Choral Director Magazine August 2012 by Choral Director Magazine

AUGUST 2012 $5.00

Great Characters

Build Great Choirs Dinah Menger

of Arlington High School

Repertoire Forum: New Music for 2012-2013

Survey: Audio & Video Recording

Showcase: Choral Fashion The Latest in School Choral

Apparel

This spread displays the hottest new items from leading apparel manufacturers and suppliers for the school choral market, including robes, formalwear, showchoir uniforms, and more.

2. 3.

1. Cousin’s Concert Attire New line of Show Choir Attire featuring satin shirts combined with a new line of dresses with a contrasting yolk and a drop waist tank dress in a new spandex fabric. www.concertattire.com 2. Southeastern Apparel Washable, easy-wearing stretch poly knit fabric with ¾-sleeve dress with tie back for that perfect fit. www.sepapparel.com 3. FJM FJM offers elegant styles, fit, and colors at a price to meet any budget. www.fjminc.com 4. Stage Accents Details including a shirred silky knit bodice with keyhole neckline and a full sweeping skirt accented by satin trim combine to create this beautiful and wearable dress. www.stageaccents.com 22

Choral Director • August 2012

Get your Choral Director on the iPad

21 Highland Cir. Ste. 1 Needham, MA 02494 Change Service Requested

AUGUST 2012

16 Dinah Menger

“ ”

The parents see that it’s not just about teaching them music – that’s the vehicle through which we grow character.

From the Trenches

Reportapalooza

Contents Features

10 From the Trenches: Reportapalooza 2012 Bob Morrison gleans the critical information that educators need to know from four recent reports on the health of music and arts programs in schools around the country.

Secretary of Education Arnie Duncan noted, “Unfortunately, the arts opportunity gap is widest for children in highpoverty schools. This is absolutely an equity issue and a civil rights issue – just as is access to AP courses and other educational opportunities.”

Arts and Achievement in At-Risk Youth

2012

The next report to call to your attention is “The Arts and Achievement in AtRisk Youth: Findings from Four Longitudinal Studies” published by the National Endowment for the Arts (online at www. nea.gov/research/research.php?type=R). This report examines arts-related variables from four large datasets – three maintained by the U.S. Department of Education and one by the Department of Labor – to understand the relationship between arts engagement and positive academic and social outcomes in children and young adults of low socioeconomic status (SES). Conducted by James Catterall, University of California Los Angeles, et al., the analyses show that achievement gaps between high- and low-SES groups appear to be mitigated for children and young adults who have arts-rich backgrounds

By Bob Morrison

s summer winds down and we prepare for the new school year, there has been a flurry of new studies and research reports un-

locking new and important knowledge of the status, condition, and impact of music and arts education period of time when so much new information came forward.

The first report is from the US Department of Education, “Arts Education in Public Elementary and Secondary Schools: 1999-2000 and 2009-10” (online at: nces.ed.gov/pubsearch/pubsinfo. asp?pubid=2012014). This report presents selected findings from a congressionally mandated study on arts education in public K–12 schools. The data was collected through seven Fast Response Survey System (FRSS) surveys during the 2009-10 school year. This report provides national data about arts education for public elementary and secondary schools, elementary classroom teachers, and elementary and secondary music and visual arts specialists. Comparisons with data from the 1999–2000 FRSS arts education study are included where applicable.

10 10

The Good News • The last decade has not generally produced a dramatic narrowing of the curriculum in the arts. There are several important exceptions to that pattern, which I’ll talk about in a moment. • It is encouraging to see music is available in almost all elementary schools for at least some of the students, and that more than 80 percent of elementary schools have visual arts instruction. There generally have not been significant declines in music and visual arts instruction. The Bad News: • At more than 40 percent of our secondary schools, coursework in the arts was not a requirement for graduation in the 2009-10 school year.

Some key findings: • Teenagers and young adults of low socioeconomic status (SES) who have a history of in-depth arts involvement show better academic outcomes than do low-SES youth who have less arts involvement. They earn better grades and demonstrate higher rates of college enrollment and attainment.

The Latest in School Choral

• High schools are doing too little to incorporate the arts as an expectation and component of career and college readiness for all students. • The decline in dance and theatre opportunities in the last decade has also been dramatic. • About one in five elementary schools offered dance or theatre a decade ago. Today, only one out of every 33 elementary schools offers dance, and just one in 25 elementary schools offer theatre. These survey findings suggest that more than 1.3 million students in elementary school fail today to get any music instruction – and the same is true for about 800,000 secondary school students. All told, nearly 4 million elementary school students do not get any visual arts instruction at school during their formative learning years.

This pictorial showcase highlights the latest top-selling items in choral fashion today from some of the industry’s top apparel designers and manufacturers.

24 Repertoire Forum: New Music for 2012-2013 John C. Hughes presents an array of new choral music for consideration in the upcoming school year.

28 Technology: AP Music Theory Dr. John Kuzmich, Jr. checks in with a handful of educators who share their methods of integrating technology into their Music Theory courses. 2

Choral Director • August 2012

The overarching points from this report may be summarized in this way: 1. Socially and economically disadvantaged children and teenagers who have high levels of arts engagement or arts learning show more positive outcomes in a variety of areas than their low-arts-engaged peers.

New Engines of Growth: Five Roles for Arts, Culture and Design The National Governors Association released a report titled, “New Engines of Growth: Five Roles for Arts, Culture and Design” (online at tinyurl.com/chvgepj), which focuses on the roles that arts, culture and design can play as states seek to create jobs, boost their economies, and transition to an innovation-based economy. Abundant examples from states illustrate how arts, culture and design can assist states with economic growth by: (1) providing a fast-growth, dynamic industry cluster; (2) helping mature industries become more competitive; (3) providing critical ingredients for innovative places; (4) catalyzing community revitalization; and (5) delivering a better-prepared work force. “Economic growth is a top priority for all governors,” said Colorado Gov. John Hickenlooper, a member of N GA’s Executive Committee. They are using an ‘allhands-on-deck’ approach throughout all state agencies to put in place policies and programs using arts, culture and design as a means to enhance economic growth. Under the topic of “delivering a better-prepared work force,” the report talks about the role of arts education to prepare our students to be successful in creative environments. It calls for not just more arts education, but clearly sees the arts as a vehicle for economic growth and global competitiveness. As I wrote in a column two 5. years ago, the more creativity and innovation moves toward the center of our educational debates, the better it is for music and arts education and, ultimately, our students. Choral Director • August 2012

1. 5. Rivar’s Best-selling, easy-care stretch velvet dress (1002FLD) is available in black, red, or royal and features short sleeves, an adjustable tie back and custom hemming that is included in the price. www.rivars.com 6. Smith Walbridge The new Elizabeth Collection features graceful lines on this empire waist dress that is available in six colors, six sleeve options, and three lengths; proudly made in the USA. www.swbandproducts.com

Choral directors weigh in on how they use audio and video to record their ensembles and assist their instruction.

22 Showcase: Choral Apparel

• Even among students of high socioeconomic status, those with a history of arts involvement earned “mostly A’s” at a higher rate than did students without an arts-rich background (55 percent versus 37 percent).

Choral Director • August 2012

13 Survey: Recording Audio & Video

In this recent CD interview, Arlington (Texas) High School choral director Dinah Menger discusses her nononsense approach to building a choral program, programming the most challenging repertoire she can find, and meeting the challenges of a generation in need.

• Students who had intensive arts experiences in high school were three times more likely than students who lacked those experiences to earn a bachelor’s degree. They also were more likely to earn “mostly A’s” in college.

Apparel

• Students who had arts-rich experi-

2. At-risk teenagers or young adults with a history of intensive arts experiences show achievement levels closer to, and in some cases exceeding, the levels shown by the general population studied. Very powerful stuff!

• High school students who earned few or no arts credits were five times more likely not to have graduated than students who earned many arts credits.

This spread displays the hottest new items from leading apparel manufacturers and suppliers for the school choral market, including robes, formalwear, showchoir uniforms, and more.

16 UpClose: Dinah Menger

ences in high school were more likely than students without those experiences to complete a calculus course. Also, students who took arts courses in high school achieved a slightly higher grade-point average (GPA) in math than did other students.

Showcase: Choral Fashion

in our schools. I honestly cannot remember another

Federal Arts Education Fast Response Survey

“Students who had intensive arts experiences in high school were three times more likely than students who lacked those experiences to earn a bachelor’s degree.”

7. Thomas Robes Stole 993P, two-color pennant stole with center front contrasting, reverses to solid color and embroidery options available for stock symbols, lettering, and custom logos. www.thomasrobes.com

2. Southeastern Apparel Washable, easy-wearing stretch poly knit fabric with ¾-sleeve dress with tie back for that perfect fit. www.sepapparel.com

3. FJM FJM offers elegant styles, fit, and colors at a price to meet any budget. www.fjminc.com 4. Stage Accents Details including a shirred silky knit bodice with keyhole neckline and a full sweeping skirt accented by satin trim combine to create this beautiful and wearable dress. www.stageaccents.com

9. DeMoulin (L-R) Dress – black, princess-style, soft knit, sweet heart neckline, bell sleeve, sash tie, unhemmed; Tuxedo – black, polyester, one-button notch lapel, single breasted, closed vent, satin lapel and pocket flaps, ventless sleeve, satin covered buttons, one-button sleeve; Dress – black, empire style, luxury crepe, fully lined bodice and sleeves, small scoop neck line, satin waistband, zipper, unhemmed. www.demoulin.com

Choral Director • August 2012

Columns 3

Opening Notes

35 Vocal Tip

Headlines

35 Classifieds

32 New Products

36 Ad Index

Cover photo by Rex Curry, Dallas, Texas. Choral Director® Volume 9, Number 4, is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781)453-9310, publisher of School Band and Orchestra, Musical Merchandise Review, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: $20 one year; $30 two years. Rates outside U.S.A. available upon request. Singles issues $5 each. Resource Guide $15 Standard Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/SUBSCRIBERS: Send address change to Choral Director, 21 Highland Circle, Suite 1, Needham MA 02494. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. Copyright © 2012 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

HIGHLY PROFITABLE SCHOOL FUNDRAISER TE SI N UI EE S Q R T EX ERG DUC EV RO P

Discover the Difference! UÊÊProven Proﬁts U No Risk U No Minimum Order U Sales Support U Online Fundraising Tools U Buy direct from the manufacturer and save!

Contact us for complete information: www.holidayfundraiser.com 1-800-446-4229 1{ÈÎäÊ ÜÞÊÈxÊUÊ > Ê > i]Ê ÊÊxxÎä{ www.holidayfundraiser.com

Opening Notes

2012 World Choir Games Starting on July 4, 2012, Cincinnati, Ohio was transformed into a Mecca for choristers worldwide, as the city hosted the world’s largest choral festival, the World Choir Games. Founded as the “Choir Olympics” – and still unofficially referred to as such – the 2012 World Choir Games featured approximately 15,000 singers in more than 350 amateur choral groups who came from 64 countries and territories around the world to perform and compete over 10 days in 23 different categories, including Gospel, Barbershop, Show Choir, Folk Songs, Sacred Music, and many others. This extraordinary event is run by Austria’s Interkultur Foundation, an organization whose stated objective is “dedicated to the goal of bringing people of all nations, cultures, and ideologies together in peaceful competitions and songs.” This was the seventh edition of the World Choir Games, which debuted in 2000 and has occurred every two years since, and the first time it was hosted in the United States. Gold medal-winning groups in the various categories hailed from every corner of the globe, including China, Indonesia, South Africa, Latvia, Canada, Switzerland, and Venezuela, as well as a wide array of ensembles from across the United States. However, this event is “This event is much more than a competition, and, as staggering as much more than a they may be, the numbers don’t tell the whole story. The incredible cultural diversity among the participants, the competition, and, as resulting interchange of music and culture, and the instaggering as they may ternational celebration of song left an incredible impresbe, the numbers don’t sion on all involved. And in addition to the competitive tell the whole story.” events, participating choirs also had the opportunity to sing in “friendship” concerts, and perform in a festival setting and for non-competitive evaluation. Janelle Gelfand, a columnist and blogger for Cincinnati.com, writes, “The magnitude of the World Choir Games was beyond anything any of us ever imagined. The stellar quality of singing, the cultural exchanges between Cincinnatians and international visitors, the demand for tickets and the explosive responses by audiences surprised skeptics and diehard music lovers alike. Many of us couldn’t fathom how this ‘Olympics of choral music’ would play out, but Cincinnati knocked it out of the ballpark.” One of the event’s many highlights actually took place in the most unlikely of venues. The Umoja Men’s Choir, an ensemble run by Wilmington College choral director Catherine Roma, features singers who are inmates at the Warren County Correctional Institution. Adjudicators for the World Choir Games traveled to the prison to hear them perform, and it appears that the special outing was worth their while: the group was awarded gold medals in the Gospel and Spiritual categories. Although the 2014 World Choir Games are scheduled to be held in Riga, Latvia, given the overwhelming success of the event in Cincinnati, festival organizers are already discussing a return trip to the United States. As you prepare for another year of promoting excellence within the choral activity, consider adding some international flavor to the curriculum…

August 2012 • Volume 9, Number 4 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial EXECUTIVE EDITOR Christian Wissmuller cwissmuller@symphonypublishing.com EDITOR Eliahu Sussman esussman@symphonypublishing.com ASSOCIATE EDITOR Matt Parish mparish@symphonypublishing.com Art PRODUCTION MANAGER Laurie Guptill lguptill@symphonypublishing.com GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com Advertising ADVERTISING SALES Iris Fox ifox@symphonypublishing.com CLASSIFIED SALES Steven Hemingway shemingway@symphonypublishing.com Business CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com

Symphony Publishing, LLC

CHAIRMAN Xen Zapis PRESIDENT Lee Zapis lzapis@symphonypublishing.com CHIEF FINANCIAL OFFICER Rich Bongorno rbongorno@symphonypublishing.com Corporate Headquarters 26202 Detroit Road, Suite 300 Westlake, Ohio 44145 (440) 871-1300 www.symphonypublishing.com Publishing, Sales, & Editorial Office 21 Highland Circle, Suite 1 Needham, MA 02494 (781) 453-9310 FAX (781) 453-9389 1-800-964-5150 www.sbomagazine.com Member 2012

RPMDA Eliahu Sussman Editor • esussman@symphonypublishing.com 4

Choral Director • August 2012

12.5 oz. of confidence.

Why strain your singing? Our Choralexâ&#x201E;˘ Compact (above) gives you solid support in a folder so light, you might forget itâ&#x20AC;&#x2122;s

there. Options include removable rings, extra retaining cords and personalized imprinting. For conductors and instrumental-

ists, thereâ&#x20AC;&#x2122;s our new extra-wide Band & Orchestra folder Concert Band & Orchestra Folder is extra-wide for storing and displaying scores. With name card and dual pencil holders. Optional imprinting for logo, instrument or name.

(left). See all our singing essentials online, or call us at one of the numbers below. Dealer inquiries also welcome.

3MALL 7ORLD -53)#&/,$%2 COM )NC 4OLL FREE 53! AND #ANADA s 4ELEPHONE AND &AX

Versatile, sturdy folding music stand

Collapsible Smart Easel

LED music lights

Name/logo imprint

Scan for more

Headlines Carnegie Hall National High School Choral Fest 2013 Participants Announced

Carnegie Hall’s Weill Music Institute recently announced the four choruses selected for its 2013 National High School Choral Festival (NHSCF), a one-of-a-kind program culminating in a performance of Mozart’s Requiem at Carnegie Hall with the Orchestra of St. Luke’s and world-renowned conductor John Nelson in April of 2013. This year’s selected choirs are the Arlington High Chamber Singers (Arlington, Texas), Blue Valley Northwest High School (Overland Park, Kansas), Box Elder High School (Brigham City, Utah), and the North Jersey Homeschool Association Chorale (Hawthorne, New Jersey). The 2012–2013 National High School Choral Festival unites top high school choruses from around the country for a yearlong program guided by leading choral director Kent Tritle and world renowned conductor John Nelson. As a finale, participating choruses perform Mozart’s Requiem at Carnegie Hall with Mr. Nelson, professional soloists, and the Orchestra of St. Luke’s. In addition, each choral director will visit New York City for two days of professional development workshops in September. Kent Tritle will also travel to each school for a full day of rehearsal.

Beloved choral pioneer Elmer Thomas recently died at the age of 81. He was a director of choruses for the Cincinnati May Festival and founded the Vocal Arts Ensemble. From 1966 to 1995, Dr. Thomas was a mainstay at the University of Cincinnati’s College-Conservatory of Music, conducting, teaching, and establishing a choral program and an extensive graduate program for conductors. While serving as Director of Choruses for the Cincinnati May Festival, Thomas collaborated with many of the world’s leading conductors (Bernstein, Shaw, Levine, Conlon, Rudolf, Gielen, Rudel, Schippers, Nelson). He also founded the Vocal Arts Ensemble of Cincinnati and was Director of Music at Armstrong Chapel United Methodist Church.

Choral Director • August 2012

Young People’s Chorus of New York City Names Adam Chinn Chairman

The Board of Directors of the Young People’s Chorus of New York City recently named Adam Chinn, a founding partner of investment advisory firm Centerview Partners LLC, the chairman of the Young People’s Chorus of New York City (YPC). Chinn initially joined YPC’s Board in 2008 and has served as Board Secretary on its Executive Committee. Chinn has played a critical role in helping raise significant new funds for YPC, bringing in new corporate donors such as Capital One Bank, and was honored with YPC’s Corporate Award at the organization’s 2009 Gala. His daughter Hannah is an alumna of the chorus. In 1996 YPC was incorporated as an independent, non-profit organization with an equal commitment to the original mission. It currently reaches more than 1200 children annually through its core after-school program, its Satellite program in nine New York City public schools, and national affiliates in Erie, Pennsylvania, and Tenafly, New Jersey. It was recently presented with the nation›s highest honor for youth programs, a 2011 National Arts and Humanities Youth Program Award from First Lady Michelle Obama.

www.ypc.org

Elmer Thomas, Pioneering Choral Director, 1930-2012

Correctional Inmates Form the Inspiring Umoja Men’s Chorus

The Umoja Men’s Chorus, a singing program of Ohio’s Warren County Correctional Institution, recently performed for competition judges from around the world as a preliminary event to the World Choir Games in Cincinnati. The 16 men had been accepted to compete in a “Discretionary Champions Competition” and the adjudicators had to come to prison to make the evaluation. Earl Rivers from the United States, Artistic Director of the 2012 World Choir Games, Johan Rooze (Netherlands) and Nicol Matt (Germany) visited to listen to the group’s competition program along with four media teams, photographers and local press. The unusual performance included warm-ups right in front of the audience and a performance in front of a collection of snack and

Headlines

Founder of the Choral Arts Society Retires

Norman Scribner, founder of the prestigious Choral Arts Society of Washington D.C., as well as its artistic director for the past 47 years, is stepping down. The 76-year-old director led his final concert in Washington on June 13, and will be conducting a brief farewell tour with the ensemble in France later this summer. Scott Tucker, the P.E. Browning director of Choral Music at Cornell University, will assume the mantle of artistic director for the Choral Arts Society’s 2012-2013 season.

Learn more at www.choralarts.org.

OUR NEW FALL CATALOG IS HERE!

Why you should get to know Cousin’s... • Over 40 Fast Ship Items to you in 7 days • Hot New Designs for Guys, Gals & Youth • New Spandex Dresses

New Music Ed Standards & Assessment Site

MakeMusic, Inc., creators of SmartMusic learning and assessment software, has announced the launch of the Music Education Standards and Assessment website (online at www.musicstandards. org). Music educators and administrators are increasingly aware of the rising expectations surrounding the measurement and documentation of student achievement. However, the design, funding and goals of arts assessment methodology vary widely at the state, the district and sometimes even the school level. The new website assembles this highly sought-after information, from all fifty states, in one place for the first time. As a result, music educators now have unprecedented access to vital information and best practices from across the country. The website includes information on music standards, teacher evaluation policies and contacts for each state department of education and music educator association organizations. Visitors are given the opportunity to collaborate in a variety of ways, including providing updates and participating in state-level discussion forums. In addition to providing a platform for music educators, content from this site will also be used to support the National Symposium on Music Assessment, part of the National Association for Music Education’s Music Education Week in Baltimore, June 2425 (details at musiced.nafme.org). View the Music Education Standards and Assessment website at

www.musicstandards.org.

drink vending machines. The group competed in two categories, Gospel and Spiritual, and received a big hand by the audience following every song, including a standing ovations at the performance’s conclusion. Conductor Catherina Roma was reportedly moved to tears. The chorus finished with an encore performance of a piece written by an inmate member of the chorus, titled “Life in the streets”. The group was later awarded two gold medals in the World Choir Games Umoja (Swahili for “unity”) recently released its third album, a 19-track collection titled Extend a Hand. Previous releases came in 2004 and in 1998.

• Unbeatable Prices • Coordinating Styles for Your Entire Group • Full Separates Line • And so much more!

Get a Catalog! 800.881.5343 | www.ConcertAttire.com SUPERB STYLE. PEAK PERFORMANCE.

SHOW CHOIR DRESSES, TUXEDO PACKAGES & SUIT PACKAGES, PERFORMANCE GOWNS, ENSEMBLE PACKAGES, SATIN SHIRTS, VESTS, TUXEDO SHIRTS, MIX & MATCH SEPARATES, JEWELRY, PERFORMANCE SHOES, GARMENT BAGS.

Choral Director • August 2012

For more headlines and breaking news, sign up for the NEW CD e-newsletter at www.choraldirectormag.com.

EDUCATIONAL PERFORMANCE TOURS UÊ*ÕL VÊ*iÀv À > ViÊ"«Ì Ã UÊ ÕÃÌ Ê VÃ UÊ*iÀv À > Vi]Ê VÊ> `Ê ÊÊÊ iiÌÊÌ iÊ ÀÌ ÃÌÊ"«« ÀÌÕ Ì iÃ

FRIENDLY

GROUP &

TRAVEL TOURS

OUR MUSIC FESTIVAL PARTNERS INCLUDE:

UÊ Ü Ê > iÃ UÊ*>À>`iÃ

YES

WE CAN

TAKE YOUR GROUP THERE.

YES

WE’LL TAKE CARE OF EVERYTHING.

YES

IT’S THAT EASY!

WE’LL TAKE YOU THERE U 888-323-0974 U WWW.EPNTRAVEL.COM

From the Trenches

Reportapalooza

2012

By Bob Morrison

s summer winds down and we prepare for the new school year, there has been a flurry of new studies and research reports un-

locking new and important knowledge of the status, condition, and impact of music and arts education in our schools. I honestly cannot remember another period of time when so much new information came forward. Federal Arts Education Fast Response Survey The first report is from the US Department of Education, “Arts Education in Public Elementary and Secondary Schools: 1999-2000 and 2009-10” (online at: nces.ed.gov/pubsearch/pubsinfo. asp?pubid=2012014). This report presents selected findings from a congressionally mandated study on arts education in public K–12 schools. The data was collected through seven Fast Response Survey System (FRSS) surveys during the 2009-10 school year. This report provides national data about arts education for public elementary and secondary schools, elementary classroom teachers, and elementary and secondary music and visual arts specialists. Comparisons with data from the 1999–2000 FRSS arts education study are included where applicable.

Choral Director • August 2012

Arts and Achievement in At-Risk Youth The next report to call to your attention is “The Arts and Achievement in AtRisk Youth: Findings from Four Longitudinal Studies” published by the National Endowment for the Arts (online at www. nea.gov/research/research.php?type=R). This report examines arts-related variables from four large datasets – three maintained by the U.S. Department of Education and one by the Department of Labor – to understand the relationship between arts engagement and positive academic and social outcomes in children and young adults of low socioeconomic status (SES). Conducted by James Catterall, University of California Los Angeles, et al., the analyses show that achievement gaps between high- and low-SES groups appear to be mitigated for children and young adults who have arts-rich backgrounds Some key findings: • Teenagers and young adults of low socioeconomic status (SES) who have a history of in-depth arts involvement show better academic outcomes than do low-SES youth who have less arts involvement. They earn better grades and demonstrate higher rates of college enrollment and attainment. • Students who had arts-rich experi-

“Students who had intensive arts experiences in high school were three times more likely than students who lacked those experiences to earn a bachelor’s degree.” ences in high school were more likely than students without those experiences to complete a calculus course. Also, students who took arts courses in high school achieved a slightly higher grade-point average (GPA) in math than did other students.

• High school students who earned few or no arts credits were five times more likely not to have graduated than students who earned many arts credits. • Students who had intensive arts experiences in high school were three times more likely than students who lacked those experiences to earn a bachelor’s degree. They also were more likely to earn “mostly A’s” in college. • Even among students of high socioeconomic status, those with a history of arts involvement earned “mostly A’s” at a higher rate than did students without an arts-rich background (55 percent versus 37 percent). The overarching points from this report may be summarized in this way: 1. Socially and economically disadvantaged children and teenagers who have high levels of arts engagement or arts learning show more positive outcomes in a variety of areas than their low-arts-engaged peers.

New Engines of Growth: Five Roles for Arts, Culture and Design The National Governors Association released a report titled, “New Engines of Growth: Five Roles for Arts, Culture and Design” (online at tinyurl.com/chvgepj), which focuses on the roles that arts, culture and design can play as states seek to create jobs, boost their economies, and transition to an innovation-based economy. Abundant examples from states illustrate how arts, culture and design can assist states with economic growth by: (1) providing a fast-growth, dynamic industry cluster; (2) helping mature industries become more competitive; (3) providing critical ingredients for innovative places; (4) catalyzing community revitalization; and (5) delivering a better-prepared work force. “Economic growth is a top priority for all governors,” said Colorado Gov. John Hickenlooper, a member of N GA’s Executive Committee. They are using an ‘allhands-on-deck’ approach throughout all state agencies to put in place policies and programs using arts, culture and design as a means to enhance economic growth. Under the topic of “delivering a better-prepared work force,” the report talks about the role of arts education to prepare our students to be successful in creative environments. It calls for not just more arts education, but clearly sees the arts as a vehicle for economic growth and global competitiveness. As I wrote in a column two years ago, the more creativity and innovation moves toward the center of our educational debates, the better it is for music and arts education and, ultimately, our students. Choral Director • August 2012

Keeping the Promise – Arts Education for Every Child The last report for discussion is “Keeping the Promise – Arts Education for Every Child: The Distance Traveled – The Journey Remaining” (on the web at: artsednj.org/census.asp) from the New Jersey Arts Education Census Project (where I served as project director). This report is based on a mandated survey of every public school in the state of New Jersey. This was a follow-up study to a 2006 report and provides the first state-level longitudinal data to compare changes to arts education over time. Some key findings include: • The number of New Jersey students with daily access to arts has increased by 54,000 since 2006, growing from 94 percent to 97 percent of all students. • The percentage of New Jersey schools adopting core curricular standards in visual and performing arts has increased from 81 percent in 2006 to 97 percent in 2011.

• Well above 90 percent of all New Jersey schools use appropriately certified arts specialists as the primary provider for music and visual art instruction. • More than 90 percent of New Jersey public schools interact with more than 972 community arts organizations to enhance visual and performing arts programs. • While access to arts education has increased, spending on arts supplies and materials has declined by 30 percent at the elementary level and by 44 percent at the high school level. • Student participation in arts courses as a percentage of total enrollment has declined significantly, especially at the elementary level. A complex analysis revealed two new and important findings: 1) High schools with more arts education tended to have a higher percentage of students who were highly proficient in language arts on the state high school test. 2) Intended college attendance rates

(four-year college) are higher in schools with more arts education. These last two findings directly address important priorities for education leaders in New Jersey. “We know that in order for students to truly be ready for the demands of the 21st century, we need to provide a broad curriculum that includes the arts,” said acting education commissioner Chris Cerf. “I am encouraged to see that the number of students with access to the arts in school continues to increase, and we will continue our work to strengthen those programs.” “The New Jersey Arts Education Census Project has once again demonstrated the importance of data in getting a full picture of the creative life of our schools,” said Geraldine R. Dodge Foundation CEO Chris Daggett. “Significant gains have been made in the past five years in regards to policy yet the declines in student participation in the arts raise serious questions about barriers that still remain. I look forward to further research that will help inform next steps to ensure more New Jersey students benefit from a robust arts curriculum.” To know and not do… is to not know Any one of these reports would bee seen as milestones in their own right. The fact that all for of these were released within six weeks of one another provides a treasure trove of new well-documented information for educators and advocates to use to make the case for the role of music and all of the arts in our schools. But it will only make a difference if we all do something with the information. If we do not, then there is really no point in having it to begin with. Indeed, to know and not do… is to not do. Our job is to take this information and…Do Something!

All Together Now!

Choral, Instrumental, Show Choir, Youth, Adult and Custom—every detail, beautifully executed and affordable with Rivar’s performance apparel. We’ve been creating show-stopping garments and serving music educators for nearly three decades! Find us on Facebook and Twitter!

WWW.RIVARS.COM | TOLL FREE USA/CANADA 1-800-775-4829 12

Choral Director • August 2012

Rivars_2011_4.6x5_ad.indd 1

4/7/11 8:59 AM

Robert B. Morrison is the founder of Quadrant Arts Education Research, an arts education research and intelligence organization. In addition to other related pursuits in the field of arts education advocacy, Mr. Morrison has helped create, found, and run Music for All, the VH1 Save The Music Foundation, and, along with Richard Dreyfuss and the late Michael Kaman, the Mr. Holland’s Opus Foundation. He may be reached directly at bobm@artsedresearch.org.

Survey: Recording Audio & Video

Tape’s Rolling! W ith the flurry of innovation in audio and video recording technology particularly over the past decade, capturing ensembles in rehearsal and concert has never been

easier. Whether recording with a handheld device or running an as-

sortment of mics through a soundboard, the possibilities are virtually limitless in terms of fidelity, complexity, and cost. And the potential applications of these recordings vary tremendously, too. In a school choral setting, audio playback can be used to assist in an array of instruction, preparation, and performance uses, as well as for the educator’s own self-assessment and critique. And that’s not even getting into the world of possibilities presented by recording video. For a closer look at how vocal music educators are using these tools in their rehearsal rooms and performance halls, Choral Director presents this recent reader survey, which aims to uncover the latest trends in classroom and concert audio and video recording. When do you typically record audio of your ensembles?

During regular classes

Only during rehearsals before a performance

During rehearsals and regular class time

56%

Performances, rehearsals, and normal class

17% 6% 3%

We record all our performances, but that’s it Only at Festival or other special performances We don’t record our ensembles

Yes, we keep it wired to record audio

10%

Yes, it’s wired for both audio and video

To make CDs/audio for keepsakes

33%

To make CDs/audio to sell as fundraisers

As a teaching tool

58%

Only during rehearsals before a performance

During rehearsals and regular class time

56% Performances, “I record myrehearsals, ensembles the beginning of the andat normal class year, about a month before the concert, and at

17%the concert so that they can hear how they have We record all our performances, but that’s it

To make“I CDs/audio don’t think that challenges are near what As a the teaching for keepsakes tool

changed through the semester.”

6% 3%

Scott Faust Only at Festival or other special performances Mansfield/North Penn Jr./Sr. High Mansfield/Blossburg, Pa. We don’t record our ensembles

Is your rehearsal room normally set up for recording? Yes, we keep it wired to record audio

10%

Only during rehearsals before a performance No, it’s not set up for recording 87% During rehearsals and regular class time

56%

Performances, rehearsals, and normal class

17% 2% WeDuring record all our performances, but that’s it regular classes “We have a digital video camera that is quickly set 7% Only at Festival other special performances up on6% tripod. Also, twoor omni-directional condenser Only during rehearsals before a performance mics are Other set up to record to the classroom soundGetting good sound 3% in the space don’t record our ensembles board.9% WeWealways record performances, often dress 10% During rehearsals and regular class time rehearsals, sometimes regular rehearsals close to conFamiliarity 56% certwith date, and once in a while we record and access a rehearsals, and normal class technology (or lack Performances, 32% regular class. On occasion, I also use video to observe thereof ) we keep it wired to record audio 17% Yes, my teaching – to work on eliminating any distracting We record all our performances, but that’s it 28% vocal speaking or singing problems have.” 10% I may Yes, it’s wired for Mike Begian 6% Only at Festival or other3% bothperformances audio and video special

Chris Fowler Buford High School Buford, Ga.

Yes, it’s wired for both audio and video

During regular classes

they were even ten years ago. Audacity is a wonderful33% (free!) recording 58%program that can be used with any computer. Most programs have some sort of microphone. Interfacing with a computer is easy to do. Speakers are also much cheaper than they once were. The entire set-up can be done without much expense. Of course, money can be invested on more expensive equipment if that is what is needed in a particular educational setting.”

“The acoustics in our rehearsal room are terrible, To make CDs/audio and it’s hard to get good recordings in it.” to sell as fundraisers Yes Keith Haan 9%

17%

To make CDs/audio How do you use the audio you’ve recorded? As a teaching for keepsakes No

tool

33% 83%

58% To make CDs/audio

To make CDs/audio for keepsakes

33%

to sell as fundraisers

As a teaching tool

58%

CostCreative Montessori Academy

Southgate, Mich.

30%record our ensembles We don’t

“We use either a handheld recorder or a laptop in rehearsals and No, classes, we have a wired sysit’s notbut set up for recording tem for performances.” Yes, we keep it wired to record audio 87% Margaret Anne Butterfield

“In addition to playing Yesthe recordings in class, I sometimes put them on17% my classroom blog, so that students can listen on their own.”

What are the biggest challenges to setting up a rehearsal room for regular audio/video recording?

83% “Recording your ensemble is great way to demonstrate to students, parents, and administration the growth in their abilities over Yes time. Also, it is very helpful to me in deciding 17%what teaching approaches and techniques work or don’t work. Assessing yourself is part of the process!”

Wilmington School 10% Friends Yes, it’s wired for Wilmington, Del.and video 3% both audio

Other Getting good sound No, it’s not setspace up in the 10% for recording

87%

Familiarity with technology (or lack thereof )

Lynn Pernezny Wellington Landings Middle School Wellington, Fla. No

32%

28%

83% Cost

Other30%

10% 14

St. Ambrose University Davenport, Iowa

Getting good sound in the space

Choral Director • August 2012

Familiarity with technology (or lack

32%

Dawn Kranz Norway High School Norway, Mich.

“Usually we allow the students to request a copy of the concert for free or they can download it from our website. Occasionally, like this year, we made

for nd video

To make CDs/audio for keepsakes

As a teaching tool

58% that was an actual33% CD for purchase cleared through all of the legal channels. However, those tend not to sell very well in today’s technological/digital world.” Daniel Gregerman Niles North High School Skokie, Ill.

Do you have any advice for making great audio recordings of choral ensembles?

Yes

17%

“You have to experiment with microphone placement to get a good blend with each individual choir. You also have to use condenser mics that will pick up sound from a distance, unlike Shure SM-58 stage mics.” Charlie Mason West Wilson Middle School Mount Juliet, Tenn.

“The main issue is equipment and proper placements. For concerts, I hire a professional to record our group. In other situations I use a Zoom HS – it’s cheap, great quality, and easy to use. Place the recorder away from the group when possible.” Adam Beeken Lexington Catholic High School Lexington, Ky. How do you typically use a video camera during rehearsals?

83%

“Using a digital recorder that is portable allows you to find the optimal mic placement to get the best quality recording of your ensemble.” Bruce C. Lengacher Acalanes High School Lafayette, Calif.

“A video recording provides the most direct way to enable choirs to keenly see themselves as others view them, in order to make immediate corrections and improvements.” Everrett G. Parker Louisiana State University Baton Rouge, La.

“Video is a wonderful teaching tool when talking about facial expressions. Nothing works better.” Angelina Fitzhugh JL Stanford Middle School Palo Alto, Calif.

“Keep it simple. Use one or two mics, not too close to the singers or piano. Check for levels, especially during the loudest parts, to avoid distortion. Teach you singers to be still. Keep any other distractions out of the room. Avoid recording in acoustically dead or exceedingly live rooms. Know when there may be outside sounds like bells or trains.”

“I typically use Zoom portable recorder which provides both HD video and high quality stereo audio. Video is invaluable in helping singers realize the importance of their body language to the performance.”

Alan Kuncel Hatch Valley High Hatch, N.M.

Steve Maison Stillwater High School Stillwater, Okla.

“The best recordings I have gotten with my Zoom H4n Handy Recorder have been by placing it in the rear of the auditorium where we practice and perform.” Charles Bateman Susquenita High School Duncannon, Pa.

Do you have suggestions for future articles or areas of coverage? Share your ideas at www.choraldirectormag.com!

Choral Director • August 2012

Arlington High School’s Dinah Menger 16

Choral Director • August 2012

Great Characters

Build Great Choirs By Matt Parish One of the hardest working directors in Texas teaches out of the very same room she grew up learning to sing in at her hometown school of Arlington High. Dinah Menger, director of the Arlington High Colt Choirs for the past 17 years, has transformed the culture of the school into an enthusiastically promusic community by aggressively recruiting students into the choir as a lifestyle choice – “great characters build great choirs,” she says.

Builds Choirs to Shape Lives Choral Director • August 2012

Today, her program is one of the best in the nation, representing the school at the American Chorale Directors Association Convention in Miami in 2007 and currently preparing for a star turn at Carnegie Hall as part of the esteemed National High School Choral Festival in the spring of 2013. Meanwhile, Menger keeps herself highly involved in the choral scene at large with important positions like her recent time as chairperson of the Texas vocal Prescribed Music List Committee. Her choirs are renowned for their passion, their skill, and their sheer emotional force, blowing away audiences and judges alike, but Menger is just as likely to highlight the personal triumphs for her students – everything

the upcoming year, cultivating a dedicated base of student singers, and the path she’s taken to arrive as the captain of the Colt Choirs. Choral Director: Did you start out your vocal career in education? Dinah Menger: I was heavily involved in my high school growing up, which is where I’m currently teaching. I got really disenchanted when I started out at college, I went for two years and then dropped out. I started working full-time at a bank, but the entire time, I was heavily involved in rock ‘n’ roll disco band. Now, we’re talking about the ‘70s and ‘80s when I was thin and slinky and played a really neat cowbell and tambourine. But I made my own

I believe in exhaustively searching for intense repertoire with intense text that’s going to change them for the better when they’re done with it. from discovering new literature to graduating safe and on time. “And we really have this reputation,” she says. “‘Oh, Mrs. Menger gets all up in your personal business.’ Yup, we sure do.” It’s resulted in one of the most loyal bases of students around and one of the proudest traditions in the country. Choral Director recently spoke with Menger from her home in Texas about

living every weekend, so I was always involved in that. I got married and when my husband went to the University of Arizona for his second degree, I moved out there with him. I was going to work full-time and helping him get through his master’s in performance. On a lark, I went into school with him and auditioned with some arias that I had kept up and

running, and I ended up with a full scholarship to Band-Aid up and finish my bachelor’s in music education. That changed my life. The man who was responsible for that was Dr. Maurice Skonas. He had just come from Pacific Lutheran University to the University of Arizona, and he single-handedly changed my life. Arizona’s music department was catered to masters and doctoral students at that time, but he saw something in me and called me his “golden voice.” He put me in charge of lots of sectionals where I was teaching master’s and graduate students for the a capella choir. CD: What finally brought you back to Texas? DM: We had our first child in Arizona and then decided that we wanted her to know her family and we decided to move back to Arlington. I was working at a private school in the area with a good friend of mine when I received a call from the principal at the junior high at Arlington High School. He said, “I’ve heard about you from the councilor here. If you want these two broken choir programs, they’re yours.” In my first year there, which was in 1995, I taught junior high and then would gather my things and go over to Arlington High, where I had 60 students.

At a Glance: Arlington High School “Colt Choirs” Location: 818 West Park Row Drive, Arlington, Texas On the Web: aisd.net/arlington Students in the AHS Colt Choirs: 340 Students Enrolled at AHS: 2700 Ensembles: Freshmen Treble Horsemen Colt Chorale Select Women’s Ensemble Bella Voce Choraliers Chamber Singers Take Note Staff: Dinah Menger – Director of Choirs Mason Barlow – Choir Director Elizabeth Hilsabeck – Choir Director 18

Choral Director • August 2012

CD: What was that choir director like there back when you were a student? DM: What my choir director had done for me – I just loved him a lot. My choir director was Dr. Dan Rask, who is now at Clemson University. He was phenomenal. I graduate in 1977 from AHS and he stayed there until about 1982, when he left to pursue more lofty collegiate positions. CD: So when you got back, the program was in a bit of disrepair. What are some things that you set about doing to grow the choirs? DM: I knew for it to be my program, I had to have 150 students by the second year. So I found 90 students as fast as I could and in fact it went up to 210 that second year. I would just walk the halls and say to kids, “Smile! you are gorgeous! I’m going to put you in a tux and make you a star.” Before they knew what hit them, I would take them to the councilor and they were in choir. I opened the choir room door during lunch. I walked around. I was involved with everything. I just made it the cool place to be, because I was young enough to do that at the time. Now I have two beautiful young assistants to do that work. I’m 53 now and you reach an age where it just seems weird to go out in the hall and do that. [laughs] I really try to keep the people around me – I’ve got three full-time voice teachers who are phenomenal and two young, vibrant, on-fire assistants, so I just try to keep the youth around us. I don’t want to ever stop recruiting and trying new things. I wanted to grow the choir. My first job was to keep me there full-time. My second job was to make sure that parents knew that we weren’t just a choir program – we were a place to grow character. The parents see that it’s not just about teaching them music – that’s the vehicle in which we grow character. That’s what we work on. Great characters build great choirs, it’s not great singers who build great choirs. We need great characters, so we really work on kids. And we have this reputation – “Oh, Mrs. Menger gets all up in your personal business.” Yup, we sure do. We stay in their business

and keep right in the middle of their grades and if I hear about a kid who is smoking pot or something, we immediately call the parents in and bust them right then and there. It’s very hands on. CD: Is there something you consider a musical signature of your choirs? DM: Yes. I’m just going to tell you what Dinah Menger with 2012 Texas All State Men’s Choir other people say. It’s go- Conductor, Matt Oltman. Photo Credit: Jennifer Dingler ing to sound really egoDM: Yeah, I do. We’re fierce with tistical, but it’s not. When Colt Corral our ninth graders because they’re going stands up and sings, it is a tangible to have to be able survive at that pace if experience. It is heady and heartfelt they’re going to be on the varsity choir and tangible. It’s not just the voice. It’s in two years. So we come in with full the heart, the mind, the ectoplasm, the force. I call out the ones that don’t get neutrons – it’s everything. My kids do it, who don’t just want to immediately not just sing. They want the audience give their whole mind to it. to be breathing with them. Eric Whitacre said that – it’s not just the song, you CD: When do you actually get into want the audiences breathing with you. the technique of singing? So that’s what we work on. We talk a lot about the emotions behind it – why DM: From the minute they open did the composer write it? Why did the their mouths, we start with technique. composer set it in this way? What are Warm-ups begin with technique. Solyou going to bring to it from your hisfége begins with technique, with vowel tory? When you heard it the first time, blend and vowel shape. Where does what did it make you do? And how are that tone come from? Are we going to we going to make the audience feel the use a deep Romantic sound? Are we same way? Why are you crying and going to use a purer Renaissance tone? what are you going to do to make the How are we going to attack it? Is it goaudience want to weep right alongside ing to be a lengthy, dark, linear vowel you? shape that needs to last from beat one CD: You seem to have a lot of company there in Texas – there are plenty of great choirs in the vicinity. DM: There’s a lot of competition here in the Dallas area and Texas choirs are just ridiculous. I have a lot of friends who are these beast choir directors with beast choirs, so it’s really something to be competitive here. I think our choir is pretty amazing. I don’t have a problem with that and I don’t think it’s egotistical – I think it’s true. CD: Do you take that approach with every group?

to seven? How are we going to articulate? It might start out kind of raw but once they keep doing it, they’ll get it. Our own warm-ups deal with funny, weird ways to start working on choral diction, where they’re doing things because they’re fun not because of technique. Then, once we develop and nurture their desire to want to do it, then we talk to them about just learning that technique. “This is breath from the diaphragm. This is not starting from placement ten but placement two. Let’s work on this for awhile. Let’s make hideous vowels. Show me why it was hideous.” It’s just more getting them to do in their eyes what feels good and what Choral Director • August 2012

The point is – do your own research and find your own path, find your own voice. That’s the way I raise my own kids and, when they’re mine, I ‘m going to dare them to find their own voice. And I dare them. When they’ve found it, I challenge them to tell my why it’s their own voice. It’s just trying to look into them and not at them. Every great teacher everywhere says the same thing. CD: Have you seen the choral culture in general change since you’ve taken over? feels right, then going on to the technical terms. CD: When you compare it with the one that you participated in there as a student, what do you think has changed the most? DM: In my 17 years at Arlington High, I’ve noticed a huge difference in the kids. I’m alarmed at the brokenness that comes into our choir room at a physical level – parents who don’t parent anymore. They just kick their kids out of the house. We’re taking them in. The president of my choir this year – his parents decided they didn’t like what he was doing so they kicked him out of the house and he’s

failed in his sophomore year and had to retake. School starts at 7:30, and there’s already kids at the door when we arrive in the morning. We normally leave around 7 at night on nights we’re not rehearsing and there are still kids there, the same ones that were there in the morning. And we have to kick them out or drive them home. It would not surprise me to know that the story I’m telling happens in every other schoolroom across the country. The second thing is that our musicianship is hard-driving and is as close to post-collegiate as we can get it. I’m the queen of over-programming. I just believe in looking at a child and you can hand them an octavo and they say,

The parents see that it’s not just about teaching them music – that’s the vehicle in which we grow character.

Center: Reid Braziel, Colt Chorale Senior singing with the 2012 Texas All-State Men’s Choir. Photo Credit: Jennifer Dingler

been living with my voice teacher and her husband. They’ve literally gotten his graduation pictures and all of his graduation announcements sent out, made sure he went to Credit Recovery and got a class taken care of that he’d 20

Choral Director • August 2012

“What? I can’t do this.” Three months later, they’re saying, “I can do this.” I believe in exhaustively searching for intense repertoire with intense text that’s going to change them for the better when they’re done with it. I mean not just technique-wise and musicwise, but incredible literature set to music, which can lead them on 30 different paths, you know? It just busts open the door. They could go, “Oh my God, there’s this great song with a text by Charlotte Bronte. Now I’m really into Charlotte Bronte!” So we go into the beauty of beautiful words set to gorgeous music. The last pure thing left is music. I mean, that’s it.

DM: Yes, I think it’s gotten better. You might throw up when I tell you this but I think it’s gotten better because of the The Sing-Off and The Voice and Glee. I think those things have brought singing into this youth culture and I think if you don’t feed off of that in your own classroom, you’re just dumb. It’s a golden opportunity and you don’t have to advertise. You can just piggyback on that. Economically, it’s sad. I find that I’m blessed in having the best principal in the world – she really believes in us and I would die for this woman. But not all of my colleagues are that lucky. We’ve got to get smart. Any music program or art program needs to get smart, savvy, and politically ready to articulate and fight for why we need to stay in schools. If all we’re going to do is sit around and gnash our teeth about it, then we get what we get. So we need to become of politically active about fine arts in public schools. I got tired at AHS seeing the athletic schedules put up in all the teachers’ classrooms. This year, we had a call to arms. All my fine arts colleagues at Arlington High got on board and on September 6 at 6pm, the marching band came over to the football field along with the theatre, orchestra, choir, art, and all the dance kids. We all wore brightly colored t-shirts and we filled the football stands. We had gone to TMEA and had heard Maestro Benjamin Zander and he said, “A world without fine arts is like a stained glass window without color.” So we used that as the theme for our poster. The full enrollment of AHS was 2,770 at the time, and there were 1,617 kids sitting in those bleachers. We made 2,000 posters and we dropped them

everywhere. When I would do clinics with other schools I would take them, and now I’ve got all these other schools interested in doing the same thing. Under the photo, we had our entire year’s performance schedule on it. So it was like a big advertisement. Later that year, I would see our poster right alongside the sports posters in all the classrooms. That was exciting to me. We’re going to do that every year from here on out. CD: Looking back here to the present – we’re well into the summer break that always seems to go by so quickly. What do you typically hope to accomplish during summers between school years? DM: This is a first for me – I’ve said “no” to every invitation and everything else this summer. I usually do at least three Texas all-state choir camps. This is going to be the summer of really paying attention to my mother and maybe even have some great meals waiting for my husband when he comes home at night. It’ll really freak him out. CD: You’ve just been selected for the National High School Choral Festival at Carnegie Hall – how is getting involved in that performance changing how your year is shaping up? DM: Well, we’ve cancelled our planned trip to Paris for it, which is fine. I used to do Europe trips but I’d never do them during the school year because the school just wouldn’t allow it. I just created the Lone Star Youth Chorale that would go in the summers. We’ve been to Italy and we’ve been to Scotland and Ireland, but our last trip was in 2005. Maybe next summer, I’ll do something under the auspices of the Lone Star Youth Chorale, but we’re devoting our focus and finances to this Carnegie Hall performance this year.

Affordable Classic Styles

Dresses Start at

$49

95% of Orders Ship in 3 weeks or less

CD: Does the trip mean more music programming on your part as well? DM: Well, right now I’m in contact of all my repertoire gods because we get ten minutes for a concert right before we do that Mozart Requiem, so I’m looking for chamber music for my kids that are going. It’s going to be so exciting.

1.800.821.8270 www.sepapparel.com Choral Director • August 2012

Showcase: Choral Fashion The Latest in School Choral

Apparel

This spread displays the hottest new items from leading apparel manufacturers and suppliers for the school choral market, including robes, formalwear, showchoir uniforms, and more.

2. 3.

Choral Director • August 2012

5. Rivar’s Best-selling, easy-care stretch velvet dress (1002FLD) is available in black, red, or royal and features short sleeves, an adjustable tie back and custom hemming that is included in the price. www.rivars.com 6. Smith Walbridge The new Elizabeth Collection features graceful lines on this empire waist dress that is available in six colors, six sleeve options, and three lengths; proudly made in the USA. www.swbandproducts.com

8. Herff Jones The Concord is a popular, well-known robe style that combines classic styling with a dramatic splash of contrasting color on the sleeve accent, creating an exclusive look for any choir. www.herffjones.com 9. DeMoulin (L-R) Dress – black, princess-style, soft knit, sweet heart neckline, bell sleeve, sash tie, unhemmed; Tuxedo – black, polyester, one-button notch lapel, single breasted, closed vent, satin lapel and pocket flaps, ventless sleeve, satin covered buttons, one-button sleeve; Dress – black, empire style, luxury crepe, fully lined bodice and sleeves, small scoop neck line, satin waistband, zipper, unhemmed. www.demoulin.com Choral Director • August 2012

Repertoire Forum: New Music

New Choral Music for 2012-2013 By John C. Hughes

ith the new school year upon us, it is well past time to think about programming some new music. I’ve se-

lected a variety of pieces in many languages, and I’ve also included new editions of older pieces. Although very different, these outstanding pieces share common qualities – interesting texts, fresh accompaniments, appropriate vocal ranges, and varied harmonic language. I hope you are inspired by these new works to continue to offer your students the very best of the choral repertory. UNISON “Wake, Awake” Phillipp Nicolai and J.S. Bach (arr. Patrick M. Liebergen) Carl Fischer Easy Patrick M. Liebergen always provides wonderfully accessible arrangements of choral masterworks. This piece is an arrangement of the fourth movement of Johann Sebastian Bach’s famous “Cantata 140, Wachet auf, ruft uns die Stimme.” Liebergen has transposed the melody down a fourth so that it lies within a comfortable vocal range. The score also contains useful information about Bach’s cantatas and German pronunciation. The opportuni24

Choral Director • August 2012

ties for teaching through this piece are plentiful. Carl Fischer has wonderful online resources, including a full preview of the score, a nice recording, an instrumental-only track, and a vocal-only track: www.carlfischer.com/partbypart/twopart. htm.

TWO-PART “Two German Carals” Traditional German Carols (arr. Tim Winebrenner) BriLee Medium Tim Winebrenner has made two excellent arrangements of German Christmas carols and combined them in a single octavo. Both pieces are unaccompanied and may be performed either as a set or as stand-alone pieces. The first piece, “Kling Glöckchen,” is quite lively as it imitates the Christmas bells. The second piece, “O Du Fröhliche,” is legato and contains beautiful phrases. These pieces are an excellent introduction to German and are quite fun to sing. BriLee has wonder-

Jungsun Lee’s arrangement of this popular Korean folk song makes it easy to perform. While some may initially shy away from singing in Korean, the transliteration makes it simple. Lee has also included a beautiful piano accompaniment; however, the piece can also be performed unaccompanied. It is very useful to program authentic multicultural works, and this piece is certainly worth considering. Score preview: www.sbmp.com/Scorch. php?CatalogNumber=1035.

ful online resources, including a full preview of the score, a nice recording, and a vocal-only track of each part: www.carlfischer.com/partbypart/brilee/ twopart2012.html.

SSA “Blue Bird” Korean folk song (arr. Jungsun Lee) Santa Barbara Easy

“Tres Motetinos no. 2” Ernani Aguiar earthsongs Medium-Advanced Many choral musicians are familiar with Aguiar’s “Salmo 150.” These three motets are of comparable quality. The Brazilian composer has set three famous Latin texts: “Pater Naster” (the Lord’s prayer), “Ego Sum Resurractio et Vita,” and “Deo Gratias.” These unaccompanied arrangements are text-driven and homophonic. While not for begin-

ning ensembles, the pieces are within reach of many advanced choirs. The Latin texts may be familiar; however, Arguiar’s unique compositional voice shines through. Score preview and recording: www.earthsongschoralmusic. com/catitem.php?seqnum=100992.

TTB “O Jesu süss, wer dein gedenkt” Samuel Scheidt (ed. Daniel A. Mahraun) Alliance Medium Daniel A. Mahraun has made a nice edition of a piece by the often overlooked German Baroque composer Samuel Scheidt. While choral musicians may have heard of Scheidt, few have performed any of his music. Mahraun’s edition is very straightforward and could be successfully performed by school and church choirs. Mahraun uses a notational style known as Mensurstrich, in which barlines appear in between staves rather than through the measure, to avoid misac-

Choral Director • August 2012

centuation (since Scheidt did not use barlines). This technique provides a wonderful opportunity to discuss the development of meter and notation with your choir. Mahraun also includes the complete German text, a literal English translation, as well as a poetic version. The piece requires solid three-part divisi; however, choirs will be richly rewarded for their work. Score preview: www.alliancemusic. com/images/products/O_Jesu_Suss_ web.pdf. Recording: www.alliancemusic. com/mp3/O_JesuSussWerDeinGedenkt.mp3.

TTBB “I Carry Your Heart With Me” David Dickau Walton Medium Dickau’s setting of this e.e. cummings poem is a wonderful choice for any advanced men’s choir. Dickau’s name is synonymous with quality compositions infused with sweeping ro-

manticism. This piece is no disappointment. The beautiful text and superb setting make this a fantastic choice for an end of the year concert. It is also available in an SATB voicing. Recording: www.waltonmusic.com/Sound16/ ICarryYourHeartWithMe/.

SAB “Dreams of Thee” Eric Barnum Walton Medium-Easy Eric Barnum is a quickly rising star in the choral music world. Although he has written some very advanced music, his writing for developing voices is also fantastic. The lines are mostly conjunct and the ranges are appropriate for early high school singers. The accompaniment is straightforward, yet beautiful. Like all of Barnum’s other works, he demonstrates mastery of lyricism, interesting harmonic language, and superb text setting. Recording: www. waltonmusic.com/Sound16/ICarryYourHeartWithMe/.

“Music We Bring” Jean-Baptiste Lully (ed. and arr. By Patrick M. Liebergen) BriLee Medium Certainly not a new composition, Liebergen has made a wonderful new edition and arrangement of this piece by the famous French Baroque composer Lully. Students will love learning about Lully’s service to King Louis XIV and his tragic death due to an injury sustained while conducting. Liebergen provides a wonderful page of history about Lully and makes the edition very accessible. While not necessary for a performance, Liebergen includes two flute parts. Asking students to play these will not only feature them, but will also make this an even more special performance. “Music We Bring” is a wonderful concert opener. Scroll down this link for a full preview of the score, a nice recording, an instrumental-only track, and a vocal-only track of each voice part: www.carlfischer.com/ partbypart/brilee/3partmxd2012.html.

1. 40% Profit 2. USA Kitchen Items 3. Easy System

our Choir, Small Group or Parent Boosters will work directly with the factory to make 40% profit. Your FUND RAISER will sell: • Kitchen Knives, Utensils and Gift Sets • Cookbooks and Soy Wax Candles • Stoneware and Quick Mixes Rada Cutlery’s reputation for Made in the USA quality is well known. We have made and sold over 130,000,000 knives since 1948! You deserve a fundraiser that is EASY for YOU! Celebrating 64 years of remarkable cutlery, service and value! 1948-2012

Choral Director • August 2012

• Useful Products • Tremendous Value • Amazing Prices Request your FREE catalog and information packet:

1-800-311-9691

or www.RadaCutlery.com NOTE: Dept A12CDR Rada Cutlery is 100% American Made – raw materials and construction!

FUND RAISE with the BEST!

Fund Raising

THREE PART MIXED

SATB “Oh, What a Beautiful City” Spiritual (arr. Stacey V. Gibbs) Santa Barbara Medium Stacey V. Gibbs is quickly becoming an authoritative voice in spiritual arrangements. The Detroit native balances being true to the tune with adding his own creativity and passion to the work. With a contagious melody, vivacious rhythms, and gorgeous harmonic language, this is a fantastic arrangement. Like all spirituals, this one contains significant repetition; however, Gibbs sets himself apart by making each repetition more interesting than the previous. The piece keeps building until its glorious and moving conclusion. Score preview and recording: sbmp.com/ Scorch.php?CatalogNumber=1054.

SSATB “Gaudate Omnes” Jan Pieterszoon Sweelinck (ed. Richard Bjella) Alliance Medium-Advanced Written in Amsterdam in 1619, “Gaudate Omnes” is one of the many pieces by the prolific composer, Jan Pieterszoon Sweelinck. The noted conductor Richard Bjella has made an excellent edition of this work. He includes a translation throughout the work and suggests numerous articulations. Clearly polyphonically conceived, Gaudate Omnes will challenge any ensemble. However, as many modern composers write in a homophonically-dominated style, it is important to expose students to the difficulties and joys of counterpoint. With Bjella’s expert edition, advanced ensembles can certainly be successful. Score preview: www.alliancemusic.com/images/ products/GaudeteOmnes_Sweelinck_ web.pdf. Recording: www.alliancemusic.com/ mp3/GaudeteOmnes_web.mp3. John C. Hughes is a versatile choral musician and pedagogue, drawing from experience as a K-12 teacher, collegiate conductor, and church musician. Presently, Hughes is pursuing the D.M.A. in Choral Conducting and Pedagogy at The University of Iowa, as well as serving as a music director at a church in Iowa City. Please contact him directly at his website: www.johnchughes.com.

FOUR WINDS TOURS & TRAVEL SPECIALISTS IN CUSTOMIZING STUDENT CHOIR TOURS

• EXCEPTIONAL CHOIR PERFORMANCE VENUES • COMPETITIONS, CLINICS, MASTER CLASSES • HISTORY, TOURS AND SIGHTSEEING • PERFORMANCE OPPORTUNITIES AT CARNEGIE HALL

February 6th & April 16th CHECK OUR WEBSITE FOR MORE INFORMATION

FOUR WINDS TOURS & TRAVEL TOLL FREE: 1-800-896-3858 WEBSITE: WWW.FOURWINDSTOURS.COM Choral Director • August 2012

Technology:

Music Theory

Enhanced AP Music Theory Instruction By John Kuzmich, Jr.

t’s a lucky music student who can take an advance placement (AP) music theo-

ry class, especially while budget axes are swinging. But it takes more than luck to score a 4 or 5 on the College Board sponsored AP exam. And about 33 percent of the approximately 4,000 students who take the exam each year are reaching that goal.

Thousands of strong college-bound high school musicians know it’s worth the effort. A high score can earn college credit, savings, and is a great boost on a transcript. So I asked several teachers who incorporate technology in their AP Music Theory classes to tell us how they help their students get ready for the exam. Each of these educators incorporates technology differently and their individual situations may provide insight on how you can enhance your own music instruction, even if you don’t teach an AP Music Theory class. The teachers I spoke with are Matt Haynes of Danvers High School in Danvers, Mass., Scott Watson of Parkland High School in Allentown, Pa., Brian Timmons at Bergenfield High School in Bergenfield, N.J., Diana Gable at Clearview Regional High School 28

Choral Director • August 2012

in Mullica Hill, N.J., and Martha Reed at Tucson Magnet High School in Tucson, Ariz.

Creative Projects Synthesize Concepts Scott Watson created his own AP Music Theory class curriculum with an emphasis on developing instructional materials posted on a Wiki. It is also project-oriented, letting students become highly proficient as the technology takes them beyond the content of an average AP Music Theory class. Take a look at this first movement of a four movement operetta, called “The Digestive System,” that one of his AP classes composed and performed in 2009: psdweb.parklandsd.org/watson/ videos/The_Mouth.mov. Scott reflects, “I was very interested in something Tom Rudolph said: ‘An-

other way I have changed over the years is that I have become much more project oriented. I realize that when students work on individual or group projects, they tend to put more of themselves into it than if they are passively listening to me, even if I am giving my best lecture.’ Although there’s more to it than just doing projects, what Tom said is so true. It is a big part of my teaching these days.” Scott has taught an AP Music Theory course at Parkland High School in Allentown since 2002. During his one-year assignment as assistant professor of Music Theory and Technology at Temple University, he taught several levels of written and aural music theory, as well as music technology and composition electives. It was the best preparation to start the AP Music Theory class at Parkland because he

knew what music majors at a college of music were covering in their first year. He recalls, “I looked at the materials available from ETS (www.ets.org/), and based my activities at Parkland almost solely on that experience. Each year all of my students that take the test have received the top scores (either a 4 or 5), entitling them to receive college credit if they choose, so I think I’m on the right track. Many students have told me they felt amply prepared for college theory, often passing out of their first semester of written and/or aural theory.” The central resource for Scott’s AP class is a wiki, online at: parklandmusic.wikispaces.com. He explains, “I not only outline the entire year’s curriculum, but I post and link to all sorts of resources to support each unit: recordings, podcasts, PDF worksheets and rubrics, notation examples (images and Noteflight files), and online tutorials. “For instance, as I begin a unit on non-harmonic tones, I’ll have students listen to a brief podcast on the topic, then during the unit they pull a notes packet off the wiki and complete it for me, in addition to material in their course text and/or workbook. At the end of the unit, in addition to a conventional test, I have them complete a creative project in which non-

harmonic tones are central. These projects always rely on technology to free students to express themselves musically. Of course, all year long sites such as www.musictheory.net and teoria.com are there for review and drilling. “I’m really big on solfeging canons, many of which I’ve typeset in Noteflight and linked from the Wiki. I also have an 11-level dictation area at the Wiki with more difficult material (both recordings and PDF forms on which to notate dictations), beginning with short step-wise phrases, then longer, more complex melodies. “I assign these as preparation for each dictation quiz I give. Also, when

modes, I have each student compose a modal etude. Works-in-progress get mirrored via projector to a large screen in front of the class so I can coach and other students can offer feedback and suggestions. Even though students use tools such as Noteflight or GarageBand to work on their projects, it must be performable and we take time to have an in-class recital of these projects, making a recording of each to post online. “My favorite part of the course is actually after we’ve covered all the content for the year to prepare them for the AP Test. By that point, there’s still about four weeks left in the school year and I turn the class over to a student-driven,

“My class is so much further ahead in the schedule because I’m using technology.” I give a dictation quiz if students are absent I just record the class with a handheld recorder (Yamaha Pocketrak) so they can take the quiz on their own with headphones when they return. “One important shift I’ve made in recent years is to incorporate more creative projects that summarize and synthesize concepts we’re covering. For instance, to cap off the study of

collaborative Final Project. I am very flexible with what the students choose to create together, but I oversee their progress just the same to keep their focus on quality and maintain forward motion creatively. And, each year, I am very impressed and proud of what they come up with. “Past Final Projects have included musical underscoring to nar-

Choral Director • August 2012

rated witty children’s poems, several themed instrumental suites (seasons, romance, dinner party), and even an operetta called ‘The Digestive System,’ with an original libretto told from the point of view of the stomach, the esophagus, and the upper and lower intestines. Noteflight has been a great tool since students can work alone at home, collaboratively via email, and in class. We can project their sketches on the screen for feedback and criticism. In the end, sometimes we need to export the Noteflight drafts as XML files, and then import them into Finale to finish the job. And, as I mentioned before, we mount an in-class performance when they’re done. It’s usually quite an event with other classes invited and refreshments available. Often we make a video recording and use it later for reflection, self-assessment, and simply to enjoy. You can see samples of these projects at the wiki.”

So Much Farther Ahead Matt Haynes teaches both his high school AP class and an online course for the Virtual High School Global Consortium (VHS). While he had a few hybrid courses in college, he didn’t have any specific technology education. Matt recalls, “My first online course was VHS’s NetCourse Instructional Methodologies (NIM)

course that prepared me to teach online. My online teaching has made my face-to-face teaching much better. Now that I’ve completed NIM, my school has offered professional development around how to incorporate wiki spaces, wiki builders, Google docs and Google groups into our faceto-face class. NIM was really the turning point for me.” He continues, “A lot of what we focus on is geared more towards critical listening because that is a huge component of the AP exam. This could be anything from orchestration to something as complex as, ‘tell me what cadence we just heard.’ I use a lot of audio, such as drop the needle discussions, where I give students pieces of music and ask them to talk very specifically about what’s going on – what time signature are we in, what is the rhythmic motive, what are the tools the composer is using, and so on. I try to be careful about using YouTube.com because of copyright infringement. This is a good lesson for students to let them know that just because it’s sitting out there on YouTube doesn’t make it ok to use for this purpose. When I do use YouTube, it’s for critical listening and analysis and I will embed YouTube videos and screencasts into the Desire2Learn platform, which is what the course is delivered on.

Style&Durability A Tradition Of Quality

For nearly fifty years Academic Choir Apparel has been a highly regarded source for choral apparel. Some of the important reasons why schools always come back to Academic include:

SELECTION - Many styles, colors and fabrics to choose from. Classic to contemporary. VISA® - The machine-washable fabric that is colorfast and resists wrinkles. EXTRA FEATURES - French seams, plackets and brass zippers make Academic robes better. DIRECT SAVINGS - By dealing directly with schools Academic passes along the savings. FREE INFO PACKAGE - Call toll-free for catalog, fabric samples, price list and info. No obligation.

20644 Superior Street, Chatsworth, California 91311 • 800-626-5000 • w w w. A c a d e m i c A p p a r e l . c o m 30

Choral Director • August 2012

“The website I have found to be most helpful is Noteflight.com. It saved me because I wasn’t sure how I was going to manage written assignments, particularly writing music easily and enabling students to turn it in. Noteflight has been perfect for this. I have master copies of all worksheets and make them available to the students. In Noteflight, they click on the master and open a copy, edit the copy, and hand in their assignments. This has made things completely paper-free, no scanning required and enables lots of good sharing and peer-editing. I regularly use Practica Musica for music theory which has sample AP tests included in their software for ear training. I also use and recommend a free tool called Teoria.com, which students use for at-home practice since they can’t take MacGamut home. It has a lot of the same exercise as MacGamut and students are able to work at their own pace. MacGamut is good for ear training and students get the software in their course media kit and installed on their computer. MacGamut helps them achieve certain levels each week that correspond to their textbook assignments. “Some of the tools that I use are the Virginia Tech Online Music Dictionary, which I have found to be the most comprehensive, class blogs, Wikis, and the Wimba voice board, an internal podcaster. VHS subscribes to Wimba. It’s a private, external tool that no other students see and is built into the course. It’s really helpful because it enables students to record their site reading practice. I have one teaching block dedicated every day to my VHS course. It was a lot of work to put the course together and is even more work to manage it, reflect on it, and keep kids hooked into the course. However, it’s worth it. I can’t say enough how much it has improved my planning and teaching overall. This course is a little more difficult because not only do I have oversight from VHS, but also from the College Board since this is an AP course. They have to approval all syllabi, textbooks and what’s expected on the AP exam in May drives everything we do.

“It would take me longer to do the things I need to do without technology. My class is so much further ahead in the schedule because I’m using technology. The biggest challenge in doing this, especially in the first year of this course, is screen time. Both myself and the kids are putting in a lot of screen time so my biggest challenge is pacing the kids and getting the work done without spending 24/7 in front of the computer. However, I do think it will even out as we go into the second year of the course. “Keeping track of students isn’t a challenge thanks to VHS and Desire2Learn. D2L provides me with data around how long students are spending online in the course, pages they have gone to, discussions they have participated in, and more. I can quickly see how long they have or have not been online so you immediately know who is participating and who isn’t. In the online classroom, we have external tools and websites (see above) that provide a sort of digital lab. Ordinarily, I think it would be a challenge incorporating technology. However, I have the bonus of using tools provided by VHS, so cost isn’t much of an issue.”

Complete Ensemble Packages starting at only

$36

Listening and Writing Diana Gable has taught AP Theory at Clearview High School in Mullica Hill, New Jersey for five years. “I teach the class in a piano lab,” she says. “We have keyboards and computers. I find that I use technology much more in the Theory I class which is all about the fundamentals, melody writing, and a little harmonization. For AP, I use Finale for notation and Musition/Auralia for drills. We are using the Musicians Guide Series,which comes with scores and recordings. Check out www.musictheory. net – it’s a tremendous resource. I supplement with exercises from Benward, Koska-Pain, Aldwell-Schacter, and Barron’s practice test book. We do a lot of listening and writing, so pencil and staff paper are still a must. My school website has a lot of links and sites that we use for reference and practice. To see them, go to www.clearviewregional.edu, click on ‘high school home’ and then ‘faculty sites,’ then my name in the left-hand column.”

Ships in 5 Business Days

1.800.821.8270 www.sepapparel.com Choral Director • August 2012

Differentiating Instruction

Auralia, allows students to move independently at their own pace while still benefiting from the coaching of the teacher.” Brian continues, “For web-based instruction at school and home, www.musictheory.net is a great resource for home practice. My students will complete drills and then print out progress reports to verify their homework. When students need staff paper for old-fashioned pencil and paper writing, people. virginia.edu/~pdr4h/musicpaper/ has many layouts for composing. “Practica Musica has sample AP

Brian Timmons teaches AP Music Theory at Bergenfield High School in Bergenfield, New Jersey. “The most beneficial workshop I attended on AP Music Theory was an AP Conference offered by The College Board,” he notes. “While we only briefly addressed the implementation of technology in our courses, the instructor, Richard Zweier, was very tech-savvy and utilized a laptop and projector with a multimedia presentation for our class. Technology is a wonderful way to differentiate instruction. Using ear training software, such as

CHOIR ROBES EXPERT TAILORING

3595

& UP

Finest fabrics including permanent press and wash & wear. Superior quality. Free color catalog and fabric swatches on request. GUARANTEED SATISFACTION

Call: 1-800-826-8612

tests included in their software for example as does ear training software, Auralia and their music theory software, Musition, which is also good for differentiated instruction. While software is often cheaper than paper textbooks, we still use a physical textbook and workbook, Elementary Harmony by Robert W. Ottman. Technology supplements our traditional materials very well. “To help make technology function well in a music lab, we are using the Korg GEC3 controller and Apple Remote Desktop,” says Brian. “It allows me to visually and aurally monitor how students use any of the music theory websites or applications. In addition to providing feedback, it helps them to stay on task because they know they are being observed. We also have studio monitor speakers, an iMac with an M-Audio ProKeys Sono 61 keyboard at each of the 16 workstations, a Korg GEC3 Controller for audio, and a SmartBoard interactive whiteboard.”

Closing Comments www.rcgown.com • P.O. Box 8988-CDR Jacksonville, FL 32211

This is just a sampling of the hundreds of dedicated music teachers who are preparing thousands of students for this year’s advanced placement exam. Creatively incorporated technology plays a role. And congratulations to Scott Watson, who has had close to 95 percent of his AP students who chose to take the exam achieve a 4 or 5 over the past six years! Dr. John Kuzmich Jr. is a veteran music educator, jazz educator and music technologist with more than 41 years of public school teaching experience. He is a TI:ME-certified training instructor and has a Ph.D. in comprehensive musicianship. As a freelance author, Dr. Kuzmich has more than 400 articles and five text books published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S., Europe, Australia, and South America. For more information, visit www.kuzmich.com.

Choral Director • August 2012

New Products The Music Theory & Transposing Poster from Alfred Music The Music Theory & Transposing Guide Poster is a 24” x 36” reference chart designed for all musicians, music teachers, arrangers, songwriters, band leaders, choir directors – anyone with an interest in understanding the principles of harmony. The poster covers fundamentals such as Key Signatures, the Circle of Fifths, and the Great Staff, complete with easy-to-understand graphics. Castalia’s Table of Keys™ and Chord and Scale Table™ use a system of numbers based on the tones of the major scale (DO-REMI=1-3-5, etc.) to represent the notes of scales and chords (the Universal Key). The system shows the notes for all chords and scales as well as which scales are commonly played with which chords to get the characteristic sounds of all styles of popular music, from classical to rock, county, blues, Latin, folk, pop, and jazz. The poster’s cross-reference system makes transposing songs and scores quick and easy even for those who do not read music. It also shows how to write chord charts and transpose progressions using the Nashville System (in which Roman Numerals are used to represent chords) which is used by professional studio musicians everywhere.

Coffee, Partnership Cards and Fundraising Certificates are also available in many markets. Contact your local Krispy Kreme® retail store for details.

www.krispykreme.com

www.alfred.com

Special Offer! MultiSonus Audio EarBombz™ In-Ear Headphones MultiSonus Audio has developed designs using carefully considered acoustic engineering, and components configured for durability to create in-ear monitors, at a price point designed to start a paradigm shift in the industry. The first three tiers of the EarBombz product line include the “A-Bombz” (for Absolute Audio Resolution), the “H-bombz” (for High-definition Sound), and the top of the line “EB-Pro” series, designed to meet professional standards in and out of the studio. All three products include inline microphones and are compatible with current technology including tablets, smart phones, computers, mixing boards, and stage monitors.

Use this coupon to get an additional 25 dozen Original Glazed ® doughnuts FREE with any new paid fundraising order of 300 dozen or more.

EXPIRES 12/31/12 Not in combination with other offers. Product may vary by market. One coupon per customer per visit. Customer pays sales tax. Valid at participating Krispy Kreme stores only. Not redeemable at grocery/convenience stores. Copies prohibited. Cash value 1/20¢. ©2012 KKDC ®

www.multisonusaudio.com

25 DOZEN FREE!

Choral Director • August 2012

PLAYING TIP THEMONTH MONTH VOCAL TIP OFOFTHE

STUDENT FRIENDLY

GROUP TRAVEL &

TOURS

WWW.EPNTRAVEL.COM OR CALL

1.888.323.0974

Brought to you by EPN Travel Services

Reaching High “When reaching for a high note, simply drop your jaw, raise your eyebrows, place your tongue over the bottom teeth, and pull in your diaphragm as you reach for the note. Also, you must first hear the correct pitch in your head!” Linda Emigh Warren Farmington Elementary School Germantown, Tenn.

Submit your PLAYING TIP online at www.sbomagazine.com or e-mail your Vocal Tip by an e-mail to editor it toSubmit editor Eliahu Sussman at sending esussman@symphonypublishing.com. Eliahuentries Sussman Winning will at: be esussman@symphonypublishing.com. published in School Band and Orchestra Magazine and contributor receive prize gift compliments Win a special prize fromwill EPN Travel,aInc. Winning Playing Tipsof EPNwill Travel Services, Inc. Director magazine. be published in Choral

Attention Music Colleges: Set Up Your Free Listing On

.com Reach Thousands of Music Students! The Publishers of School Band & Orchestra, JAZZed, Choral Director, and The College Search & Career Guide are proud to present a comprehensive new website for music students and colleges to connect.

We Need Your Help! yopus.com will be a dynamic, up-to-date online music college research resource where prospective students and parents can find information about their own geographic, instrument and program preferences to learn more about the music programs that are most relevant to their individual needs and goals. Please go to the site, request your log-in, and enter your school’s information.

With yopus.com, students will be able to: 

Find Your School: in a search by region, interest, or other criteria, as well as follow music college news, headlines, and tweets.



Apply: Learn about the application process, financial aid options, and more.



Read Exclusive Content and Tools: Students can learn about scholarships and read relevant, informative articles on succeeding in the college search, application process, and as a collegiate music student.

Go to yopus.com today to sign up to receive launch announcements and have your school listed.

Your Music. Your Education. Your Opus. Symphony Publishing | 21 Highland Circle, Suite 1 | Needham, MA 02494 | (781) 453-9310 | FAX (781) 453-9389 | 1-800-964-5150 34

Choral Director • August 2012

Classifieds Fundraising

www.choraldirectormag.com

Merchandise

RISERS, FOLIOS, BOARDS & MORE @ DISCOUNT PRICES! FREE MUSIC PRODUCTS CATALOG

1-800-573-6013 www.valiantmusic.com Print Music

Merchandise

“Looking for new music?

Announcing the launch of a new website,

www.rmchoralmusic.com, for online ordering of choral music. We are a small music publisher serving the community of choral directors and choral singers. Copies are easy to order and ship immediately.”

$9.95 INSTANT CHORAL DOWNLOADS!

ASCAP Award Winning Composer

MOVING?

Don’t miss a single issue of Choral Director...

Let us know 6-8 weeks before your move so we can continue to send your magazine without interruption.

CLICKDONMOORE.COM

ADVERTISE IN THE CLASSIFIEDS, CALL STEVEN 1-800-964-5150 ext 34 Choral Director • August 2012

Classifieds Print Music

www.choraldirectormag.com

School Musical

Voice Teacher

CHORAL SIGHT – READING MATERIALS Reproducible. Free Samples. Masterworks Press:

800-300-9229 www.masterworkspress.com

www.voiceteacher.com

David L. Jones David Jones: a Resource for Teachers and Singers”, www.onesoulrecords.com

Ad Index

www.choraldirectormag.com

COMPANY NAME

E-MAIL/WEB ADDRESS

PAGE #

Academic Choir Apparel Bob Rogers Travel Charms Office Assistant Cousin’s Concert Attire EPN Travel Services Festivals of Music Festivals of Music Four Winds Travel & Tour Herff Jones Krispy Kreme Donut Corp. Mickman Brothers Inc. Note Perfect Rada Mfg. Co. Regency Cap& Gown Rivar’s Small World MusicFolder.com Inc. Southeastern Apparel Southeastern Apparel Stage Accentsicals World’s Finest Chocolate Inc.

academicapparel.com www.bobrogerstravel.com www.charmsoffice.com www.concertattire.com www.epntravel.com www.educationalprograms.com www.educationalprograms.com www.FourWindsTours.com www.herffjones.com www.krispykreme.com www.mickman.com www.note-perfect.com www.RadaCutlery.com www.regown.com www.rivars.com www.musicfolder.com www.sepapparel.com www.sepapparel.com www.stageaccents.com www.WorldsFinestFundraising.com

30 15 32 8 cov 4 cov2-1 9 27 25 33 3 29 26 32 12 5 31 21 27 7

Choral Director • August 2012

Save The Date!

Jazz Education Network 4th Annual Conference Networking the jazz arts community... local to global!

Atlanta, Georgia January 2-5, 2013 The Jazz Education Network

is dedicated to building the jazz arts community by advancing education, promoting performance, and developing new audiences. For complete membership information/beneďŹ ts please visit us at: