Soundings winter 05 - Wisconsin Choral Directors Association

Transcription

Soundings
Inside
R&S Standards
of Rehearsal
page 4
An official publication of the Wisconsin Choral Directors Association, Inc.
2006 Convention Issue
R&S High Fives:
Men’s Repertoire
page 6
Ethnic and
Multicultural
Repertoire
pages 6-7
Collegiate
Repertoire
page 8
WCDA Convention:
Invitation
page 10
Schedule
page 11
Choirs
pages 12-18
We welcome these outstanding Guest Choirs to our Convention—
the Nordic Choir from Luther College, directed by Craig Arnold, and the
Nathaniel Dett Chorale, Toronto, Canada, directed by Brainerd Blyden-Taylor.
Interest Sessions
pages 19-21
Information
page 22
Registration
page 23
Noteworthy:
“43 Tips” (Excerpts)
by Randal Swiggum
page 25
“On Vocal Health,”
by Dr. Mary Lynn
Morrissey
pages 26-27
WCDA Convention coverage starts on page 10!
Vol. XXXII, No. 2
WINTER, 2005
WCDA
EXECUTIVE BOARD
OF DIRECTORS
PRESIDENT
Bob Demaree, Platteville
W: (608) 342-1446
[email protected]
✧
VICE-PRESIDENT
Lynn Seidl, Luxemburg
W: (920) 837-2205
[email protected]
✧
PRESIDENT-ELECT
James Kinchen, Jr., Racine
W: (262) 595-2111
[email protected]
✧
TREASURER
Jim Aagaard, Richland Center
W: (608-647-6186) 734-2677
[email protected]
✧
NORTH WEST DISTRICT REP
Bill Leahy, New Richmond
W: (715) 243-8470
[email protected]
✧
NORTH CENTRAL DISTRICT REP
Karen Johnson, Wausau
W: (715) 261-2400
[email protected]
✧
NORTH EAST DISTRICT REP
Teresa Schroepfer, Green Bay
W: (920) 492-2950
[email protected]
✧
SOUTH WEST DISTRICT REP
Kim Shively, La Crosse
W: (608) 789-7900 ext. 4046
[email protected]
✧
SOUTH CENTRAL DISTRICT REP
Polly Amborn, Kenosha
W: (262) 942-2230
[email protected]
✧
SOUTH EAST DISTRICT REP
Rodger Trader, East Troy
W: (262) 642-6760 ext. 287
[email protected]
✧
WCDA OFFICE
Judy Eckenrod
General Secretary
6802 Miller Road
Abrams, WI 54101-9799
Phone/Fax: (920) 826-2832
Email: [email protected]
Website: www.wischoral.org
✧
2
Notes
Letter from the editor
Hello! It is my pleasure to join the Soundings team and to serve WCDA. I am
beginning my third year of teaching high school choir at River Valley High
School in Spring Green. As a new teacher, I see WCDA as an organization
full of potential mentors and guest clinicians with ideas and models for
choral directors to use in building their choral programs. Soundings is
important for making these resources visible and accessible to all members.
Any one of our board members or chairs would love to hear from YOU!
WCDA came alive for me when I started to meet other members and share common experiences and
questions. I hope that Soundings will help personalize WCDA for you, whether by helping choose
repertoire, finding new performance avenues for your students, or locating an expert in a teaching area
you would like to know more about. Along with convention, festivals, and programs, Soundings is
another way for us to reach out to each other. Your smiling face and listening ears make a difference to
your singers... and colleagues! See you at convention!
WCDA FALL
ELECTION
Congratulations to the
newest member of the
WCDA Board of
Directors, South West
District Representative
Janet Baeseman of Elroy.
Janet will assist Kim Shively, the current SW Rep,
until new terms begin on July 1, 2006.
Polly Amborn, South Central Representative, and
Rodger Trader, South East Representative, were
re-elected to second terms. Thank you to all
members who voted on these vital positions.
We look forward to a fantastic year!
YOU CAN SAVE WCDA MONEY!
With each mailing, we incur extra postage costs for
every piece of mail that is forwarded to new
addresses and a notice is sent to our office. (70¢ for
change of address notices and $1.25 for returned
mail.) With your help, we can reduce or eliminate
these costs.
Please let us know at least a month in advance
when you are planning to move! You can send an
email to the WCDA Office <[email protected]>
or call (920) 826-2832. It will only take a
moment, and we can save a bundle! Thank You!
NC-ACDA CONVENTION PERFORMANCE
Wisconsin will be represented by two Lawrence
University Choirs selected to perform at the
NC-ACDA 2006 Convention in Omaha,
March 1-4. Congratulations!
The Lawrence University Concert Choir
Richard Bjella, director
The Lawrence University Women’s Choir
Phillip A. Swan, director
See the ad on page 24 for convention highlights
and information!
2005 SINGING IN WISCONSIN FESTIVAL
CELEBRATES THE JOY OF MAKING MUSIC
Over 1,100 choral musicians from throughout the
state participated in this year’s festival, chaired by
Karen Johnson of Wausau. Choral directors, all
members of WCDA, prepared their students with
repertoire that challenged and inspired them!
Four areas of the state hosted the festival on
November 12, including:
Appleton-Teresa Schroepfer, Site Chair;
Chippewa Falls-Bill Leahy, Site Chair;
Waukesha-Rodger Trader, Site Chair and
La Crosse-Kim Shively, Site Chair.
Thank you to everyone who helps make this event
so memorable each year—site chairs, directors,
accompanists, hosts, parents, and singers!
WCDA ADVISORY
BOARD OF DIRECTORS
Notes
NEWSLETTER EDITOR
Melissa Maas, Spring Green
W: (608) 588-7858
[email protected] ✧
ADVERTISING EDITOR
Trent Brown, Waukesha
W: (262) 970-3777
Mark your calendars!
SINGSPIEL 2006
Save the dates! July 18-20, 2006.
The theme of the Singspiel Summer Conference
will be “Tone: Singing for Life.” Colin Brown and
Janette Hanson, Co-Chairs.
NEXTDIRECTION 2006
The NextDirection National Conference has been
moved to August 4-5-6 in 2006! NextDirection
Scholarship, Delegate, and Registration applications
will be available on our website during the summer:
<www.wischoral.org>. Our Special Guest will be
Mary Goetze. More details will be announced in the
spring/summer issue of Soundings. Lynn Seidl, Chair.
the National Conference for High School
Students Considering Careers in
Choral Music
NEW! August 4-5-6, 2006
Milwaukee, Wisconsin
“Thank you”
to Ward Brodt Music Mall, Madison,
for providing all the music for the
2005 NextDirection Conference!
WCDA FUND SUPPORTS STUDENT SCHOLARSHIPS
As a direct result of member contributions to the WCDA FUND, students registering for
NextDirection, Singing In Wisconsin, and WCDA All-State Choirs have been able to apply for
scholarship funds. Won’t you consider a tax-deductible donation to the WCDA Fund?
Your support is vital to our effort to make WCDA events available and affordable for all students!
For more information, you may contact Polly Amborn at <[email protected]> or the WCDA
Office at (920) 826-2832. Thank you for your generous support!
YES! I would like to support
WCDA events and activities!
Amount: $___________
❒ Impresario
❒ Conductor
❒ Benefactor
❒ Patron
❒ Supporter
❒ Contributor
❒ Friend
$1,000 and above
$500 - $999
$250 - $499
$100 - $249
$50 - $99
$25 - $49
up to $24
Enclosed is my check,
made payable to WCDA, Inc.
Name: _________________________________
______________________________________
Address: _______________________________
______________________________________
City/State/Zip: __________________________
______________________________________
Day Phone:_____________________________
Evening Phone: _________________________
R & S STATE CHAIR
Karen Bruno, Appleton
SINGING IN WI CHAIR
Karen Johnson, Wausau
W: (715) 261-2400
NEXTDIRECTION CHAIR
Lynn Seidl, Casco
W: (920) 837-2205 x330
VISIONS CHAIR
Kevin Meidl, Appleton
W: (920) 832-4170
COLLEGIATE SYMPOSIUM
Sharon Hansen, Milwaukee
W: (414) 229-4595
MUSIC IN WORSHIP CHAIR
Nancy Allen, La Crosse
W: (608) 796-3763
ADVOCACY CHAIR
Susan McAllister, Green Bay
W: (920) 391-2512 ext. 1891
MEMBERSHIP CHAIR
Kelly Ribbens, Abrams
W: (920) 848-4463
BUSINESS & INDUSTRY
Don Stanislawski, Madison
Ward-Brodt Music Co.
W: (608) 661-8621
WEBMASTER
Ken Liske, Oshkosh
W: (920) 424-7029
HISTORIAN
Carol Dahle, Hudson
W: (715) 386-4222
LIAISON TO WSMA
Linda Petersen, Madison
W: (608) 249-4566
E-Mail: ________________________________
______________________________________
Your contribution is fully tax deductible to the extent provided by law.
Your contribution will be recognized in the Soundings newsletter. Thank You!
Send to: WCDA Office • 6802 Miller Rd. • Abrams WI 54101-9799
Wisconsin Choral Directors Association,
Inc. publishes three issues of Soundings
annually: Fall, Winter, and Spring/
Summer. Articles may be submitted to the
editor or a district representative. WCDA
reserves the right to edit and approve all
materials. ✧
Design ©2005 Graphics, Ink • Abrams, WI
3
RS
& Standards of Rehearsal
Commitment to Excellence:
—Karen L. Bruno, R&S State Chair
[email protected]
In the last issue of “Soundings,” I presented a WCDA
document entitled “Commitment to Excellence:
Defining Standards for the Choral Director,” adopted
in March of 1999. In this column, I will focus on the
“Standards of Rehearsal” that appear in that
document and share a few of my thoughts.
drawn to teach the way I learn, but that isn’t
helpful to singers who don’t share my strengths.
Pick one type of “new” strategy to focus on every
day, and see where that takes the rehearsal process.
Standards of Rehearsal
I believe that one thing we share as choral
musicians is the desire to have our students
become life-long singers. We want to prepare them
to sing in community choirs, church choirs, and to
sing to their children. So how are we preparing
them? Are we focused primarily on “preparing for
the concert” or are we teaching them valuable skills
along the way? Can they sight-read? Do they have
a working vocabulary of musical terms? One
participant in a CMP workshop two years ago
decided that he would institute “Sight-Reading
Wednesdays” to help him stay focused on this
important task. In a way, this standard ties into the
first on this list - are we telling our singers what to
do, or are we encouraging their musical
independence?
The Wisconsin Choral Directors Association
encourages in its members:
* COMMITMENT TO EXCELLENCE IN VOCAL
PRODUCTION, MUSICIANSHIP, AND MUSICAL
EXPRESSION.
Karen Bruno
“The man who
disparages music as
a luxury and nonessential is doing the
nation an injury.
Music now, more
than ever, is a
national need.”
—Woodrow Wilson
4
Have you thought about how we can achieve an
appropriate balance in our classrooms between
what we “give” our students versus what we expect
them to contribute? How much do you model as a
singer? Do you have a variety of recordings of the
work you are preparing that you could share and
discuss with your singers? How often do you tell
your students what to do with a particular line,
dynamic level, etc. versus allowing the ensemble to
discover what makes the most musical sense?
Sometimes an activity that takes a long time at the
beginning (allowing the ensemble to make its own
musical decisions) pays dividends later on; the
singers made the decision - with your guidance and will remember it and you won’t have to
remind them what to do.
* COMMITMENT TO HAVING SINGERS INVOLVED IN
A VARIETY OF ACTIVITIES AT EACH REHEARSAL.
Have you looked to the national standards for
music education for ideas regarding classroom
strategies? We know that students are supposed to
be able to sing, but how about playing
instruments? Composing? Improvising? Can you
think of ways to incorporate these into your
rehearsal process that will not take a lot of time,
and are directly related to the music you are
teaching? How many different types of activities kinesthetic, visual, aural, etc - have you used in
your rehearsal recently? I find myself naturally
* COMMITMENT TO TRAINING SINGERS TO BE
INDEPENDENT MUSICIANS.
* COMMITMENT TO FOSTERING A POSITIVE SENSE
OF COMMUNITY AND COMMUNICATION BETWEEN
ENSEMBLE MEMBERS.
I believe that there are both musical and nonmusical ways to achieve this standard. Delving into
a text, the story of a composer’s life, a period of
music history, or even talking about the emotions
evoked by a particular musical example allows a
class of singers to share personal stories, discuss
ideas, or make connections to their own lives.
Another classroom-related idea is to have choir
representatives serve in different ways. Yes, it’s
wonderful to have choir reps to help you distribute
and collect music or handouts, but it’s even more
fun to have a social committee to develop choironly outings, or to have a student willing to make
an e-mail list of class members used to support one
another in their musical ventures. For instance, use
the e-mail list to encourage attendance at musical
events choir members are involved in - musical
“I find myself naturally drawn to teach the way I learn, but that isn’t helpful to
singers who don’t share my strengths. Pick one type of “new” strategy to focus on
every day, and see where that takes the rehearsal process.”
REPERTOIRE &
STANDARDS
CHAIRS
Children:
CHERYL MEYER
[email protected]
theatre productions, youth symphony concerts,
private recitals, or even coffee house performances.
My high school choir’s social committee has
encouraged pizza get-togethers, laser tag outings,
dress-up days for rehearsal, and pushed me to put
together a field trip to Chicago to hear Cecilia
Bartoli in recital. These out-of-class gatherings
invariably foster a strong sense of community,
which allows them the freedom to take more
musical and personal risks in rehearsal.
* COMMITMENT TO REHEARSAL SCHEDULES THAT
PLACE REASONABLE DEMANDS ON PARTICIPANTS.
mind the vocal development of your singers?
Do you have them singing, but allow for sufficient
vocal rest during rehearsal (focusing on a musical
activity that isn’t singing)?
I’m sure that many of you do most - or all! - of
these things on a regular basis. We all have days
when we feel overcommitted, the pressure of an
upcoming performance, or just plain tired. Even
then, I know that the road to a successful rehearsal
is remaining intentional and maintaining
standards. ✧
Choir
Camp
Middle Level Division:
Entering Grades 6–8
June 18–22, 2006
For Further Information Contact:
Carl Chapman, UW Oshkosh Department of Music,
(920) 424–2272 or the Division of Continuing
Education & Extension, UW Oshkosh, 800 Algoma
Boulevard, Oshkosh WI 54901–8623 or call
(920) 424–1129; toll-free (800) 633–1442
Choir camp website:
www.uwosh.edu/departments/music/community/choir.html
UW Oshkosh and UW Extension—Bringing the
resources of the University to the people of Wisconsin
High School:
LINDA MEIER
[email protected]
Men:
DAN WOLFGRAM
dwolfgram@wsd.
waupaca.k12.wi.us
Two-Year Colleges:
PAT EBY
[email protected]
An Arts Advocacy
Resolution
Whereas the human spirit is
elevated to a broader
understanding of itself through
the study and performance of the
aesthetic arts; and
High School Division:
Entering Grades 9–12
June 18–23, 2006
Middle Level:
MELINDA PERKINS
[email protected]
Women:
ALAN RIECK
[email protected]
Most of us have our rehearsal schedules dictated to
us - we see our singers during the school day for 45
or 50 minutes. How are you using that time? How
do you program literature? Are you keeping in
University of Wisconsin Oshkosh
Boychoir:
DONALEE BREVAK
[email protected]
whereas serious cutbacks in
funding and support have steadily
eroded arts institutions and their
programs throughout the country;
be it resolved that all citizens of
the United States actively voice
their affirmative and collective
support for necessary funding at
the local, state, and national levels
of education and government, to
ensure the survival of arts
programs for this and future
generations.
College/University:
LUCY THAYER
[email protected]
Youth/Student Activities:
SHARON HANSEN
[email protected]
Music in Worship:
NANCY ALLEN
[email protected]
Community:
RUTH KNOLL
(262) 673-3704
Vocal Jazz:
KEVIN MORRISSEY
[email protected]
Show Choirs:
SARAH PARKS
[email protected]
Ethnic/Multicultural:
CHRIS PETERSON
[email protected]
American Choral Directors Assoc.,
approved February, 1994
5
Repertoire & Standards
“It is better to make
a piece of music
than to perform one,
better to perform
one than to
listen to one,
better to listen
to one than to
misuse it as a
means of distraction,
entertainment, or
acquisition of
‘culture.’”
—John Cage
MEN’S CHOIR REPERTOIRE
Submitted by Dan Wolfgram, Waupaca,
R&S Chair; [email protected]
1. Somagwaza, A Spirited Ceremonial Song from
South Africa arr. Joseph Maselwa & Pete Seeger.
A CAPPELLA, TB, WITH PERCUSSION; WORLD
MUSIC PRESS VTS#07.
“Somagwaza” is a ceremonial song of young men
into adults standing in their community in South
Africa. The song is commonly sung at the
beginning and end of a ritual that marks the young
men as adults in society. It is one of the bestknown initiation songs from South Africa. The
range is very accommodating. The piece lends itself
to large or small ensembles. The added percussion
and staging of this piece combine to make it a very
crowd-pleasing experience. Works as a middle
school or high school piece.
2. Now Is The Time (to Cross Over Jordan), music
by Lon Berry. TTB, ACCOMPANIED; BRILEE
MUSIC BL489
This work is up-tempo and exciting. The octavo is
very tonal in nature with accessible ranges for all
voices. The piece allows director discretion for
optional repeats as well as an “ad-lib” solo section
to round out the contemporary gospel style.
Repetitiveness breeds familiarity with the audience
and may provide an opportunity for audience
participation. The addition of handclaps and
movement are definitely appropriate in this work.
This work is a must for a developing men’s choir
that wants a show stopping performance.
3. Courage Lives!, music by Mark Patterson. TTB,
ACCOMPANIED; HERITAGE MUSIC PRESS
15/2089H-2
This bold selection is reflective of many of the
“chestnuts” in the men’s choral repertoire, such as
Stouthearted Men. Once again the tessitura for all
voices lends itself to high school voices, with the
exception of some first tenor passages. The
resultant harmonies consist of first inversion
chords. The text which stresses courage, sacrifice,
and integrity is appropriate for any type of concert
but works particularly well for Veteran’s Day or
some other sort of patriotic theme.
6
4. Libertatum (Freedom), music by Jim Papoulis.
TBB, A CAPPELLA; BOOSEY AND HAWKES
M-051-47503-2.
Libertatum begins like a soft chant. The consistent
phrases flow gently like water. Contrasting
rhythms increase. While each voice is independent,
the overall sound of the piece is defined by how the
individual parts connect to make a lyrical call for
freedom. Libertatum combines a traditional Latin
motet style with contemporary rhythms and
harmonies. Syllabic text gives way to English as the
motives intertwine. Hand claps, movements, and
vocal percussion are elements that make this piece
even more intriguing. This piece is definitely for
the more advanced men’s choir.
5. Ad Te, Domine (To Thee O Lord), music by Allen
Koepke. TTBB, A CAPPELLA; SANTA BARBARA
MUSIC PUBLISHING SBMP 159.
Ad Te, Domine is written in a Neo-Romantic style,
reflecting many of the characteristics found in late
19th century works. Although there are five
different key signatures, the tonality (or modality)
never settles. The keys merely provide a
momentary reference point and convenience for
note reading. Great attention has been given to
voice leading in each part and singers will rarely
have difficulty finding their next note. First tenors
are encouraged to use falsetto as needed. The range
in this piece is fairly extensive. Once again, this is a
quality piece from the pen of Allen Koepke, but
should only be attempted by an advanced high
school men’s ensemble or collegiate men’s choir.
ETHNIC/MULTICULTURAL REPERTOIRE
Submitted by Christopher Peterson, Milwaukee,
R&S Chair; [email protected]
Over Labor Day I had the pleasure of traveling to
Costa Rica for a choral workshop and seminar.
While I was there I heard native music performed
by Costa Rican choirs. One of the things that
intrigued me about the performances was how
much of the music was not notated on the page.
The performers brought many aspects to the
performance that couldn’t be communicated using
notation. This was especially true for aspects of
“HIGH FIVES”
rhythm, as singers performed with real (or
imagined) percussive patterns as a basis for the
“groove.” I brought back a few unpublished SATB
choral arrangements that I have permission to use
and distribute, if anyone is interested. Just drop me
an email at <[email protected]>.
1. Mi y’maleil (from Three Israeli Songs),
Israeli Song, arr. Bob Chilcott. SATB, PIANO;
OXFORD #95.217.
This is the first of a three-song set, and can serve as
a short but driving opener or closer on your
concert program. The voice parts are homophonic
and primarily in A major, with occasional
chromatic passages. An intermediate to advanced
high school choir would find this work accessible,
though the men’s parts are scored in a higher
tessitura with basses singing only down to E below
middle C and the tenors singing up to high A.
The women’s ranges are moderate, and meter
changes to 7/8 help create interest. The
accompaniment is independent yet supportive of
the voices, and the edition includes a very good
translation of the Hebrew text and a guide to
pronunciation.
2. San Pedro Troto Cien Anos (A Satire from Chile),
Chilean Song, arr. Franklin Thon Núñez (19372002). SATB, A CAPPELLA; TWIN ELM PUB.,
(303) 356-2172.
This delightful short piece tells the satirical story of
St. Peter jumping for one hundred years and
finding his way to Carnival. It is playful and
rhythmic, with four verses in strophic form. All
ranges are moderate and an advanced middle
school or beginning high school choir could sing
this piece well. One caveat, however. The text,
sung in Spanish, has a translation that some of the
most conservative parents may object to, such as
angels drinking liquor. The song was composed in
fun, and it would be fun to sing and present it to
an audience...as long as you handle the translation
carefully and with a sense of humor.
3. Cantos del Agua, Spanish/Argentinian, Dante
Andreo. SATB, A CAPPELLA; SANTA BARBARA
#SBMP 261.
This five-minute, three-song set uses poems by
legendary Spanish poet, Frederico Garcia Lorca.
The editorial introduction describes the moods of
the set quite well: “Cantos del Agua is a work of
great lyricism with expressive melodic lines
emulating the flow of the taciturn water near the
bird-covered quaking poplars, the naked water near
trees cut down at dawn, and the undulatory water
scented by the orange and olive trees from the
Andalusian rivers.” The scoring is primarily
homophonic and ranges are moderate. The first
movement is firmly in F-major while the second
and third movements center around D-minor; the
whole of the work is diatonic. The second piece
includes spoken choir sections to create the mood
of flowing water. A translation guide is included.
“Music, when soft
voices die,
Vibrates on the
memory;
Odours, when sweet
violets sicken,
Live within the
sense they quicken.”
—Shelley
4. Three Latvian Carols, Christmas Carols from
Latvia, Andrejs Jansons. SATB, A CAPPELLA;
EARTHSONGS (541) 758-5760.
This three-song set is a low-maintenance way to
have your choirs sing in Latvian. A phonetic text
rendition is set near the notes, and a singable
English transliteration is also included. The set is
in D-major, A-minor, and A-major, with
occasional shifts of tempo and meter. The work is
not hard, but divisi sections in the last movement
may make it a challenge for a beginning high
school choir. The major drawback to this edition is
the absence of a literal translation or pronunciation
guide. However, it would still be a great addition
to any holiday or Christmas program in need of a
fresh set of carols that sound pleasing to the
listener, yet are educationally sound for the singer.
5. Rouxinol do Pico Preto (from Cradle Songs),
Brazilian Lullaby, music by Steven Stucky.
SSAATTBB, A CAPPELLA; MERION MUSIC
(PRESSER) #342-40181.
Looking for a piece to challenge your top group?
This four and a half minute work is worth the
effort you will put into it. The song set was
commissioned by Chanticleer, the Dale Warland
Singers, the Phoenix Bach Choir, and La Vie. The
Portuguese text is well set, and the edition includes
a translation and pronunciation guide. The writing
is contrapuntal and chromatic, yet the piece retains
Continued on page 8
7
“HIGH FIVES”
ETHNIC/MULTICULTURAL REPERTOIRE
Continued from page 7
“Unperformed music
is like a cake in the
oven—not fully
baked.”
—Isaac Stern
a pleasing flow and texture. The strata created by
stagger breathing and an eight-part texture serves
well to establish the mood of a lullaby. One aspect
of the writing that helps make this work more
accessible is a return to a unison D at various times
throughout the rendition. This note acts as the
glue cementing the form together, and gives the
performance a dream-like quality. If you like the
piece, there are two more in the set, one in Polish
and the other in Tobagoan. Look for these in an
upcoming edition of the “High Fives.”
COLLEGIATE CHOIR REPERTOIRE
Lucinda Thayer, Stevens Point, R&S Chair
[email protected]
During the past summer I did quite a bit of
digging around, using various resources, to come
up with some repertoire from Wales, Scotland, and
Ireland to complete a program of Christmas music
from the British Isles. I am indebted to Carl
Chapman, UW-Oshkosh, for performing an Irish
piece that sparked my interest in Celtic choral
music. Thanks also to Nina Nash-Robertson, a
native Dubliner and Director of Choral Activities
at the University of Central Michigan, for
providing additional suggestions for resources.
3. Suantrai na Maighdine, arr. David Mooney.
SATB CHORUS AND HARP OR KEYBOARD;
ECS PUBLISHING #5930.
The title of this works translates as “The Virgin
Mary’s Lullaby.” Again, the words and melody are
traditional Irish. The singing text is Gaelic only,
but the editor provides an English translation,
along with both an IPA and phonetic pronunciation guide. The melody is hauntingly beautiful
and simple. The arrangement is straightforward,
with no real challenges.
[Note: all three of the following pieces can be
heard on a CD called “COR”, featuring Celtic
Ayres and Cor Na Nog RTE, on the ARSIS label]
4. Baloo Lammy, a cappella
For Christmas repertoire from Scotland, I was able
to come up with two selections. The first is a 17th
century Scottish tune, arranged by Gerald Moore,
called ‘Baloo Lammy,’ and published by Susato
Press Edition MTC99. It is a very short, simple
chordal arrangement in F-major. If you want to
find the same melody in a more readily available
published version, an arrangement by Norman
Luboff is available, published by Walton.
1. Dulaman, arr.David Mooney. SATB,
A CAPPELLA; ECS PUBLISHING, #5925.
5. Leanabh an aigh, arr. George McPhee.
A CAPPELLA; CARUS VERLAG, STUTTGART, #2.090.
This first of the “High Five” isn’t for Christmas,
but is the piece that Carl Chapman performed that
piqued my interest in Celtic choral music. The
language is the Irish Gaelic and the editor provides
both IPA and a phonetic pronunciation. It is a
lively working song which celebrates the humble
seaweed which was used to fertilize the poor soil in
the west of Ireland.
I was surprised to learn that the melody of a hymn
many know as “Morning has Broken” is of Scottish
origin. The traditional Scottish melody is known as
“Bunessan” and the text is by Mary Macdougal
Macdonald. The singing text is provided both in
Scottish Gaelic and in English. The arrangement is
not too challenging, but imaginative.
2. Wexford Carol, arr. David Mooney. SOPRANO SOLO,
SATB, A CAPPELLA; ECS PUBLISHING #5936.
This is an arrangement of the most well-known
Irish carol. Both the melody and the text are of
traditional Irish origin. The soprano solo could
easily be sung by a mezzo-soprano or alto as the
highest note is only E. It’s a beautiful arrangement
8
that contains some surprises in the form of close
and colorful harmony, but nothing really extreme.
At press time, I am awaiting the arrival of four
Christmas pieces from Wales that I ordered, sightunseen, from a Welsh vendor who was kind
enough to make some suggestions when I e-mailed
him and said that I was looking for some
traditional Welsh Christmas music. If you’d like to
do some exploring on your own, I recommend this
website: <http://www.curiad.co.uk/>. ✧
The Milwaukee
Choristers
proudly present,
in a benefit
concert ...
A
U
R
B
E
AY, F
D
ES
N
D
E
W
6
00
2
,
5
1
RY
8:00 p.m.
Pabst Theater
144 E. Wells Street
Milwaukee
Gold Circle Tickets $75 per person (includes post-concert reception with King's Singers). Other ticket prices: $45, $35, $25
(Additional $20 to attend post-concert reception) To order tickets, go to www.pabsttheater.com or phone (414) 286-3663 or (800) 511-1552
Concert proceeds will benefit the Milwaukee Choristers
“We Sing Both High & Low”
Celebrating the exciting range and great diversity of the choral experience.
WCDA 2006 Convention
January 12-14, Appleton, Wisconsin
Calling Out!
And we come! From cities and towns, from hamlets and villages, from suburbs and farms, we come. From
the rustic “up North” of our state and the more urban Southeast; from near Lake Michigan and from near
the mighty Mississippi (and Fox River, too.)
And we come from the schools—elementary, intermediate, secondary, collegiate, and university - where we
work, and also from the churches and community chorus halls where we lead music-making. From the
volunteer choir that we meet before school or during part of the lunch period or once-a-week “if teachers
will be so kind as to excuse the following students,” to the mostly grad-student choir that can sing just
about anything, we come, and, in our coming, give testimony to the exciting range and great diversity of
the choral experience, which we gather to celebrate this January.
Young kids will sing, unchanged boys’ voices blending in breath-taking unisons with their female peers’
voices. We will be challenged to think of how we can better attract the most sought-after prize in all of
choral music, the changed-voice male, to our rehearsal halls in larger numbers.
James Kinchen, Jr.
In the packet of new literature, we will find that “just right” piece. In the modulated presentation of an
interest session, we will hear that seminal idea that will help take what we do to another level. We will hear
sounds born of the cool marble of cathedral arches and groins, as well as sounds inspired by Storyville’s
speak-easy professors of years ago, who gave birth to a great American music in that city so recently
decimated by Katrina.
And headliner choirs from two different cultural matrices, yet each known for its excellence, will sing for
us. And All-State Choirs. And more. And in these precious days, sometimes raw with the sting of winter,
we will find warmth in our community and in our music. And we will be made richer, and more human,
and closer to the Divine, and will be better because we have come.
Enjoy our convention!
James B. Kinchen, Jr.
WCDA President-Elect
[email protected]
10
Convention Schedule subject to change
THURSDAY, JANUARY 12
4:00 PM
Simultaneous Interest Sessions . . . . Lawrence Conservatory
5-7 PM
WCDA Student Conducting Competition . Oshkosh West HS
5-7 PM
Convention Registration . . . . . . . . . . . . . . . FUMC* Lobby
#5. “Music of Many Lands and Cultures:
A reading session of top multicultural choral octavos.”
Christopher Peterson
7:30 PM
Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . FUMC Sanctuary
Wausau Conservatory of Music Choraliers
Julie Burgess, director
#6. “The Changing Voice
in the Middle School Choir Rehearsal.”
Tina Glander Peterson
Milwaukee High School of the Arts
Raymond Roberts, director
5-7:30 PM
Dinner Break
7:30 PM
Concert. . . . . . . . . . . . . . . . . . . . . . . . . . . . Lawrence Chapel
UW-River Falls
Jong-won Park, director
9:30 PM
“Afterglow”. . . . . . . . . . . . . . . . . . . . . . . . Paper Valley Hotel
FRIDAY, JANUARY 13
8 AM-NOON AND
12:30 - 7 PM Convention Registration . . . . . . . . . Lawrence Lower Lobby
8:30 AM
Lawrence Academy Bel Canto
Karen Bruno, director
Nathaniel Dett Chorale
Brainerd Blyden-Taylor, director
10:30 PM
WCDA Reception . . . . . . . . . . . . . . . . . . Paper Valley Hotel
SATURDAY, JANUARY 14
8 AM-12 PM Convention Registration . . . . . . . . . Lawrence Lower Lobby
#1. “Integrating Writing into the High School Music Class.”
Kari Doepke & Mary Bigus
8:30 AM
#2. “Cultivating the Male Singer.”
Michael Todd Krueger
9 AM–3:30 PM
Exhibits Open . . . . . . . . . . . . . . Lawrence Lower Lobby
9:30-10:25 AM
General Session . . . . . . . . . . . . . . . . . FUMC Sanctuary
Brainerd Blyden-Taylor, Nathaniel Dett Chorale
General Session . . . . . . . . . . . . . . . . . . . . . FUMC Sanctuary
Laura Lane, Knox College
10 AM-5 PM Exhibits Open. . . . . . . . . . . . . . . . . . Lawrence Lower Lobby
9:30 AM
General Session . . . . . . . . . . . . . . . . . Lawrence Harper Hall
WCDA Meeting & WI State Music Conference Planning
10:20 AM
Keynote Address. . . . . . . . . . . . . . . . . Lawrence Harper Hall
Waukesha West High School Concert Choir
Thomas Ajack, director
10:45 AM
Concert: Vocal Jazz All-State Choir. . . . . . Lawrence Chapel
Thomas Ajack, guest director
Luther College Nordic Choir
Craig Arnold, director
11:15 AM
Presentation of WCDA Awards
12:00-1:30 PM
11:30 AM
Concert: Collegiate All-State Choir
Laura Lane, guest director
1:30 PM
12:00 PM
Repertoire & Standards Roundtable Luncheons. . . . ASE**
#7. “Language, Diction and Style.”
Emily Crocker and Darwin Sanders
1:30 PM
Concert: Tremper High School Chorale . . Lawrence Chapel
Polly Amborn, director
#8. “Marketing Strategies
for Community Arts Organizations.” Clinician TBA.
2:00 PM
Concert: SPASH Counterpointers. . . . . . . Lawrence Chapel
Kevin Morrissey, director
2:30 PM
3:30-4 PM
10:30 AM
Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . Lawrence Chapel
Lunch Break
Simultaneous Interest Sessions . . . . . . . . . . . . . . . . . FUMC
2:30-3:30 PM
Break, View Exhibits
3:30 PM
WCDA 2006 Children’s All-State Choir . . Lawrence Chapel
Julia J. White, director
4:00 PM
WCDA 2006 Middle Level All-State Choir. .Lawrence Chapel
Randy Pagel, director
#4. Panel Discussion: “Quality High School Repertoire.”
Kurt Chalgren, Panel Chair
4:30 PM
WCDA 2006 Men’s All-State Choir . . . . . Lawrence Chapel
Michael W. Krueger, director
Break; View Exhibits . . . . . . . . . . . . Lawrence Lower Lobby
* First United Methodist Church, **All Saints Episcopal Church
#3. “Finding That Beautiful Tone” for Elementary/Middle School.
Julia J. White, Children’s All-State Choir director
11
THURSDAY, JANUARY 12
Evening Concert, 7:30 PM, FUMC Sanctuary
WAUSAU CONSERVATORY OF
MUSIC CHORALIERS, formed
in 1994, is a fifth through
eighth grade auditioned
choir that meets once a
week. Singers are drawn
from many area school
districts including home
schooled students.
Choraliers sing and perform
many different styles of
music and are exposed to a variety of musical experiences. In the past
ten years they have performed at the White House and at Carnegie
Hall in New York City. Closer to home, they have performed at
Heritage Festival in Chicago, where they received two gold and two
silver medals, and with the National Touring Company of “Joseph
and the Amazing Technicolor Dreamcoat” in Green Bay. Last year the
Choraliers were asked to be part of an original ballet production of
“Beauty and the Beast” with Allegro Dance Company. In Wausau,
they perform yearly with The Central Wisconsin School of Ballet in
their nationally recognized performance of “The Nutcracker” and
regularly do concerts with Choralation, the Conservatory’s ninth
Milwaukee High School of the Arts
vocal quartet, Raymond Roberts, director
MILWAUKEE HIGH SCHOOL OF THE ARTS CONCERT CHORALE is one
of five performing ensembles at MHSA, an urban public performing
and visual arts high school. It is the only school of its kind in
Wisconsin, and is nationally recognized for its arts and academic
programs. The Chorale is an auditioned group of students in grades
10-12. This year’s ensemble is the largest in the history of the school.
The Chorale focuses on repertoire spanning all time periods and
genres of choral music, with emphasis on major choral works that are
performed with the school orchestra each semester. This exciting and
diverse group of students brings a distinct energy and vibrancy to the
art of choral music and enjoys the social mission attached to
performing for generous audiences from around the state at large.
12
Auditioned Choirs
through twelfth grade choir. The group is honored to be
performing at WCDA Convention this year.
JULIE BURGESS holds a B.A. in Music Education,
choral/piano emphasis, from Carroll College. She studied
piano under Dr. Karin Redekopp Edwards and learned
her love of choral music from Dr. Mark Aamot. Ms.
Burgess taught in the Milwaukee and West Allis school
systems and worked as accompanist for Milwaukee area
theatre companies, including Broadway Baby Dinner
Theatre and Rankin Theatre Guild. Since
moving to Wausau she has worked in both
public and private schools and served as
Director of Children’s Music at First
Presbyterian Church. She was recently
a presenter at The Wisconsin Music
Therapist’s Fall Conference, presenting a
workshop on Orff Techniques. At the
Wausau Conservatory of Music she is an
instructor of Studio Piano and directs the
Conservatory’s two choral groups, Choraliers and Choralation.
Ms. Burgess has been a Conservatory faculty member since fall, 2002.
RAYMOND ROBERTS is the Director of Vocal Music at the Milwaukee
High School of the Arts, where he has taught since 1991. Mr. Roberts
is a graduate of the Booker T. Washington High School of the Arts
in Dallas, Texas and holds a B.M. degree from Northwestern
University. He is also active in the Milwaukee music community,
having held the positions of Assistant Director of the Milwaukee
Symphony Chorus, Director of the Plymouth Concert Chorale, and
Tenor soloist at Immanuel Presbyterian Church. He has performed as
Tenor soloist with the Milwaukee Symphony Orchestra, Bel Canto
Chorus, and the Bach Chamber Chorus. He currently conducts the
Chancel Choir at First United Methodist Church,
West Allis, and serves as accompanist for the WSMA Honors Choir.
Mr. Roberts’ students have been recognized nationally by such
institutions as the National Foundation for the Advancement of the
Arts, the NAACP ACT-SO scholarship competition, and the Betty
Carter Jazz Ahead Institute at the Kennedy Center. His choirs from
Milwaukee High School of the Arts have performed at numerous
state and regional music conferences and with the Milwaukee
Symphony Orchestra. Roberts has received the WCDA Outstanding
Young Conductor award and the Distinguished Teacher Award from
the United States Department of Education. Roberts is a member of
WCDA, the International Association of Jazz Educators and the
National Association of Teachers of Singing.
DR. JONG-WON PARK is the director of
choral activities at the University of
Wisconsin-River Falls where he directs the
Concert Choir and the Chamber Singers,
and teaches private voice lessons and choral
conducting. Prior to arriving at UWRF in
2003, he held similar positions at Indiana
University-Purdue University, Fort Wayne,
Indiana; Yonsei University in Seoul, Korea;
and Auburn University in Alabama.
UNIVERSITY OF WISCONSIN-RIVER FALLS CONCERT CHOIR
has earned recognition as one of the top collegiate choirs in
the Midwest. The choir has received critical acclaim for its
enthusiastic musicality and beautiful choral tone. An
auditioned mixed ensemble made of both music and nonmusic majors, the choir performs standard sacred and
secular choral literature dating from the renaissance era to
the twenty-first century. Under Dr. Park’s direction, the
UWRF Concert Choir performed at the Wisconsin Music Educators
Association Conference in Madison last fall. The choir has a history
of successful tours abroad, throughout Europe. Last May the choir
made it’s debut Asian tour, performing with the World Vision
Children’s Choir and the Kang-Neung City Professional Choir. The
choir also performed at the Muse Concert Hall in Tokyo during their
visit to Japan. The choir performs a concert tour annually in the
United States, and travels overseas every other year.
Dr. Park, a baritone, has appeared as a recitalist
and soloist; he frequently sang with Robert Shaw,
including performances in France (1990) and concerts
at Carnegie Hall (1991, 1992). Professor Park is
the founder of The Atlanta Master Chorale and the
JW Chorale, a semi-professional female choir, and
co-founder of Sonorium, an early music vocal and
instrumental ensemble. Professor Park has been an active guest
conductor and clinician; last January, he was one of two clinicians
invited to the World Choral Workshop in Seoul. He is an active
member of ACDA and NATS.
Dr. Park earned a B.M. in Voice Performance from Yonsei University
in Seoul, Korea, an M.M. in Voice Performance from the Cleveland
Institute of Music, an M.M. in Choral Conducting from Cleveland
State University, and his DMA degree in Choral Conducting from
Michigan State University.
Have it now!
from
Choose f titles
ds o
thousan e variety
id
for a w ments
u
of instr es!
c
and voi
e-Print
SM
From our website to your printer... you can have the music
you need now! You deserve great internet service from your music
store, and Pepper delivers—to your printer!
Download a fully copyrighted piece of music
to your computer using our e-Print delivery
system, backed completely by our Total
Satisfaction Guarantee. Whether you need
music in a hurry, want to purchase extra parts
for an ensemble, or simply want to preview
music before you buy, e-Print is the answer.
It's easy, it's fast, and it's legal!
Visit jwpepper.com and
look for the e-Print logo today!
JWPepper
®
It’s Where You Shop For Music.
AMERICA’S SHEET MUSIC SUPPLIER SINCE
The best service on the planet. Fifteen locations across the country.
1876.
Visit jwpepper.com Call: 1-800-345-6296 Fax: 1-800-260-1482
13
FRIDAY, JANUARY 13
All-State Choirs
WCDA 2006 Vocal Jazz All-State Choir
Friday, 10:45 AM, Lawrence Chapel
Directed by Thomas Ajack
THOMAS AJACK is a 1987 magna cum laude graduate of Carroll College, Waukesha, Wisconsin. He has
taught in the Waukesha Public Schools his entire career—elementary vocal music for eight years, then at the
high school level. He worked at Waukesha South High School with Greg Carpenter before being appointed to
lead the choral program at Waukesha West in 1999. Mr. Ajack has been an active church musician since 1983,
most recently at Southminster Presbyterian Church in Waukesha. In 2000, he received the WCDA Outstanding
Church Musician Award. Mr. Ajack has also been involved in the community as an associate director of the
Jubilate Chorale, as interim co-director of the Waukesha Choral Union, and as an ad hoc faculty member of the
Carroll College Music Department.
The recipient of the 1996 WCDA Composition Award, his works and arrangements have been performed around the state and Midwest. Mr.
Ajack’s ensembles have received critical acclaim and consistent superior ratings at regional and national music festivals. Under his direction, the
choir program at Waukesha West has grown significantly, and students find it a comfortable and enjoyable place to learn, rehearse and make
music together. The West Concert Choir has participated in the Lawrence Viking Festival, has sung with the Milwaukee and Waukesha
Symphony Orchestras, and both the Concert Choir and Vocal Jazz Ensemble performed at the WCDA 2005 State Convention. A frequent
guest conductor, clinician, and master adjudicator, Mr. Ajack is a life member of ACDA.
WCDA 2006 Collegiate All-State Choir
Friday, 11:30 AM, Lawrence Chapel
Directed by Dr. Laura Lane
DR. LAURA L. LANE is professor of music, director of choral activities and
chair of the music department at Knox College. Under her direction, the 54-voice
Knox College Choir has toured throughout the United States and Europe and has
released five compact discs.
On March 21, 2005, Dr. Lane made her Carnegie Hall debut, conducting the
Knox College Choir, other choirs from western Illinois and New Jersey, and the
New England Symphonic Ensemble in the Vaughan Williams Dona nobis pacem.
Dr. Lane is also founder and music director of Nova Singers, an 18-voice
ensemble with a nation-wide reputation for virtuosity, expressiveness, and innovative programming. Nova Singers has performed for state,
regional and national conventions of the American Choral Directors Association, including an appearance at the WCDA 2005 State
Convention, and has produced six professional recordings.
An active member of ACDA, Dr. Lane served as president of Illinois ACDA and is currently serving as R & S Chair for College and University
choirs. Dr. Lane is also in demand as a clinician and has directed junior high and high school choral festivals in Illinois, Indiana and Missouri.
She holds an undergraduate degree from Washington University in St. Louis, a master’s degree from Westminster Choir College, and a doctorate
from the University of Iowa. She studied conducting with Dr. Joseph Flummerfelt, Dr. Don V Moses, Helmuth Rilling, and Margaret Hillis.
Dr. Lane will lead a General Session on SATURDAY, JANUARY 14, at 8:30 AM in the FUMC Sanctuary.
14
FRIDAY, JANUARY 13
Auditioned Choirs
Friday, 1:30 PM, Lawrence Chapel
TREMPER HIGH SCHOOL CHORALE
is an auditioned group comprised of
tenth through twelfth grade
students. The ensemble meets on
alternate days for ninety minute
rehearsals and functions as the top
group in the school’s choral music
program. Many of the Chorale
members also participate in “Ye
Olde Englishe Christmasse Feaste,”
now in its thirty-first consecutive year at Tremper. The Tremper
Chorale performs annually at concerts, festivals, competitions,
and special events in the school and community and enjoys a
rich variety of musical offerings throughout the school year.
Choir directed by Bradley Mann, Mrs. Amborn
has taken her singers to festivals in Colorado, San
Francisco, and
New York. Plans are currently underway for
their trip to Orlando in April, 2006.
POLLY AMBORN is a 1989 graduate of Carthage College in
Kenosha, WI. She has taught in the Kenosha Unified School
District since the fall of 1989 when she began teaching at John Bullen
Middle School. She led the Bullen choirs to three convention
performances: WCDA (1998), NCACDA (2000), and WMEA
(2000). She received her MME from UW-Whitewater in 2000. Mrs.
Amborn began teaching at George Nelson Tremper High School in
2002. At Tremper she leads the Women’s Choir, Concert Choir,
Chorale, Madrigal Singers, and Jazz Choir in a rigorous performance
schedule. Combined with the Bradford High School A Cappella
Polly Amborn is an active WCDA member,
serving on the Board as South Central
Representative since October, 2003 and chairing the newly-formed
scholarship committee. She is a 5-Star Award Recipient, and served as
State Middle Level Repertoire & Standards Chair and as guest
director for Singing in Wisconsin. Mrs. Amborn is active in the
Racine Theatre Guild and has assisted with the Bradford High School
Theatre Arts Program and Kenosha Youth Performing Arts Company
productions. She is on the ad hoc teaching faculty at Carthage College
and serves as a master adjudicator for WSMA.
Friday, 2:00 PM, Lawrence Chapel
and the Gold Company Vocal Jazz Invitational at Western Michigan.
Membership in the group leads to musical development as an
ensemble singer and as a solo singer (including the area of vocal
improvisation). Listening is also a strong component of the curriculum.
COUNTERPOINTERS is one of eight choirs at Stevens Point Area Senior
High (SPASH). Consisting of juniors and seniors, the group
specializes in jazz music. In their rich history, they have performed by
invitation at the WCDA convention, the MENC Central
Division Convention, the WSMA convention, and at national
conventions of the International Association of Jazz Educators.
Annually, they perform at the Lawrence University Jazz Festival
KEVIN MORRISSEY is in his ninth year of teaching in
Wisconsin. He is beginning his fifth year in Stevens
Point, where he directs the concert choir, mixed
choir, men’s choir, the two jazz choirs, and the
annual musical. Prior to his arrival in Stevens Point,
he taught for four years at Sheboygan Falls High
School. A lifetime member of the American Choral
Directors association and the VoiceCare Network,
Mr. Morrissey is currently the WCDA Vocal Jazz
Repertoire & Standards Chair. A native of the
Milwaukee area, he holds a bachelor’s degree in music education from
Carroll College and a master’s degree in music education from
Michigan State University. He was also briefly enrolled in the doctoral
program in choral conducting at the University of Iowa. Highly
influential musical mentors include Lee Jacobi, Mark Aamot, Axel
Theimer, Jonathan Reed, Timothy Stalter, Larry Harper, Eric Plahna,
and Patricia Crump.
15
FRIDAY, JANUARY 13
Evening Concert 7:30 PM, Lawrence Chapel
Auditioned Choir
various cultures. The program strives to create an atmosphere
that encourages girls to respect the uniqueness of others, to take
risks that foster individual growth, and to continue their
development into self-assured young women. The Lawrence
Academy of Music, a member of the National Guild of
Community Schools of the Arts, is a division of Lawrence
University’s Conservatory of Music.
BEL CANTO is the high school component of the
Lawrence Academy of Music Girl Choir Program. Its
53 members represent over a dozen Fox Valley high
schools. Bel Canto rehearses once weekly and presents
several performances annually, including a performance
in 2006 with the Monteverdi Master Chorale. The Girl
Choir Program is comprised of five choirs, with singers
in grades 3 through 12. Through the study and performance of the
highest quality music, the girls develop vocal technique, music
reading skills, creativity, expressive artistry, and an awareness of
KAREN L. BRUNO, artistic director of the Lawrence Arts
Academy Girl Choir program and conductor of Bel Canto,
has taught at Appleton East High School, Oshkosh West
High School, and at an international school in Senegal,
West Africa. She received the B.A. degree from Smith
College and a teaching certificate from Lawrence
University’s Conservatory of Music, where she received the
Pi Kappa Lambda award for excellence in music education.
She is a member of the Comprehensive Musicianship
through Performance (CMP) Committee, and is a past
staff member of WSMA’s Treble Honor Choir. Ms. Bruno
has served as WCDA Treasurer, Repertoire & Standards Chair for
Children’s Choirs, and currently serves as the Repertoire & Standards
State Chair, acting as a liaison to the WDCA board.
Mr. Blyden-Taylor will also lead a General Session on
Saturday, January 14 at 9:30 AM in the FUMC Sanctuary.
Guest Choir
The Nathaniel Dett Chorale is Canada’s first professional choral group dedicated to Afrocentric music of all
styles, including classical, spiritual, gospel, jazz, folk and blues. These 21 classically-trained, outstanding
vocalists have shared the stage with internationally recognized artists such as jazz pianist Joe Sealy; opera star
Kathleen Battle and the Toronto Symphony Orchestra; the Signal Hill Alumni Choir of Tobago, West
Indies, and the Concert Choir of Hampton University, Virginia. The Chorale has performed at events
honouring world leaders Nelson Mandela, Archbishop Desmond Tutu and Muhammad Ali. The Nathaniel
Dett Chorale’s vision is to build bridges of understanding, appreciation, and acceptance between
communities of people, both Afrocentric and other, through the medium of music.
Founder Brainerd Blyden-Taylor named The Chorale after internationally renowned African-Canadian
composer R. Nathaniel Dett (1882-1943), who was dedicated to the cause of Black music. Dett performed
at prestigious concert halls such as Carnegie Hall and Boston Symphony Hall and won the Bowdoin and Frances Boott prizes in 1920 from
Harvard University. Blyden-Taylor established The Chorale to draw attention not only to Dett’s legacy, but also to the wealth of Afrocentric
choral music. The Chorale has recently garnered international attention, accepting invitations to perform at Polyfollia 2004 in France and
at the 7th World Symposium on Choral Music in Japan, 2005.
Brainerd Blyden-Taylor, Founder, Artistic Director and Conductor of The Nathaniel Dett Chorale, was born in Trinidad & Tobago,
immigrated to Canada in 1973, and founded The Chorale in 1998. Mr. Blyden-Taylor is currently a member of the teaching staff at the Faculty
of Music, University of Toronto, and is a Master Teacher with the Toronto Board of Education, coaching teachers and students in conducting and
choral technique. He is in constant demand as a clinician, adjudicator lecturer, and guest conductor. In addition, he is an active church
musician, currently serving as Music Director of St. Timothy’s Anglican Church, North Toronto. Mr. Blyden-Taylor recently completed a 25year tenure with The Orpheus Choir of Toronto.
16
Morning Concert 10:30 AM, Lawrence Chapel
THE WAUKESHA WEST HIGH SCHOOL CONCERT CHOIR is an
auditioned group of 65 tenth through twelfth grade students that
rehearses daily. The choir performs a broad range of music, focusing
mainly on modern a cappella literature. The choir has performed at
the 2005 WCDA Convention, and has participated in many choral
festivals including the Carroll College Vocal Arts Festival and the
Lawrence Viking Festival. The Concert Choir recently performed
with the Milwaukee
Symphony Orchestra
and has appeared with
the Waukesha
Symphony on several
occasions. Part of a
large cooperative music
department, the concert
choir frequently
performs with the
Waukesha West Wind
Ensemble and
Orchestra.
Auditioned Choir
The choirs at West have toured extensively in the United States and
Canada, and will be traveling to San Diego this spring.
THOMAS AJACK is the director of the
Waukesha West High School Concert
Choir. Please see bio on page 14.
Guest Choir
The Luther College Nordic Choir tours annually throughout the United States. The choir has appeared
at Lincoln Center, Kennedy Center, Orchestra Hall in Chicago, Symphony Hall and the Historic
Theatre in Minneapolis, the Ordway Music Theatre in St. Paul, and the Mormon Tabernacle.
Nordic Choir has also appeared at National ACDA conventions in Los Angeles, Salt Lake City, and
Kansas City. The choir was featured at the MENC in Kansas City, Missouri, where they shared the stage
with the Eastman Wind Ensemble. The choir has also made six concert tours of Europe, two of the
Caribbean and Mexico and three of Eastern Europe.
Dr. Craig Arnold is Director of Choral Activities, Conductor of the Nordic Choir, and Professor of
Music at Luther College in Decorah, Iowa, following the 57-year tenure of Weston Noble. Dr. Arnold
returns to Luther having served on its music faculty in the early 1980s. At that time, he founded the musical celebration now known as
“Christmas at Luther,” with four of the college’s current vocal music ensembles. Prior to his return to Luther, he was Music Director of
Manhattan Concert Productions and Conductor of the New York City Chorale and Chamber Orchestra. He previously served as Director of
Choral Activities at Western Michigan University, Kalamazoo, and at Luther’s sister institution, Capital University in Columbus, Ohio. Dr.
Arnold has high school teaching experience in Iowa and Minnesota, and music ministry experience from serving on church staffs in Minnesota,
Iowa, Ohio and Michigan. Arnold’s education includes a doctorate in conducting from the Eastman School of Music in Rochester, New York; a
master’s degree from the University of Illinois at Urbana-Champaign; and a bachelor’s degree from St. Olaf College in Northfield, Minnesota.
He has served as guest lecturer at the St. Petersburg Conservatory and has conducted choirs and orchestras at Carnegie Hall and the Weill
Recital Hall. He has frequently appeared as guest conductor, clinician, or presenter in Japan, England, Scotland, Germany, France, Italy, Wales,
Hong Kong, China, and across the United States.
17
All-State Choirs
Children’s All-State Choir
Saturday, 3:30 PM, Lawrence Chapel
Julia J. White, director
JULIA J. WHITE is the Artistic Director and Founder of the acclaimed Shenandoah Valley Children’s Choir at Eastern
Mennonite University (EMU) in Harrisonburg, Va., where she oversees the program of 200 students in five choirs
and teaches courses on the child’s voice. She holds a B.M. degree from DePauw University and a M.M. degree from
Westminster Choir College. In addition to her work in organ performance, choral conducting, and children’s
choirs, Ms. White sang with the Symphonic Choir with Maestro Ricardo Muti and the Philadelphia Orchestra, and
Maestro Zubin Mehta and the New York Philharmonic. Ms. White has done post-graduate specialization in
children’s choirs at Westminster Choir College, the American Boychoir School, Royal School of Church Music, and
Choral Music Experience Institute at Northern Illinois University, where she received Levels I-III certification and Artist Teacher Diploma. She
has studied long term in Vienna, Austria, and England and has completed Level I of Kodály training. Ms. White served two terms as the ACDA
Children’s Choir Chair for Virginia and created the ACDA Virginia/ Maryland Honors Choir in 1998 & 1999. She has been a frequent guest
director and lecturer at festivals and universities in Virginia, Connecticut, Washington, D.C., and Oklahoma, and has directed All-State Choirs
including West Virginia (2002), Mississippi (2003), and Florida (2004). She received Governor’s School awards in Richmond in 1998 and
2000, and received the Distinguished Artist-in-Residence title at Eastern Mennonite University in 2003.
Middle Level All-State Choir
Randy Pagel, director
RANDY PAGEL, a native of Oshkosh, Wisconsin, teaches at Thurman White Middle School in Henderson, Nevada.
Mr. Pagel has conducted at Carnegie Hall in New York City, Orchestra Hall in Chicago, the Kennedy Center in
Washington, D.C., several honor choirs throughout the country, including the 2000 North Central ACDA Division
Honor Choir in Madison, and at national conventions for ACDA and MENC. He has conducted concerts for
former presidents Ronald Reagan and Jimmy Carter, and is scheduled to appear at the White House and
Washington’s National Cathedral. He has released several recordings, a music video, received various state and
national teaching awards, was named the University of Wisconsin-Oshkosh “Outstanding Young Alumni”, was
inducted into the Hall of Fame for both Oshkosh North High School & Clark County School District, and had “Randy Pagel Day” proclaimed
in Henderson, Nevada, and Oshkosh, Wisconsin. A frequent guest clinician, he is the author of the book The Choral Director’s Guide to
Sanity...and Success!
High School Men’s All-State Choir
Michael T. Krueger, director
MICHAEL T. KRUEGER is Assistant Professor of Music and Director of Choral Activities at the University of
Wyoming where he conducts the Collegiate Chorale and the Singing Statesmen, directs the Vocal Jazz Ensemble and
teaches courses in conducting and choral literature. A graduate of Grafton High School (WI), Dr. Krueger earned
his bachelor’s degree in music education from Luther College, his master’s degree from the UNC-Greeley, and the
DMA degree in choral conducting and literature from the University of Illinois. He is a former resident member of
the Grammy Award-winning Robert Shaw Festival Singers, having performed in concert and recording sessions with
the late Maestro Shaw throughout southern France, at Carnegie Hall, and at the ACDA National Convention. He
has also performed as part of the Grammy-nominated Axidentals Vocal Jazz Ensemble at the University of Northern Colorado and with the
Contemporary Chamber Singers at the University of Illinois. Active as a guest conductor, clinician, and adjudicator throughout North America,
Dr. Krueger recently conducted all-state and honor choir performances in New Hampshire, New York, Iowa and Minnesota. He is presidentelect of the Wyoming Choral Directors Association. Dr. Krueger has worked to build the prestige of male singing in the public schools by
presenting clinics on male vocal development, repertoire selection and singer recruitment. He founded and developed all-male choral ensembles
at Millikin University, Morningside College and the University of Wyoming. He recently served as guest conductor for the Wyoming “Men In
Song” Festival Chorus at the 2005 Wyoming Music Educators Association Convention.
18
Interest Sessions in chronological order
#1. “Integrating Writing into the High School Music Classroom.”
Friday, January 13, 8:30 AM, Lawrence Conservatory
Kari Doepke and Mary Bigus, clinicians
Has your school district joined the ranks of districts across the country demanding a writing initiative be carried out in all
subject areas...including music? The woes of the music educator are many, but the obvious issue is a basic lack of time to
accomplish all we would like with our students. Among the music theory, history, sight singing, text discussions and general
music preparation, where does one find the time to incorporate writing into the music curriculum? Please join Kari Doepke
and Mary Bigus for practical ways to integrate writing into your music classroom that will not only satisfy your district’s
writing requirements, but also enhance the musical experiences of your students.
KARI DOEPKE, top left, is a 2000 graduate of Carroll College, where she received a bachelor’s degree in music
education-choral emphasis and minors in French and English. After beginning her teaching career in the School
District of Elmbrook, she continued her education by earning a master’s degree in choral conducting from the
University of Wisconsin-Milwaukee in 2005. Currently, Ms. Doepke is the Associate Director of Choral Activities
at Brookfield East, where she directs numerous choral ensembles, advises the Student Council, and leads a yoga club.
She also has the joy of traveling to Pilgrim Park Middle School each afternoon to teach Sixth Grade Chorus.
Ms. Doepke carries professional memberships with ACDA, WMEA, MENC, NATS, and the Voicecare Network.
In addition, she maintains a private teaching studio comprised of students from across southeastern Wisconsin.
MARY BIGUS, bottom left, received her B.M.Ed. and M.M.Ed. from UW-Stevens Point. This is her twenty-seventh
year of teaching and she has been Director of Choral Activities at Brookfield East High School since 1990. Her duties at East include directing
the freshman Treble Choir, Women’s Ensemble, Chamber Choir, serving as music director for the school’s annual musical, and supervising
student teachers from various universities. Ms. Bigus has served as Vice-President of the Southeastern Division of WMEA and representative for
the Repertoire and Standards for Mixed Choirs for the WCDA. Ms. Bigus is a member of Phi Kappa Lamda, MENC, WMEA, WCDA and is
an active adjudicator and clinician for WSMA, various Wisconsin Conference Choirs and the State Choral Festival in Michigan.
#2. “Cultivating the Male Singer.”
Friday, January 13, 8:30 AM, Lawrence Conservatory
Michael T. Krueger, clinician
This session will contain ideas on recruitment and retention of male singers, with a special focus on male vocal development
from elementary through high school.
Please see bio on page 18.
#3. “Finding That Beautiful Tone” for Elementary and Middle School Directors.
Friday, January 13, 2:30 PM, Lawrence Conservatory
Julia J. White, Children’s All-State Choir director, clinician
Julia J. White will lead directors in a discussion on how to find “That Beautiful Tone” with young singers. Techniques for
finding a beautiful choral tone will be discussed as well as repertoire and warm-ups that encourage a free and rich sound.
In a society where shouting is often mistaken for singing, and where the “Annie” or show voice is often praised and
encouraged, Ms. White will give some tips on how to teach children to sing beautifully and how to train choristers, parents
and administrators to expect a gorgeous sound at concerts. Julia J. White is the Artistic Director and Founder of the
Shenandoah Valley Children’s Choir, Harrisonburg, Virginia. Please see bio on page 18.
19
#4. Panel Discussion: “Quality Repertoire for High School Choirs.”
Kurt Chalgren, panel chair
KURT CHALGREN retired in June of 2002 following more than 36 years of teaching vocal/choral music in Iowa and Wisconsin. Mr. Chalgren
conducted choirs at Tremper High School in Kenosha, Wisconsin since 1966. Prior to that time, he taught at Iowa Central Community College
and Fort Dodge Senior High School in Iowa. Mr. Chalgren is the former director of the Wisconsin Singers at the University of Wisconsin in
Madison. He has also served as vocal director for the “Kids from Wisconsin” from their inception in 1969 through 2004. Among honors
bestowed on Mr. Chalgren are Kenosha's "Person of the Year", Elks Club "Americanism Award", Jaycees "Outstanding Educator of the Year"
and mayoral proclamation for "Kurt Chalgren Day" in Kenosha.
#5. “Music of Many Lands and Cultures.”
A Reading Session of Top Multicultural Choral Octavos.
Dr. Christopher Peterson, UW-Milwaukee, WCDA R&S Chair for Ethnic & Multicultural Choirs, clinician
This session will focus on the singing of recommended and accessible choral octavos from the multicultural genre. Although
primarily SATB, some middle level and treble music will be included in the session. Packets of music ($15) will be
available on a first-come, first-served basis. Tips for teaching and programming this music will also be presented.
CHRISTOPHER W. PETERSON is assistant professor of choral music education at the University of WisconsinMilwaukee where he directs the UWM University Choir and the Men of Song. Dr. Peterson taught music in the
public schools of Maine for nine years, including elementary, middle, and high school music instruction. He is the author of articles published
in the Music Educators Journal, and is a contributing author for the textbook series Experiencing Choral Music, published nationally by Glencoe.
He is also conductor of the Milwaukee Youth Chorale, an honor choir for high school students that is affiliated with the Milwaukee Children’s
Chorus. Dr. Peterson earned the Bachelor of Science in Music Education (Choral and Instrumental) from the University of Southern Maine, the
Master of Music in Choral Conducting from the University of Maine, and the Doctor of Philosophy in Choral Music Education from Florida
State University in Tallahassee.
#6. “The Changing Voice in the Middle School Choir Rehearsal.”
Tina Glander Peterson, clinician
This session will include a demonstration with a group of students about the changing voice and how to work with them in
the rehearsal.
TINA GLANDER PETERSON is Director of Choirs at Wisconsin Hills Middle School in Brookfield, Wisconsin. Mrs.
Peterson earned her BME from UW-Whitewater and her MME in Choral Conducting from UW-Milwaukee. For
the past nine years at WHMS, she has directed the Seventh Grade Chorus, Eighth Grade Chorus, Seventh and
Eighth Grade Musical, Girls Vocal Jazz Ensemble, Boys Barbershop Ensemble, and the WHMS show choir,
Showcase Singers. Mrs. Peterson has served as the Alto Coach for the WMSA Middle Level Honors Project and as the WCDA Middle Level
Repertoire & Standards Chair. Her choirs were selected to appear at the 2001 WMEA State Convention and the 2003 WCDA State
Convention. She is also an active adjudicator and guest clinician around the state. In 2005, Mrs. Peterson was appointed Assistant Director of
the Milwaukee Children’s Choir and she was the recipient of the 2005 WCDA Outstanding Middle Level Choral Director Award.
20
#7. “Language, Diction, and Style.”
Saturday, January 14, 1:30 PM, First United Methodist Church
Emily Crocker and Darwin Sanders, clinicians
EMILY HOLT CROCKER, founder and artistic director of the Milwaukee Children’s Choir, is recognized nationally as a
leading expert in children’s choirs. The Milwaukee Children’s Choir has received acclaim for performances with the
Milwaukee Symphony Orchestra, the Milwaukee Chamber Orchestra, the Milwaukee Youth Symphony Orchestra,
the American Choral Directors Association, the China People’s Festival in Japan and the Canterbury (England)
International Children’s Choir Festival.
As a composer, Ms. Crocker’s works have been performed around the world and she has received ASCAP awards for
concert music since 1986. She is well known for her work in developing choral instructional materials and is an
author of Experiencing Choral Music, a choral textbook series for grades 6-12, published by McGraw-Hill/Glencoe.
As a guest conductor, she led the Midwinter Children’s Choral Festival in Carnegie Hall in 1999 and 2001 and has
conducted the Milwaukee Symphony Pops Orchestra and the Milwaukee Chamber Orchestra in performances with
the Milwaukee Children’s Choir. In 2002 she was awarded the Excellence in Youth Music award from the Civic
Music Association of Milwaukee. In 1989, after a 15-year teaching career in her native Texas, she joined the music
publishing industry and is now Vice President of Choral Publications for Hal Leonard Corporation in Milwaukee.
DARWIN SANDERS is a nationally recognized language specialist and diction coach, working with the Florentine
Opera of Milwaukee, the Milwaukee Symphony Chorus, the Milwaukee Children’s Choir and other groups. He
recently served as the language consultant for the Macmillan/McGraw-Hill music series Spotlight On Music, providing recorded language
guides for over 400 non-English songs.
#8. “Marketing Strategies for Community Arts Organizations.”
Saturday, January 14, 1:30 PM, First United Methodist Church
Clinician to be announced.
APPLICATION FOR MEMBERSHIP IN THE WISCONSIN/AMERICAN CHORAL DIRECTORS ASSOCIATION
Please Fill Out COMPLETELY (For office use) Account No.____________
Please accept my application for membership in
WCDA/ACDA as indicated below:
❏ NEW ❏ RENEWAL
❏ Active $75.00
❏ Student $30.00
❏ Life $2000.00
❏ Retired $35.00
Life membership is payable in annual
installments of $200.00 or more.
❏ Optional: Enclosed is a tax-deductible donation to
WCDA in the amount of $____________.
Please check areas of activity:
6 ❏ Jr/Com. Coll. P ❏ Professional
1 ❏ Elementary
2 ❏ Jr.H/MS
7 ❏ Coll./Univ.
S ❏ Supervisor
3 ❏ Sr HS
8 ❏ Comm.
5 ❏ StudentChap. 9 ❏ Church
Please check classifications of choirs directed:
❏ Children ❏ Boy ❏ Girl ❏ Men ❏ Women
❏ SATB/Mixed ❏ Jazz/Showchoir ❏ Multicultural
Send WCDA/ACDA publications to:
Mr. Ms. Mrs. ____________________________________________________
❏ Home ❏ Work _________________________________________________
Street____________________________________________Apt # __________
City_____________________________State______Zip+4 ________________
Phone (_____)___________________FAX: (_____)______________________
email: __________________________________________________________
Please include your Alternate Address:
❏ Home ❏ Work _________________________________________________
Street____________________________________________Apt # __________
City_____________________________State______Zip+4 ________________
Phone (_____)___________________FAX: (_____)______________________
email: ___________________________________________________________
Make check(s) payable to WCDA and mail to:
WCDA Office • 6802 Miller Road • Abrams WI 54101-9799 Welcome!
21
Convention Information
2.
January 12-14, 2006
WCDA Convention
Headquarters
Radisson Paper Valley Hotel
333 WEST COLLEGE AVENUE
APPLETON, WI 54913
To make reservations, call: 1-800-242-3499 OR 920-733-8000.
Be sure to mention that you are with the Wisconsin Choral Directors
Association to receive the special rate of $86.00/night plus tax.
Radisson Paper Valley Reservation DEADLINE: DECEMBER 28, 2005.
NOTE: This is an earlier deadline than last year. Rooms may be reserved
after December 28 at the WCDA rate, if rooms are available.
Make your reservations EARLY!!
Convention Venues
1. Lawrence University Conservatory of Music
115 South Drew Street, Appleton
2. First United Methodist Church (FUMC)
325 East Franklin Street, Appleton
1.
3. All Saints Episcopal Church
100 North Drew Street, Appleton
3.
Registration Hours & Locations:
Thursday: 5:00–7:00 PM: FUMC Lobby
Evening Concert Begins at 7:30 PM AT FUMC.
Friday:
8:00 PM–NOON and 12:30–7:00 PM: Lawrence Lower Lobby
Evening Concert Begins at 7:30 PM AT LAWRENCE CHAPEL.
Saturday: 8:00 AM–NOON: Lawrence Lower Lobby
Morning Concert Begins at 10:30 AM AT LAWRENCE CHAPEL.
On behalf of all WCDA members, we acknowledge the extraordinary commitment of time and energy of the
2006 WCDA State Convention Steering Committee
Convention Chair James Kinchen, Jr.
Program Chair Gary McKercher
Registration Chair Janet Baeseman
Lindy Perkins, Assistant
Kathy Tuinstra, Assistant
Financial Chair James Aagaard
Facilities Chair Matt Wanner
John Choi, Assistant
Hospitality Joy Fritz, Judith Kirby, and
Jessica Knierim
Exhibits Chair Darlene Dorner
Jared Anderson, Assistant
Programs Melissa Maas
Judy Eckenrod
R&S Luncheon Roundtables Karen Bruno
Presiders Jim Miller
22
Conducting Competition Chair Lucinda Thayer
Conducting Competition Choir
Herb Berendsen
Concert Manager Rodger Trader
All-State Concert Manager Carol Dahle
Beth Herrendeen-Smith, Assist.
All-State Choir Coordinator David Murphy
Children’s All-State Amber Evey, Chair
Jill Waterman, Assistant
Middle Level All-State Jean Nguyen, Chair
Sandra Kailhofer, Assistant
Men’s All-State Sarah McVeigh, Chair
Todd Kruger, Assistant
Vocal Jazz All-State Chair Kevin Morrissey
Collegiate All-State Chair Brian Knutson
Thank You!
2006 WCDA State Convention
Included with your registration:
THREE-DAY BADGE:
• Admission to all sessions.
• Admission to all day AND evening concerts.
• Complimentary lunch (Friday only).
Limited seating available with R&S Chairs
at Roundtable Luncheons.
OR ONE-DAY BADGE
• Admission to all sessions on selected day.
• Admission to day concerts on selected day.
• Complimentary lunch (Friday only).
Limited seating available with R&S Chairs
at Roundtable Luncheons.
Evening Concerts
PRE-Registration Form
NOTE: POSTMARKS AFTER 1/5/06 WILL BE ASSESSED THE
“AT-THE-DOOR” RATE AND WILL BE PROCESSED AT REGISTRATION.
Name _______________________________________________________
Home Address:________________________________________________
City/State/Zip ________________________________________________
School/Church/Business_________________________________________
Home (________) _______________________
Work(________) ________________________
Email: ______________________________________________________
PRE-Registration Fees:
Admission for Thursday and Friday evening concerts will be by badge for
3-Day registrants.
One-Day Registrants and the general public may purchase tickets for the
evening concerts at the door for $10.00.
For more information...
Please contact the WCDA Office, 920-826-2832, or email
<[email protected]>.
Convention Checklist:
✓ Make hotel reservations! 1-800-242-3499 OR 920-733-8000
Radisson Paper Valley Reservation DEADLINE: December 28, 2005.
NOTE: This is an earlier deadline than last year. Rooms may be reserved
after December 28 at the WCDA rate, if rooms are available.
Make your reservations EARLY!!
(AT THE DOOR)
• WCDA
BEFORE 1/5/06 ONLY
AMOUNT
Member ..........($90.00)..................$75.00.............$ ___________
• Non-Member ...............($95.00)..................$80.00.............$ ___________
• WCDA
Member’s Spouse @ $50.00.....................................$ ___________
Name of Spouse (for Badge): _______________________
• WCDA
Retired Member @ $50.00 ......................................$ ___________
• WCDA
Student Member @ $30.00 .....................................$ ___________
• Student
Non-Member @ $45.00 ..........................................$ ___________
TWO SPECIALS BY PRE-REGISTRATION ONLY:
1. Half-Price Special: Current Member @ $37.50...................$ ___________
registering with __________________________________,
✓ Send Registration Form and a check to WCDA for fees. Registration
Postmark Deadline: January 5, 2006.
a new member whose separate registration form, fee (@ $37.50),
✓ Need to join or renew? Include a Membership Form with a separate
check for dues. See page 21 for form.
2. Half-Price Special: New Member @ $37.50........................$ ___________
membership application, and dues are enclosed.
[All fees ABOVE include admission to Evening Concerts.]
SPECIAL OFFER
by PRE-Registration ONLY—
HALF PRICE REGISTRATION FOR CURRENT MEMBERS
WITH NEW MEMBERS
-OR-
• One-Day
WCDA Member @ $50.00
❒Th ❒F ❒S
$ ___________
• One-Day
Non-Member @ $55.00
❒Th ❒F ❒S
$ ___________
[One-Day fees do NOT include admission to Evening Concerts.]
Total Registration Fee ENCLOSED $ ___________
Send this form and a check for PRE-Registration Fee,
payable to WCDA, to:
Janet Baeseman
Royall Middle School
P.O. Box 125
Elroy WI 53929-0125
HALF PRICE REGISTRATION FOR NEW MEMBERS!
Current WCDA members registering with a new WCDA
member will receive their Pre-Registrations for HALF PRICE!
Include a Membership Form from page 21 for the new member
and a separate check for dues, with Registration Forms and fees
for each person. Please mail in the same envelope.
OR, if you are a NEW member joining NOW and registering
for convention, you will receive your Pre-Registration at HALF
PRICE!! Send a Membership Form (see page 21) and a separate
check for dues, with the Registration Form and fee.
POSTMARK DEADLINE: January 5, 2006.
POSTMARK DEADLINE: January 5, 2006
Notes: • If you wish to renew your membership, you may enclose a
membership form (see page 21) and a separate check for dues.
• Half-Price Specials MUST include a membership form and dues
for the new member, plus registration forms and fees.
• Your cancelled check will be your confirmation. Receipts will be
available at Registration. Please make a copy of this form.
FOR OFFICE USE ONLY:
Postmark Date: ________________________
Registration Amount Paid: _____________ Check # __________________
Membership Amount Paid: _____________ Check # _________________
0!6
0!maha in ‘06
NC-ACDA CONVENTION
MARCH 1-4
Celebrate the Process!
You should have received the convention CD-Rom inside the fall issue of MELISMA.
If you didn’t, please check out our website at <www.ncacda.org>
and click on the CONVENTION link for information and all necessary forms!
24
N o t e w o r t h y
Excerpts from:
“43 Tips for Rehearsal Management I Know Now
(and I wish I knew then)”
—Randal Swiggum
Wisconsin composer, conductor, teacher, author
1. Learn student names immediately. Make this a
priority. This is still the most effective discipline
strategy. Use student names (e.g. “Ben, are you with
me?”) instead of lines like, “People, settle down...”
2. Move around the group you are teaching. Don’t
get “planted” by the piano...You can desist improper
behavior simply by your proximity, without having
to say a word.
3. Your sense of humor is a big asset. Use it.
Even an occasional dumb joke is better than no
jokes. There is a high statistical correlation between
laughter and learning. Look for the humorous in
your rehearsals, and capitalize on it. Be sensitive
about humor at students’ expense. But by all means
be willing to sacrifice your own pride and image to
laugh at yourself in front of your students.
4. Set your own noise tolerance level. If you
expect absolutely no talking at certain times, make
sure your students know when those times are. If
there are moments in the rehearsal that you would
allow students to chat or relax a bit, let them know.
But in any case...
5. Be consistent. Regardless of how you are feeling
at the moment, it is very damaging to a group’s
morale and to their respect for you if you are
inconsistent in your expectations from day to day,
or from student to student. Don’t give up and stop
enforcing little behavioral expectations just because
it is getting difficult. Later, you may decide that
certain expectations are unreasonable or even
unnecessary, but examine your expectations
carefully. How do you really want your students
to act in a rehearsal?
6. Make a lot of eye contact throughout the group
always, whether you are speaking to them,
or conducting. Get out of your music. Adjust your
stand as needed.
7. Always have students number the measures
in their music. It speeds up the rehearsal process
considerably to use these rehearsal numbers.
8. Do your best to make sure every student has
their own music and folder.
9. Begin on time. Starting even slightly before the
bell rings communicates to students that each
minute is precious and there is a lot to be done.
If you start each rehearsal with a warm-up (e.g.
hissing, breathing exercises, etc.) then get the group
going as soon as they are in the room. This sense of
expectancy or even urgency about the rehearsal will
get it off to a better start. Don’t begin every rehearsal
by just talking.
10. Know when to rehearse small sections (good
for the music) and also when to run the whole piece
(good for the students). Stopping too much will
discourage students (especially if they are not used
to it), but continually running through long
sections and not fixing their obvious problems will
also make them lose incentive. Find the balance.
Beginning a rehearsal...
11. Try not to change your mind after making a
statement. Sometimes this is just plain necessary,
but things like, “Let’s hear the sopranos and tenors
together...No, I mean just the tenors,” really irritates
the students.
12. Check the music for any misprints or errors
ahead of time.
13. Reveal yourself, as often as is appropriate, to
your students. Show them your own feelings,
especially your enthusiasm. They have so many
teachers for whom teaching is drudgery. They should
see joy in us daily in the process of bringing music to
life. And don’t be afraid to show them that you really
like them. In fact, tell them that once in a while.
Now what?
14. Share with students your vision for the group;
discuss the future; include students in your goalsetting. Reveal your process to them; share your
decision-making rather than just dictating the
product. Put the emphasis on shared goals and
efforts, on the we and not just I.
15. A good music program depends very much on
the personality and approach of the conductor, and
much less on all other factors. The more “puttogether” and healthy your personality is, the easier
it will be to develop “put-together” students. If you
are on fire about life, your students will catch on—
musical rewards will follow. Do what you have to
do to become a more thoughtful, life-loving,
people-loving human being. It is our responsibility
to our students. ✧
25
N o t e w o r t h y
You may not be the only one
suffering from a voice problem...
—Mary Lynn Morrissey, Ph.D.
Director of Music Education and Associate Conductor
Choir Academy of the Chicago Children’s Choir
<[email protected] >
As a music teacher, I use my voice to
communicate both technical and aesthetic
information. I also use my voice as a musical
instrument. When my voice is tired, I find my job
increasingly difficult. Basic communication
becomes a strain, and I often have to alter my
teaching to accommodate my limited vocal
capacity. Does this sound familiar? If it does, your
students may be suffering just as much as you are!
Mary Lynn Morrissey
Dr. Morrissey is in her second
year as Director of Music
Education and Associate
Conductor at the Choir
Academy, Chicago. Over the
past ten years, she has taught
at the elementary, secondary,
and post-secondary levels.
She taught undergraduate
music education students at
Luther College as Interim
Director of Music Education,
she was an instructor for
several years for the UWMadison School of Education
and School of Music, and
she directed the Northeast
Iowa Area Youth Chorus.
Dr. Morrissey earned a B.A.
in Music Education from
Luther College, an M.M.
from the UW-Madison
School of Music, and a Ph.D.
from the Department of
Curriculum and Instruction
at UW-Madison. Central to
her teaching philosophy is the
belief that, through music,
we can change students’ lives
for the better.
26
In the spring of 2004, I completed a case study of
an elementary general music teacher who suffered
from long term vocal problems1. As a result of
decreased vocal capacity, my participant altered
her curriculum to compensate for the fact that she
could not serve as a healthy vocal model. Over
time, singing became less and less of a focus.
In addition, management of students became
problematic when this teacher’s voice was weak.
Choral directors who experience vocal problems
also report being forced to alter their teaching
methods; both curriculum and student behavior
can be negatively affected when teachers suffer
from voice problems.
Much research has been done on the prevalence
of vocal problems among teachers2. In addition,
music teachers have been highlighted as suffering
from higher numbers of vocal problems than the
general population. Presumably, music teachers
must then receive additional training and
coursework in vocal health and vocal
preservation…right? Unfortunately, teacher
preparation programs vary greatly, and many
teachers only begin to suffer from vocal fatigue
and other vocal ailments once in the classroom,
where ongoing training is not often provided.
So what can a practicing teacher do to save
his/her voice and keep kids singing?
Warm-up your voice before you start teaching.
The more you warm-up your voice, the better
prepared you are for a full day of teaching. Hum
on the way to work, speak in a conversational
tone before using your teaching voice, and do
vocal exercises (think back to your voice lessons)
on a regular basis. This will keep your voice in
good shape for the intensive vocal workout you
do each day!
Stay hydrated throughout the day.
Easier said than done when music teaching
schedules often include several classes in a row
without a break. Maybe there is a way to “tank
up” right before your lunch break? In other words,
you might have to schedule this into your day.
Plan activities that do not involve a lot of
talking on your part.
This might be the perfect time to do a guided
listening lesson with a recording you have wanted
to share, enlist a student to read/give directions
for an activity, or sing directions instead of
speaking them. Vocal music teachers have had
training in how to sing correctly, but training in
how to speak freely and at one’s optimal pitch is
often not included in teacher training programs.
It may be that you sing more naturally and
without strain than you speak; your singing voice
then could be a healthier avenue to communicate
information, musical and otherwise, to students.
Seek professional help!
That is, the kind that can be provided by a speech
pathologist, a speech therapist, or in consultation
with an ENT. The health of our voices, not
unlike the health of our bodies, changes over
time. Different circumstances, personal and
professional, may be impacting the way you use
your voice or the type of teaching you are doing.
If you suspect that you are abusing your voice or
are suffering in any way from work-related vocal
problems, seek professional help from a voice care
professional.
Guest Article: Vocal Health
“Unfortunately, teacher preparation programs vary greatly, and many teachers
only begin to suffer from vocal fatigue and other vocal ailments once in the
classroom, where ongoing training is not often provided.”
Be aggressive when teaching schedules are
decided upon.
Music classes can be a last minute consideration
when teaching schedules are developed, even
though we often see the greatest number of
students in large groupings. Speak with your
administrator and express your concerns about
your vocal health and the need for a manageable
schedule. Having even a small break between
classes gives you and your voice a chance to rest
and regroup. You may even have time to go to the
bathroom and get a drink – what luxuries!
Bottom line: your voice is your instrument and
your number one teaching tool. If you are
experiencing vocal fatigue or other vocal
problems, your students’ learning and behavior
may be impacted as a result. If your own vocal
capacity becomes limited, so might the
opportunities your students have to express
themselves musically. ✧
1
Morrissey, Mary Lynn (2004). Intensification and the
vocal health of an elementary general music teacher.
Unpublished doctoral dissertation, University of
Wisconsin-Madison.
2
Of particular interest are Mattiske, Oates, and
“No man is complete
without a feeling
for music and an
understanding of
what it can do for
him.”
—Zoltan Kodály
Greenwood (1998); Sapir, Keidar, & MathersSchmidt (1993); Smith, Lemke, Taylor, Kirchner, and
Hoffman (1998); and Miller and Verdolini (1995).
27
Wisconsin Choral Directors Association, Inc.
6802 Miller Road
Abrams, WI 54101-9799
Non-Profit Org.
U.S. POSTAGE
PAID
Permit No. 460
Green Bay, WI
Address Service Requested
PUBLICATION INFORMATION & DEADLINES
Articles for Soundings may be submitted to Melissa Maas,
Editor, via email: <[email protected]> or postal mail to:
S12440 Garden Path Drive, Spring Green WI 53588.
For information, call (608) 588-7858.
Advertising inquiries should be directed to Trent Brown,
Advertising Editor, via email: <[email protected]>
or call (262) 970-3777
Discounts are available on multiple ads of the same design.
ISSUE
DEADLINE
PUBLICATION WEEK
Convention Program
December 7
January 12-14, 2006
Spring/Summer 2006
March 29
May 15-19, 2006
WCDA reserves the right to edit and approve all materials.
EVENTS & DEADLINES
December 7, 2005 . . . . Convention and Collegiate All-State
Programs Deadline.
December 28, 2005 . . . Hotel Reservations Deadline. P. 22.
January 5, 2006 . . . . . . Convention Registration Deadline. P. 23
January 12, 2006 . . . . . WCDA
Board Meeting, Appleton.
January 12-14, 2006 . . . WCDA 2006 Convention, Appleton.
March 29, 2006 . . . . . . Deadline for Spring/Summer Soundings.
July 18-20, 2006 . . . . . “Singspiel,” WCDA Summer Conference
for Directors, La Crosse.
August 4-6, 2006 . . . . . “NextDirection”—The National Conference
for High School Students Considering
Careers in Choral Music, Milwaukee.
Mary Goetze, guest clinician.

Soundings winter 05 - Wisconsin Choral Directors Association

Transcription

Similar documents

SECOND COMPETITION CONCERT ВТОР НАТПРЕВАРУВАЧКИ

sept28concert_BJ EDITS

Concert - Castle Knight Sensations

Ye Weekly Blurb, October 4, 2015

Valentines Newsletter 6 April 2016

Concert - Castle Knight Sensations

ACDA sp 16 blog - Mississippi American Choral Directors Assocation

Taylorsville Presbyterian May 2012 Newsletter

International Masterclass for Choral Conductors