why can’t you “Whole”), move to the details (the “Part”)—

Influence:
Create A Context For Musical University of Kentucky 2011 Summer Choral Workshop
Learning And Experience By
Using A Whole/Part/Whole
(WPW) Approach.
Step 9 This is the simplest yet most effec-
tive strategy conductors can call upon when
planning and leading a rehearsal. Put simply,
“Whole/Part/Whole” means starting with a
context for the learning (Whole), working
on the details (Part), and then putting the
learning back into a newer, more enlightened
context (Whole). While this strategy seems
evident, many conductors are so concerned
about the details that they launch into work-
ing the minutiae of each piece because it June 12–14, 2011 • Lexington, Kentucky
gives the illusion of being able to check off
those items from their conductor to-do list.
But singers need a context or anchor for the
learning every time they approach the music
if the details are going to make musical sense
and if they are going to “stick.”
When working through a section of a
piece that involves either new material or
technical challenges, start by singing through Guest Clinicians
this section, playing a recording, or leading Dr. Brad Holmes, Millikin University
a brief discussion about the music and the Dr. Eric Nelson, Emory University
goals you have set.This is the first Whole, the
beginning context. Remind the singers what Host Clinician
they worked on the last time they encoun- Dr. Jefferson Johnson, Director of Choral Activities
tered this passage, or, if it is new material, University of Kentucky
lead them on a fact-finding mission: “What
do you see? How does this section relate
to what we have already learned? What
did we talk about last time we rehearsed
this piece? What are our goals? What is the
cultural context?” These kinds of questions
not only engage the singers more deeply
but also help ground them in the piece
so that what they are about to work on
makes sense. Without this step, singers will For more information:
lose time while they try to get mentally and email jeff.johnson@uky.edu
vocally connected to the piece (“How did
this go? Is this new stuff? I don’t remember

CHORAL JOURNAL Volume 51 Number 8 15

 INFLUENCE CHANGES EVERYTHING

tricky rhythms, new melodic material, disso-
nant chords, matched vowels, pronunciation
of a foreign language—and layer the learning
so that with each repeat something has been
mastered and a new goal has been set. Once
the ensemble masters a goal (the awkward
leap in measure 20, for example), put it back
into context, starting with most immedi-
ate context and expanding it into broader
contexts in order to reinforce the learning
and help singers understand how this detail
relates to the larger whole. Rehearse the
now-corrected awkward leap in measure
20 by singing measures 19– 21. Successful?
Then widen the context to include the en-
tire phrase, perhaps 17– 24. Still successful?
Consider this goal met and move to another,
all the while connecting the known to the
unknown, the already learned music to the
challenges that still exist.
Before leaving one piece and moving to
another, put everything you have done on
that piece back into context for the final
“Whole.” Besides providing a musical and
psychological payoff for the work, this final
Whole will help focus the singers, who might
still be reeling from counting a complex
rhythmic passage or learning a foreign text,
and it will allow everyone to step back and
take a broader, more musical view of the
piece. Knowing it is the last time they will
sing this piece for the day also creates mo-
mentum because everyone knows they are
soon moving on to something else.
Before you run the final Whole take a
minute to articulate the goals you set for
this piece at the beginning of the rehearsal.
Then, perform the section you worked on or,
if time and energy allow, sing the entire piece.
When you are finished, assess how it went,
drawing input from the ensemble. How did
we do? What goals still lie ahead? What can
we do before the next rehearsal to be sure
we continue to move forward? Even if the
singers are still struggling and the final Whole
was less than confident, assessing progress
collaboratively is important so that everyone
has a keen sense of time and direction, and
so singers can take responsibility for their
part of the learning process. This is not the
time to be negative but it is the time to

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16 CHORAL JOURNAL Volume 51 Number 8

be honest. Unless everyone knows where
things stand, it will be challenging to move
together to the next level of preparation and
ultimately, to performance.
An important point: unless there is a very
good reason for doing so, do not run the
piece or section again after the final Whole.
Let it be. Make notes about what to accom-
plish next time and move on. Re-running the
piece after the final Whole is likely to feel
anticlimactic and rarely results in a better or
more inspired performance unless the sing-
ers unanimously view a rocky run-through
as a personal challenge to do better. If they
clamor, “We can do it! One more time, we’ll
get it!” then by all means, go with their in-
stinct and energy and perform it again.
Thinking of the entire rehearsal as one
big Whole/Part/Whole will also help create
and sustain a feeling of momentum. Begin-
ning and ending rehearsal with music (first
and last Whole), instead of announcements
or other tasks, reminds everyone why they
are there—to sing. Keeping the most difficult
or challenging work in the middle of the re-
hearsal (the Part) will ensure that singers will
be physically and psychologically ready for
this level of detail—they have been prepared
by warm-ups and that first success piece,
but they are not yet restless or fatigued and
checking the clock to see when rehearsal is
going to end. Peaking the rehearsal toward
a final sense of closure or success is an im-
portant step for conductors. Performing a
piece from memory, using soloists or student
conductors, singing in a new arrangement, or
doing anything that creates a sense of inter-
est while drawing the work of the day to a
close can contribute powerfully not only to
the sense of momentum for that rehearsal,
but also to those rehearsals yet to come.
Conductors who plan and manage
their time well throughout the season, the
concert cycle, and within each rehearsal
consistently create a consistent sense of
momentum that not only contributes to
an ongoing sense of engagement and high
morale among the singers but also reframes
the musical experience as much more than
just a concert.
Reframing Success
and the Musical Experience
Traditionally, success is defined as an end
product; for conductors and their ensembles,
the end product is a public performance.
Performing a “clean” concert which is well
attended, achieving a winning performance
at a festival or contest, or garnering a stand-
ing ovation from the audience are all won-
derful rewards for the work you did over
weeks or months of rehearsal.
But if success is measured only by the
quality of the end product, what does this
mean for all the rehearsals leading up to
the concert? If a piece does not go well in
performance does that mean all of our work
in those rehearsals was wasted? What if we
succeed in presenting a polished concert
but the rehearsals leading up to that con-
cert were tense, even antagonistic at times?
Does the end justify the means, any means
of getting to a “successful” performance?
On the opposite end of the product-
process continuum are rehearsals colored
by low expectations, enabling behaviors,
and brain-numbing activities, all justified as
necessary so that our singers will always be
happy. So what if the end product is embar-
rassingly simplistic and does not even begin
to tap into the capabilities of the ensemble?
At least they “had fun” along the way.
Intellectually, we know we can never sep-
CHORAL JOURNAL Volume 51 Number 8
arate process from product but depending
on our viewpoint, we can wind up focusing
on one to the exclusion of the other and
unwittingly create an imbalanced musical
experience for our ensembles. Using our
influence means making a conscious effort
to balance the quality of both process and
product with our ensembles.
Influence:
Define Success Both As
An Engaged And Challenging
Learning Process And A High-
Quality End Product And
Be Sure You Demonstrate
This Belief In Your
Actions And Character.
Step 10 An engaging, edifying rehearsal
process and a technically clean, expressive
performance do not have to be mutually ex-
clusive. Understanding the process-product
balance and putting it into action require us
to reframe our vision for what the musical
experience can be. This starts with opening
our eyes to significant changes in the way
people view organizational leadership and
applying this new understanding to our influ-
ence roles as conductors.
At the heart of this perspective is know-
ing that to get the most from those we lead,
17
 INFLUENCE CHANGES EVERYTHING

we need to bring them into the decision-
making process in a more meaningful way.
Rather than the old model of top-down,
hierarchical, autonomous leadership, a new
model of leadership characterized by collab-
oration, questioning (rather than providing
all the information), and intellectual as well
as functional engagement is being applied
to organizations of all kinds with remarkable
results in both process and product. Con-
ductors are skilled at directing the actions of
others and making quick, informed decisions
about the music; what we need to do better
is learn to ask singers for information rather
than always giving them the answers and
challenge their thinking by engaging them
in richer ways in the rehearsal process. We
do this by allowing them to “weigh in” on is-
sues of interpretation, approaches to solving
technical problems, and even the managerial
and goal-setting aspects of the ensemble. Ac-
knowledging the ensemble’s ability to make
musical judgments, even at the beginning of
their musical training or skill, means develop-
ing rehearsal strategies that require singers
to think, conduct, analyze, and evaluate while
learning their music.
The conductor in Maestro: A Surprising
Story About Leading By Listening, shares his
discovery about engaging musicians in order
to get the best performance: “Eventually I
realized that a great performance would
happen only when the motivation sprang
as much from them as from me. I learned
to see my job as simply creating an environ-
ment where that could happen. Once I
learned to engage their artistry, everything
felt so much easier.” (Nierenberg, 2009, p
19)
As leaders of our ensembles, we need to
judge the best ways to engage the ensemble
so that our time is still used efficiently to-
ward accomplishing our group goals under
a unified vision. If we know what motivates
our singers, manage our time well to create
momentum, and continually take stock of the
balance between process and product, we
will maximize our opportunity to influence
the learning and artistry of those we lead,
becoming an “agent of change” for the better.

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18 CHORAL JOURNAL Volume 51 Number 8

 Nierenberg, Roger (2009). Maestro: A Sur- Wis, Ramona M. (2007). The Conductor as
RESOURCES Leader: Principles of Leadership Applied to
prising Story About Leading by Listening. New
York, NY: Portfolio. Life on the Podium. Chicago, IL: GIA Publica-
Maxwell, J.C. (1998). The 21 Irrefutable tions, Inc.
Laws of Leadership. Nashville, TN: Thomas
Pink, Daniel H. (2009). Drive: The Surprising
Nelson, Inc.
Truth About What Motivates Us. New York,
NY: Riverhead Books.

Who and What is the American Choral Directors Association?

We are a nonprofit organization We strive to elevate the role of

whose goal is to promote excellence choral music and the way it touches
in choral music. our society.

We inspire and lead over

We are a group of choral a million singers
professionals whose joy comes from nation-wide.
the performance, composition,
publishing, research, and teaching
the fine art of music.

We are the American Choral Directors Association. Join us.

Membership information is available on our website at <www.acda.org>.

CHORAL JOURNAL Volume 51 Number 8 19

Tim Fredstrom
Tim Fredstrom is an associate professor of choral music
education and assistant director of the Illinois State Uni-
versity School of Music, where he also conducts the Men’s
Glee. Prior to joining the Illinois State University faculty
he taught choral music in the Nebraska Public Schools for
10 years. fredstrom@illinoisstate.edu

20 CHORAL JOURNAL Volume 51 Number 7


There
would be
little ques-
tion among
choral directors
that their choir
members have differ-
ent learning preferenc-
es and perceive, learn,
and remember information
in different ways. Choral di-
rectors today direct ensembles
of ever-increasing diversity, not
just culturally, but also in the learn-
ing readiness and musical experiences
that choir members bring to a rehearsal.
For a myriad of reasons, a one-size-fits-all
approach to rehearsal is becoming less and
less effective. However, choral directors can
help members of their ensembles learn more
effectively, and thus achieve higher levels of
artistry, by differentiating their rehearsal ap-
proaches to accommodate students’ multiple
learning preferences.
One way to accomplish this is to follow the
advice of the old adage, “a picture is worth
a thousand words.” Choral directors who are
able to include visual information—images
or pictures—in their instruction can greatly
increase the likelihood
that more of their stu-
dents will remember the
work done in rehearsal each
day. These ideas are consistent
with the approaches of Universal
Design for Learning—in a class
if material is presented in multiple
ways there is a greater likelihood that
more students will learn than if material
is presented in only one way (Lynch, 2008).
The more students who are able to master the
skills and musical ideas taught in rehearsals,
the faster the rehearsal process can progress.
Imagine the artistic achievement of a choir if
the key ideas and skills rehearsed on Monday
were remembered on Tuesday and if Tuesday’s
rehearsal could build on Monday rather than
spending time reviewing and teaching the
same ideas and skills again. No doubt, there
is always a refinement process from day-to-day
in rehearsals, but if the three-steps-forward two
steps back pattern could be minimized, en-
sembles’ artistic achievement could be greatly
increased. By communicating key rehearsal
material verbally and visually, choir members
are more likely to master the rehearsal ideas
and skills each day, internalize them, and ap-
ply them in their musical contribution to the
ensemble. As a result, we can accelerate the
artistic achievement of the ensemble.
Presentation technology is an effective tool
for including the power of pictures and visual
images in a choral rehearsal. At a basic level,
presentation technology consists of a com-
puter software application used to manipulate
and display content on a screen in the form
of a slideshow. The content is displayed on a
screen, via projection or directly on a large
LCD-type monitor. At this time, Microsoft
PowerPoint for Windows or Macintosh (http://
store.microsoft.com/) and Apple Keynote for
Macintosh (http://www.apple.com/) are the
industry standard for presentation software
applications. Beyond simple projection tech-
CHORAL JOURNAL Volume 51 Number 7 21
 A Picture is Worth a Thousand Words
nology, interactive projection technologies
are becoming increasingly commonplace. Ex-
amples of interactive technology at this time
are Smartboards (http://www.smartboards.
com/), touch-sensitive screens that allow
one to manipulate the computer using the
projected computer image and classroom
response devices “clickers” (http://www.
turningtechnologies.com/), wireless devices
that allow students to respond individually to
projected words or images. As more choral
classrooms are equipped with various forms
of presentation technology, choral directors
can consider incorporating this resource in
their rehearsals.
Consider this example—frequently, cho-
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ral directors verbally describe metaphors of
sound. They might ask choirs to sing with a
“warmer” tone. In this process, a choral di-
rector might describe an image of a glowing
fireplace, using words that describe warm
colors—reds, yellows, and oranges—warm
temperatures and perhaps even how it
feels to be near the glowing fireplace. In
the process, many words may be used, but
depending on how skillfully the story is told,
the description might simply conjure up an
image only in the director’s mind rather Example 1
than stirring the imaginations of the choir
members. image.” (See Example 1.)
Using presentation technology, choral “Please sing with a tone that sounds like this.”
directors could display an image of a glowing Rather than trying to describe her or his im-
fireplace and say to their choirs,“Look at this pression of a glowing fireplace to a choir, the
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director invites individual members of the and singers alike. cate ideas has potential benefit for many
choir to look at the projected image of the While using visual images to communi- situations and different types of choirs, con-
fireplace and find personal meaning in the
image. Then, appealing to their imaginations,
the director encourages them to transfer
their personal meaning of and experiences
with the image to their sound production.
Effectively and efficiently, directors empower
and encourage choir members to contrib-
ute their individual understanding of warm
tone to the ensemble’s sound. No doubt,
the director will help unify the ensemble’s
sound, but the effectiveness of this approach
is enhanced because the sound originated
from the choir members’ imaginations, initia-
tive, and artistry.
Using projected visual images is appli-
cable to many other situations in a choral
rehearsal. When rehearsing a piece that is
andante and sostenuto, like Durufle’s Ubi
caritas, perhaps an image of a canoe glid-
ing along in a quiet lake could be a visual
metaphor to depict the moderately slow
tempo, legato quality, and the gentle forward
movement of this piece. These ideas can be
stimulated in choir members’ minds through
an image projected using presentation
technology. Further, a director can project
the image again in subsequent rehearsals
to remind choir members of the desired
sound for the piece. A director might say,
“Look at this image and remember how it
represented the sound we achieved yester-
day. Please sing this piece again today with
that same sound.” In this way, directors can
connect today’s achievement to yesterday’s
learning, propelling rehearsal momentum
forward.This activates choir members’ minds
and encourages them to apply their previ-
ous learning to the new learning. Again, this
serves to diminish the cycle of three steps
forward and two steps back as directors
remind choir members of their prior experi-
ence through a projected image. This image
effectively and memorably conveys meaning
and transforms actions with very few words.
Directors can promote artistic achieve-
ment in a timesaving and effective manner.
The potential of this instructional process is
limited only by a director’s imagination. Fur-
thermore, this process can promote creative
ways of thinking about a piece for directors

CHORAL JOURNAL Volume 51 Number 8 23

 A Picture is Worth a Thousand Words
sider its effectiveness especially with choirs
of less-experienced singers. Experienced
choral singers, through years of practice,
repertoire knowledge, and possibly many
voice lessons, develop refined skills as choral
musicians. It is likely that experienced singers
can respond quickly and flexibly when asked
to make changes in their manner of tonal
production or stylistic interpretation. They
may even add their own artistic dimension
that goes beyond the direction from the po-
dium. However, in choirs of less experienced
singers, this is often not the case. Adding
a visual dimension to a rehearsal through
presentation technology can be a valuable
tool to encourage the artistic growth of the
ensemble.
For example, imagine the process of
teaching the concept of balance among
parts to a choir. A choral director could
explain the desired proportion of volume
of the soprano as related to the alto and
so on. Of course, this would require some
description, and as many choral directors
who have experienced this process first
hand can attest, the results may have less
than the desired effect. By using presentation
technology, a choral director could take a
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24 CHORAL JOURNAL Volume 51 Number 8
different approach. She or he may say,“Choir, not just verbally—communicate the specific
the balance we need to have for this section outcomes for a given rehearsal (Example 4).
is shown in this diagram.” (Example 2).
Example 2
“The balance I heard the last time we sang
was like this diagram.” (Example 3). “Please
sing this section again and focus on singing
with the balance described in this diagram.”
(Example 2).
Example 3
One of the most powerful uses of pre-
sentation technology may be in providing
clarity and adding structure to a rehearsal.
By projecting the plan for the rehearsal, a
choral director can help choir members
understand the big picture of the rehearsal
as well as the specific outcomes they need
to achieve. For example, rehearsal agendas
can be projected and referenced throughout
a rehearsal. Choral directors can visually—
Example 4
By communicating the desired outcomes
for a rehearsal, choral directors can increase
their ensembles’ potential for artistic achieve-
ment.This is a particularly useful method for
focusing singers’ attention on specific re-
hearsal tasks.The better that choir members
understand what they are supposed to do
in a rehearsal, the greater the likelihood they
will achieve the desired outcomes (Saphier,
2008). Further, choral directors can refer to
an outcome from a previous rehearsal to
remind singers of what they accomplished,
which is a strategy to avoid having to relearn
material. Choral directors can extend this
idea by adding an assessment dimension to
rehearsal objectives. For example, projecting
a rubric or simple matrix to assess the stated
outcomes promotes singers’ accountability,
particularly when they are involved in the
assessment of their individual performance
and the performance of the ensemble (see
Example 5).
Example 5
 By using presentation technology, choral
directors can effectively incorporate multi-
media examples into rehearsals that will help
choir members connect more intimately
with the repertoire. For example, if a choral
director wanted to play an audio example
to illustrate a musical idea or technique, the
specific location of the recording can be
selected and played for the choir with the
click of a mouse. This allows a director to
avoid searching for the excerpt while the
choir waits. Further, a choral director can
use presentation technology to show video
examples in much the same way. Presenta-
tion technology is also an effective way
to cue examples taken from the Internet.
Links to websites can be created within a
presentation file and can be accessed again
by a mouse click, avoiding the need to enter
the URL into a browser window while the
ensemble waits.
Choral directors have more technology
available to them than ever before. Using
presentation technology to promote choral
artistry can be a valuable tool for choral
directors; however, directors must always re-
member that the focus should be on using it
to help choral musicians sing more artistically.
Showing one slide after another of lengthy
or involved text is a common mistake. It is
better to keep any text or notes brief—pre-
sentation technology is not a substitute for
good instruction or effective communication.
Students tune out slide-based presentations
when they are overflowing with text. The
term “Death by PowerPoint Syndrome” is
used to describe this phenomenon, and it
must be avoided (Clark, 2008). With pre-
sentations, choral directors should focus
on promoting artistry by increasing choir
members’ connection with the art using
varied media and instructional clarity.
When used properly, presentation tech-
nology is an effective and efficient way to
engage choir members’ imaginations and
attention. It gives directors an opportunity
to increase their instructional variety and
allows them to communicate abstract ideas
in a way that is more inclusive of the diverse
learning styles represented in the ensemble.
As more choral classrooms are equipped
with presentation technology, choral direc-
tors can consider incorporating this resource
into their rehearsals. In so doing, directors
can promote artistic achievement by helping
choir members connect more deeply with
the music.
RESOURCES
Clark, J. (2008). Powerpoint and Pedagogy.
College Teaching (Winter), 39– 45.
Lynch, S. A. (2008). Creating Lesson Plans
for All Learners. Kappa Delta Pi Record
(Fall), 10 – 15.
Saphier, J. (2008). The Skillful Teacher: Building
Your Teaching Skills. Acton, MA: Research for
Better Teaching, Inc.

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visiting orchestras. This part-time position commences
July 2011 with preparation for the 2011-2012 season.
For more information about this position, turn to the
display ad on page 57.

CHORAL JOURNAL Volume 51 Number 8 25

Philip Copeland is director of choral activities
at Samford University in Brimingham, Alablama
and chair of the ACDA Technology Committee
philip.copeland@gmail.com.
 They are called by many names: Generation Y1, Millenials 2, Genera-
tion Speed3. Mark Baurline describes them as a “diverted and distracted
generation” in his book The Dumbest Generation,4 while Don Tapscott
sings the praises of their technological prowess and innovative nature in
Grown Up Digital.5
One thing is undeniable: today’s student is different from those of the
past. In 2001, Mark Prensky invented an especially appropriate term to
describe this generation: Digital Natives. He also supplied a compan-
ion term for the rest of us: Digital Immigrants.6 Digital “natives”
grew up immersed in technology while the “immigrants”
came to the shores of technology later in life.

CHORAL JOURNAL Volume 51 Number 8 27

 Prensky’s terms help explain the dys-
functional nature of today’s student-teacher
relationship when it comes to technology:
the student knows more than the teacher.
This backwards relationship causes frustra-
tion in many; they choose to “opt out” of
technology instead of embracing it as a tool
for becoming more effective.
A large percentage of choral directors
missed out on the digital revolution and are
resistant to change. Others find it difficult to
keep up with the fast pace of technological
development. Many own an iPhone but don’t
know what to do with it. Some choose to
plead ignorance, thinking that their students
and the rest of the world will accommodate
their inability to function with technology. It
is a poor choice; resistance to change brings
an ignorance of how the world works today.
This ignorance usually results in irrelevancy,
a condition that renders teachers ineffec-
tive in their communication with others and
impairs the ability to effect positive change
in the lives of students.
The purpose of this article is to help Digi-
tal Immigrant choral directors catch up to
their students. By mastering these tools and
strategies, the digital immigrant high school
conductors can become more proficient in
critical aspects of their job:
28 CHORAL JOURNAL Volume 51 Number 8
WWW. IMMIGRANT CONDUCTOR.ORG
Philip Copeland has created a companion Web site to this article located
at www.immigrantconductor.org.
Located on the Web site are videos, additional articles, and supplements
to this article.
• communication with students, parents, and
the local community;
• organization and management of the cho-
ral program; and
• staying current in the profession.
Communication with
Students, Parents, and Community
In his book Grown up Digital, Don Tap-
scott talks about the new “norms” for this
Internet-based generation. The “norms”
emanate from the way today’s students
were raised with immediate access to per-
tinent information and rapid communication.
Digital natives have become accustomed to
communication that takes place at an incred-
ibly rapid pace. They spent their formative
years communicating instantly with their
parents and friends. They have grown up
getting the information they want quickly
and in a variety of electronic forms. Likewise,
parents of digital natives are crying out for
efficient communication of the information
they need to help organize the lives of their
children and themselves.
These soaring expectations place a fresh
challenge on the immigrant high school
choral director. The reliable tools and
strategies of yesterday don’t work anymore,
especially when it comes to communication.
After teaching our choirs the music, commu-
nication becomes the most important skill
we need in our interactions with students,
parents, administration, and our local com-
munity.
Paper, the primary communication me-
dium for the last 600 years, is dying a slow
death in terms of its usefulness. It has a
number of disadvantages. It is:
• time-intensive and costly to replicate for
large audiences;
• impossible to correct if a mistake is made;
• unable to adapt to new situations;
• unreliable - students lose paper easily;
• must be reproduced every new aca-
demic year; and
• detrimental to the environment.
 Paper’s disadvantages, along with the
pressure from the recent economic down-
turn, have forced many to transfer their ana-
(2) They are familiar to a large segment of
log paper communications to digital formats.
Although it isn’t without some problems,
digital communication offers a number of
advantages over traditional paper:
• replication – electronic communication can
be scaled easily to a large number of
people without additional cost;
• it is easy to correct mistakes and accom-
modate new developments or changing
circumstances;
• parents and students can always turn to
the original source for the most reliable
information;
• much of the information can be recycled
every year.
Electronic communications enable choral
directors to communicate quickly and effi-
ciently with the group that is most interested
in following all of the news associated with
a choral program. That community that is
composed of several different populations:
• choir members;
• friends and family of your choir members;
• administrators, community leaders, church
leaders;
• music enthusiasts; and
• friends and family of conductor.
E-mail was once looked upon as the
electronic communications solution, but it
isn’t as efficient as it used to be. Although
still effective for parents and administrators,
e-mail is not the primary communication
tool for students.
Three well-known internet applications
enable the choral director to facilitate easy
communication to their various audiences:
Blogs, Twitter, and Facebook.
These tools share similar benefits:
(1)They are free and easily accessible from (3) They are owned and operated by well-
any Internet connection. established companies.
(4) A number of different privacy settings are
the population. available for each tool.
CATCHING UP TO THE DIGITAL NATIVE: A STEP-BY-STEP GUIDE
Open a Google Account (google.com)
A Google e-mail account is optional but recommended, it is a powerful tool.
With a Google account, you can easily:
a. Set up a Blog. (www.blogger.com) It is easy to transform your blog into a
Web site by purchasing a domain name for $10
b. Set up a Google calendar
Consider using Google’s calendar for your personal calendar
Set up a new Google calendar for your choir.
Enable the new choir calendar to be listed publically and subscribed to
by your students (see settings).
c. Set up a “Form” for your choir to fill out online via e-mail, blog, or Web site.
Use this form to create information.
d. Set up an online Google document that can be edited by others from their own internet
connection. Consider making your next “sign up” event or opportunity an online
process.
e. Create an account in Google Reader. Subscribe to Web sites with RSS feeds.
Open a Twitter Account: (www.twitter.com).
Create the first Twitter account for yourself. Use this account to follow people you
are interested in and thus create a “personal learning network”
Create a twitter account for your choral program. Use this account to promote
blog postings, concerts, fund-raising activities, etc. to your community of
parents, administrators, and community leaders.
Create a Twitter account for each choir in choir program.
Ask your students to open it
Ask students to subscribe to the choir twitter account with their cell phones (warning: cell
phone messaging costs do apply—this option is best for those with “unlimited” texting)
Students can subscribe to Twitter account by RSS is they do not want text messages. Some
services will transform an RSS feed into an e-mail that is delivered to the students.
Open a Facebook Account for yourself (www.facebook.com).
Create a fan page for your choir program.
Encourage your students to join the fan page.
CHORAL JOURNAL Volume 51 Number 8 29
 These three applications (Blogs, Twitter, Parents, administrators, friends, and music Blogs
Facebook) allow choir directors to engage enthusiasts fall into a second, more general
Blogging is the easiest way to publish a
the world in new ways. Different uses of the audience. This group doesn’t care as much
wide array of information on the internet.
tools enable choral directors to reach each about the daily workings of the choir, but
Two sites are the most popular for beginning
population. they are very interested in hearing choir con-
bloggers: blogspot (www.blogger.com) and
Choir members are the first audience; certs or reading about choir achievements.
wordpress (www.wordpress.com). It is easy
they are most interested in the information This audience is more interested in concert
to set up a blog and create a first post; the
that surrounds the proper execution of choir times, ticket sales, and choir achievements
process takes only a few minutes.
membership. The director can use digital like festival ratings, prestigious invitations, and
Blogs are much easier to manage than
tools to communicate rehearsal feedback, new recordings.
traditional Web sites. No special software is
directions, and information about the next Blogging, Twitter, and Facebook can be
needed; only an Internet connection is re-
rehearsal. The same tool can also be used used in different ways to reach both audienc-
quired. The blog is the place to go into detail
to promote the achievement of individual es. It isn’t as important to pick the right tool
about announcements or events. It is an ideal
members of the choir, point to recordings as it is to use it repeatedly. Communication
spot to place any message, thought, picture,
of your literature, or even produce aids in comes from clear and consistent messages;
sound file, or video. Information placed on
learning musical notes, pronunciations, or each tool will be effective if used consistently.
a blog is usually publicly available, although
translations.
there is an option to make the blog private.
Blogs offer an excellent way to control
the message that you send to your students,
parents, and broader community. When you
post on the blog, you have the opportunity
BLOGGING FOR CHOIRS to speak to a number of different audiences.
It is an ideal way to stay in touch with former,
There are three general benefits for using a blog for your choir: current, and future members of the choir.
Over time, your blog will evolve into a digital
• It saves time: you don’t have to talk about it in rehearsal. record of your choir’s activities.
• It saves money: you don’t need to duplicate everything for everyone. There are definite advantages of blogging
• It allows you to share your work with the rest of the world. as a tool for digital communication. There is
no size restriction on the amount of informa-
I recommend a blog for every organization that employs you, whether you work
for a school, church, or community choir. There are multiple ways you can use a tion in each post. Many people use a blog
blog to enhance your teaching: for their detailed communication and then
“point” to it from other applications, includ-
Provide feedback to your choir. Blogs can communicate praise or correction to ing Twitter and Facebook.
your choir concerning events and performances. You can rehash rehearsals and
even frame negative events into a new context outside of class. Writing about
rehearsals also creates a record for what was covered in class for those absent.
Twitter
Gather opinions from your choir members. The dynamic nature of blogs allows Twittering is similar to blogging and the
them to be used as an assessment tool; you can use choir member’s opinions to Twitter system is a “micro-blogging” tool
help shape your plans and decisions. because it allows only a 140-character mes-
sage to be transmitted to the world through
Communicate the important as well as the mundane. A choir blog is a perfect the internet. “Tweets” can be communicated
place to provide the routine details of uniform ordering and syllabus sharing.
from cell phones as well as computers or
Point your choir to recordings and part-learning help. The blog can link to other internet devices.
recordings available online from iTunes or Amazon. In addition to commercial The power of Twitter is often underes-
recordings, there are many sites that contain midi files for part-learning help for timated. For many, Twitter is a repository
learning major works and other well-known pieces. for minutia; they use the service to com-
municate only the mundane details of their
Pronounce, translate, and discuss the text. The blog is a wonderful tool to
lives. However, Twitter is also an influential
deal meaningfully with the text of a work. You can provide translations and
pronunciation guides for each text. The dynamic nature of the blog provides your tool for sharing and gathering information. It
choir members a forum to discuss the text of a work outside of class. provides an opportunity for choral directors
to build world-wide professional networks
and establish strong bonds with students,

30 CHORAL JOURNAL Volume 51 Number 8

parents, and administrators.
Twitter’s great advantage is the brevity of
its message and the ease of communication.
Messages are easy to create and post; fol-
lowers can read the message from anywhere
in the world.
Many choir directors use Twitter to give
feedback to their choirs following rehears-
als. The Grimsby Bach Choir (BachChoir)
tweets about a number of issues common
to every choir:
• reminders about rehearsals;
• listening suggestions;
• feedback from rehearsal;
• openings for new members; and
• ticket sales.
One of the most powerful things about
Twitter is its integration with the text mes-
saging abilities of cell phones—you can use
it to communicate instantly with your choir.
If a person is subscribed to your Twitter site,
they can receive updates via text messaging:
whatever you post is transmitted instantly
to your followers.
The significance of this cannot be missed.
The overwhelming majority of Digital Na-
tives use text messaging as their primary
means of communication. With this tool
from Twitter, the Immigrant Conductor can
easily reach students subscribed to the Twit-
ter account.
Twitter can easily be used to promote
your choir program to the community. Once
you set up your choir’s twitter account, you
can promote audition results, concerts,
awards, reviews, and fund-raising events.
Many use Twitter in combination with a blog
or Facebook; they send messages about new
blog posts. The “tweet” directs the reader
to the longer article contained on the blog.
ACDA Executive Director Tim Sharp
uses this technique often; he “tweets” about
longer articles that he writes on the ACDA
Web site or ChoralNet blog and then refers
to them with a hyperlink.
The “tweet” might look like this: “Friends
High School gets straight superiors at state of its location on one of the world’s most
contest!! http://bit.ly/baBcJB” The subject of popular Web sites.
the article or note is usually contained in the
tweet; the link refers the reader to the longer It is attractive for a number of reasons:
blog post if they want to read it.
• it is free;
Facebook • you can promote events;
Facebook, the Internet’s top social net-
working Web site, needs little introduction. • it is a channel to your blog and Web site;
Many educators have resisted joining be- and
cause they don’t like the idea of becoming
“friends” with students. Others have found • you can add unlimited photos and videos
tremendous rewards in connecting online and sound clips.
with old classmates and students.
Facebook can also be used as a tool
to promote groups and organizations. The Organization and Management
popularity of Facebook and its pervasive- of the Choral Program
ness with all ages makes it an ideal tool to One of the most difficult part of choir di-
promote your choir. recting is the managing of events, people, and
Creating a “Facebook Fan Page” is an information. The creative brains of musicians
excellent way to communicate with your are usually better at interpreting music than
target audience. It offers many of the same keeping up with all the details. Technology
advantages as a blog with the added benefit
BEST PRACTICES FOR FACEBOOK
1. Create an additional profile for professional use only. The profile should
contain contact information, an e-mail address, office address, and
phone number.
2. Inform students of their Facebook profile.
3. Teachers should not invite students to be their “friends.” Students may
perceive this as an invasion of privacy and subtle form of intimidation.
4. Keep your profile “open” to the public rather than “private.”
5. List your Facebook profile in course syllabus or email signature.
6. Invite students to designate their teacher on their “limited profiles.”
Teachers should not view students profiles.
7. Teachers should demonstrate how to use Facebook privacy settings to their
students and model proper online behavior for the student.
Derived from “Opening Facebook: How to Use Facebook in the College Class-
room” a paper presented at the 2009 Society for Information Technology
and Teacher Education Conference in Charleston, SC by Caroline Lego
Muñoz and Terri L. Towner.
CHORAL JOURNAL Volume 51 Number 8 31
can help the creative people manage the
organizational parts of the job.
Google is one of the leading technology
companies in the world and it has created
a number of free applications that can aid
in management and organization. Two of
their applications can help the high school
choral director manage people and events:
Spreadsheets (Forms) and Calendars.
Google Forms for Choir Rosters
One of the first tasks of any choir
director is to develop a roster of all the
participants. We create an information form,
duplicate the form, distribute it to the choir,
32 CHORAL JOURNAL Volume 51 Number 8
and then assimilate the information into a
database or spreadsheet. The process has
disadvantages:
• if paper is used, producing choir rosters
is a complicated exercise in time,
energy, and money;
• it takes time to create the form;
• it takes paper and money to duplicate
the form;
• it is often difficult to read choir mem-
ber’s handwriting, resulting in inac-
curate information; and
• it takes time to assimilate the information
and get it into a usable format.
Google Forms and Spreadsheets give you
a way to replace this outdated process of
information gathering. Instead of using paper,
you use the internet. You create an online
form containing all the normal questions
(name, address, phone, e-mail, etc.) and have
choir members fill it out online, either from
a blog, Web site, or e-mail. Whatever your
choir members type into the form is tran-
scribed immediately into the corresponding
spreadsheet. Instantly, your spreadsheet is
populated with their data; it is almost magic.
Creating the form is a simple matter, and
Google gives you the code to insert into an
e-mail, web page, or blog. The information
populates the spreadsheet quickly and you
have saved an incredible amount of time
and effort.
Google Calendars for Choir Events
Another common task of every choir
director is the communication of rehearsals
and performances to every choir member.
Most choir directors develop a calendar
at the beginning of the year and distribute
it to their choir members. The calendar is
usually a list of dates; the students and their
parents are expected to write the dates into
the master calendar of their life or perhaps
program into their smart phones.
Besides all of the previously-mentioned
disadvantages of paper, there is one other
weakness of this approach: the expectation
that the student or parent will actually place
the event on a master calendar.
Google calendars give the choir director
an answer to this weakness: students can
digitally subscribe to the created calendar
on their Smart Phones or digital calendars.
With the touch of a button or two, a stu-
dent’s (or parent’s) calendar is immediately
updated with date, time, and place of a re-
hearsal, performance, or other event. These
calendars can also communicate notes about
the event, including directions, performance
attire, or other instructions.
Google calendars are able to be shared
in three formats: XML, ICAL, and HTML.
Directors can share the calendars they cre-
ate through e-mail, facebook, or their blogs.
Google Documents for Official
Documents and File Storage
Another powerful tool offered by
Google is Google Docs, an Internet-based
word processor, spreadsheet, and presenta-
tion application service provided at no cost
to the user. Although not as feature-rich as
traditional word processors like Microsoft
Word, Google Docs provides a cloud-based
system of computing. In Google Docs, tradi-
tional word documents become web pages;
they can be shared with other users by
means of a hyper-link or invitation.
The real power of Google Docs comes
in the collaborative aspect of the software.
Multiple users can work in partnership on
the same document. Google also allows
users to store digital files online; users can
place any type of digital file online in order
to share with others. There is a limit of one
gigabyte for free accounts, but more storage
can be purchased for a small cost.
For the high school choral director,
Google Docs can be used in a variety of
ways:
• directors can use the file storage that
Google offers for free instead of pur-
chasing network storage from another
company;
• choirs can replace their printed choir
handbook online in PDF form or
convert the file to a more manageable
Google text document; and
• the collaborative aspect of document
management allows directors to del-
egate some information-based tasks
to students or volunteers, like a choral
library or uniform list.
PERSONAL LEARNING NETWORK (PLN)
THEN
Staff development workshops
Graduate school courses
Books
Journals
List Servs
Face to Face Conferences
Cost: Fees, travel costs,
purchases, tuition
CHORAL JOURNAL Volume 51 Number 8
Staying Current in the Profession:
Networking Online
One of the common problems among
high school choral directors is professional
isolation. Many directors serve as the only
choral music teacher in a high school with
few peers; the situation is amplified if the
teacher is geographically located far away
from cultural centers. The Internet can help
keep an isolated teacher networked to the
latest developments from experts in a wide
variety of fields.
For years, professionals have turned to
books and journals as well as traveled to
conferences to learn about the latest de-
velopments in their professions. In recent
years, this activity has been supplemented
or replaced by an Internet model where
blogs, twitter, wiki’s and podcasts contribute
significantly to professional learning.
Recently, educators have become more
intentional about the creation of this pro-
fessional support system, and the term
“Personal Learning Network” (PLNs) has
evolved to fully describe this activity. PLNs
are defined as “deliberately formed net-
works of people and resources capable of
guiding our independent learning goals and
professional development needs.”
One of the most highly valued aspects
of a PLN is “crowdsourcing,” an activity
where one person asks questions of the
NOW
TedTalks,YouTube, Podcasts
RSS feeds, online presentation sharing
Twitter
Twitter, social bookmarking
Wikis
Blogs
Cost: Free
33
broader community about an issue. Fortu- “users to communicate regarding particular for years to come.
nately, choral directors have enjoyed that sub-topics of choral music and self-identify High school choral directors can emulate
luxury for years with ChoralNet. Recent as a member of (sic)a subset of choral musi- the practices of other education profes-
developments in ChoralNet have provided cians.”With the recent merger of ChoralNet sionals for further customization of their
additional networking opportunities. In July and ACDA, these communities and the mes- personal learning network by experimenting
2010, ChoralNet released a new tool called sage boards will continue to fulfill many of with a variety of online tools, including:
“Communities” with the intent of allowing the professional needs of choral musicians
video (YouTube, TedTalks)
microblogging (Twitter, Plurk),
social networking (Facebook, LinkedIn),
social bookmarking (del.icio.us, Diigo),
RSS readers (bloglines, Google Reader)
BUILDING YOUR PERSONAL LEARNING NETWORK (PLN) wiki’s (pbworks, wikispaces), and
online presentation sharing (slideshare,
sliderocket).
TWITTER
@TimothySharp Executive Director Timothy Sharp frequently posts about his travels, All these tools fulfill the basic functions of
developments in choral music and ACDA, and blog posts related to choral music.
a PLN: connecting with like-minded profes-
@madolu Marian Dolan is a choral conductor, music professor, and editor with strong ties sionals, collaborating on projects and ques-
to the International Federation of Choral Music. tions, and providing a vehicle for our own
contributions to the profession.
@olagjeilo Ola Gjeilo is an outstanding composer of choral music. He frequently tweets
about his new music, performances, and cute dog videos.

@ericwhitacre Eric Whitacre frequently tweets about his music, upcoming performances, Conclusion
and new recordings. Eric also blogs at http://ericwhitacre.com/. High school choral directors have difficult
jobs; they manage large numbers of students
BLOGS and teach classes in rapid succession with
little downtime. Nevertheless, they live in a
Richard Sparks blogs: Ricahrd Sparks is professor of music at the University of North Texas, digital, globally-interconnected era, and they
where he conducts the Chamber Choir and Collegium Singers, and teaches a variety of owe it to themselves and their students to
academic courses. He is also Artistic Director and Conductor of Pro Coro Canada in Ed- be current with the latest technology in
monton, Alberta. Find him at http://richardsparks1.blogspot.com/. communication, organization, and develop-
Liz Garnett is an outstanding choral blogger at “Helping You Harmonise.” Her thoughtful
ments in their field of specialization.
posts can be found at http://www.helpingyouharmonise.com/.
Embracing technology doesn’t come
naturally to some, but the dividends arrive
Don Tapscott is the author of thirteen widely read books about information technology in quickly, and the efficiencies are long-lasting.
business and society, most recently Grown Up Digital: How the Net Generation Is Chang- Choral directors can use the advances in
ing Your World (October 2008). He tweets @dtapscott and blogs at http://dontapscott. digital communication to remind their stu-
com/blog/. dents of past successes, current issues, and
future programs. They can use the internet
Scott McLeod is Associate Professor at Iowa State University and frequently writes about and other digital communications to keep
technology, leadership, and the future of schools. He was co-creator of the video “Did You themselves better informed about the latest
Know (Shift Happens). He tweets @mcleod and blogs at http://dangerouslyirrelevant.org. developments in pedagogy, literature, and
other issues in music education. In a world
Slideshare is the place to find presentations, documents, and professional videos. Find where the students often know more than
compelling videos by searching the “Most Favored” presentrations. http://www.slideshare.
net/.

The TedTalks mantra is “ideas worth spreading” and the videos as “riveting talks by remark- The letter to the Editor in the February 2011
able people, free to the world.” An incredible resource. http://www.ted.com/. issue was written by John Weiss in Bismark,
North Dakota, not South Dakota.

34 CHORAL JOURNAL Volume 51 Number 8

their teachers about current tools, choral
directors have an opportunity to model the
proper use of digital technology within this
4
incredible discipline of study.
NOTES
5
1
Ellen Neuborne, Generation Y, 1999 [online],
available from http://www.businessweek.
com/1999/99_07/b3616001.htm, September
4, 2010.
2
Scott Keeter and Paul Taylor, The Millennials, 2009,
6
[online] available from http://pewresearch.
org/pubs/1437/millennials-profile, August 1,
2010.
7
3
Generation Speed: Today’s Teens, September
30, 2005 [online] available from http:// press). “Social Media as a Professional
abcnews.go.com/GMA/AmericanFamily/ Development Tool: Using Blogs, Microblogs
story?id=1172574&page=1, August 1, 2010. and Social Bookmarks to Create Personal
Mar k Bauer lein, The Dumbest Generation, Learning Networks.” In C. Wankel (ed.)
2007 [online] available from http://www. Teaching Arts & Science with Social Media.
dumbestgeneration.com/about.html, August Bingley, U.K.: Emerald. [online] available from
1, 2010. http://www.slideshare.net/corinnew/creating-
Don Tapscott, Grownup Digital: How the Net a-per sonal-learning-networ k-5016387,
Centeration Is Changing Your World, [online] September 1, 2010.
available from http://www.grownupdigital.
com/archive/index.php/about/, August 1,
2010.
Mark Prensky, “Digital Natives, Digital Immigrants”
from On the Horizon (NBC University Press,
Vol 9 No. 5, October 2001)
Corinne Weisgerber and Shannan Butler. (in
CHORAL JOURNAL Volume 51 Number 8 35

Junior High/Middle School
Gretchen Harrison,
National R&S Chair
A Conversation with
Rollo Dilworth
Noted composer, conductor, clinician, and
educator Rollo Dilworth has been working
with middle school musicians for 20 years.
As an in-demand clinician, Dilworth brings
passion, excellence and artistry to the honor-
choir experience around the world. As the
conductor of the 2011 ACDA National JH/
MS Honor Choir, he will inspire singers and
directors with his musical integrity and pas-
sion for choral music.
Harrison Please share with us about your
passion for JH/MS singers.
Dilworth I started my teaching career as a
middle school teacher 20 years ago in my
hometown of St. Louis, MO. JH/MS school
students are challenged by so many transi-
tions in their lives, including various stages
of vocal range contraction and expansion.
It seems that these vocal challenges can be
a major cause for lack of interest in choral
programs at the JH/MS level. My goal is to
find creative ways of nurturing the JH/MS
voice and spirit so that students will gain the
confidence and desire to keep vocal music in
their lives throughout adulthood.
Harrison As you travel across the world
working with JH/MS musicians, what ele-
Nancy Cox, Editor nrcox@swbell.net
ments continue to amaze you?
Dilworth Over the years I have been for-
tunate to work with thousands of JH/MS
musicians. I am always amazed at the level
of artistry these young people are able to
achieve. If you treat them as “young artists”
and set high goals, the artistic product will
not only meet—but often exceed—your
expectations.
Many middle school students, by their
very nature, are great risk-takers.They are at
a stage in their lives in which they are willing
to accept the dare of pushing the boundar-
ies. This concept transfers very well into the
choral classroom, because you will find that
many JH/MS singers are up for the challenge
of experimenting with some of your ideas,
and will often come up with a few ideas of
their own.
Harrison What changes are most evident
to you regarding this age musician in terms
of rehearsal preparation, participation, and
performance?
Dilworth Now that there have been so
many advances in technology, students are
better able to work independently or in
small groups to rehearse their part. I think
that more middle school-age students are
excited about performing in choral activi-
ties because of the popularity of television
shows that focus on choral singing. In terms
of performance, I have found that singers of
all age groups—especially this one—want to
have a personal connection with the reper-
toire. Therefore, it is important to program
quality, diverse repertoire so that students
can experience a variety of genres and styles.
CHORAL JOURNAL Volume 51 Number 8
Harrison Your work as composer, arranger,
and clinician is widely supported. Your com-
positions and arrangements are favorites.
You are in high demand as a clinician. What
is the secret to your success in these areas?
Dilworth For me, the art of writing and ar-
ranging choral music is a precious gift that
comes with a wealth of responsibility. On
one hand, it affords me the opportunity to
express myself creatively, on the other hand,
my compositions and arrangements become
a tool for teaching my students about style,
culture, performance practice, and how to
be artistically expressive with choral music. I
am committed to working hard to provide
the highest quality experience to all students
and clinic participants. I hope that my passion
and commitment for serving the choral art
is exhibited in each and every presentation.
Harrison Many people who reach your level
of success have a strong mentor and support
environment. Who, in your experiences, has
served as mentor and supporter for your
life’s work? What defining characteristics
were common in your mentor and support
group?
Dilworth Many people have told me that
you are lucky if there is one person or
teacher that significantly impacts your life. I
have been fortunate enough to have many
of such people in my life—perhaps too many
to enumerate for this interview. Ever since
the early days of my music education, I can
remember taking lessons (both formal and
informal) from many people—all of whom
were introduced to me by my elementary
music teacher. Although no one in my fam-
37
ily was a musician, since the age of seven, I
have always been surrounded by a plethora
of musicians who have selflessly shared their
knowledge and skills with me. One could
say that it took an entire village to raise me,
with each member of the village contrib-
uting their unique wisdom to my musical
development.
Harrison Is there one particular accomplish-
ment you are most proud of in terms of your
conducting/clinician career?
Dilworth Last year I received a commission
from the St. Louis Symphony Orchestra to
write a short choral work for orchestra and away a deeper understanding of and respect
chorus. The piece is titled Freedom’s Plow, for the choral art.
which is based upon the last 14 lines from a
Langston Hughes poem that bears the same Harrison What final words of advice or
title. The opportunity to write the work and encouragement would you offer to JH/MS
hear it performed by a major performing Choral Musicians/Educators?
organization has definitely been one of my
career highlights. Dilworth Keep doing all that you can to use
the power of music to inspire young singers.
Harrison After the applause is over, what do
you hope the singers in the 2011 National
JH/MS Honor Choir will remember most
from their work with you?
Dilworth I simply want each singer to take

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 DOWNLOAD THE ADVOCACY GUIDE FOR FREE AT: :

Making the Case for

T
Now more than here is plenty of evidence that
singing in a choir helps students
ever, we all succeed in school, work, and life.
And yet, today choral programs
must stand up are under siege—competition
for school dollars, time in the school day, and
for school a narrow focus on just a few subjects covered
on standardized tests all pose significant
choirs— challenges to the future of school choirs.
Today, choir directors must actively and
Chorus America expertly advocate for their programs so
has a new tool that decisionmakers charged with cutting
budgets look elsewhere for cost savings.
to help To make it easier, Chorus America offers
our newest publication, Making the Case
for Your School Choir: An Advocacy
Guide. Access the complete toolkit
online for free: www.chorusamerica.org/
choiradvocacyguide/free
elementary school principal and my mother
taught choral music in the public schools
for 47 years. A celebrated educator and
lifetime ACDA member, my mother loved
teaching music and, perhaps even more, she
loved children. Growing up, our dinnertime
conversations were all about education and
inevitably the relative merits of teachers
(Dad) and administrators (Mom). So it was
completely natural for me to get my degree
in music education, become a middle school
music teacher, and—after a stint singing in
the Air Force Singing Sergeants and addi-
tional academic study—to work at MENC,
the National School Boards Association, and
now as President & CEO of Chorus
America. For me, the fight to keep choral
music in our schools is personal and part
of my DNA. I bet it’s personal for you, too.

CASE
MAKING THE
UR Making the Case Making the Case is Urgent
FOR YO

SCHOOL is Personal I grew up in the era when most public

schools had thriving music programs that

CHOIR
The desire to help make the case for
your school choir is both professional made a difference for kids each and every
and personal for me. My father was an day. This has not been the experience for
my daughter’s generation because, over the
An Advocacy Gu
ide years, music education began to be seen
as an expendable luxury. As former NEA
Chairman Dana Gioia has said and most
© 2011 by Chorus
America of us know through experience, increasingly
a child’s access to music education is largely
a function of his or her parents’ income.
The Chorus America Chorus Impact
Study—the only research on record that
documents the benefits of singing in choir for
children and youth—reports the following
key findings:
> More than 1 in 4 educators surveyed said
there is no choral program in their school.
> 1 in 5 parents surveyed said that there
P HOT O: BRIAN SCOTT HOLMAN

are no choral singing opportunities for their

children.
> Of the educators who said that their
school has no choir program today, 31% said
their school used to have such a program.

40 CHORAL JOURNAL Volume 51 Number 8

w www.chorusamerica.org/choiradvocacyguide/free
Your School Choir
Making the Case is Vital
for the Choral Field
Chorus America is devoted to sustaining
and advancing the whole choral field and,
given the situation today, we are especially
concerned about ensuring that generations
of young people don’t miss out on the
advantages that singing in a school choral
program is uniquely positioned to deliver to
them. Multiple studies have shown that adults
who are exposed to the arts at a young age are
most likely to participate actively in the arts
throughout their entire life. We know that one
of the most meaningful ways to carry out
Chorus America’s mission “to build a dynamic
and inclusive choral community” is to support
choral music education in our schools.
According to the National Endowment for
the Arts and our own Chorus America data,
choral singing is by far the most popular
form of participation in the performing
arts today and we need to act now if we
are to keep it that way.
Making the Case
Just Got Easier
This guide is offered as a tool to make it
easier for you to be an effective advocate
so you can get back to your important work
in the classroom. Every school presents a
unique set of challenges—and not every
tool will fit your situation. Our hope is that
from this compendium of resources, culled
from the best practices of other successful
advocates, you’ll find something that is
valuable to you and your school choir. The
guide includes:
> Advice on understanding your impact
and building a strong network
> Ideas for working in partnership with
your school administration
> How to reach out to community
partners, especially independent choruses
in your area
> Strategies for making every performance What Is Advocacy?
an advocacy opportunity
Advocacy is speaking out
> Data from notable, quotable sources
about issues that you
that illustrate the value of singing for
children and support these facts: feel are important to help
s Choral singing is an integral part of arts
inform decisionmakers.
education, which is a necessary component
of a comprehensive and competitive educa- Advocacy takes place on
tion. Singing in choir promotes academic
a continuum and it can
achievement and develops success skills.
take many forms and occur
s Choruses build community.
Singing in choir provides a sense of real at many levels including
belonging, offers new opportunities for
personal advocacy,
learning, encourages student engagement,
and promotes civic engagement. advocacy for others, and
s Choral singing has intrinsic value.
advocacy in the public
The collective expression of a chorus
singing together has the power to lift interest. Advocacy includes
spirits and transform lives.
the case, strategies,
So while I know firsthand that you’re al-
actions taken, and solutions
ready very busy running your choral program,
I urge you to visit www.chorusamerica.org/ proposed to influence
choiradvocacyguide/free to find the tools and decisionmaking and create
ideas that are most relevant to your situation,
your school, and your community. Together positive change.
we can make the compelling case locally,
regionally, and nationally for keeping choral
music where it belongs—in the lives of our
young people. ■
Ann Meier Baker is President & CEO
of Chorus America. Contact her at:
service@chorusamerica.org
DOWNLOAD THE ADVOCACY
GUIDE FOR FREE AT
www.chorusamerica.org/
choiradvocacyguide/free
Chorus America serves to strengthen choruses and
provide their leaders with information, research,
professional development, and advocacy to help
them contribute to their communities and inspire
innovation and artistry in performance.
CHORAL JOURNAL Volume 51 Number 8 41
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 Richard Stanislaw, Editor rstanislaw@octabernacle.org
A Festschrift in Honor of Donald Paul Hustad
edited by Paul A. Richardson and Tim Sharp
Donald P. Hustad has influenced church
musicians for the past 80 years. Sixty years
ago, he published popular arrangements of
hymns for the Moody Chorale—early ex-
amples of that now-common church choral
literature. His organ playing for Billy Graham
Crusades generated still-used organ-piano
arrangements with Tedd Smith. He is a
Fellow of the Royal College of Organists
(London). He touched generations of church
musicians through his teaching at Southern
Baptist Seminary in Louisville, where ACDA’s
Tim Sharp was among his pupils. He is a
Fellow of the Hymn Society and editor of
numerous hymnals. Don is the personifica-
tion of church music.
This Festschrift celebrates Hustad’s ca-
reer and includes articles by 29 peers and
former students. It draws its title, Jubilate,
from Don’s own books and, indeed, provides
an “Amen!” to what Don has taught us.
In the tradition of a Festschrift, the book
includes scholarly articles intended to be
cited in future research. But this is more
than a collection of potential footnotes; it
is a loving tribute on Don’s 90th birthday.
Billy Graham’s description of Don’s
Christian commitment begins a section of
personal recollections. Rhonda Furr traces
Hustad’s biography and list of works, a 40-
page bibliography; the late Hugh McElrath
(Southern Baptist Theological Seminary) and
George Shorney (Hope Publishing Com-
pany) add tributes; and Les Hollon prays.
The list of contributors is a “Who’s
Who” of church music. Every essay adds to
scholarship’s knowledge base—
Jubilate, Amen!
• Tom Bolton (Southern Baptist Theological
Seminary, Louisville): a well-reasoned
warning about the state of church
music ministry and some prescriptions
for the future.
• William Clemmons (Point Loma Nazarene
University): a fresh approach to writing
hymn tunes. Clemmons also prepared
the numerous musical examples
throughout the Festschrift.
• Carl Daw (Episcopal Priest and former
Hymn Society Director): a critique of
song theory in Robert Bridges.
• Pam Davis (Library of Lambuth University):
a remembrance of influential teacher
Frank Lincoln Eyer, a major contributor
to Etude.
• Michael Hawn (Southern Methodist
University): a supplement to Hustad’s
own scholarship on African music in
missions.
• Christopher Idle (Church of England
Priest): three “footpaths” of hymnody.
• Deborah Carlton Loftis (Baptist Theo-
logical Seminary, Richmond, and Hymn
Society Director): cogent practical
suggestions for approaching changes in
church music.
• Alan Luff (Church of England Priest): a
personal travelogue of the Welsh hymn
tune Cwm Rhondda.
CHORAL JOURNAL Volume 51 Number 8
• David Music (Baylor University): new
insights into two books by nineteenth-
century Oliver Holden.
• Bert Polman (Calvin College): an overview
of settings and usages of the Magnificat.
• Milburn Price (Samford University): re-
flections on worship as intellect and
emotion.
• Michael Raley (Wake Forest University):
a heavyweight and careful study of
German church music in the mid 16th
century.
• Paul Richardson (Samford University): a
biographical survey of the influential
Poteat family of leaders and musicians
at Wake Forest College and Furman
University.
• Carl Schalk (Concordia University): a
jaunt through church music philosophy
and song.
• Tim Sharp (ACDA): a reminder of the
influence of Moravian musicians in
colonial America.
• Paul Westermeyer (Luther Seminary):
church music in church-related college:
analysis and suggestions.
• Mel Wilhoit (Bryan College): a fascinating
review of popular and political music
from the Scopes trial, including sheet
music art.
43
• Brian Wren (Columbia Theological Semi-
nary): surprisingly inclusive language in
a 5th century hymn, “Of the Father’s
[Parent’s] Love Begotten.”
Also in the Festschrift are hymns and
tunes by Timothy-Dudley Smith, Michael
Saward, Carl Daw, Austin Lovelace, Ronald
Turner,William Bradley Roberts, and Donald thoughtfully; it will challenge the mind and
Hustad, himself. touch the heart. It honors Don Hustad; it
I talked with Don about that large honors church music.
number of people his music ministry has
touched and impacted. He graciously said
that it was all of those fine musicians who
have “enriched” his life.
This is a book to read slowly and

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www.PresbyMusic.org
44 CHORAL JOURNAL Volume 51 Number 8
 Curtis E. Hansen
1921– 2011
Curtis E. Hansen, age 90, of Edina, MN, passed away
peacefully on January 31, 2011. As one of seven original
founders of the American Choral Directors Association
(ACDA) in 1959, he was the only one remaining until his
death. After graduation from Amery, WI, High School and
St. Olaf College (where he studied and sang with F. Melius
Christiansen), he earned a Masters degree from the Min-
neapolis College of Music. He began his teaching career
in Luck, WI, and went on to Brainerd, MN, where he de-
veloped an outstanding choral music program. His choirs
performed at state and national music educator's confer-
ences and conventions. In addition to being a founder
of ACDA, he also was a charter member and elected as
ACDA National Vice-President. He also served as presi-
dent and vice-president of the Minnesota Music Educa-
tors Association (MMEA). His honors included being the
recipient of ACDA-MN's F. Melius Christiansen Lifetime
Achievement Award and being inducted into the MMEA
Hall of Fame. He was a long-time member of the Bloom-
ington Medalist Band, a member of Bethlehem Lutheran
Church in Minneapolis since 1963, and held membership
with the American Legion in Brainerd, MN. He became the
music editor of Schmitt Hall and McCreary (Minneapolis)
in 1963 after which he founded Curtis Music Press in 1977
to provide new music for school and church choirs. He
first served his country as a member of the United States
Navy Band and was later commissioned as an officer in the
amphibious forces that made a D-Day landing at Omaha
Beach (France) and in Okinawa in the Pacific.
Cur tis Hansen was inter viewed by Diana Le-
land on May 5, 2008, as one of ACDA's founders. To
view that video, please visit: http://www.youtube.com/
watch?v=XVMuygADCYo.
CHORAL JOURNAL Volume 51 Number 8 45
Perform alongside the pageantry of the Queen's Diamond Jubilee
and in the year of the 2012 Olympic Games

Opportunities for Advocacy Presented by the Use of “Classical” Music on Television
Red-blooded American football fans
huddled in front of their televisions to watch
Super Bowl XLV on Sunday, February 6,
they might have reflected upon the musical
implications of the game and on the Clas-
sical music they heard and associated with
it—and especially with its wildly popular
(and outlandishly-budgeted) commercials.
An hour-long CBS television program on
the Friday night before was devoted to these
commercials, current and retrospective,
and included the following uses of Classical
music:
• Verdi (1813–1901), Requiem, Dies irae—
Doritos.
• Verdi, La traviata, Brindisi, “Libiamo”—
Doritos.
Theodore Albrecht, former Music
Director of the Philharmonia of Greater
Kansas City, is professor of musicology
at Kent State University in Ohio.
talbrech@kent.edu
From Super Bowl to Salty Snacks:
by
Theodore Albrecht
• Ponchielli (1834 –86), La Gioconda, Dance
of the Hours—Pepsi.
• Boccherini (1743 –1805), String Quintet in
E, Minuet—Pepsi.
• Prokofiev (1891– 1953), Peter and the
Wolf—what was that product?
• Williams, John (b. 1932), Star Wars (or
adaptations)—products fade from
memory, but the music remains.
Of course, John Williams based his 1977
Star Wars movie score on the stylistic traits
of British composers Elgar (1857–1934),
Holst (1874 –1934), and Vaughan Williams
(1872 –1958). In 1984, he also composed a
series of openers, interludes, and closings to
be used for the NBC Nightly News and morn-
ing Today Show, some of them reminiscent
of his score to the 1978 movie Superman.
As the dates cited here suggest, the pro-
ducers of these commercials would not have
been able to select these pieces if they had
not known historic musical literature very
thoroughly, although advertising agencies
simply have banks of appropriate themes
CHORAL JOURNAL Volume 51 Number 8
from which to select for the products of
their clients. Among recent or current televi-
sion commercials not necessarily associated
with the Super Bowl, we find:
• Beethoven (1770 –1827), “Waldstein”
Piano Sonata, opening bars—Honda.
• Bruckner (1824 –1896), Symphony No. 7,
opening bars—Arby’s fish sandwich.
• Bach (1685–1750), “Little” Fugue in G
minor (orchestrated)—University of
Pittsburgh Medical Center (possibly
duplicated by an ad agency for use
elsewhere in the country).
• Beethoven, Symphony No. 9, Scherzo—
used in some recent national news
program.
The beginning of the Beethoven scherzo
has been used frequently since it first
provided the opening theme for NBC’s
Huntley-Brinkley Report starting in 1968,
but few Classical music lovers would ever
have associated the opening of Austrian
Anton Bruckner’s Seventh Symphony with the
47
depths of the sea! Even so, it works! Other
older and repeated uses of classical music
for TV commercials include:
• Vaughan Williams (1872–1958), Symphony
No. 6, opening bars—Suddenly Susan
(with Brooke Shields), perhaps a dozen
years ago, but recently resurrected
briefly for NBC seasonal promotions.
• Rossini (1792–1868), Barber of Seville,
Overture and “Largo al factotum”—
numerous commercials, but especially
Italian foods and restaurants.
• Handel (1685–1750), Water Music—Delta
water faucets.
• Leoncavallo (1857–1919), I pagliacci, “Vesti
la giubba”—Rice Krispies.
• Brahms (1833– 1 8 97), Symphony No. 3,
third movement—Lexus.
• Tchaikovsky (1840 – 1893), 1812 Over-
ture—Coca-Cola, among others.
Concept Tours
A bridge to the world
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48 CHORAL JOURNAL Volume 51 Number 8
• Richard Strauss (1864 –1949), Also sprach
Zarathustra (or adaptations)—com-
monplace from automobiles to razor
blades since Kubrick’s 2001: A Space
Odyssey, over four decades ago.
• Orff (1895–1982), Carmina Burana, “O
Fortuna” (or adaptations)—anything
cataclysmic.
• Handel, Messiah, “Hallelujah”—moments
with a feeling of immediate joy or
triumph.
• Joplin (1868-1917), Maple Leaf and
Entertainer rags—upbeat or nostalgic
background.
• Beethoven, Symphony No. 9, “Joy” theme—
moments with a feeling of universal
warmth or brotherhood.
Earlier on Super Bowl Sunday, a CBS
Sunday Morning tribute to President Ronald
Reagan on the 100th anniversary of his birth
Great venues
Concerts
Festivals
Joint concerts
Culture
Sightseeing
used the Appalachian Spring ballet suite by
Copland (1900– 1990) to suggest his grass-
roots or “common-man” origins. And, there
is his celebrated Fanfare for the Common
Man, often used in commercials or patriotic
programming in its original or adapted form.
The list could go on seemingly forever.
Most of us will have favorites (or un-favor-
ites) among today’s and yesterday’s com-
mercial uses of Classical music, and they may
provide an opportune moment to impress
upon our colleagues, administrations, legis-
lators, and the public at large that without
Classical music—and the kinds of instruction
that it entails (from private lessons, to en-
semble performances, to theory and history
classes, and to a broad general education),
extending from elementary school to the
college level—we might not have the music
they otherwise take for granted as they
watch and enjoy their favorite shows on tele-
vision, including past and future Super Bowls!
And, with a little more advocacy on the
part of all of us who might second MENC’s
campaign, some nationally-televised Ameri-
cans (especially those who can’t sing the
melody) might even learn the words to The
Star-Spangled Banner! Tune in to next year’s
Super Bowl to find out!
Acknowledgements
I would like to thank my colleagues
at Kent State University who entered into
the intended spirit of identifying, applauding,
laughing at, and even groaning about some of
the commercials enumerated here: Dennis
Nygren (clarinet), David DeBolt (bassoon),
Theodore Rounds (percussion), Renée Illa
(music history), and Patricia Grutzmacher
(music education) and our supportive Dean
John Crawford. And—of course—my wife
Carol Padgham Albrecht (oboe and musicol-
ogy) at the distant University of Idaho.
50 CHORAL JOURNAL Volume 51 Number 8
 Stephen Town, Editor
stown@nwmissouri.edu

The Masses of Joseph Haydn or Nelsonmesse will profit enormously from how any performance will be shaped—and
Robert W. Demaree and Don V Moses seeing what these gentlemen have to say heard. There are references to the so-called
Rochester Hills, MI: Classical Heritage, 2008 about them. “Haydn fanfare” that help us understand
853 pp. Consider the Nelsonmesse. Since the why the authors include a glossary—so that
$95.00 authors devote 60 pages to it, we do expect newcomers don’t have to go blundering
www.haydnmasses.com a wealth of information, including some new through the rest of the book looking for a
insights. Once they get past an obligatory definition, and old-timers don’t have to skip
Although the size (and price) of this vol- discussion of the work’s nickname, Moses over a definition here!
ume may seem daunting, potential readers and Demaree do not disappoint. We learn I was particularly taken by the many
should bear in mind its value: within these that the shocking Kyrie combines elements practical performance tips given at various
pages, Don V Moses, arguably America’s most of fugue, concerto form, and sonata-rondo; points: wise words about the notorious
knowledgeable and experienced conductor that the movement’s power derives largely Haydn “wedges,” for example, and a nice
of Haydn’s choral music, shares a lifetime from “Haydn’s management of motion sidebar about the advent of the keyed
of engagement with these cornerstones of through constants,” a relentlessly driving ba- trumpet, for which Haydn had written an
the repertoire. Who wouldn’t spend two or sic pulse interrupted only for the two “great extremely popular concerto only two years
three times that, just to sit for an hour or two dramatic pauses” marked by fermatas and earlier. And then this sort of thing, regarding
and talk Haydn with someone who knows, otherwise heightened by hemiola writing at the tricky opening bars of the Sanctus and
really knows, this music? (In fact, from 1976 other climactic moments; and that the many based on the authors’ experience in Haydn’s
onward, plenty of musicians and teachers high A-naturals in the soprano line help set own venues:
made the pilgrimage—and spent consider- up a “glass ceiling” that will be shattered, first
ably more—to participate in the Classical by the soloist and then (in m. 126) by the Each of the two fermate should be
Music Festival in Eisenstadt, which Moses entire section. All of this directly bears on permitted no less than the value
created and then sustained for many years
with his energy and vision.)
Ably abetted by faithful co-author Robert
W. Demaree, with whom Moses previously
created The Complete Conductor (Prentice-
Hall, 1995) and Face to Face with Orchestra
and Chorus (Indiana Univ. Press, 2d ed., 2004),
Moses gets its all down here. After a couple
of introductory chapters devoted to the
composer’s childhood and apprenticeship,
the book settles in for a work-by-work
discussion of the Masses, covering every
movement—and sometimes, it would seem,
every measure—in exhaustive detail. And
yet it doesn’t exhaust us. Rather, Moses and
Demaree manage a combination of descrip-
tion, analysis, and performance acumen that
revives our interest in these great pieces,
wakes us up again to their evergreen charm
and power. Any conductor facing rehearsal
and performance of another Nikolaimesse

CHORAL JOURNAL Volume 51 Number 8 51

 of an additional quar ter-note in and price are further justified by its “extras”:
this tempo, and it requires at least copious music examples, illustrations, a glos-
two seconds in the Eisenstadt sary, appendices including a chronology of
Bergkirche for the reverberation the Masses, the Mass text in Latin and English,
to clear each time. (The conductor a list of Esterházy music personnel (actually
will need to recall that musicians four lists), and a brief narrative, “Haydn and
are always willing to crescendo, but the Italian-Austrian Inheritance,” citing Italian
are not always quite so cognizant of influences from Giovanni Priuli (1575–1629)
diminuendos.) (p. 545) and Antonio Vivaldi (1678–1741) and Luigi
Tomasini (1741–1808), Haydn’s concert-
Much more could be cited, but you master. This book is now essential reading
should have the picture by now. Occasionally for anyone preparing to conduct one of the
one does encounter a copy-editing slip or a Haydn Masses.
bit of musical detail over-emphasized; these
are extremely insignificant matters com- Lawrence Schenbeck
pared to the richness, accuracy, and wisdom Atlanta, Georgia
of the contents overall. The book’s weight
Fanny Hensel:The Other Mendelssohn
R. Larry Todd,
New York: Oxford University Press, 2010.
426 pp.
Tempowatch.com $45.00
ISBN: 9781860962981 (Hardcover)
Know Your [http://www.oup.com/us/catalog/gen-
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Toll Free
1-888-803-6287 Mendelssohn scholar R. Larry Todd has
already written the successful work, Mendels-
sohn: A Life in Music, about Fanny’s brother
AllThingsMusical.com Felix. It received the Best Biography award
of the Association of American Publishers in
“The Music 2003. Todd’s work about Felix’s sister Fanny
Education is at least equally compelling, if not more so.
Yellow Pages” In his Preface, Todd makes a convincing
Sign-up for Your case for our reviewing Fanny Hensel is a
great composer, especially given “Her story
FREE Choral is one of metamorphosis from ‘amateur’
E-Newsletter, to a professional composer with a distinct
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Packet & CD-Rom The work is divided into twelve detailed
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to three years of her life, except for the first
Starting a Music Biz?
chapter, covering the years 1805–1818. The
MusicBusinessOwner.com chapters have generally clever titles, such as
“Fugal Fingers (1805–1818)” and “Engraver’s
Learn How to Start & Grow Ink and Heavenly Songs (1845–1847).” The
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before her death of a stroke in 1847. There
52 CHORAL JOURNAL Volume 51 Number 8
are also abbreviations, copious endnotes, a
fourteen-page bibliography, a complete list
of Fanny Hensel’s compositions, an index
of Felix’s compositions, as well as a general
index. Within the confines of the nineteenth
century’s attitudes toward women, Fanny
Hensel was on her ascent as a musical figure
and composer at the time of her death.
This ascent in stature has been gradu-
ally increasing during the latter part of the
twentieth century and beyond. Many voice
pedagogues know about the performing
editions of Hensel’s own songs which have
appeared gradually during the last fifteen
years. Todd skillfully illustrates several of
these songs with musical examples, which
most succinctly show Hensel’s developing
style independent of her brother. And her
cycle for piano, Das Jahr, has become recog-
nized as a pivotal work equal to such works
as Carnaval by Robert Schumann and other
major multi-movement piano works of the
first half of the nineteenth century, accord-
ing to Todd.
Todd painstakingly identifies the major
musical and compositional influences that
shaped Fanny Hensel, including her brother
Felix and the compositions that he wrote
for her. He also discusses other major
composers of the nineteenth century and
their influences, including the artist Wilhelm
Hensel, her husband; poets Heinrich Heine
and J. W. von Goethe; and Berlin Singakad-
emie director and composition teacher C. F.
Zelter. Composers who receive more than
casual mention include J. S. Bach and Mozart
as influences, as well as contemporaries
Fréderic Chopin, Hector Berlioz, Charles
Gounod, Clara and Robert Schumann, and
Niccolo Paganini. Other artistic personages
include Hans Christian Anderson, William
Sterndale Bennett, Giacomo Meyerbeer, and
Ignaz Moscheles, all of whom had positive
things to say about Fanny Hensel and her
music. In fact, Clara Schumann was going to
dedicate a piano trio to Hensel but Hensel
died before it was completed.
Also legendary were the concerts in Ber-
lin which she organized, of other composer’s
works, including those of Felix, as well as her
own. These were legendary, and served to
further the music of Mendelssohn, Hensel,
and other composers.
Of interest to choral conductors is
Fanny’s role as a chorister, where she learned
much of the choral craft, singing alto (along
with Felix) in the Singakademie. This is
coupled with more than casual mention of
choral works such as Nachtreigen and the
Gartenlieder, which are also coming into their
own as the twenty-first century begins.
Appearing with the book is an online in-
teractive resource including musical listening
examples.This seems to function reasonably
well and is a fine addition to the printed
material. Musical examples, some ingeniously
comparative with Felix and other compos-
ers, are strategically placed and more than
adequate. Family trees at the beginning of the
book are clear and in a reasonable format.
The Epilogue chapter is engaging, particularly
the discussion of Hensel’s son Sebastian,
who lived from 1830-1898. He published
Die Familie Mendelssohn 1729–1847 (three
volumes) in 1879, and preserved many fam-
ily records, diaries, Wilhelm’s art works and
drawings, and other Mendelssohn/Hensel
documents that are part of the Mendels-
sohn Archiv in Berlin and the basis of much
of Todd’s original research.
Fanny Mendelssohn Hensel has tran-
scended the nineteenth century’s stigma
about women, finally, at the beginning of the
twenty-first, largely due to R. Larry Todd.
He states: “Her life celebrates the power
of an artistic genius that did transform the
‘other Mendelssohn’ into Fanny Hensel, a
composer we should now recognize and
celebrate” (xvi).
Donald Callen Freed,
Alpine, Texas
Follow Us
American Choral
American Choral
Directors Association
TimothySharp
Handbook for the Music Mentor
Colleen M. Conway, Michael V. Smith,
and Thomas M. Hodgman
Chicago, IL: GIA Publications, 2010
472 pp.
$44.95
ISBN: 978-1-57999-786-1 (softcover).
In recent years, many states and state
music associations have instituted music
mentor programs whereby new teachers
are offered the opportunity to receive
ongoing input and advice from seasoned
teachers. Handbook for the Music Mentor is
an extremely useful compendium of infor-
mation that succeeds in addressing every
conceivable issue that might be encountered
by mentors and mentees.
In the preface the authors state:
[The] Handbook for the Music
Mentor is designed for music
educators working as mentors for:
(a) undergraduate music majors in
pre-student teaching; (b) student
teachers; and (c) beginning music
teachers in their first year or two
on the job.
The text is organized into three parts.
Part One focuses on interactions that
mentors might have with undergraduate
CHORAL JOURNAL Volume 51 Number 8
music education students observing extant
classrooms. Part Two focuses on the roles
of the mentor when working with a student
teacher, and Part Three provides suggestions
for mentoring beginning teachers. One
of the greatest strengths of this valuable
volume is the many “vignettes” contributed
by undergraduate students, co-op teachers,
and university supervisors.These stories are
carefully correlated with the topics under
consideration and, for the most part, are
engagingly written and quite compelling.
Chapter One deals with the under-
graduate music education student. Topics
addressed include characteristics of music
education students, curriculum, freshman/
sophomore/junior experiences, music
identity development, and undergraduate
perceptions of in-service teachers. Among
the many salient observations offered by the
authors is their focus on the challenge for
the music education student to balance the
development of personal musicianship skills
with the development of the skills needed
to teach these same concepts to children of
various ages and in various musical contexts.
The authors suggest that more time spent
out in the schools [early field experience]
and less time in coursework might be use-
ful in this regard; in other words, ensuring
that the linkage between college/university
coursework and real-world practice is estab-
53
lished early in the music education student’s
preparation.
Chapter Two is titled “Hosting Class-
room Observers” and, thus it is addressed
primarily to in-service practitioners. Various
types of observations (single visit, multiple
visits, individual/group visits, with or without
professor visits); and the logistics of observa-
tions including suggestions from cooperating
teachers are discussed. One of the most
valuable aspects of this chapter is the inclu-
sion of Sample Music Class Observation
Forms.These forms come from another GIA
publication, The Handbook for the Beginning
Music Teacher. I have been using these forms
in my music education methods class for
the past several years and have found them
to be extraordinarily useful in structuring
my student’s observations of various types
of music classes. Each form is uniquely cor-
related to the specific type of class being
observed and the questions posed to the
observer are cogent and relevant.
Chapter Three: “Fieldwork Experiences
Including Teaching” concludes Part One.
Topics covered in this chapter include: types
of pre-student teaching fieldwork experi-
ences, the Professional Development School
(PDS) Model, Service Learning, teaching a
song in a general music class, working with
uncertain singers, movement and listening
activities, sectional rehearsals, warm-up
activities, logistics, and confidence-building.
The chapter concludes with a useful First
Fieldwork Teaching Experiences Reflection
Worksheet.
Part Two is addressed to practitioners
who serve as cooperating teachers for
student teachers, however, the information
presented is also valuable for university su-
pervisors and student teachers themselves.
Chapter Four opens with a discussion

René Clausen Janet Galván Complete information online

w w w. re n e c l a u s e n . c o m
Concordia College, Moorhead, Minn. Ithaca College, New York
Composer & Conductor Conductor, Educator & Author

Additional faculty: Abbie Betinis, Composer; Matthew Culloton,The Singers; Michael Culloton, Choral Arts Ensemble

Join us July 23 - 27, 2011

Concordia College | Moorhead, Minnesota

54 CHORAL JOURNAL Volume 51 Number 8

around student teachers: characteristics, to mentors of newly employed, beginning that only experienced teachers would as-
procedures for placement, goals, matching music teachers. Although it seems obvious sume the mantle of mentor to a beginning
student teachers with cooperating teach-
ers, goals of student teaching, the student
teacher seminar, and the student teacher
portfolio. The vignette titled “I can do 8:00
a.m. Saturday…and that means I get to sleep
in!” addresses the issue of applied lessons
(the “music fix”) during the student teaching
experience; it is engagingly written by Joel
Schut, a University of Michigan student.
Chapter Five is titled “Preparing for Your
Student Teacher and Designing the Student :\TTLY=VJHS7YVNYHTZ
Teaching Experience.” It should be required
reading for all prospective cooperating
teachers. Written by Colleen Conway, this
chapter discusses the logistics, laws, and
procedures guiding the student teaching
experience, including substitute teaching T7\SZL
policies. It also presents valuable generic 6XPPHU9RFDO$UWV,QVWLWXWH
suggestions as well as some that are specific
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and others that are specific to band. While IRUKLJKVFKRROVWXGHQWV
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the ideas associated with band could easily
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be extrapolated to the choir classroom, I be-
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Chapter Six: “Rappor t, Observation,
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ing” serves as a potent reminder of the very
real human considerations that can result in
a positive experience for all of the stake-
holders or, conversely, result in a lose-lose
situation. Four templates for observations
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conclude the chapter.
Chapter Seven: “Strategies to Diversify :`TWVZP\T 7H\S9HYKPU

the Experience and Instill Professionalism” -XO\

is an “outside the box” discussion of activi-
ties that can enhance the student teaching
experience.Topics covered include mock in-
terviews, the role of the cooperating teacher
in developing professionalism, teaching “out
of field” (across curriculum), the role of
district music supervisors, and professional
networking. Teachers are always on the
lookout for ideas and processes that will
improve the efficacy of the teaching/learning
experience. I found the idea advocated in
“The Wristband Story” (vignette) by Rachel
Gladys to be especially creative and useful.
Part Three of the Handbook is addressed
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SDUWLFLSDQWV
PXVLFXPLFKHGXDGXOWSURJUDPV

CHORAL JOURNAL Volume 51 Number 8 55

teacher and that these individuals really have
little need of guidelines, the reality is that the
information included in Part Three (chapters
8–14) is positively invaluable. It is perhaps
also true that experienced teachers are
precisely those individuals who will under-
stand and appreciate the wealth of collected
wisdom presented in these chapters.
Chapter Eight: “The First Year Teacher”
assesses the characteristics, dispositions, and
needs of new teachers. The vignettes in this
chapter are particularly relevant, even poi-
gnant. I believe new teachers would benefit
greatly from reading this chapter, especially
the vignettes.
Chapter Nine: “Preparing to Be a Men-
56 CHORAL JOURNAL Volume 51 Number 8
tor” presents both positive suggestions for
and pitfalls of mentoring. Mentee devel-
opmental needs are delineated in three
rubrics—surviving, striving, and thriving.
One might reasonably expect a topic such
as this to be pedantic, but the presenta-
tion is thoughtful and engaging. The sidebar,
“How a Mentee Can Continue to Grow as
a Musician,” focuses on one of the most chal-
lenging issues for new teachers—achieving
a balance between the demands of the job
and the individual’s need for personal musi-
cal nourishment. Many newly-minted music
teachers struggle mightily as they transition
from an identity of student/performer to
one of teacher/leader. This matter deserves
much more attention than has often been
the case and the music mentor can provide
valuable guidance in this realm.
Chapter Ten addresses the mentor-men-
tee relationship and mentoring principles.
Mentoring is defined and the characteristics
of successful mentors are specified. Each of
the following bullet points is discussed in
useful detail:
• be insightful
• be supportive and protective
• listen
• use eye contact
 • express warmth
• be honest
• be a role model
• be affirming
• follow the mentee’s lead
Mentoring styles are also enumerated (pre-
scriptive, persuasive, collaborative, confirma-
tive, autonomous) and explained.
Chapter Eleven deals with the mentor-
ing practices of successful mentors. Several
functions of mentoring are cited:
• teaching
• sponsoring
• encouraging
• offering counsel
• offering friendship
• giving political tips
• giving challenging assignments
• helping with career moves
• providing visibility
(for mentee achievements)
• protecting
In addition to these concepts, several other
considerations are offered as items “not to
be overlooked,” including school site proce-
dures and duties, school site geography, sup-
plies, administrative forms and procedures,
audio-visual and technology resources, and
staff introductions. Each of these functions
is explained and expanded upon in the en-
suing discourse. Several pages of prescient
discussion are devoted to the concept of
active listening. One can readily see that the
authors are truly advocates of the mentoring
process and, by extension, of mentees.
Chapter Twelve: “Making Contact and
Early Mentoring Interactions” presents a
useful set of checklists and tips. There are
checklists for both mentor and mentee. The
organization of these checklists and tips into
categories by specialization (instrumental,
choral, elementary, general) is particularly
helpful. While one could easily turn to those
lists and tips that are immediately relevant
to one’s particular situation, nearly all of the than that of the cover price and they will find
ideas in each of the lists could (and should) themselves returning to it for its wealth of
insights again and again.
be extrapolated to the other categories.
In addition to the checklists, the chapter
contains a section on professional develop- Vance D. Wolverton,
ment and another on mentee journaling.This Highland Heights, Kentucky
chapter is one of the most valuable in a very
valuable book.
Chapter Thirteen deals extensively with
the process of classroom observations. Sev-
eral templates are offered including “Survey
of Effective Teaching Traits and Behaviors”
and a “Conducting Evaluation.” The process
of structuring observations and conferencing
are discussed as are observation strategies
and techniques.
The final chapter covers the topic of
facilitating ongoing interaction. The chapter
opens with a discussion of the two most
obvious modalities of interaction—high-tech
and traditional (one-on-one). The discussion
Artistic
of high-tech utilities should prove useful to
traditionalists, just as the discussion of tra- Director
ditional interactions should prove useful to
Position
Available
technology-oriented individuals. Classroom
management is briefly addressed through
a series of scenarios for discussion. The
chapter also includes a section devoted to Master Chorale of South Florida
assessment and grading procedures. Lastly, seeks Artistic Director for critically
but of tremendous value, the chapter con- acclaimed 120-member chorus.
tains several detailed, school-year specific Candidates should have minimum 7
calendars for elementary general music, sec- years’ choral/orchestral conducting
ondary choral, and band programs. The last experience with established reputation
of these (band) could easily be adapted for for excellence in artistic achievement
use in an orchestral program. and demonstrated ability to build
The title, Handbook for the Music Mentor, on the organization’s high quality
simply does not do this volume justice. The
reputation. Job description and
Handbook is simply a fantastic resource on application requirements at www.
so many levels that it would be difficult to
masterchoraleofsouthflorida.org.
enumerate them all.Yes, mentors are the pri-
Recognized as the premier classical
mary audience for this text, but experienced
choral ensemble in South Florida, the
teachers, beginning teachers, administrators,
undergraduate and graduate students will all
Master Chorale performs primarily
find material of tremendous utility and value.
major choral/orchestral works with
The Handbook represents the most success- local and visiting orchestras. This
ful synthesis of research and practice I have part-time position commences
ever encountered. My only concern with the July 2011 with prep for 2011-2012
Handbook for the Music Mentor is that many season. Applications to
(most?) co-op teachers and practitioners will Carole Sandvos,
be intimidated by its length and cost. I hope Master Chorale of South Florida
I am mistaken in this assessment because I 8408 SW 26th Place, Davie, FL 33328
believe everyone who cracks the cover of info@masterchoraleofsouthflorida.org
the Handbook will find its value worth more
CHORAL JOURNAL Volume 51 Number 8 57
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 Morris Beachy

1928– 2011 *

Choral director and University of Texas at Austin Professor Emeritus, Morris

Beachy joined the faculty of the university in 1957, and over the next 36 years
he developed one of the largest university choral programs in the country, noted
for its diversity and high standards. He founded nine ensembles, including the UT
Chamber Singers, the Longhorn Singers, and the University Chous.
Beachy earned his BM from Colorado State University in 1951, his MM from
the University of Oregon in 1952 and his DMA from the University of Southern
California in 1955. Before joining the faculty of The University of Texas at Austin,
Beachy held teaching positions in Colorado, Oregon, Washington, and California
before accepting a position at Hardin-Simmons University in Abilene, Texas..
Beachy served the Department of Music (now the Butler School of Music)
in several capacities, including coordinator of the conducting faculty, adviser to
the graduate programs in choral music, and acting chairman of the Department
of Music. The University Chamber Singers (now the UT Chamber Singers), has
consistently ranked among the best in the nation. He retired from the University
of Texas in 1993 as the Marlene and Morton Meyerson Centennial Professor
Emeritus in Music.
Beachy founded the Austin Choral Union, a group that sang with the Austin
Symphony Orchestra, and later Austin Choral Artists and the Morris Beachy
Singers. His association with the Austin Symphony Orchestra began in 1958
preparing major choral works and, on occasion, until 1994, serving as guest con-
ductor and soloist for the symphony. He held the position of chorus master for
the Austin Lyric Opera for its first six seasons. Beachy was a baritone soloist in
opera, oratorio, and recital and was also a prolific author, publishing many articles
about singing and choral performance.

* We regret that no picture of Morris Beachy was available when we went to press.

CHORAL JOURNAL Volume 51 Number 8 59

 David Castleberry, Editor castlebe@marshall.edu

whose number may be small, but the mark bare the music’s relentless development,
Barber: Samuel Barber’s Collected Choral
on the composer’s output is indelible. creating appropriate tension between the
Works
Barber demonstrated in his works for recurrent five-beat figure on the name An-
The Esoterics, Eric Banks, director
voice, both in solo and ensemble writing, a thony O’Daly, and the three-four meter that
2010 Terpsichore Records – CD 1110,
rare sensitivity to the meanings and inflec- guides the other voices.The music speaks for
53’28”
tions of words. Combined with his idiomatic itself, without need for mannerisms or fuss.
writing for the voice (Barber was himself a Slightly less successful, perhaps, is this reading
This new disc surveys the choral music of
noted singer and pianist), is a level of com- of The Coolin, the best-known piece of the
American composer Samuel Barber (1910–
positional craftsmanship that responds to group. Its gentle siciliano feels a bit hurried
81) and encompasses his choral oeuvre, save
poetry with just the right lyrical impulse and and, though beautiful, leads to a somewhat
for two extended compositions for chorus
textural development needed to convey and abrupt conclusion.
and orchestra, Prayers of Kierkegaard and
illuminate the material at hand. One need For those who might not be familiar
The Lovers, and choruses from his operas. A
look no further than the first of his Reincar- with Barber’s other choral works, A Stop-
few of the selections here are mainstays of
nations, Mary Hynes, with its kaleidoscoping watch and an Ordnance Map is a powerful,
the choral repertoire, such as Reincarnations
vocal lines, restless rhythmic vitality, and arresting work for TTBB chorus. Stephen
and the composer’s choral transcription of
quickly passing harmonies wedded to a text Spender’s poem, which was dedicated to
the famous Adagio for Strings, originally the
that, when spoken, follows almost exactly Samuel Barber, evokes the heartbreak of
slow movement of his String Quartet, Opus
the cadence the music puts forth. Thus, the a young soldier’s death during the Spanish
11, set here as an Agnus Dei. Most of the
performers must find simplicity, rather than Civil War, “all under the olive trees.” Twelfth
other octavos remain little-known but, as
complexity, if they are to penetrate this Night, on poetry of Laurie Lee, is equally
the performances here remind us, deserve
wonderful octavo. The ensemble is quite searing, musically and emotionally, and feels
our attention.
successful here, as they are also in Anthony like a self-contained three-minute drama as
Listening to this disc, one is struck by
O’Daly, the second of the set. Eric Banks lays it traces lines from death to rebirth.
the utter lack of artifice or gimmickry in
Barber’s writing. The composer relies on
craft, sensitivity to text, and a singer’s under-
standing of the human voice, to circumvent
the vicissitudes of passing fashion in the
creation of works of enduring freshness and
relevance. The “Neo-Romantic” label often
applied to Barber seems patronizing when
one regards the whole of his output. Rather
I magine …
singing in the venues
of the great
Sing Where Inspiration Was Born.
than following a particular stylistic dogma or composers, in awe
inspiring cathedrals and
trend, Barber worked with each text on its charming village churches,
own terms, responding to the opportunities for appreciative audiences
around the world.
and challenges that each presents.The result Let us take you there.
is music as vivid now, thirty years after the
composer’s death, as it must have seemed
on first hearing. The performances on this
recording by The Esoterics, under the direc-
tion of Eric Banks, are appropriately straight
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musically satisfying encounter with works

CHORAL JOURNAL Volume 51 Number 8 61

 Although few of Barber’s works could be
described as “light,” The Virgin Martyrs and
Heaven-Haven do indeed demonstrate what
the composer could do with headier, more
esoteric texts. The former, set for SSAA
women’s voices, is Barber’s first choral opus.
The scene is heaven, and the brief octavo
recounts the names of maidens “worthy
now of God’s company.” “To Be Sung on
the Water,” on a text by Louise Bogan, is a
model of transparency and gracefulness, and
reinforces the poet’s view that rhythm forms
the basis for all poetry.
Each selection on the disc articulates on
some level the composer’s view of what is
essential within the texts and how this might
be translated faithfully into musical setting.
Performances are strong throughout, but
are slightly diminished by microphone place-
ments that sound a bit remote. Given the
straightforward delivery of the performanc-
es, one would like to hear the choir’s sound
with a bit more presence. Nonetheless, this
collection is a valuable addition to the Barber
discography and an excellent introduction to
some of the composer’s lesser-known works.
David Castleberry
Huntington, West Virginia
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62 CHORAL JOURNAL Volume 51 Number 8
Requiem, A Thanksgiving for Life:
Choral Works by Sir Philip Ledger
The Choir of Christ’s College, Cambridge
Directed by Sir Philip Ledger
and David Rowland
2009 REGCD305, 1’ 10”
Sir Philip Ledger has secured a prominent
place in English music for the past half-
century through an array of activities and
accomplishments. In 1962, at age twenty-five,
he became the youngest cathedral organist
in the United Kingdom as Master of Music
at Chelmsford Cathedral. As an artistic di-
rector of the Aldeburgh Festival beginning
in 1968, he worked closely with Benjamin
Britten and continues to serve as a festival
vice-president. He was appointed Director
of Music at King’s College, Cambridge, fol-
lowing Sir David Willcocks, and served there
from 1974– 82. His contributions to higher
education include a variety of academic and
administrative appointments, his last being
Principal of the Royal Scottish Academy of
Music and Drama. As a conductor, he has
led many of the most prominent orchestras
in Great Britain, including the London Phil-
harmonic Orchestra, the Royal Philharmonic
Orchestra, and the Academy of St. Martin-in-
the-Fields. Ledger has performed as organist,
pianist, harpsichordist, and conductor on a
large number of recordings.
Requiem, A Thanksgiving for Life: Choral
Works by Sir Philip Ledger highlights Ledger’s
work as composer and arranger, and reveals
yet another aspect of Ledger’s multifac-
eted musicianship. The recording highlights
Ledger’s individual style in its emphasis on
clarity, balance, transparency, and immediacy.
As described in the liner notes, “His music
does not set out to challenge perform-
ers or listeners. Instead, it rests easy in a
settled, confident manner. Above all else, it
is crafted and elegant.” With these elements
understood, Ledger’s music has much to
offer listeners. He creates pleasant pieces
that deliver text directly and through simple
musical means. His tonal, highly consonant
harmonic language, straightforward formal
structures, and thin textures all serve a very
natural effect.Through careful craftsmanship,
Ledger keeps music from sounding common
or trite, despite its uncomplicated materials.
Ledger’s choral writing culminates in his
Requiem, A Thanksgiving for Life, composed
in 2007. Like many others before him, he
does not hold fast to the liturgical Requiem
text, but draws from external sources—in
this case, the mystical English poet Thomas
Traherne (c. 1636 –74). He weaves three of
Traherne’s poems together with seven of
the liturgical Latin texts to trace the lifecycle,
beginning with the poem Birth of the Soul and
ending with In Paradisum. Like Brahms and
Fauré, Ledger emphasizes the hopeful and
consoling aspects of death. In Ledger’s view,
“when composing for choirs, you have to
set the words sensitively and reverently.” To
help achieve this aim, he scores the work in-
timately, writing for soprano and tenor solo-
ists, mixed chorus, and a chamber ensemble
that includes flute, harp, cello, double bass,
timpani, and organ.Those movements whose
texts convey peace and rest are, not surpris-
ingly, more convincing than those that pursue
more dramatic themes. The Latin texts,
interestingly, elicit more inventiveness and
variety from Ledger than those in English. In
particular, the Kyrie contains a commendable
balance of artful, free-flowing polyphony and
convincing homophony. The Sanctus opens
with a beautiful, ethereal women’s section
and closes with a playful, joy-filled Hosanna.
The Pie Jesu, with soprano solo and cello, has tions of the complexity of human nature. of consideration.
moments of transcendence that become the When looking for beautiful music that speaks
highlight of the entire work. easily to singers, audiences, or congregations, Dirk Johnson,
In addition to the Requiem, the disc Sir Philip Ledger’s choral works are worthy Charleston, West Virginia
includes four teen individual settings of
English texts: carol arrangements, anthems,
and original settings of traditional Christmas
fare. Each reflects Ledger’s preference for
approachability and immediate intelligibility. P
He freely, and frequently, shifts from unison,
divided women, divided men, and SATB
textures, establishing transparency with the
thinner vocal textures and providing points
of emphasis with the full choral sound. His
forms are straightforward, very frequently YALE SCHOOL OF MUSIC
YALE INSTITUTE OF SACRED MUSIC
repeating music literally in subsequent NORFOLK CHAMBER MUSIC FESTIVAL
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stanzas, and the organ accompaniments are
subtle and effortless. Because of the music’s
simplicity, pieces tend toward the formulaic,
at least in their formal structure. Their in-
Chamber Choir & Led By
Simon Carrington
ventiveness and natural balance within the Choral Conducting Workshop August 14 – 21, 2011
melodic line, however, elevates them above
the commonplace, to be both serviceable
and highly effective for church choirs. Ledger DEADLINE All materials must be received by Friday, March 25, 2011
is particularly successful in his arrangements.
The carol Good Christians All Rejoice is made Music Among
jubilant through rhythmic variety in the Friends
voices and energetic organ interjections. This
Joyful Eastertide, the strongest work on the A week-long workshop of
disc, sparkles with textual interplay in the coachings, masterclasses, rehearsals
opening lines, antiphonal writing between and seminars for advanced singers
and choral directors
voices and organ, and a full and glorious
conclusion. Among his original compositions, Repertoire will range from the
Adam Lay Ybounden, Advent Calendar, Loving Renaissance to the 20th century
Shepherd of Thy Sheep, and Jesus Christ the
Workshop sessions and final concert
Apple Tree are especially effective. will be recorded on DVD
The Choir of Christ’s College, Cambridge
is well suited to Ledger’s works. Indeed, Conductors will have the opportunity
to conduct instrumental as well
it is obvious that Ledger was writing with as choral ensembles
this type of choir in mind. Their intonation
is nearly impeccable and the blend, while An idyllic location on the grounds
of the Ellen Battell Stoeckel Estate
not as consistent as more prominent Eng-
in the Litchfield Hills of northwestern
lish choirs, is quite good, offering the vocal Connecticut
timbres you would expect from an English
church choir. The vocal soloists in the Requi-
em execute well, and the chamber orchestra " 1 1 - * $ "5 * 0 / 4
&
performs the work effectively, with the solo * / ' 0 3 . "5 * 0 /
cello deserving specific mention.
WEB www.norfolkmusic.org
Requiem, A Thanksgiving for Life: Choral
EMAIL norfolk@yale.edu
Works by Sir Philip Ledger offers listeners a CALL 860.542.3000
collection that communicates effectively and
APPLY ONLINE AT norfolkmusic.org
directly. Ledger enhances texts with pure and Photo: Peter Bagley
unencumbered emotion rather than depic- Photo: Peter Bagley

CHORAL JOURNAL Volume 51 Number 8 63

John Taverner Sacred Choral Music
The Choir of St. Mary’s Cathedral,
Edinburgh Duncan Ferguson,
Organist and Master of Music
Delphian 34023 (2009; 58’10’’)
This album joins the ranks of acclaimed
Taverner discs from the Tallis Scholars, The
Sixteen, the Christ Church Catheral Choir,
and the St. John’s College Choir. Although the
pieces featured here have all been recorded
by others,The Choir of St. Mary’s Cathedral,
Edinburgh, distinguishes itself by its unique
sound and the energized interpretations of
Duncan Ferguson, its director.
This disc includes what may be Taverner’s
best known work, his Dum transisset Sab-
batum (I), a five-part setting of the Gospel
of Mark’s recounting of Mary Mother of
James and Mary Magdalene’s Easter morn-
ing journey to the tomb of Jesus. The album
also includes the so-called Leroy Kyrie, as
well as the complete Missa Corona spinea,
and the simpler Dum transisset Sabbatum (II).
The single oddity on the album is the final
piece, O splendor glorie, a five-voice antiphon
64 CHORAL JOURNAL Volume 51 Number 8
that may have been composed by Taverner,
Christopher Tye, John Baldwin, or some com-
bination thereof! The piece is of historical
interest, both for its ambiguous authorship
and its lengthy anonymous text. The music
itself, however, is less splendid than that of
the rest of the disc, with long homophonic
sections and few truly distinguished passages.
The Choir of St. Mary’s, a traditional ca-
thedral choir of men and boys since the late
nineteenth century, became, in 1978, the first
in the U.K. to admit girls.Thirty years’ integra-
tion of boys and girls has paid dividends in
the sound of the trebles, who maintain the
purity of a traditional boys-only section, but
have more flexibility and power than some
other cathedral choirs.The ten senior choris-
ters (six girls and four boys) are joined by the
lay clerks: four altos (again mixed, with two
women and two men), four tenors, three
baritones, and three basses. Ten soloists are
identified, but the specific passages in which
they sing are not specified. The solo tenor,
baritone, and bass of the Et incarnatus of the
Mass do particularly fine and sensitive work.
The twenty-four singers of the choir
demonstrate outstanding ensemble through-
out the recording. Their agility and precision
are particularly noteworthy during the
rhythmically intricate melismatic passages
that abound in Taverner’s music—as in the
ornate opening of the Credo of the Mass—
but also render unison chant lines a pleasure,
rather than an exercise in liturgical necessity.
The only blemish on the unity and balance
of the choir results from the cathedral’s
acoustics. The lower voices, particularly
basses, are almost always slightly muddied,
while the sopranos and altos ring clear, giving
them a prominence at times beyond what
is warranted. Despite this, the contrapuntal
textures of the music come through with
clearly articulated entrances and contours.
The performances never sacrifice vitality
in favor of virtuosity, but communicate a pal-
pable sense of excitement. Without pressing
or rushing tempos, Ferguson is nonetheless
able to draw from the choir a remarkable
intensity and sense of forward momentum.
Climactic moments occasionally verge on
the out-of-control, as at the end of Dum
transisset Sabbatum (II), but any raggedness
of tone is a small price to pay for such a
vibrant interpretation of Taverner’s music.
David Rentz
Claremont, California
Pardon our Error
The Gregory W. Brown's article "Politics
and Folk-Song arrangement" in the
Works of Fernando Lopes-Graca, which
appeared in the New Voices in Reasearch
section in the December 2010 issue
contained several omissions. The sidebar
on page 48 should have contained the
following Web site http://gregorywbrown.
com/music/pub/flg/. Gregory’s bio was
inavertantly omitted.Gregory W. Brown,
DMA, is assistant director of choral
activities and lecturer at Smith College in
Northampton, MA.

FE S T I VAL
Editor’s note: The following is a
partial list of choral events tak-
ing place between May 1 and
September 1, 2011. Events are
listed chronologically and include
festival listings, workshops, clinics,
seminars, masterclasses, confer-
ences, and summer courses. Cli-
nicians, where available, are listed.
Contact information appears at
the end of each entry.
May 1
Rutter Requiem at
Carnegie Hall
Sponsor:
Manhattan Concert Productions
Location: Stern Auditorium/
Perelman Stage, Carnegie Hall,
New York, NY
Info: Perform John Rutter’s Re-
quiem with professional orchestra
and soloists
James Bass, Conductor
Web site: http://manhattancon-
66 CHORAL JOURNAL Volume 51 Number 8
2 0 1 1
S U MM E R
WO R K S H O P
L I S T I NG S
certproductions.com/public/per-
formances/performanceseries/
index.aspx#masterworks
May 1 – 8
European Music Competition
Sponsors: European Commis-
sion Representation in Italy,
Calabria, Patronage Province of
Vibo Valentia, Patronage City of
FiladelFia
Location: FiladelFia Vibo Valentia,
Italy
Special Prize: Paul Serrao
Info: Over $ 20,000 in Priz-
es The competition is open
to young musicians of any
nationality. Opera Singing-Pi-
ano-Strings-Woodwind-Guitar-
Accordion-Percussion-Chamber
Music-Low Secondary school in-
strument classes-Choirs- Bands/
windbands. The rules are now
available. Closing date for all ap-
plications is April 15, 2011.The
Association will provide an ac-
companist on request. Request
for the same must be made by
April 5, 2011. The Organizing
Committee will provide a piano
and the percussion instruments.
E-mail: associazione.melody@
libero.it
Phone: 0968725804 335267070
Web site: www.associazione-
melody.com
May 4 – 8
American International
Choral Festival - Reno
Sponsor: Interkultur
Location: Reno, NV
Info:The American International
Choral Festival will include many
choral competitions in multiples
categories and a series of festival
concerts. Choirs of all levels and
types are welcome. The festival
portion includes a series of gala
concerts and encounter con-
certs and choirs are welcome
to participate in this portion
&
only, if preferred. Competition is
arranged by type and level and is
scored using the Musica Mundi
evaluation system. Workshops
and seminars will be featured at
the festival and are open to festi-
val and competition participants.
Contact: Christina Prucha
Phone: 405.232.8161
Web site: www.interkultur.com
May 12 – 16
2nd Festival
Musica Sacra in Venice
Sponsor: MRF MusicFestivals
Location: Venice, Italy
Info: 2nd International festival of
choirs and orchestras of sacred
music in Veneto (Italy)
Venice – the city of canals and
gondolas Venice and its lagoon
have been on the Unesco list
of heritage sites since 1987, and
have long been one of Europe’s
most popular tourist destina-
tions. For many people, Venice
is the most beautiful city in the
world. An amazing city, consist-
ing of 118 islands connected to
one another by more than 400
bridges. But the city fascinates
above all through its numer-
ous artistic treasures: churches,
palaces and museums. The heart
of Venice – Piazza San Marco and
its marvellous basilica – is one of
the world’s most beautiful places.
Contact: Gregor Laskowski
Phone: 0049-7221-967696
Web site: http://www.mrf-music-
festivals.com
May 17 – 20, 2012
International Choral
Competition Ave Verum
Sponsor: Federal Government
of Lower Austria, City of Baden,
Ministry of Education, Choral Fed-
eration of Austria, Choral Federa-
tion "Chorszene NOe", Backwerk
Austria,Volksbank Austria, Buehne
Baden, Novomatic
Location: Baden / Austria
(25km south of Vienna)
Info: www.aveverum.at, all compe-
tition details will be posted soon
E-mail: office@aveverum.at
May 25 – 29
Mundus Cantat 2011
Sponsor: City of Sopot/
Ministry of Culture et. al.
Location: Sopot, Poland
Info: We invite adult, chil-
dren’s, and youth choirs to sing
sacral,secular, gospel, jazz, and
spiritual music. Auditions and
additional concerts take place in
the beautiful churches of Sopot,
whereas the Final Concert will
be celebrated in a unique one-
hundred-year-old amphitheatre
at the Forest Opera in Sopot.
Contact: Joanna Stankowska
Phone: 00148-58- 555 84 58,
555 84 40
Web site: http://www.munduscan-
tat.sopot.pl
May 26 – 30
Handel Massed Sing
Sponsor:
Music Contact International
Location: Halle, Germany
Info: The highlight of the festival
is the massed performance of G.
F. Handel’s choral work Alexan-
der’s Feast under the direction
of acclaimed Irish conductor
Proinnsías Ó Duinn, familiar to
singers from around the world
from the annual performance of
Handel’s Messiah.
Contact:
Music Contact International
Phone: 1-800-624-0166
E-mail: travel@music-contact.com
May 26 – 30
Cantate Adriatica
Sponsor:
Music Contact International
Location: Adriatic Coast of Italy
Info: As the oldest republic in
the world, San Marino thrills visi-
tors with its traditions, terraced
landscapes and breathtaking
panoramic views. Choirs meet
for the first time at the opening
ceremony in a lovely vineyard
under ancient olive trees sur-
rounded by fields of grapevines.
Contact:
Music Contact International
Phone:1-800-624-0166
E-mail: travel@music-contact.com
May 27 – 30
National Memorial Day
Choral Festival
Location: Washington, D.C.
Sponsor:
Music Celebrations International
Info: Pride. Sacrifice. Service.
Come sing in honor of America's
heroes from the American Revo-
lution through Operation Iraqi
Freedom, in the John F. Kennedy
Center for the Performing Arts
over Memorial Day Weekend
under the artistic direction
of Craig Jessop. Not merely
a festival for Washington, the
National Memorial Day Choral
Festival is an event for the entire
country—a major event which
seeks to draw the attention of
Americans to the real meaning
for the holiday.
Web site: http://www.music-
celebrations.com/festivals/2011/
nmd_choral_festival.html
E-mail: info@musiccelebrations.
Phone: 1-800-395-2036
June 1 – 5
3rd Anton Bruckner Choir
Competition and Festival
Sponsor: Interkultur
Location: Linz, Austria
Info: Anton Bruckner, one of
the greatest composers of the
late Romantic period, spent long
years of his career as cathedral
organist and composer at the
St. Florian Monastery near Linz.
His works belong to the most
important produced during the
Romantic period. In particular, his
motets and masses are towering
examples of Catholic Church
music of the second half of the
nineteenth century and belong
to the standard repertoire of
CHORAL JOURNAL Volume 51 Number 8
numerous choirs all over the
world. The choir competition will
take place at the Brucknerhaus,
with the Bruckner Hall and the
Chamber Music Hall (1,400
and 350 seats, respectively) the
first address in the cultural and
concert life of the city of Linz,
the Ursulinenkirche in the centre
of town, Linz Cathedral and the
St. Florian Monastery. The Inter-
national Anton Bruckner Choir
Competition is an international
choir competition with various
categories of different levels
of achievement for amateur
choirs and presents itself at
the same time as a Festival of
Choral Music in which choirs
from all over the world can give
concerts and make the most of
the atmosphere of this interna-
tional event. The attraction of this
event consists of performing at
a competition for a grand prix
as a basic artistic component on
one hand, and the possibility of
participation in the encounter
and gala concerts at St. Florian,
Linz Cathedral and the inner city
of Linz on the other hand. Of
course, the city of Linz has the
attraction of its wide variety of
event offerings and as the point
of departure for tourist excur-
sions to interesting places in
Upper Austria and beyond.
Contact: Hugh Ballou
Phone: 888-398-8471
Web site: www.interkultur.com
June 2 – 4
Chattanooga Symposium on the
History of Music Education
Sponsors: University of Tennessee
at Chattanooga, University of Mis-
sissippi, and the Music Educators
National Conference
67
 2 0 1 1 S U MM E R
FE S T I VAL
Location: Chattanooga,Tennessee
Information: Scholarly confer-
ence concerning any historical
aspect of music teaching and
learning, including choirs. For
details, see: www.GCSU.edu/srig
<http://www.GCSU.edu/srig>
Contact: William R. Lee,
E-mail: william-lee@utc.edu
June 2 – 6
2nd Badenia Music Festival
Sponsor: MRF MusicFestivals
Location: Baden-Baden, Germany
Info: Baden-Baden—a charming
town in the heart of the Black
Forest. Ancient Romans were
the first to value the hot springs
of Baden-Baden, and in the late
nineteenth century the town
became the summer capital of
Europe. Whoever arrives in this
place can immediately experience
its sophisticated atmosphere and
enjoy the reassuring joie de vivre
it offers. Its unique surround-
ings—the Black Forest—numer-
ous villas belonging to the rich
and beautiful, hot baths, the
largest opera theater in Germany
as well as the spa house and the
famous casino— they all exude
the atmosphere of an interna-
tional resort.
Name: Gregor Laskowski
Phone: 0049-7221-967696
Web site: http://www.mrf-music-
festivals.com
June 2 – 6
Harmonie Festival
Sponsor: Federal Republic of
Germany
Info: The Harmonie Festival,
with its international choir and
folklore events and competitions,
68 CHORAL JOURNAL Volume 51 Number 8
is considered as one of the most
outstanding music festivals in
the world. In 2005, more than
230 choirs and folklore groups
representing 46 countries came
to the fifth Harmonie Festival.
Patron was the Chancellor of the
Federal Republic of Germany,
Gerhard Schröder. The Patron
of the Harmonie Festival. 2011
is the Chancellor of the Federal
Republic of Germany, Angela
Merkel. Artistic director of the
Harmonie Festival. 2011 is Jan
Schumacher. Honorary president
is Jeroen Schrijner (former Presi-
dent of Europa Cantat).
Choirs can take part in 14 dif-
ferent categories. Their perfor-
mances will be assessed by an
international jury. Besides the
Harmonie Festival Prize, awarded
to the choir with the highest
score in each category, and vari-
ous extra prizes for outstanding
performances the Prize of the
Federal President of the Federal
Republic of Germany and the
Prize of the Federal Chancel-
lor of the Federal Republic
of Germany will be awarded
in case. The international jury
consists amongst others of the
following members: Robert
Sund (Sweden), Juergen Budday
(Germany), Josep Prats (Spain),
Theodora Pavlovitch (Bulgaria),
Maris Sirmais (Latvija), Reijo Kek-
konen (Finland).
Web site: http://www.harmonie-
festival.de
June 5th – 11
Summer Choral Institute
Sponsor: Joshua Oppenheim and
Julie Yu, Co-Directors of Choral
Studies.
Location: Manhattan, Kansas
Info: For high school students.
Every student accepted receives
a full scholarship.
Web site: www.kstatechoirs.com
June 6 – 9
Music Explosion 2011
Location: Hilton Oceanwalk
Sponsor: Kempke's Music
Service
Presenter: Mary McDonald
Contact: Kellie Rupert
Phone: 407-562-0333
June 8 – 10
ICDA State Conference
Location: Butler University,
Indianapolis, Indiana
Headliners: Pearl Shangkuan
(Calvin College) and Jeff Johnson
(University of Kentucky)
General info: Twelve reading/
literature sessions; sessions on
matching rehearsal techniques to
style period, rehearsal techniques
for different types of learners,
using imagery in rehearsal, tech-
nology in the choral classroom,
barbershop singing, vocal health,
tour planning, warm-ups for
middle school choirs, planning
a worship service, takadimi
method of teaching rhythm,
Dalcroze in the choral rehearsal,
and more!
Contact: Bill Niederer
ICDA President-Elect
Phone: 574/295-4743
E-mail: wniederer@elkhart.k12.
in.us
Web site: www.in-acda.org
June 8 –12
Swedish Summer Sing
Sponsor: Music Contact Inter-
national
Location: Smaland, Sweden
Info: Revel in the endless daylight
of Scandinavian summer as you
visit Denmark’s capital, Copen-
hagen, and the lush Southern
Swedish province of Småland.
Connect with other choirs from
Scandinavia and around the
world to celebrate midsummer
and share your love of music.
Contact: Music Contact Inter-
national
Phone: 1-800-624-0166
E-mail: travel@music-contact.com
June 9 – 12
Vermont
International Choral Festival
Sponsor: Music Contact Inter-
national
Location: Stowe and Burlington
Vermont
Info: Choirs have an opportunity
to select from two great ways
to participate in the Vermont
International Choral Festival, The
Massed Sing, under the direction
of Robert De Cormier or The
Concert Series.
Contact: Music Contact Inter-
national
Phone: 1-800-624-0166
E-mail: travel@music-contact.com
June 10 – 12
American Baptist Music Confer-
ence
Location: Parchment Valley Con-
ference Center
Sponsor: West Virginia Baptist
Convention
Presenter: Lloyd Larson
 & WO R K S H O P
L I S T I NG S
June 10 – 13
Festival Singers of Florida
and Friends
Sponsor:
Music Celebrations International
Location: New York City,
New York
Info: The Festival Singers of
Florida Festival Chorus is a
program to provide singers with
an opportunity to study the art
of choral singing and to perform
in a beautiful professional venue:
Alice Tully Hall in New York City’s
Lincoln Center. Participants will
rehearse and perform prior to
the festival with a professional-
level mixed chorus and experi-
ence the excitement of "Engaging
and Inspiring through Impas-
sioned Singing," which is the mis-
sion of Festival Singers of Florida.
The Festival Chorus, under the
direction of Kevin Fenton and
Craig Zamer, will perform several
wonderful pieces, new and old,
that support the theme of "Love
and Romance."
Contact: Bill Bergeman
Phone: 800.395.2036
Web site: www.musiccelebrations.
com/festivals
June 11 – 15
Tuscany International
Choir Festival
Sponsor:
Music Contact International
Location: Tuscany, Italy
Info: Choirs perform three con-
certs while participating in the
festival; first at the Tettuccio Spa,
then in the town’s main plaza,
Piazza del Popolo, for a large
local audience, and finally for a
church congregation on Sunday
morning. Between performances,
choirs may visit the nearby towns
of Florence, Pisa, or Lucca.
Contact:
Music Contact International
Phone:1-800-624-0166
E-mail: travel@music-contact.com
June 11 – 20
ChorFreude International
Music Festival
Sponsor: Incantato Tours; Char-
lotte International Cabinet; Min-
istery for Culture and Education
Location: German Baltic Coast;
Mecklenburg-Vorpommern, Ger-
many
Info: The Ministery of Culture
and Education is rolling out the
red carpet on the beautiful, his-
toric, and musically rich German
Baltic Coast in celebration of
the 250th anniversary of Queen
Charlotte’s coronation. You are
invited to join other outstand-
ing vocal ensembles to perform
at this groundbreaking event.
Invitation from the Ministery of
Culture, Education, and Econom-
ics, Mecklenburg-Vorpommern,
Staatssekretär Udo Michallik:
“The German Baltic Coast is not
well known internationally, but a
hidden treasure: Fairy-tale castles
with beautiful gardens, medieval
cathedrals and churches, and
spectacular ocean boardwalk
will not only impress you, but
provide a stunning backdrop
for unforgettable concerts. The
Ministery of Culture, Education,
and Economics Mecklenburg-
Vorpommern supports the 2011
International Choral Festival
celebrating the 250th anni-
versary of Queen Charlotte’s
coronation, who was originally
from Mecklenburg-Strelitz. I look
forward to welcoming many
choirs… to this unique cultural
event in the home of Sophie
Charlotte: Mecklenburg-Vorpom-
mern, Germany.”
ChorFreude is a word play on
the German words for choir
(chor), and joy (freude), with
the inspiration drawn from
another German term, Vor-
freude which can be loosely
translated as happy anticipation.
ChorFreude is also the title for a
new international choral festival
that showcases an unknown
gem of Germany—the state
of Mecklenburg-Vorpommern.
You may have heard of the rich
natural beauty and cultural, and
historical significance of the Baltic
Coast, but people rarely make
the connection that there is also
a German Baltic coast with a
very strong music-making tradi-
tion. Mecklenburg-Vorpommern
(MV) State boasts hundreds of
choirs and choral organizations,
with many of them celebrating
Germany’s heritage and tradi-
tions.
In the summer of 2011, MV
is looking forward to hosting
international choral groups
for the very first time in quite
unique settings. Venues range
from ancient churches and
haunted castles, to elaborately
decorated palaces and stunning
cathedrals—all with wonderful
acoustics and appreciative audi-
ences that can’t wait to embrace
singers from the new world.
ChorFreude is an initiative that
was born to reach out and start
a friendship between musicians
from both sides of the big pond.
Supported by the MV State
CHORAL JOURNAL Volume 51 Number 8
Ministery of Culture and Educa-
tion, as well as the local tourism
boards, ChorFreude2011 offers
unique opportunities to connect
through the universal language of
music. Venues which are normally
closed to performing groups
or only available to profes-
sional ensembles will become
available, such as the former
residence of Queen Charlotte
in the beautiful village of Mirow.
Queen Charlotte of Mecklen-
burg, consort of King George III,
devoted much of her powers to
the advancement of music in the
kingdom. As a connoisseur and
enthusiast of the great George
Frideric Handel, Queen Char-
lotte displayed an avid interest in
all German artists and compos-
ers. She often commissioned
a young Wolfgang Amadeus
Mozart to perform for the royal
court, and even employed the
son of Johann Sebastian Bach as
her personal music master. The
ChorFreude International Music
Festival honors the 250th an-
niversary of Queen Charlotte’s
coronation, celebrating the legacy
of one of Germany’s most dedi-
cated musical advocates.
ChorFreude features • Featured
performances at magnificent
venues such as the Schwerin
Cathedral, the Landestheater,
and Konzertkirche. • Opportuni-
ties for exchanges with fellow
musicians, German schools,
and performing ensembles. •
Participation at the official grand
re-opening celebration of the
Castle Mirow where Queen
Charlotte was raised. • Per-
sonalized itinerary with various
sightseeing options, such as a visit
to the historic Schwerin Castle,
69
 2 0 1 1 S U MM E R
FE S T I VAL
swimming in the Baltic Sea, and a
traditional Float Tour in the town
of Neustrelitz.
Incantato Tours offers unique
travel packages to accommodate
the special needs of all festival at-
tendees. All packages include:
• International economy-class
round-trip airfare
• Participation in the Chor
Freude Festival (rehearsals,
concerts, receptions, party)
• Professional concert manage-
ment and marketing
• Bi-lingual tour manager and
transportation
•Educational and enter taining
sightseeing with entrance
fees to major sights
Contacts: Courtney Williams;
Sandra Weinacht
Phone: 704.820.6223
Web site: http://chorfreude2011.
blogspot.com/; http://www.incan-
tatotours.com
June 13
National Children’s Choir
Series at Lincoln Center
Sponsor: Manhattan Concert
Productions
Location: Alice Tully Hall,
Lincoln Center, New York, NY
Info:Rehearse and perform with
other children’s choirs from
around the country
Emily Ellsworth, Conductor
Web site: http://manhattan-
concertproductions.com/public/
performances/performanceseries/
index.aspx#childrens
70 CHORAL JOURNAL
RN Volume 51 Number 8
June 13 – 16
Composer Symposium
Location: Pine Lake Music Con-
ference Center
Sponsor: Pine Lake
Presenter: Lloyd Larson
Contact: Dawn Johnson
E-mail: djohnson@pinelakemusic.
com
June 14 – 20
Passion of Italy –
St. Peter’s Basilica
(Rome with extensions of Venice
and Florence)
Sponsor: KIconcerts
Location: Rome (or Venice, Flor-
ence, and Rome)
Info: Sing Mass in the glorious
St. Peter’s Basilica led by Anna
Hamre and Hilary Apfelstadt and
perform individual concerts and
in their combined gala con-
cert. Experience ancient Rome
with marvels that include the
monumental Colosseum and the
breathtaking Sistine Chapel.
Consider extensions to the
Italian cities of Venice, “The City
of Water,” and Florence, “The
Cradle of the Renaissance.”
Contact: Oliver Scofield
Phone: 719-260-0200
E-mail: Info@KIconcerts.com
Web site: http://www.kiconcerts.
com/choral/events/?id=123
June 14 - 28
National Catholic Youth Choir –
Summer Camp
Location: Saint John’s University
Collegeville, MN
Info: A 2 week choir camp for
high school freshmen, sopho-
mores and juniors. Includes one
week concert tour. Axel Theimer,
Conductor
Contact: Dorothy Kantor
E-mail: dkantor@csbsju.edu
Phone: 320-363-3154
Fax: 320-363-3145
Web site: www.CatholicYouth-
Choir.org
June 15 – 21
Berlin with Z. Randall Stroope
Sponsor: KIconcerts
Location: Berlin, Germany (with
extension opportunities to
Desden, Prague, and Vienna)
Info: Perform in a festival led
by Z. Randall Stroope at the
spectacular Berliner Dom (tbd)
and immerse yourself in the
culture and music of the historic
cities of Berlin and Leipzig. Enjoy
individual concert opportunities
and the option to extend your
tour to Prague, Dresden, and
Vienna.
Contact: Oliver Scofield
Phone: 719-260-0200
E-mail: Info@KIconcerts.com
Web site: http://www.kiconcerts.
com/choral/events/?id=136
June 18
Passion For Music
Friendship Festival
Sponsor: Wens Travel,
Netherlands
Location: Oberammergau,
Bavaria. Germany
Info: The Passion for Music
Friendship Festival is an inter-
national music festival in the
Passion Play Theatre of Oberam-
mergau. It is a non-competitive
festival and is open to choral and
instrumental ensembles. Each
group gets the opportunity to
perform for about 30 minutes. In
the late afternoon all ensembles
come together on stage for the
so-called Grande Finale and
perform Beethoven’s Ode to Joy.
The festival ends with a recep-
tion with drinks and snacks at the
Ammergauer Haus. The festival
will be led by a professional
guest director. No audition is
needed. Marching bands can per-
form prior to the festival during
the opening parade through the
village. Upon request workshops
and/or rehearsals take place on
Friday June 17.
Contact: Wens Travel,
Janneke Hoeberigs.
Phone: 011 31 54 29 333.
E-mail: festivals@wens.nl.
Web site: www.wens.nl
June 18
Alfred School Choral Reading
Session
Location: Kidder Music, Peoria, IL
Info: Join Sally Albrecht for an
Alfred School Choral Reading
Session
Contact: Kidder Music
Phone: 888-322-2801
E-mail: contact@kiddermusic.com
Web site: http://kiddermusic.
com
June 19
National High School Festival
Sponsor: American Federation
Pueri Cantores
Location: Walt Disney Concert
Hall, Los Angeles, CA
Info: Choirs participating in a
regional festival will be given the
first right of acceptance.
Paul Salamunovich, Conductor
Web site: www.puericantores.
com
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L I S T I NG S
June 19 – 24
Music Texas 2011
Location: Smith Center for Lead-
ership Development, Southwest-
ern Baptist Theological Seminary
Sponsor: Kempke's Music
Service
Presenter: Mary McDonald
Contact: Kellie Rupert
Phone: 407-562-0333
June 19 – June 25
SFEMS Medieval & Renaissance
Workshop:
Music from the Edges of Europe
Sponsor: San Francisco
Early Music Society
Location: Sonoma State Univer-
sity, Rohnert Park, CA
Info: Karen Clark and Daniel
Johnson, voice; Rebekah Ahrendt,
viola da gamba; Annette Bauer,
recorder; Bruce Dickey,
cornetto; Greg Ingles, sackbut;
Tim Rayborn, medieval
strings, percussion; Mehmet
Sanlikol, ud, ney; Mary
Springfels, viola da gamba, medi-
eval strings; Nina Stern,
recorder; Dan Stillman, early
reeds; Tom Zajac, early winds,
all-workshop collegium.
Contact: Tom Zajac
Phone: 617-323-0617
E-mail: medrenworkshop@sfems.
org
Web site: www.sfems.org
June 19 – 25
Show Choir Camps of America
Sponsor: J.W. Pepper
Location: Millikin University, De-
catur, IL
Info: Join Sally Albrecht for Alfred’s
School Choral Reading Sessions at
Show Choir Camps of
America!
Contact: Show Choir Camps of
America
Phone: 630-663-4500
E-mail: scofa@aol.com
Web site: http://www.show-
choircamps.com
June 20 – 23
Kempke’s Music Texas
Sponsor: Kempke’s Music Service
Location: Fort Worth, TX
Info: Join Sheldon Curr y for
Alfred’s Sacred Choral Reading
Sessions at Kempke’s Music Texas
2011
Phone: (800) 753-6753
Web site: www.kempke.com
June 20 – 24
Title: Appalachian State Univer-
sity Silver Burdett 2011 Summer
Music Institute
Location: Boone, NC
Info: Join Andy Beck for a School
Choral Reading Session at the
2011 Silver Burdett Music
Institute
Contact: Appalachian State Uni-
versity
Phone: 828-262-2921
E-mail: mitchllad@appstate.edu
Web site: http://www.confer-
ences-camps.appstate.edu/adult/
silver_music.php.com
June 20 – July 1
Kodály Institute at St. Thomas
Location: University of St.Thomas
St. Thomas, MN
Intructors: Angela Broeker, Carol
Brown, Dan LeJeune, and Rita
Klinger.
Info: See web for tuition and dates
for each program. Housing avail-
able on a per night basis.
Contact: 651-962-5870,
E-mail: gradmusic@stthomas.edu.
Web site: www.stthomas.edu/
music/graduate
June 23 – 26
Serenade!
Washington, DC Choral Festival
Sponsor: Classical Movements
Location: Washington, DC
Info: Choirs will experience
individual shared choir concerts
in cathedrals, churches, schools,
halls and national monuments.
You will also get to take part in
a number of choral workshops
with leading choral conductors.
Take part in the historic tradition
of Choral Evensong Services in
prestigious cathedrals, churches
and basilicas. Enjoy sightseeing
in Washington, DC, Alexandria,
Baltimore, and surrounding areas,
possibly including the Smithson-
ian Museums, the Capitol Build-
ing, the White House, and the
national monuments.
Contact: Katie Hickey
Phone: (703) 403-0534
Web site: www.classicalmove-
ments.com
June 23 – 26
Windy City
Youth Choral Festival
Sponsor: Music Celebrations
International
Location: Chicago, Illinois
Info: Treble-voice choirs are
invited and selected based upon
recommendation, and will join
together to sing both individual-
ly—as well as en masse in one of
America’s great concert halls—
Orchestra Hall, home of the Chi-
cago Symphony Orchestra. The
festival will be under the artistic
direction of Lynne Gackle.
CHORAL JOURNAL
A Volume 51 Number 8
Contact: Luke Wiscombe
Phone: 800.395.2036
Web site: www.musiccelebrations.
com/festivals
June 23 – 27
Rome International
Choral Festival
Location: Rome, Italy
Sponsor: Music Celebrations
International
Info: Music Celebrations is
pleased to produce the 3rd an-
nual Rome International Choral
Festival under the direction of
Z. Randall Stroope. The Festival
Chorus will have the opportu-
nity to participate and sing in a
Mass at St. Peter’s Basilica in the
Vatican. Festival rehearsals and an
additional performance will take
place in Rome’s historic S. Maria
Sopra Minerva, located near the
Pantheon.
Web site: http://www.music-
celebrations.com/festivals/2011/
rome_choral_festival.html
E-mail: info@musiccelebrations.
com
Phone: 1-800-395-2036
June 26 – July 1
University of Georgia Summer
Choral Conducting Institute
Sponsor: The Hugh Hodgson
School of Music and Daniel Bara
Location: The Hugh Hodgson
School of Music at The University
of Georgia in Athens, GA
Info: The UGA Summer Choral
Conducting Institute is an
intensive, week-long series of
seminars and master classes led
by Daniel Bara that is geared
for music educators, graduate-
student conductors, church
musicians, and other aspiring
71
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FE S T I VAL
conductors who wish to grow
as artists, teachers, musicians, and
leaders.
Contact: Daniel Bara
Phone: (706) 542-2797
Web site: www.music.uga.edu
June 26 – July 2
SFEMS Baroque Music
Workshop: The Italian
Connection
Sponsor: San Francisco Early
Music Society
Location: Sonoma State
University, Rohnert Park, CA
Info: Rita Lilly and David New-
man, voice; Frances Blaker,
recorder; Sand Dalton, Baroque
oboe; Kathleen Kraft, Baroque
flute; Kati Kyme, Baroque violin
and orchestra; William Skeen,
Baroque cello; Mary Springfels,
viola da gamba; Peter Sykes,
harpsichord; Marion Verbruggen,
recorder.
Contact: Kathleen Kraft
Phone: 707-799-2018
E-mail: baroqueworkshop@sfems.
org
Web site: www.sfems.org
June 27 – July 29
Piano Pedagogy Course: Ad-
vanced Piano Pedagogy
Location: University of St.Thomas
St. Thomas, MN
Instructor: Katherine Faricy
Info: See web for tuition and dates
for each program. Housing avail-
able on a per night basis.
Contact: 651-962-5870,
E-mail: gradmusic@stthomas.edu.
Web site: www.stthomas.edu/
music/graduate
72 CHORAL JOURNAL
RN Volume 51 Number 8
June 29 – July 3
Mozart International
Choral Festival
Location: Salzburg, Austria
Sponsor: Music Celebrations
International
Info: This spectacular four-day
choral festival will culminate in a
performance of Mozart's Mass
in C "Coronation,” K.317, with
accompaniment by full orchestra
and European soloists in Salz-
burg’s historic Dom, under the
artistic direction of Eph Ehly. In
addition to the Festival perfor-
mance, participating singers will
also participate and sing in a
Mass in the Dom.
Web site: http://www.music-
celebrations.com/festivals/2011/
mozart_choral_festival.html
E-mail: info@musiccelebrations.
com
Phone:1-800-395-2036
June 29 – July 11
IHLOMBE South African
Choral Festival
Sponsor: Classical Movements
Location: Cape Town, Pretoria,
Johannesburg, and Game Park
Info: The festival is in associa-
tion with the Choral Institute
of South Africa and CHORISA.
Perform individual and shared
concerts with top South African
Choirs. Enjoy workshops with fa-
mous choral conductors, African
drumming, dancing, and singing.
Contact: Jayci Thomas
Classical Movements, Inc.
319 Cameron St.
Alexandria, VA 22314
Phone: +1-703-683-6040
Fax: +1-703-683-6045
E-mail: jayci@classicalmovements.
com
Peter’s Basilica and the Vatican
Web Site: www.ClassicalMove-
Museums.
ments.com
Contact: Hugh Ballou
Phone: 888-398-8471
Web site: www.interkultur.com
July 2011
Survey of LCI Practice:
Studying Works of Art,
July 2 – 6
Creating Curriculum,
Summa Cum Laude
Exploring Imaginative Learning
International Youth
Sponsor: Lincoln Center Institute
Music Festival
Location: Online
Sponsor: Presented by Via Musica
Info: A rigorous ten-week
Location: Vienna, Austria
workshop that offers a com-
Info: The annual Summa Cum
plete introduction to Imaginative
Laude International Youth
Learning: The Lincoln Center
Music Festival began in July 2007.
Institute practice. Also available,
Vienna’s global festival provides
is the Introduction to Lincoln
a platform for talented youth
Center Institute: Three Week
choirs, bands, and orchestras to
Workshop, if you’re interested
perform in Vienna’s magnificent
in learning about Lincoln Center
Musikverein. In 2008, the Summa
Institute in a brief format. Gradu-
Cum Laude Festival program
ate credit available.
expanded to include a competi-
Contact: www.lcinstitute.org
tion and celebration, where
performing groups compete
with their peers as well as the
July 1 – 6
option to participate in the
4th Musica Sacra a Roma
non-competitive “SCL Celebra-
Sponsor: Interkultur
tion.” The finalists perform in the
Location: Rome, Italy
Musikverein in Vienna, one of the
Info: Lay choirs from all over
world’s three finest concert halls.
the world focusing on sacred
The Summa Cum Laude Festival
music are invited again to come
offers all performing groups the
to the eternal city in peace and
opportunity to participate in
friendship. In the tried-and-true
workshops where the artists
tradition of competition perfor-
further develop their musical
mances and representative eve-
knowledge. Additional concerts
ning concerts in the magnificent
take place where performing
churches of Rome, together with
groups represent their home
official events such as a Mass in
country and share its respective
St. Peter’s Cathedral, for example,
music with the Austrian public.
a festival is being organised which
Contact: Bram Majtlis
will further the comparison
Phone: 800-790-4682 -
between choirs as well as making
404-240-0949
music together and spiritual en-
E-mail: bmajtlis@imtc-travel.com
counters. And there’s the chance
Web site: http://www.sclfestival.
to experience Rome and the
org/
opportunity to witness the magic
Festival Impressions: http://www.
of the architectural, sculptural
sclfestival.org/impressions.htm
and painting master-pieces in St.
 & WO R K S H O P
L I S T I NG S
July 3– 24
SingDownunder, the New
Zealand Schools Choral Festival
Location: New Zealand, Auckland,
and the South Island
Info: In Ackland 6 days including
full day Maori and Polynesian
Choral Workshops, and a two
day competition in the Holy
Trinity Cathedral with immedi-
ate live feedback, a massed choir
rehearsal and perfomance, a
concert, and recordings. Subse-
quently touring and perfomances
with local and other international
choirs and groups in venues,
some tiny, in the scenic South
Island for 6 to 15 days.
Contact: Owen Sharpe
Phone: +64211127077
Web site: www.singdownunder.
com
E-mail: Owen@SingDownunder.
com
July 6 –10
7th International Johannes
Brahms Choir Festival and
Competition
Sponsor: Interkultur
Location: Wernigerode, Germany
Info: Since 1999 this Interkultur
event is a crowd-puller for choirs
and music groups from all over
the world. Johannes Brahms,
and the German Romantics of
the nineteenth century, will be
a focal point. The event offers
interested choirs excellent op-
portunities to learn together and
refine their specialist skills with
coaching concerts and rehears-
als with recognized international
choral experts. We explicitly
invite choirs and ensembles of
all kinds who prefer not to take
part in competition but like to
give concerts in Wernigerode
and other regional communities.
The festival will provide ample
opportunities for groups to
perform their repertoires to an
interested audience, whether
they specialise in choral, orches-
tral, or folk music. Wernigerode
is a town with a very special flair.
It is a gem of medieval architec-
ture located on the foot of the
low mountain range of the Harz.
There is hardly any other town
with so many magnificent semi-
timbered houses—a feast for
your eyes. And it is an excellent
stage for the parade and opening
ceremony and further open air
events.
Contact: Hugh Ballou
Phone: 888-398-8471
Web site: www.interkultur.com
July 7
Choral Super Session
Location: Norwalk, CA
Info: Join Sally Albrecht and Mary
Lynn Lightfoot for a School Choral
Reading Session, followed
by a Sacred Choral Reading Ses-
sion in the evening (clinician TBA)
Contact: JW Pepper
Phone: (800) 345-6296
Web site: www.jwpepper.com
July 7 – 8
Kempke’s Music Explosion
Sponsor: Kempke’s Music Service
Location: Daytona Beach, FL
Info: Join Sheldon Curr y for
Alfred’s Sacred Choral Reading
Sessions at Kempke’s Music
Explosion 2011
Phone: (800) 753-6753
Web site: www.kempke.com
Phone:1-800-624-0166
July 7 –10
E-mail: travel@music-contact.com
29th International Choral
Festival of Preveza –
17th International Choral Com-
July 7 –11
petition of Sacred Music
Cantus Salisburgensis
Sponsor: Choral Society
Sponsor: Music Contact
“Armonia” of Preveza
International
Location: Preveza – Greece
Location: Salzburg, Austria
Info: Open to all kind choirs.
Info: Musicians from around the
Competition for mixed, equal
world come to Salzburg each
voices, children’s, chamber, and
year to perform massed sing
youth choirs. The competitive
selections under the direction
programme must include: A
of Salzburg Cathedral’s Music
piece of sacred music composed
Director, János Czifra. The festival
before 1800, a piece of sacred
takes place each year in March
music composed between 1800
and July.
– 1950, a piece of sacred music
Phone: 1-800-624-0166
composed after 1950, a folk
E-mail: travel@music-contact.com
song from the choir's country of
origin, and a compulsory piece
which have been sent by the
July 9–15
artistic vommittee of the Festival.
Crossroads Children’s
Deadline for application:
Chorus Festival
April 1, 2011
Host Choir: West Tennessee
Contact: Kosmas Koronaios,
Youth Chorus
General Secretary
Location: Nashville, Tennessee
Phone: 0030 2682 0 24915
Info: Prestigious classical chil-
Fax: 0030 2682 0 29852
dren’s choir festival with a con-
Cell: 0030 6973 0 50626
cert performance at the Grand
E-mail: armonia4@otenet.gr,
Ole Opry House. Stephen
kkoroneo@otenet.gr
Hatfield will conduct the mass
Web site: www.choralpreveza.gr
children’s choir and orchestra
with a star-studded finale con-
July 7–11 cert. The Crossroads Children’s
Chorus Festival will be held at
Celebrate Mozart In Vienna
the luxurious Gaylord Opryland
Sponsor: Music Contact Inter-
Resort. There is nothing like it!
national
Meet us at the Crossroads as
Location: Vienna, Austria
we explore the common roots
Info: The “Celebrate Mozart”
of music!
Festival is intended not only to
Contact: Martha Wright
afford choirs an opportunity to
Phone: 1-800-2-CROSSROADS
perform together in St. Stephen’s,
E-mail: info@CrossroadsChildren-
but also to help preserve this
sChorusFestival.com
magnificent edifice that to locals
Web site: <www.crossroadschild-
and visitors alike signifies the
renschorusfestival.com>
“soul of the city.”
Contact: Music Contact Inter-
national
CHORAL JOURNAL
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 2 0 1 1 S U MM E R
FE S T I VAL
July 7 – 14
Bodymind and Voice Course -
Lifespan Voice Education
VoiceCare Network
Location: Saint John’s University
Collegeville, MN
Info: An 8 day creative, hands-
on course for conductors, voice
educators, singers, classroom
teachers. Evidence based infor-
mation on how the voice works,
on conducting and what we
need to do to experience free-
dom and avoid interferences in
movement and singing. 4 gradu-
ate semester credits optional. 53
contact hours.
Contact: Axel Theimer
E-mail: atheimer@csbsju.edu
Phone: 320-363-3374
Fax: 320-363-2504
Web site: www.voicecarenet-
work.org
July 9 –16
Le Chant des Oyseaux
Summer Choral Workshop
Sponsor: Le Chant des Oyseaux
Location: Arradon (Brittany -
France)
Info: Le Chant des Oyseaux
offers a choral workshop with
Franck Pellé-Rolland, choral
conductor. The workshop is open
to amateur choral singers aged
18 years and over with a good
choral background.
Repertoire: Treasures of Ger-
man music by Johann Kuhnau,
Gottfried August Homilius, Felix
Mendelssohn, and Josef Gabriel
Rheinberger. Free brochure avail-
able.
Contact: Franck Pellé-Rolland,
artistic director
Phone: +33 977 649 906
Web site: http://choral-work-
shops.monsite-orange.fr
74 CHORAL JOURNAL Volume 51 Number 8
July 10 –16
Rutter’s Mass of the Children –
Sydney Opera House
Sponsor: KIconcerts
Location: Sydney, Australia (with
extensions to Melbourne, Gold
Coast, Cairns, or New Zealand)
Info: Join the North American
Festival Chorus and Orchestra
led by Eric Dale Knapp and the
Festival Youth Chorus led by Ste-
phen Roddy for a performance
on a grand scale in the mag-
nificent Sydney Opera House.
See koalas and kangaroos while
enjoying the landmarks of this
beautiful harbor city. Possible ex-
tension tours include Melbourne,
Gold Coast, Cairns, and New
Zealand.
Contact: Oliver Scofield
Phone: 719-260-0200
E-mail: Info@KIconcerts.com
Web site: http://www.kiconcerts.
com/choral/events/?id=134
July 10 – July 16
SFEMS Recorder Workshops
Sponsor: San Francisco
Early Music Society
Location: St. Albert’s Priory,
Oakland, CA
Info: Harmony of the Spheres
Annette Bauer, Frances Feldon,
Inga Funck,
Contact: Rotem Gilbert
Phone: 626-441-0635
E-mail: recorderwor kshop@
sfems.org
Web site: www.sfems.org
July 10 – 16
Show Choir Camps of America
Sponsor: J.W. Pepper
Location: Heidelberg College,
Tiffin, OH
Info: Join Sally Albrecht for Alfred
School Choral Reading Sessions
at Show Choir Camps of America!
Contact: Show Choir Camps of
America
Phone: 630-663-4500
E-mail: scofa@aol.com
Web site: http://www.show-
choircamps.com
July 10 –17
2nd Grand Prix
of Choral Music
Sponsor: Interkultur
Location: Graz, Austria
Info: The best choirs of the
world of any age meet here to
determine the winners of the
Grand Prix in eight categories.
The Grand Prix of Choral Music
is a highlight for choirs which
have been demonstrating a high
artistic level for a long time.
Choirs which are singing on a
high level but don’t have a long
lasting experience in competi-
tions or haven’t taken part in
international competitions for
a long time, get the chance to
give a concert on the spot to
qualify for the Grand Prix. The
best choir of each category is
the “Champion of the Grand
Prix of Choral Music” and will
be awarded with prize money.
Includes a parade of the choirs,
open air concerts in the city cen-
tre, daily performances of prize
winners, gala concerts in a great
atmosphere and the international
choir show “We are the world”
on Friday evening.
Contact: Hugh Ballou
Phone: 888-398-8471
Web site: www.interkultur.com
July 10 –17
1st World Choir
Championships for Youth
and Young Adults
Sponsor: Interkultur
Location: Graz, Austria
Info: Interkultur organises the
first World Choir Champion-
ships for Youth and Young Adults
in cooperation with the city of
Graz and the Province of Styria
and makes your dreams come
true. Celebrate the biggest party
of the year for people under 30
at the international choir show
“We are the world”! Many gen-
eral programmes will be offered:
The parade of the choirs, open
air concerts in city centre, daily
performances of prize winners,
and gala concerts in a great
atmosphere.
Contact: Hugh Ballou
Phone: 888-398-8471
Web site: www.interkultur.com
July 11–15
Somerset International
Children’s Choir Festival
Location: Sherborne & Wells,
England
Sponsor: Music Celebrations
International
Info:The fourth-annual Somerset
International Children's Choral
Festival will take place in the
quaint English town of Sher-
borne, with the opportunity for
individual choirs to be featured
in the stunning Sherborne Abbey
in performances for the local
residents, as well as in England’s
Historic Wells Cathedral—which
has maintained a choral tradi-
tion virtually unbroken for over
800 years. Children’s choirs will
join together to make up an
outstanding festival chorus of
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L I S T I NG S
225 singers.
Web site: http://www.musiccel-
ebrations.com/festivals/2011/som-
erset_youth_choral_festival.html
Contact: info@musiccelebrations.
com;
Phone:1-800-395-2036
July 11–15
LCI InEW: World Class
Professional Development
Sponsor: Lincoln Center Institute
Location: various host sites
nation-wide
Info: Professional artists and
educators offer high-quality
instruction in the development
of skills of imagination, creativity,
and innovation as part of LCI’s
rigorous approach, known as
imaginative learning.
Any pre-K through 12th grade
teacher, school and/or arts
administrator, teaching artist,
curriculum developer, or college/
university professor may attend;
in-service and graduate credit
available. Workshops will take
place July 11-15 and July 18-22,
2011, and on other dates at sites
around the country. Visit www.
lcinstitute.org for a complete list-
ing of host sites and workshops.
Contact: www.lcinstitute.org
July 11–15
Teaching and Learning
Music Institute
Sponsor: Fitchburg State
University
Location:
Fitchburg State University,
160 Pearl Street
Fitchburg, MA 01420
Info: This intensive, one-week
residential graduate institute
centers on skill development
through quality music literature
study, discussion, and presenta-
tion. Singing, performing, compos-
ing, analyzing, and relating music
to history and other arts will be
explored, reflecting the national
standards in music categories.
Classes, workshops, projects,
and seminars focus on choral,
chamber, instrumental, jazz, and
band works.
Technology, special work-
shops on singing and percussion,
and concert attendance com-
plete the week-long experience.
Three graduate credits are
awarded for successful comple-
tion of the institute requirements.
This institute is ideal for musi-
cians, music educators, directors,
conductors, composers, and
graduate students in music pro-
grams. An ability to read music is
required, and some knowledge
of instruments and voices is
recommended.
Registration: Begins April 11,
2011 - Seating Is Limited,
Register By June 24
Web site: www.fitchburgstate.
edu/gce/musicinstitute for more
information.
Contact: Michele Caniato,
E-mail: mcaniato@fitchburgstate.
edu
Phone: 978-665-3278
July 11–15
Eastman Choral Institute
Choral Conducting: Artistry,
Vocal Pedagogy, Musicianship
Sponsor: Eastman School of
Music
Location: Rochester, NY
Faculty: William Weinert,
Robert McIver, and Monica Dale
Info: This dynamic team of
choral/vocal faculty members
will offer a week-long workshop
focused on topics that choral
directors and accompanists
address in the context of choral
singing. This course will involve
daily sessions in conduct-
ing, singing, musicianship, class
performance, vocal peda-
gogy, repertory selection, and
movement-oriented Dalcroze
Eurhythmics. Each participating
conductor will conduct Voices,
the professional chamber chorus
in residence at the Institute.
Enrollment is limited to 14
conductors.
Contact: Donna Mero
Phone: 585-274-1403
Web site: http://www.esm.roch-
ester.edu/summer/institutes.
php#Choral_and_Vocal
July 13
Pender’s Singabration
Location: Lewisville, TX
Info: Join Sally Albrecht, Mary Lynn
Lightfoot, and Greg Gilpin for
School Choral Reading Sessions at
Pender’s Singabration 2010!
Contact: Pender's Music Co.
Phone: (800) 772-5918
Web site: http://penders.com
July 14 – 15
Choral Sounds Conference
Location: Decatur, GA
Sponsor: Pine Lake Music Com-
pany
Info: Join Sheldon Curr y for
Alfred’s Sacred Choral Reading
Sessions at Pine Lake’s Choral
Sounds 2011
Contact: Pine Lake
Phone: (800) 241-3667
Web site: www.pinelakemusic.
com
CHORAL JOURNALL Volume 51 Number 8
July 14 – 25
Rhapsody! Prague Childrens
Music Festival
Sponsor: Classical Movements
Location: Vienna, Salzburg, and
Prague
Info: Guest Conductor, Joan
Gregoryk. Particpating choirs
will perform at famous venues
in three of Europe's most music
and historical cities, highlighted by
the Grand concert in Praque's
Smetana hall with a professional
orchestra. Choirs will enjoy a
workshop, musical exchanges,
and sightseeing tours.
Contact: Zhongjie Shi
Classical Movements, Inc.
319 Cameron St.
Alexandria, VA, 22314
Phone: +1-703-683-6040
Fax: +1-703-683-6045
E-mail: zs@classicalmovements.
com
Web Site: www.ClassicalMove-
ments.com
July 15 – 16
Alfred Summer Sing
Location: West Chester, PA
Info: Join Sally Albrecht, Andy Beck,
and Michael Spresser for school
choral reading sessions,
choreography, and elementary
resources on July 15. Join Sheldon
Curry and guest clinician on
July 16 to discover Alfred’s newest
octavos and worship resources.
Contact: JW Pepper
Phone: (800) 345-6296
Web site: www.jwpepper.com
July 16 – 23
Fellowship of American Baptist
Musicians Conference
Location: Green Lake Confer-
ence Center
Sponsor: J.W. Pepper
Presenter: Mark Hayes
75
 2 0 1 1 S U MM E R
FE S T I VAL
July 16 – 24
Setmana Cantant de Tarragona
2011
Sponsor: Catalan Federation of
Choral Associations and Euro-
pean Federation Europa Cantat
Location: Tarragona, Spain
Info: This festival takes place un-
der the direction of Josep Prats
and within the framework of the
festivals of the Catalan Federa-
tion of Choral Associations and
the European Federation Europa
Canat. The festival includes
workshops by Johan Duijck
(Belgium), Basilio Astulez (Basque
Country), Hugo de la Vega (Ar-
gentina) and Francisco Simaldoni
(Uruguay), and communal singing
with Edmon Colomer (Catalo-
nia).
E-mail: info@setmanacantant.org
Web site: www.setmanacantant.
org
July 17 – 23
SFEMS Recorder Workshops
Sponsor: San Francisco
Early Music Society
Location: St. Albert’s Priory,
Oakland, CA
Info: Gods and Monsters Tricia van
Oers and Hanneke van Proosdij,
recorder; Katherine Heater,
harpsichord; Shirley Hunt, viola da
gamba; Stacey Palinka,
Feldenkrais movement.
Contact: Rotem Gilbert
Phone: 626-441-0635
E-mail: recorderwor kshop@
sfems.org
Web site: www.sfems.org
July 18 – July 22
Choral Conductors Workshop
with Rod Eichenberger
Sponsor: George Fox University
76 CHORAL JOURNAL Volume 51 Number 8
Location: Alexandria,Virginia - the
Alfred Street Baptist Church
Info: This 5-day professional de-
velopment workshop, designed
for conductors of choirs at all
levels, gives special emphasis to
the important role non-verbal
skills can play in rehearsal and
performance.
• Explore movement activities
designed to improve intona-
tion, timbre, rhythmic accu-
racy and to expand dynamic
range.
• Examine the effect of the
conductor's posture and
gesture on vocal production
and choral tone.
• Experience how effective pac-
ing and affirmative instruc-
tion improves both focus
and retention in the choral
rehearsal.
• Enhance practical conduct-
ing skills during daily master
classes.
• Enjoy daily reading sessions
from a large packet of octa-
vos personally selected by
Rod Eichenberger.
Contact: Debbie Hawblitzel,
managing director
Phone: 503-554-2620
Web site: http://www.choralcon-
ductorsworkshop.com/
July 18 – 22
LCI InEW: World Class
Professional Development
Sponsor: Lincoln Center Institute
Location: various host sites
nation-wide
Info: Professional artists and
educators offer high-quality
instruction in the development
of skills of imagination, creativity,
and innovation as part of LCI’s
rigorous approach, known as
imaginative learning.
Any pre-K through grade
12 teacher, school and/or arts
administrator, teaching artist,
curriculum developer, or college/
university professor may attend;
in-service and graduate credit
available. Workshops will take
place July 11-15 and July 18-22,
2011 and on other dates at sites
around the country.
Web site: www.lcinstitute.org
July 18 – 22
Eastman Choral Institute
Advanced Conducting Work-
shop: American Choral Land-
scapes
Sponsor: Eastman School of
Music
Location: Rochester, NY
Faculty: Craig Hella Johnson, Wil-
liam Weinert
Info: Sessions will include practi-
cal approaches to rehearsal
technique,
performance issues, and score
analysis and preparation. Each
participating
conductor will work with both
teachers, and will conduct Voices,
the
professional chamber chorus in
residence at the Institute. Enroll-
ment is
limited to 14 conductors.
Contact: Donna Mero
Phone: 585-274-1403
Website: http://www.esm.roch-
ester.edu/summer/institutes.
php#Choral_and_Vocal
July 19
Church Choral Reading Session
Location: Minneapolis, MN
Sponsor: J.W. Pepper
Presenter: Lloyd Larson
Contact: Michelle Gutoske
E-mail: mgutoske@jwpepper.com
July 20
Summer Sound Sampler
Location: Eden Prairie, MN
Sponsor: J.W. Pepper
Info: Read through Alfred’s newest
chorals with Andy Beck
Contact: J.W. Pepper
Phone: (800) 345-6296
Web site: www.jwpepper.com
July 20 – 25
Istanbul International Chorus
Festival & Competition
Sponsor: Istandbul Chorus
Location: Istanbul, Turkey
Info: We offer you an opportu-
nity for a week of a natural life in
Istanbul. Our aim is for children,
youth, and adult groups from all
over the world gather in Istanbul
for performance or competition.
Web site: www.istanbulchorus.
com
July 20 – August 1
Melodia! South American
Music Festival
Sponsor: Classical Movements
Location: Rio de Janeiro and
Buenos Aires, Argentina
Info: Guest Conductor, Francisco
Nuñez. Accepting applications
from youth and children's choirs
(treble and mixed voices), and
youth orchestras. Outstand-
ing artistic experiences are
combined with once-in-a-lifetime
cultural and outreach opportu-
nites.
 & WO R K S H O P
L I S T I NG S
Contact: Alessandra D'Ovidio
Classical Movements, Inc.
319 Cameron St.
Alexandria, VA 22314
Phone: +1-703-683-6040
Fax: +1-703-683-6045
E-mail: alessandra@classicalmove-
ments.com
Web Site: www.ClassicalMove-
ments.com
July 20 – August 1
Umbrian Serenades:
Choral and Cultural Tastings
in the Green Heart of Umbria
with Joseph Flummerfelt
Sponsor: Umbrian Serenades,
LLC.
Location: Spoleto, Spello, Norcia,
Montefalco, and Umbria, Italy
Info: Umbrian Serenades is a
life-transforming choral program
that brings together passion-
ate singers from all over the U.
S. who seek opportunities to
perform exquisite unaccompa-
nied repertoire within a small
vocal chamber ensemble. These
choral enthusiasts come together
to enhance their vocal, musician-
ship, and ensemble skills, as well
as savor all that small medieval
hilltop towns in the heart of Italy
can offer. This select chamber
ensemble performs sacred unac-
companied vocal works, spanning
from Renaissance to Gospel,
spiritual, and contemporary rep-
ertoire in unique spaces through-
out the lush and breathtaking
hills of Umbria.
Graduate Credit: (1 unit) avail-
able through Westminster Choir
College/Rider University.
Application Deadline: January
21, 2011 (postmarked)
Contact: Paulo Faustini
Phone: (888) 664-2355
Web site: http://www.umbrian-
serenades.com/
July 21
Alfred School Choral Reading
Session
Location: Greenville, SC
Sponsor: Pecknel Music Company
Info: Read through Alfred’s newest
chorals and elementary materials
with Sally Albrecht
Contact: Pecknel Music Company
Phone: (864) 244-7881
E-mail: info@pecknelonline.com
Web site: www.pecknelonline.
com
July 21 – 25
Belgian Summer Sing
Sponsor: Music Contact Inter-
national
Location: Ghent, Belgium
Info: Europe’s largest open air
cultural and artistic festival is
over 150 years in the making,
and brings together diverse
music, theater, and dance perfor-
mance groups.
Contact: Music Contact
International
Phone: 1-800-624-0166
E-mail: travel@music-contact.com
July 23
Sacred Choral Showcase
Location: Indianapolis, IN
Info: Join Sheldon Curry for a
Sacred Choral Reading Session,
featuring the newest worship
resources and sacred octavos
Contact: JW Pepper
Phone: (800) 345-6296
Web site: www.jwpepper.com
July 23 – 30
Sarteano Chamber Choral
Conducting Workshop with
Simon Carrington, Bronislawa
Falinska, and Brian O'Connell
Sponsor: Amministrazione
Comunale di Sarteano
Location: Sarteano, Italy (Tuscany)
Info: This intensive and sup-
portive conducting workshop
is geared for 26 –30 choral
conductors and music educators
with strong vocal ability, who
are interested in rehearsing and
performing chamber choral mu-
sic. In addition, we also welcome
qualified singers who are inter-
ested in attending the workshop
in a non-conducting capacity;
who love to sing in a chamber
group environment and/or
are very specifically looking to
learn rehearsal and conducting
techniques. Up to two graduate
credits are available through The
Boston Conservatory. There are
three possible tiers of participa-
tion: Full Conductor, Conduct-
ing Auditor, and Singer. The
afternoon sessions will consist
solely of daily conducting master
classes with Simon Carrington.
Each Full Conductor will conduct
in every master class. The two-
part morning sessions will consist
of Vocal Pedagogy ensemble
work with Bronislawa Falinska
utilizing the Rohmert Method of
Functional Voicetraining, a vocal
technique not commonly found
in the USA, and clinics on devel-
oping a vital chamber choir, with
Brian O'Connell. We also offer a
Q&A/Dialogue interest session
with Carrington.
Contact: Gail Leicher
Phone: + 1 781.652.0158
E-mail: sarteanochoral@rcn.com
Web Site: www.sarteanochoral-
workshop.com
July 24 – 27
Conductor's Seminar
Sponsor: American Federation
CHORAL JOURNAL
A Volume 51 Number 8
Pueri Cantores
Location: University of St. Mary
of the Lake, Mundelein
Chicago, IL
Info: TBA
Web site: www.puericantores.
com
July 24 – 29
Lifespan Voice Education –
Continuing Course –
Conducting Gestures and Voice
VoiceCare Network
Location: Saint John’s University
Collegeville, MN
Info: An 5 day course for every-
one who has attended a VCN
Impact Bodymind and Voice)
Course. ‘Other than conscious
communication’ has a most
significant effect on your singers
and their voices. How – and
what – do you, as the conductor,
communicate with your singers?
3 graduate semester credits
optional. 35 contact hours.
Contact: Axel Theimer
E-mail: atheimer@csbsju.edu
Phone: 320-363-3374
Fax: 320-363-2504
Web site: www.voicecarenet-
work.org
July 27 – August 8
IHLOMBE South African
Choral Festival
Sponsor: Classical Movements
Location: Cape Town, Pretoria,
Johannesburg, and Game Park
Info: Concerts, individual and
shared with top South African
Choirs, Workshops with famous
Choral Conductors, African
drumming, dancing, and singing.
Contact: Jayci Thomas,
Classical Movements, Inc.
319 Cameron St.,
Alexandria, VA 22314
77
 2 0 1 1 S U MM E R
FE S T I VAL
Phone: +1-703-683-6040
Fax: +1-703-683-6045
E-mail: jayci@classicalmovements.
com
Web Site: www.ClassicalMove-
ments.com
July 28
Church Choral Reading Session
Location: Billings, MT
Sponsor: J.W. Pepper
Presenter: Lloyd Larson
Contact: Michelle Gutoske
E-mail: mgutoske@jwpepper.com
July 28 – August 1
3rd Toscana Music Festival
Sponsor: MRF MusicFestivals
Location: Florence, Pisa, Siena,
and Tuscany, Italy
Info: The land of cypresses and
rolling hills Italy's most popular
holiday region is known for its
zest for life, its culinary delights
and its rich culture. Approxi-
mately half of the world's artistic
treasures are found on Italian soil,
and Tuscany is certainly home to
a goodly part of these. Florence
is the region’s capital and, thanks
to its strong concentration of
cultural artifacts, counts as one
the world's most interesting
cities. Pisa, whose leaning tower
must be famous throughout the
world, is also strongly popular
amongst tourists. Other cities
of interest are Lucca - home of
Giacomo Puccini - and Siena,
held by many to be Tuscany's
most beautiful city.
Contact: Gregor Laskowski
Phone: 0049-7221-967696
Web site: http://www.mrf-music-
festivals.com
78 CHORAL JOURNAL Volume 51 Number 8
July 29 – August 3
IX International Festival
of Choral Art
“The Singing World”
Location: St Petersburg, Russian
Federation
Info: St. Petersburg welcomes
the choirs from all over the
world to perform the best
pieces of choral art, to share
professional experience and to
sing together to the thankful
audience. The Festival is held by
the Committee for Culture, St.
Petersburg City Administration,
and “Inter Aspect” Art Associa-
tion, with support from the State
Capella of St. Petersburg.
Application Deadline:
April 1, 2011
Web site: www.singingworld.spb.
ru, www.interfestplus.ru
E-mail: singingworld@mail.ru
July 30 – August 6
Le Chant des Oyseaux
Summer Choral Workshop
Sponsor: Le Chant des Oyseaux
Location: Abbey of
Caunes-Minervois (Languedoc-
Roussillon - France)
Info: Le Chant des Oyseaux
offers a choral workshop with
Franck Pellé-Rolland, choral
conductor. The workshop is open
to amateur choral singers aged
18 years and over with a good
choral background.
Repertoire: Sacred Spanish
music of the sixteenth century
by Tomas Luis de Victoria and
Francisco Guerrero. Free bro-
chure available.
Contact: Franck Pellé-Rolland,
artistic director
Contact phone: +33 977 649 906
Web site: http://choral-work-
shops.monsite-orange.fr
July 31 – August 5
SFEMS Music Discovery
Workshop: multicultural day
camp for children and youths
ages 7 to 15
Sponsor: San Francisco Early
Music Society
Location: Crowden Center for
Music in the Community, Berke-
ley, CA,
Info: Tish Berlin, recorder, dance;
Ron McKean, harpsichord; Carla
Moore, violin; Farley Pearce, cello,
viola da gamba; Allison Rolls,
theater project director.
Contact: Tish Berlin
Phone: 510-559-4670
E-mail: discover yworkshop@
sfems.org
Web site: www.sfems.org
August 1 – 5
Choral Conductors Workshop
with Rod Eichenberger
Sponsor: George Fox University
Location: Cannon Beach, Oregon,
the Cannon Beach Elementary
School
Info: This 5-day professional de-
velopment workshop, designed
for conductors of choirs at all
levels, gives special emphasis to
the important role non-verbal
skills can play in rehearsal and
performance.
• Explore movement activities
designed to improve intona-
tion, timbre, rhythmic accu-
racy and to expand dynamic
range.
• Examine the effect of the
conductor's posture and
gesture on vocal production
and choral tone.
• Experience how effective pac-
ing and affirmative instruc-
tion improves both focus
and retention in the choral
rehearsal.
• Enhance practical conduct-
ing skills during daily master
classes.
• Enjoy daily reading sessions
from a large packet of octa-
vos personally selected by
Rod Eichenberger.
Contact: Debbie Hawblitzel,
managing director
Phone: 503-554-2620
Web site: www.choralconductor-
sworkshop.com
August 1 – 12
Orff Certificate Program
Location: University of St.Thomas
St. Thomas, MN
Intructors: Jay Broeker, Michael
Chandler, Cindy Hall, Jo Ella Hug,
Mona Mann, Beth Nelson, and
Jacque Schrader.
Info: See web for tuition and dates
for each program. Housing avail-
able on a per night basis.
Contact: 651-962-5870,
E-mail: gradmusic@stthomas.edu.
Web site: www.stthomas.edu/
music/graduate
August 4
Church Choral Reading Session
Location: Fargo, ND
Sponsor: J.W. Pepper
Presenter: Lloyd Larson
Contact: Linda Schmidt
E-mail: lschmidt@jwpepper.com
 & WO R K S H O P
L I S T I NG S
August 5
Church Choral Reading Session
Location: To be determined
Sponsor: Volkwein's
Presenter: Lloyd Larson
Contact: Cindy Pratt
Phone: 412-788-5900
August 6
Kempke’s Allegro Conference
Sponsor: Kempke’s Music Service
Location: Sanford, FL
Info: Join Sheldon Curry for
Alfred’s Sacred Choral Reading
Sessions at Kempke’s Allegro
Conference 2011
Phone: (800) 753-6753
Web site: www.kempke.com
August 7 – 13
Le Chant des Oyseaux
Summer Choral Workshop
Sponsor: Le Chant des Oyseaux
Location: Abbey of Caunes-
Minervois (Languedoc-Roussillon
- France)
Info: Le Chant des Oyseaux
offers a choral workshop with
Franck Pellé-Rolland, choral
conductor. The workshop is open
to choral conductors, music stu-
dents or amateurs singers from
good chamber choirs.
Repertoire: American music of
the twentieth century by Randall
Thompson. Free brochure avail-
able.
Contact name: Franck Pellé-
Rolland
Phone: +33 977 649 906
Web site: http://choral-work-
shops.monsite-orange.fr
August 8 – 12
Summer Workshops in Piano
Pedagogy
Location: University of St.Thomas
St. Thomas, MN
Presenters: Bruce Berr, Melody
Broger, Katherine Faricy, Andrew
Hisey, Scott McBride Smith, and
Michelle Sisler.
Info: See web for tuition and dates
for each program. Housing avail-
able on a per night basis.
Contact: 651-962-5870,
E-mail: gradmusic@stthomas.edu.
Web site: www.stthomas.edu/
music/graduate
August 9
Church Choral Reading Session
Location: Bismark, ND
Sponsor: J.W. Pepper
Presenter: Lloyd Larson
Contact: Linda Schmidt
E-mail: lschmidt@jwpepper.com
August 9 – 11
School Choral Reading Sessions
Location: Ramada Inn and Suites,
Grand Forks, ND
Info: Read through Alfred’s newest
chorals and elementary materials
with Andy Beck
Contact: Poppler’s Music, Inc.
Phone: 800-437-1755
Web site: www.popplersmusic.
com
August 10 – September 18
Lucerne Festival in Summer
• Explore movement activities
designed to improve intona-
tion, timbre, rhythmic accu-
racy and to expand dynamic
range.
• Examine the effect of the
conductor's posture and
gesture on vocal production
and choral tone.
• Experience how effective pac-
ing and affirmative instruc-
tion improves both focus
and retention in the choral
rehearsal.
• Enhance practical conduct-
ing skills during daily master
classes.
• Enjoy daily reading sessions
from a large packet of octa-
vos personally selected by
Rod Eichenberger.
Main Sponsors and Founda-
tions: Andermatt Swiss Alps AG
| Artephila Foundation | Audi,
Official Car Carrier | Clariden
Leu AG | Franke | KPMG |
Montres Breguet S.A. | Siemens
Building Technologies / Zuger
Kulturstiftung Landis & Gyr |
UBS; Partners: Casino Luzern |
DRS 2 | Interbrand, Partner in
Communication | Palace Luzern
| SBB, Official Rail Carrier | Swiss
International Air Lines, Official Air
Carrier | Top Events of Switzer-
land; Friends and Supporters:
American Friends of Lucerne
Festival | Dr. Dr. Herbert Batliner
| Freunde Lucerne Festival Or-
chestra | Freunde Lucerne Festi-
val in Summer | Freunde Lucerne
FestivalDeutschland | Japanese
Friends of Lucerne Festival | UK
Friends of Lucerne Festival
Location: Lucerne, Switzerland
Info: http://www.lucernefestival.
ch/en/festivals/festival_in_sum-
mer_2011/
CHORAL JOURNAL
A Volume 51 Number 8
August 11 – 12
Church Music Leadership
Conference
Location: Pine Lake Music Con-
ference Center
Sponsor: Pine Lake
Presenter: Lloyd Larson
Contact: Dawn Johnson
E-mail: djohnson@pinelakemusic.
com
August 11 – 13
Choral Music Celebration
Location: Canton, OH
Sponsor: Berean Christian Stores
Info: Join Sheldon Curr y for
Alfred’s Sacred Choral Reading
Sessions at Berean’s Choral Music
Celebration 2011
Phone: 800-423-1232
E-mail: store06@berean.com
Web site: www.berean.com
August 13
Church Choral Reading Session
Location: Otterbein University,
Columbus, Ohio
Sponsor: Stanton's Sheet Music
Presenter: Mark Hayes
August 23 – 24
School Choral Reading Sessions
Location: Edmonton, AB, CA and
Calgary, AB, CA
Info: Read through Alfred’s newest
chorals and elementary materials
with Andy Beck
Contact: Rideau Music
Phone: 800-661-6874
E-mail: choral@rideaumusic.com
Web site: www.rideaumusic.
com
79
 ChoralReviews
Choral Reviews
ACDA Advocacy Resolution Advertizing Index
WHEREAS the human spirit is elevated to a broader understanding of
ACFEA Tour Consultants 36
itself through study and performance in the aesthetic arts, and Allaround stage/masterstage 58

WHEREAS serious cutbacks in funding and support have steadily eroded All Things Musical 52
Argentina Concert Tours 17
state institutions and their programs throughout our country,
Brigham Young University 51

BE IT RESOLVED that all citizens of the United States actively voice their Central Connecticut State Univ. 16

affirmative and collective support for necessary funding at the local, Chorus America 40, 41
Classical Movements 65
state, and national levels of education and government, to ensure the
Concept Tours 48
survival of arts programs for this and future generations.
Cultural Tour Consultants 61
DCINY 64
Eastman School of Music 9

Submission Information Euro Arts Ltd. 18

Friendship Ambassadors Found. 23
Articles submitted for publication in the Choral Journal should meet estab- George Fox University 12
lished specifications. Although the length of articles varies considerably, Hal Leonard Publishing Corp. 39
submissions generally consist of ten to twenty typed, double-spaced Hampton, Keith 22
pages. Referenced material should be indicated by superscript and end- Hawaii Music Festivals 10

notes. Any artwork and a one- to two-sentence professional identifica- Herff Jones 32

tion of the author should also be included. Complete writer’s guidelines Interkultur Foundation 60

can be found on the ACDA Web site at <www.acda.org/choral_journal/ Intern'l Choral Kathaumixw 53
Ki Concerts 46, BC
writer%27s_guidelines>. Articles submitted via e-mail attachment should
Le Mondial Choral Loto - Quebec 35
be sent to <hharmon@acda.org>.
Lyric Choir Gowns 14
Master Chorale of S. Florida 57
Book and music publishers and compact disc distributors send books,
Music Celebrations Intern'l 50
octavos, and discs for review to:
Music Contact International IFC
Norfolk Chamber Music Fest. 63
Choral Journal Book Reviewers Oregon Bach Festival 42
545 Couch Drive, Members wishing to review books Oregon CAtholic Press 62
Okla. City, Oklahoma 73101 about choral music should contact: Presbyterian Assn of Musicians 44

Telephone: 405/232-8161 Stephen Town

Rene Clausen Choral School 54
Small World Musicfolder.com 49
660/562-1795,
SolidColorNeckties.com 28
Choral Reviewers stown@nwmissouri.edu Sound Byte Studios 24
Members wishing to The interculture Tours 13

review choral music should contact: Compact Disc Reviewers Tour Resource Consultants 56
Trinity Lutheran Seminary 11
Paul Laprade Members wishing to review
University of Hartford 38
815/921-3347, compact discs should contact:
University of Kentucky 15
choralreviews@acda.org David Castleberry University of Michigan 55

304/696-2963 Utah State University IBC

Castlebe@marshall.edu Witte Travel & Tours 8

 Department of Music introduces mozart project
The Caine College of the Arts

the first of an annual series of Choral Music Workshops

serving professional-level singers and music educators

July 27–Aug 4, 2011

2011 Repertoire :

Grand Mass in C minor

Requiem (in conjunction with the Utah Festival Opera)

Soloists from The Metropolitan Opera

&RQFHUWVDFFRPSDQLHGE\The American Festival Orchestra

arts.usu.edu/summermusicinstitute
Singers nationwide are invited to audition for a place in The Mozart Project. 'U&UDLJ-HVVRS
 ‡3UHSDUHDQGSHUIRUPWZRFKRUDOPDVWHUZRUNV
C A 
I N E ‡7DNHSDUWLQKLJKLQWHQVLW\UHKHDUVDOVOHGE\'U&UDLJ-HVVRS'HDQRI
COLLEGE  WKH&DLQH&ROOHJHRIWKH$UWVDQGIRUPHU0XVLF'LUHFWRURIWKHZRUOG
of theARTS
 UHQRZQHG0RUPRQ7DEHUQDFOH&KRLU
 ‡/HDUQIURPOHFWXUHVJLYHQE\LQWHUQDWLRQDOVFKRODUV

AUDITION MATERIALS ARE DUE APRIL 30, 2011. SELECTED SINGERS WILL BE NOTIFIED BY MAY 15.
For more info go to arts.usu.edu/summermusicinstitute
American Choral Directors Association
545 Couch Drive
Oklahoma City, Oklahoma 73102
<www.acda.org>

Kiconcerts
3260 E Woodmen Road
Colorado Springs
USA

8 February 2011

Dear Oliver

Thank you for your interest in providing quality ensembles to perfr orm for the
London 2012 Olympic & Paralympic Games events. I would be interested to
know what ensembles you may be able to suggest and I look forw r ard to
wor
orkking wiith yo
ou to sse
ee wh
hat opportuni
nities we
e might be able to off
ffe
er these
groups.

As we discussed, these groups would be voluntary perf

r ormers and would not
be remuneratted
d by LOCOG.

Aft
fte
er the end of Marc
arch
h 2011, I will be in a better pos
osiition to let you know where
groupsp can best be stag ged however it mayy be help pful to start
r assessingg
inte
nterres
estt from ensembles to p
peerform for London throughout 2012.

We shoul
h ld b be gratteffull if you woulld keep conffidenttiall any infformattion ab
boutt the
staging of these ens
ense embles un unttil we finalilizze o
ouur programming decision making
and n
noot make these pubp blic at this stage.

I look for
orw
rward to o
ouur further discu
scuss
ssiions.

Yours sincerely

Craig Hassall
Artistic Advisor