Choral Director January 2013 by Choral Director Magazine

JANUARY 2013 $5.00

Report:

The 2013

Choral Directors of Note

Dale Warland

Changing the Culture

Repertoire Forum: Show Starters and Stoppers

of Professional Choirs

Survey: Summer Camps & Workshops

The Impact

of Camps and Workshops

h, the brisk and invigorating chill of winter – what better time to turn our thoughts to what summer has to offer? This recent Choral Director survey asked readers to weigh in on the latest trends in summer camps and workshops for

both students and educators. Most

Some 20% Unfortunately, 75 percent of responding readers indicate Few music 66% that “few” or “none” of their students attend vocal 9% camps and workshops. Meanwhile, 82 percent ofNone educators in this poll attend camps and workshops for their own professional and musical development, where they gain exposure to new repertoire, camaraderie among like-minded people, and are able to learn new teaching techniques, among other potential benefits. Even though only 18 percent of readers see major impact from camps and workshops translated into their school programs, few would deny the potential for growth and inspiration that many of these offerings provide. And yet, economic factors appear to be taking a toll, with a number of respondents pointing noting that a lack of funding is one of the primary reasons more students don’t attend. Read on for the latest trends in these potentially stimulating, rejuvenating, eye-opening – and fun – summertime learning opportunities.

What proportion of your students attends summer vocal music camps and workshops? Most

None

18%

9% Some

20%

Yes

82% Few

66%

Choral Director • January 2013

Yes

19% No

81%

20%

Exposure to new repertoire

18%

Camaraderie of being around other people who share my

18%

Rejuvenation!

17%

New teaching techniques

13%

New vocal techniques

11%

New conducting/directing techniques

Get your Choral Director on the iPad 3%

18% 42% 40%

We see major benefits

Other

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

January 2013

10 Dale Warland

“

I simply wanted to develop a professional choir that could sing anything and sing it at an incredibly high artistic level.

” Contents Features 6

Guest Editorial: Personality Types Do you have the ideal personality type for a music educator, and is there even such a thing? Dr. David Snyder looks at the types of people who choose this unique profession, examining results from a recent six-year study on the topic.

Guest Editorial: Personality Types

Do You Have the Personality for Teaching Music? By Dr. David Snyder

t is not uncommon to hear experienced directors talk about other music teachers or student teachers and say things like, “she’s a

natural” or “he has a wonderful teacher personality.” These statements, and others like them, usually refer to particular personality characteristics that some people possess in regard to how they work with young people, their ability to be in front of others, or how well they can get others (particularly children) to follow them. But what underlying personality traits draw music students to become music teachers? Is there a way to define and identify these personality traits so we can encourage more students with these traits to join the profession? Are there other personality types that avoid the music education field or tend to drop out of music education programs? 6

16 Report: Choral Directors of Note The eighth annual “Choral Directors of Note” report catches up with exemplary vocal music educators from around the country.

24 Survey: Camps & Workshops This recent reader survey explores the impact of summer music camps and vocal workshops for both students and educators alike.

27 Repertoire Forum: Show Starters and Stoppers John C. Hughes recommends a variety of pieces that work particularly well opening or closing a concert.

Choral Director • January 2013

Personality type

Total enrolled

Percent of total

Total that dropped

Percent of those who dropped by type

ENFJ ESFJ INFJ ENTJ INTJ ISFJ ISTJ INFP ESFP ENFP ESTJ ISFP ENTP ESTP ISTP INTP Unkown Total

87 46 42 25 14 14 13 8 8 8 6 4 2 1 1 1 5 285

31 16 15 9 5 5 4.5 3 3 3 2 1 .5 .3 .3 .3 1 100

20 12 13 8 5 4 3 6 3 3 2 1 0 0 0 0 5 85

23 26 31 32 36 29 23 75 38 38 33 25 0 0 0 0 100 29.5

The most common personality type

cation majors was ENFJ (Extravert-iNtuitive-Feeling-Judging) at just over 30 percent. This percentage was also consistent from year to year. What is interesting about this 30 percent figure is that only between two and four percent of the U.S. population on the whole is made up of ENFJs. Conversely, the ISFJ (Introvert-Sensing-Feeling-Judging) and ISTJ (Introvert-Sensing-ThinkingJudging) type, which are the two most common types within the U.S. popuWhat is the Myers-Briggs Test? lation (comprising roughly 14 perBefore sharing the results, it may be helpful to understand a cent and 12 percent respectively), are little about the test used to determine personality type in this hardly present in this sample of music and other studies. The Myers-Briggs Personality Type test, based education students. on psychologist Carl Jung’s theory of psychological types, is a Why then this extraordinarily high Which personality types are common tool used to determine personality type. Subjects comconcentration of ENFJs in the music most common? pleting this test are assigned a four-letter descriptor representing education program? According to the Table 1 is a summary of all the four different dichotomies: Introversion/Extroversion, Sensing/ Myers-Briggs’ Foundation website, an personality types and their frequeniNtuition, Thinking/Feeling and Judging/Perceiving. The resulthoral Director’s eighth annual “ChoENFJ is a natural born leader who is cy identified during this six-year ing four-letter descriptor (16 different combinations are possible) ral Directors of Note” features 13 study. The Travis Rogers very in-tune to the needs of others. longitudinal table also describes the subject’s preferred mode of operation when interNapathat High each School They are warm, empathetic, responsive, contains the percentage exemplary directors who were seacting with other people. For example, with E types (for extroNapa and responsible. They are able to take type represented in the sample and verted) the energy flow is outward, and the preferred focus is on lected by CD staff from nominations Years at current school: 33 action when necessary but are decisive the percentage that dropped from other people and things, whereas with I types (for introverted) Total years teaching: 34 and recommendations submitted by highly attuned to the emotions, needs, the readers, music education program. the energy flow is inward, and the preferred focus is on one’s own Number of students in vocal and motivations of others. They want music educators, choral directors, administrathoughts and ideas. music program: 385 to help others fulfill their potential. It

The 2013

Choral Directors of Note

tors and staff, industry colleagues, and music students over the past year. This report serves to recognize these outstanding vocal music educators, who represent a slice of some of the vibrant, impactful, and thriving people and programs in vocal music education today. This edition of the “Choral Directors of Note” report focuses on these directors’ proudest moments, the impact they hope to have on their students’ lives, and advice for educators just entering the field of vocal music education. Hopefully the wealth of information shared herein will prove inspirational, informative, or even educational. As Travis Rogers of Napa High School in California reminds us, “Never, ever think you know or have all of the answers – there is so much to learn and do to keep a successful vocal music education program maintained and growing!”

Recent inductee to the Classical Music Hall of Fame Dale Warland speaks with Choral Director about his prolific career, including the genesis and evolution of the professional chorus in America.

Table 1 Personality Types of Music Education Majors from 2006-2011

Report: Choral Directors of Note identified in this sample of music edu-

These are some of the questions that guided a recent study involving future music teachers. Six different classes of music education majors enrolled in a large Midwestern university were asked to take an online personality survey and then were tracked through graduation. Personality types, as determined by the Myers-Briggs Personality Type test, were then examined for how they related to choice of major and attrition within the music education degree program. The hope was to combine these findings with other research done on personality and get a snap shot of what personality types are drawn to teaching choir and further what types persist through graduation.

Choral Director • January 2013

10 UpClose: Dale Warland

Here are four questions taken from the Myers-Briggs Foundation website that you can ask yourself to help determine which of the descriptors within the four distinctive dichotomies used in the MyersBriggs Type test apply to you. • Do you prefer to focus on the outer world (Extroversion) or on your own inner world (Introversion)? • Do you prefer to focus on the basic information you take in (Sensing) or do you prefer to interpret and add meaning (iNtuition)? • When making decisions, do you prefer to first look at logic and consistency (Thinking) or first look at the people and special circumstances (Feeling)? • In dealing with the outside world, do you prefer to get things decided (Judging) or do you prefer to stay open to new information and options (Perceiving)? It is important to note here that the judging type has nothing to do with being “judgmental” nor does the perceiving type refer to being “perceptive” as most understand it. They are simply personality descriptors relating to preferences on how decisions are to be made. If you are wondering where you fall within the 16 types presented in the MyersBriggs matrix, there is a free on-line survey available that can help identify your personality type preferences at: www.humanmetrics.com/cgiwin/jtypes2.asp. The survey takes about 20 minutes to complete. After completing the survey, you can click on a detailed description of your four-letter type and also see career preferences for your type.

California

What is your proudest moment as a music educator?

The proudest moments are watching students come from no prior formal choral experience into a knowledge of the skills it takes to sing at a high level of excellence and watching the magic happen when individual singers learn to work together to create, produce, and perform a beautiful sound! How do you hope to make a difference in students’ lives?

I aim to make a difference by instilling the lifelong skills and character traits of respect, hard work, team building, great vocal technique, and, ultimately, beauty through the excellent singing of great choral music. Individual singers have their second “family” in choir as we all grow and learn together and create skills, character traits, friends, and memories that last a lifetime. What advice would you give to new teachers entering the field of vocal music education?

Go to as many festivals of choral music as you possibly can, observe great choral teachers/directors, and get mentors you can go to for advice and assistance. Never, ever think you know or have all of the answers – there is so much to learn and do to keep a successful vocal music education program maintained and growing!

is easy to see how these traits would match well with someone intending to direct school-aged students in band or orchestra. Based on the above description, one might also expect research to identify a preference for the teaching Michael Driscoll profession by ENFJs and this study and Brookline High School several others certainly do. Teaching is Brookline consistently listed as an optimal career Years at current school: 10 choice for ENFJs. Total years teaching: 10 There are several other studies in that, Number of students vocal music program: 110 in addition to ENFJ, found ENFP (Extravert-iNtuitive-Feeling-Perceiving) What is your proudest moment as a music educator? types to be very I’ve common in music had many proud moments, but here is my most recent education populations in high publicschool choirs was scheduled to perform one: Oneand of my school performing ensembles. Ac- for a community event at a venue where some holiday selections cording to thewe Myers-Briggs foundahad never sung before. I had another event I had to attend tion, ENFPs are enthusiastic thatwarmly was scheduled to end in plenty of time for me to get to and imaginativeour and see life as full of performance. Unfortunately, the first event ended 90 minpossibilities; they utes are latealso and spontaneby the time I was able to leave, the call time for ous and flexible, relying onhad their myoften performance already passed! Knowing that most of my ability to improvise andcheck theirFacebook verbal far more often than email, I dashed students fluency. Consequently, do not off a quickthey Facebook message to the group’s Facebook page telllike performingingroutine them totasks holdoronbeand that I’d be there soon. By this time I ing under the control of stuck other in people. was now rush hour traffic and was delayed further. I The perceivingfinally personality type also arrived at the performance venue one minute late for the prefers to keepperformance. all possibilities I ranopen in the door – to the sound of singing! They when coming had to apositioned decision,themselves someon an unfamiliar stage, warmed up times waiting as until the and last started possible a group the performance without me! As someone minute to decide. who emphasizes teamwork and musical independence, I was tremendously proud of them!

Massachusetts

Choral Director • January 2013

How do you hope to make a difference in students’ lives?

I hope that the supportive community environment we establish in my classes allows my students to feel comfortable pushing their comfort zones and that this will help build their confidence in other areas of their lives. Also, many of my students are in choir all four years of their high school careers and have noted that choir becomes their “home away from home.” The choir room becomes a familiar place where they can “chill” with like-minded peers – something I think is much needed in the high-stakes pressures of high school life today. Finally, I hope to give my students the tools and experiences that will feed and grow their passion for music, and enable them to become independent, lifelong musicians and enthusiastic supporters of the arts. What advice would you give to new teachers entering the field of vocal music education?

Always ask yourself “why?” I’ve found that many young (and old!) teachers tend to teach the way they were taught without asking themselves why they are teaching that way. Why did you choose that set of warm-up exercises? Why did you do them in that order? Why did you choose those particular vowels? Why did you choose that piece? If your only answer is “because I like it” or “because that’s how my teacher did it,” then you need to consider what you are doing more carefully. Be able to give a clear pedagogical justification for everything you do. And finally, continually strive to improve your own musicianship.

Michigan Pamela Pierson

West Ottawa High School Holland Years at current school: 11 Total years teaching: 37 Number of students in vocal music program: 180 What is your proudest moment as a music educator?

I believe the most important things that happen in the choral classroom are the connections that are made between the music, the people you sing it with, and the audience. My proudest moment as a music educator is a collection of moments that occur when the singers take complete ownership of themselves as musicians and react to music making with a sense of inner awareness of themselves, the other singers, and the music they are singing. To experience their investment in the process creates powerful moments of overwhelming emotion and gives great meaning to my musical life. How do you hope to make a difference in students’ lives?

I hope to make a difference in students’ lives by helping them to understand what they are capable of achieving as they are becoming adults. I hope to allow them to practice being self-assured, purposeful, and intentional in their behavior. I hope to allow them to find the meaningfulness and joy of giving and how important it is. I hope to give them a space and place where they can be themselves and discover who they are. Through the practice of being a musician, I hope to enhance their spiritual connection to life and help them in their journey to find meaning in life. What advice would you give to new teachers entering the field of vocal music education?

Always be mindful that your education is a lifelong endeavor and that teaching is a humbling experience. Don’t ever expect it to become routine or predictable – the best moments sometimes come when you least expect it and always involve experiencing emotion on a deep level. There is nothing so profound to me as when singers learn to live in the moment and feel/experience the connection between themselves, the music, each other, and their community. I try to remember that the kids come first. I always try to remember that I am there for kids; the kids are not there for me. Sometimes, the most important things that happen in your classroom have nothing directly to do with singing, but singing is the vehicle through which they happen. Look for those things and embrace them. Life is a journey – make sure that you enjoy your time with the kids. “Work” for me is when the kids are gone and I have to do all the other tasks that support what goes on in the classroom. Spend the large amount of time it takes to find high quality literature that meets the kids’ needs and that you both can engage with on a deep level. It needs to be meaningful to the kids to be high quality, engaging, and connecting.

Choral Director • January 2013

Columns 3

Opening Notes

31 Classifieds

Headlines

32 Ad Index

30 Vocal Tip Cover photo by Gregg Helgeson, Minneapolis, Minn. Choral Director® Volume 10, Number 1, 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 © 2013 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

Opening Notes

21st-Century Tools of Assistance If one thing is for sure as we welcome in the year 2013 it is that we can expect to be tempted even more by the latest and greatest innovations that are becoming so commonplace in nearly every facet of American life. From smart phones and SMART boards to new methods of interacting and communicating, technology is changing the way we live, work, and play in some fundamental ways. This can be problematic for many people, especially those who may have found a comfortable routine that meets the majority of needs, both personally and professionally – the old, “If it ain’t broke, don’t fix it” adage. On the other hand, while some new technological devices were designed to assist or simplify previous methods of doing things – for example, web management software that makes it easier to create websites, send out notifications, and share photos and video content, or even YouTube, that incredible resource that enables access to so many outstanding performances and virtually unlimited repertoire – other devices, like, say, portable recorders and iPads and tablets, open up brand new opportunities for instruction, rehearsal, and performance. As iPads and tablet computers become increasingly com“While those tools mon in schools as instructional devices, an array of new and may serve to enhance exciting applications for music educators have surfaced. Alinstruction and enable though it is still a nascent field of development, apps for music possibilities, it is educators are exploding onto the scene, covering everything often noted that there from serious self-study to instructional games, notation, recording, music theory, attendance and record keeping, metrois no substitute for nomes and tuners, and more. experience.” Still, while those tools may serve to enhance instruction and enable possibilities, it is often noted that there is no substitute for experience. Even as apps and sophisticated new tools may simplify particular tasks and challenges, the role of mentors, wisdom, and guidance from those who have found success working in the choral settings for years – if not decades – still figures prominently in the “how to make my job easier” category. Perhaps that’s one reason that over 80 percent of the choral directors featured in this issue’s reader survey (page 24) devote a portion of their summers to intensive choral workshops and professional advancement – learning – opportunities. Also in this issue, and along those same lines, the 2013 Choral Directors of Note report (beginning on page 16) features 13 exemplary vocal music educators who share advice and survival tips for those entering the field or looking for encouragement. “The way to thrive in the profession is by enjoying each day with your students,” notes Dan LeJeune of the Blake School in Hopkins, Minnesota. “Celebrate the little things and don’t allow yourself to lose sight of the wonderful privilege it is to make music with children every day.” Michael Driscoll, the choral director at Brookline (Mass.) High School, recommends abiding by a well-planned and systematic approach. “Always ask yourself ‘why?’ he counsels. “I’ve found that many young (and old!) teachers tend to teach the way they were taught without asking themselves why they are teaching that way. Be able to give a clear pedagogical justification for everything you do.” If you have additional survival tips to those mentioned in this issue, share them with your colleagues through this publication’s official Facebook page: www.facebook.com/choraldirectormagazine. Also, it’s never too early to begin nominating the Choral Directors of Note for 2014…

January 2013 • Volume 10, Number 1 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 ADVERTISING SALES Matt King mking@symphonypublishing.com CLASSIFIED SALES Steven Hemingway shemingway@symphonypublishing.com Business CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com

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RPMDA Eliahu Sussman Editor • esussman@symphonypublishing.com Choral Director • January 2013

Headlines Remembering Diane Loomer

Brooklyn Music School Hits 100 Years In a testament to a neighborhood dedication and generations’ of hard work, the Brooklyn Music School celebrated its 100th anniversary this past December. The school’s mission throughout: to grant access to the performing arts to anyone. The Brooklyn Music School has maintained a policy of open enrollment, meaning anyone can register at any time during class sessions. The school says that more than 200 students every year enroll at the school for music and dance classes. It was founded in 1912 with the explicit goal of helping “the poor, the blind . . . the handicapped.” By 2009, the school faced mounting difficulties with debt, which it responded to by expanding after-school classes and developing a summer institute that included morning classes and afternoon educational trips. The school’s executive director, Frank Alvarado, also instituted a new program called “Arts Reaching Youth,” designed to instruct children in singing and dance at low tuitions. He says the program has helped the school’s enrollment grow from 100 students per year to over 250 per year, as he’s seen over the last three years. The music school also rents its 1924 playhouse to theater schools like the Brooklyn Children’s Theater in efforts to raise funds for a projected building restoration.

www.brooklynmusicschool.org 4

Choral Director • January 2013

was named a Paul Harris Fellow to the International Rotary Foundation for “tangible and significant assistance for furthering better understanding among peoples of the world,” and in 2010 the Association of Canadian Choral Communities presented her with their Distinguished Service Award in recognition of her work promoting choral music in Canada. In 2011 Diane was the recipient of an honorary Doctorate of Letters degree from the University of British Columbia. She is a recipient of the Queen Elizabeth II Diamond Jubilee Medal and received an honorary Doctorate of Fine Arts from Gustavus Adolphus College in May 2012.

Berklee Releases ‘Music Careers in Dollars and Cents’

Berklee College of Music has updated its comprehensive directory of salary ranges for U.S. music positions including performance, business, audio technology, education, and music therapy. First released in 2010, Music Careers in Dollars and Cents has been revised to keep up with a constantly changing industry. New features include updated salary and job information; and more detailed salary ranges for many positions, such as TV and Film Score Composer, Music Supervisor, and Songwriter/Lyricist. Job titles like Video Game Composer, Film Score Conductor, and Concert Hall Manager that were not included in the previous edition have been added. A flowchart on negotiating a job offer and a resources section that includes professional music organizations and associations are also new, along with artist revenue trends with information from the Future of Music Coalition’s recent survey. The study shows salaries trending upwards for certain positions (Orchestral Musician, Assistant Professor, Public Relations Specialist), while others are seeing a decline (Commercial Jingle Composer, A&R Representative, Music Education Administrator). Music Careers in Dollars and Cents also includes an expanded Emerging Career Paths section highlighting current positions that are expected to experience continued growth in the coming years. These titles include Mobile Music App Developer, Social Media Manager, Integrated Marketing, Content Acquisition, Audio Advertising Producer, Online Video Music Teacher, and Creative Arts Therapist. In addition to emerging careers, the study covers a broad range of more traditional music-related fields, including orchestral, Broadway, and studio musician – with information on union rates and scales.

www.berklee.edu/studentlife/cdc.html

Long recognized as one of Canada’s leading musicians, founder and conductor of many of Canada’s greatest singing institutions Diane Loomer died in December. The recipient of the Order of Canada, Loomer served as director and founder of Chor Leoni Men’s Choir, co-founder and conductor emerita of Elektra Women’s Choir, and founder and conductor of EnChor Chamber Choir. Her compositions for voice have been both published and recorded internationally, and she was often on CBC national radio as spokesperson for the classical arts. Loomer taught on the Music Faculty of the University of British Columbia and was the first woman to conduct the National Youth Choir of Canada. In 1990, Ms. Loomer received the Healey Willan Award, given for service to choral music in British Columbia. in 1994, she was named YWCA Vancouver’s Woman of Distinction for Arts and Culture; and in 1997 and 2004 received Distinguished Alumni Awards honoring her achievements. In 2002, she was awarded the Queen’s Golden Jubilee Medal for her significant contribution to Canada’s culture. Ms. Loomer was appointed by the University of Victoria to the University Women’s Scholar Lecture Series later. In 2005, she was appointed conductor emerita at Dalhousie University. In 2008 she

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Guest Editorial: Personality Types

Do You Have the Personality for Teaching Music? By Dr. David Snyder

t is not uncommon to hear experienced directors talk about other music teachers or student teachers and say things like, “she’s a

natural” or “he has a wonderful teacher person-

ality.” These statements, and others like them, usually refer to particular personality characteristics that some people possess in regard to how they work with young people, their ability to be in front of others, or how well they can get others (particularly children) to follow them. But what underlying personality traits draw music students to become music teachers? Is there a way to define and identify these personality traits so we can encourage more students with these traits to join the profession? Are there other personality types that avoid the music education field or tend to drop out of music education programs? 6

Choral Director • January 2013

What is the Myers-Briggs Test? Before sharing the results, it may be helpful to understand a little about the test used to determine personality type in this and other studies. The Myers-Briggs Personality Type test, based on psychologist Carl Jung’s theory of psychological types, is a common tool used to determine personality type. Subjects completing this test are assigned a four-letter descriptor representing four different dichotomies: Introversion/Extroversion, Sensing/ iNtuition, Thinking/Feeling and Judging/Perceiving. The resulting four-letter descriptor (16 different combinations are possible) describes the subject’s preferred mode of operation when interacting with other people. For example, with E types (for extroverted) the energy flow is outward, and the preferred focus is on other people and things, whereas with I types (for introverted) the energy flow is inward, and the preferred focus is on one’s own thoughts and ideas.

Which personality types are most common? Table 1 is a summary of all the personality types and their frequency identified during this six-year longitudinal study. The table also contains the percentage that each type represented in the sample and the percentage that dropped from the music education program.

Table 1 Personality Types of Music Education Majors from 2006-2011 Personality type

Total enrolled

Percent of total

Total that dropped

Percent of those who dropped by type

ENFJ ESFJ INFJ ENTJ INTJ ISFJ ISTJ INFP ESFP ENFP ESTJ ISFP ENTP ESTP ISTP INTP Unkown Total

87 46 42 25 14 14 13 8 8 8 6 4 2 1 1 1 5 285

31 16 15 9 5 5 4.5 3 3 3 2 1 .5 .3 .3 .3 1 100

20 12 13 8 5 4 3 6 3 3 2 1 0 0 0 0 5 85

23 26 31 32 36 29 23 75 38 38 33 25 0 0 0 0 100 29.5

The most common personality type identified in this sample of music education majors was ENFJ (Extravert-iNtuitive-Feeling-Judging) at just over 30 percent. This percentage was also consistent from year to year. What is interesting about this 30 percent figure is that only between two and four percent of the U.S. population on the whole is made up of ENFJs. Conversely, the ISFJ (Introvert-Sensing-Feeling-Judging) and ISTJ (Introvert-Sensing-ThinkingJudging) type, which are the two most common types within the U.S. population (comprising roughly 14 percent and 12 percent respectively), are hardly present in this sample of music education students. Why then this extraordinarily high concentration of ENFJs in the music education program? According to the Myers-Briggs’ Foundation website, an ENFJ is a natural born leader who is very in-tune to the needs of others. They are warm, empathetic, responsive, and responsible. They are able to take decisive action when necessary but are highly attuned to the emotions, needs, and motivations of others. They want to help others fulfill their potential. It

The Perceiving type in general likes to understand and adapt to the world rather than organize it. The Judging type, on the other hand, prefers a planned or orderly way of life, and likes to have things settled and organized. Both a “J” and a “P” can be organized, but “J”s more often demonstrate this trait outwardly. This factor alone might lead a “J” type to choose a career in the classroom where structure and organization are essential for success. And in fact, of the 285 music education majors in this study, an overwhelming majority (87 percent) was classified as Js. When looking at the Introversion (I)/ Extroversion (E) dichotomy, a similar disparity in enrollment rates is revealed. The longitudinal study done for this article found almost twice as many “E”s enrolled as “I”s (183 to 97). The reader may again find this fact rather predictable. Most experienced educators and even the casual observer would tend to describe most teachers of school-aged children as “outgoing,” but let us revisit the definition of “extrovert” and “introvert” as given by the Myers-Briggs Foundation: “Extraversion and Introversion as terms used by C. G. Jung explain different attitudes people use to direct their energy. These words have a meaning in psychology that is different from the way they are used in everyday language. Everyone spends some time extrovert-

Choral Director • January 2013

ing and some time introverting. Don’t confuse Introversion with shyness or reclusiveness. They are not related.” Extroverts like getting their energy from active involvement in events and having a lot of different activities. They are excited when they are around people. Extroverts like moving into action and making things happen. Extroverts often want to talk out loud with others about a problem they are dealing with. Introverts, on the other hand, receive their energy from dealing with the ideas, pictures, memories, and reactions that are inside their own head. They prefer doing things alone or with someone they feel comfortable with. Introverts always take time to reflect so that they have a clear idea of what they will do when they decide to act. When considering these descriptions of extroversion and introversion, the reader can easily see how either set of qualities might be beneficial to a future teacher.

Which personality types drop out? The overall attrition rate for all students enrolled in the music education degree program for the four classes that graduated was just under 30 percent. Every personality trait was represented in this figure but not in equal proportions.

Introversion positively correlated with higher rates of attrition from the music education degree. Over 55 percent of the introverts (24 of the 43 enrolled) dropped out or switched degrees while only 31 percent of the extroverts (33 out of 106) dropped or switched over the same time period. Why did fewer introverts make it through the music education program and go on to be teachers? It is not clear, but a possible reason for this could be that introverts prefer working by themselves and sometimes forget to check their ideas with the outside world. This could potentially hinder an introvert’s desire to work collaboratively. Working collaboratively is a key component in most teacher training programs today and a desirable trait for potential school employers. Students identified with the perceiving trait also had higher attrition rates than those with the judging trait. The findings from this research showed that “P”s dropped out of or switched from the music education major at a 39 percent rate while “J”s averaged 27 percent. One can only speculate at this point on the various factors that may have influenced these students to drop out or switch from the music education program, but the traits associated with the perceiver type personality may be relevant here. When combining the perceiving (P) and the introvert (I) type qualities, for example an INFP or an ISTP, the attrition rate was also high. Fifty percent of the participants in this study who were both “I” and “P” dropped out or switched majors from music education. Introverts tend to be reflective, reserved and private. Introverts recharge their batteries by being alone with their thoughts. Perceivers prefer an environment that is unstructured, and like to keep their options open when making decisions. Consequently, the introvert/perceiver may be drained by being in front of a large classroom of children all day and dislike the imposed structure of their school teaching situation. There are obviously other variables besides personality type that enter into a decision to switch major. But a degree program that puts majors in front of classroom students for practice teaching sessions and requires majors to conform to the cooperating teacher’s classroom structure may adversely affect the introvert/perceiver’s desire to continue in the program.

Which personalities are drawn to teaching? Obviously, there is a wide range of personalities represented within music teaching and within the teaching profession as a whole. There are many successful teachers representing each of the 16 Myers-Briggs personality types, but some types do seem to be attracted to teaching more than others. This and other research shows that certain personality types are drawn to particular majors. The ENFJ (Extrovert-iNtuitiveFeeling-Judging), ESFJ (ExtrovertSensing-Feeling-Judging) and INFJ (Introvert-iNtuitive-Feeling-Judging) types were the three most common personalities identified in this sample comprising 62 percent of the music education majors studied. Each of these personality types has “teaching” listed as one possible career preferences according to Paul Tieger’s book, Do What You Are: Discover the Perfect Career for You Through the Secrets of Personality Type. This classic text on personality and career choice has been used for many years by career counselors. The beneficial traits for teaching of the ENFJ type such as leadership, empathy to others, decisiveness, and so on, were described earlier in this article, but how do the ESFJ and the INFJ types compare? The ESFJ is warm-hearted, popular, and conscientious. They tend to put the needs of others over their own needs. An ESFJ feels a strong sense of responsibility and duty and values traditions and security. They are interested in serving others, but need positive reinforcement to feel good about themselves. The INFJ type is extremely intuitive about people. They are natural nurturers; patient, devoted and protective. They make loving parents and usually have high expectations of their children, and push them to be the best that they can be. In the workplace, the INFJ usually shows up in areas where they can be creative and somewhat independent. They have a natural affinity for the arts. INFJs can also be found in service-oriented professions. A key trait shared by all three of these types (ENFJ, ESFJ, and INFJ) is a desire to serve others or a natural inclination for nurturing. This serving/nurturing

component is obviously a desirable trait for an educator. It is also important to note that all three types have the “judging” trait which means they desire closure in the decision making process. It simply may be that coming to a decision quickly is part and parcel with the teaching profession in general and choir directing in particular. Music students identified as ENFJ, INFJ, or ESFJ who show interest in teaching probably should be encouraged to pursue this. High school directors with students who fall into these categories may even want to give these students opportunities to try short teaching episodes with peers or younger musicians within the program to see if teaching is a good fit for them. Regardless of what personality type a potential music director may be, knowing their preferences for interacting with the outside world as determined by a personality assessment can provide keen insight into who they are as a potential teacher. This can be an effective tool for both future music teachers and educators working with students who are in the process of deciding on what major to pick or what career to go into after college. Choir directors often have a strong influence on life decisions made by their choir members including what major to select in college. The study of personality traits through the Myers-Briggs Personality Type test can provide important

information and insight for a potential music education major. Hopefully, the information shared in this article can aid in helping all of us understand our preferences for interacting with each other and the world around us.

Resources and Links • The Myers-Briggs Foundation, MBPTI Basics, www.myersbriggs.org/my-mbti-personalitytype/mbti-basics/ • P e r s o n a l i t y P a g e . c o m , “Common Careers for Personality Types,” www.personalitypage. com/careers.html • Paul D. Tieger and Barbara Baron, Do What You Are: Discover the Perfect Career for You Through the Secrets of Personality Type (New York: Little, Brown and Co., 2007) David W. Snyder is currently professor of Music Education at Illinois State University, where he teaches the instrumental methods courses and heads the graduate music education program. He also has been a member of the Peoria Symphony horn section since 1995. Dr. Snyder taught band in the Texas public school system for seven years before completing his Master of Music in horn performance at Southern Methodist University and a Doctor of Music Education from the College-Conservatory of Music at the University of Cincinnati. Dr. Snyder has been published in many major music education journals and has presented at both state and national music education conferences.

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Changing the Culture of Professional Choirs

Dale Warland turned a love for disciplined, adventurous singing into a leading voice in contemporary music with his Dale Warland Singers. He continues to inspire students and pros alike to this day.

By Matt Parish

Choral Director â&#x20AC;˘ November 2012

The first time Dale Warland commissioned a new piece of choral music, he contacted world-famous Jean Berger to write for Warland’s student choir at St. Olaf College in Minnesota. The well-known composer dedicated the piece to Warland, who was then still an undergraduate who hadn’t a clue that commissions are typically paid. Berger didn’t mind – he was happy to send the promising young conductor a brand new work. The commission certainly wouldn’t be his last. Dale Warland went on to have one of the most renowned careers in choral music, establishing new arteries of support for professional chorus work with over 270 new pieces of music from composers of all types. His beloved singing group, the Dale Warland Singers, spanned over 30 years in action (1972 to 2004) and 300 members, making unforgettable marks on the classical music landscape. They recorded 23 albums (including the Grammy-nominated Walden Pond) and appeared worldwide in concert and in annual radio broadcasts of the group’s classic Echoes of Christmas. Though he ended his career with the Singers nine years, Warland has remained busy with a long list of guest conducting jobs, residencies, masterclasses, positions with professional choirs in Minnesota, and even composing work. Last fall, he was inducted into the Classical Music Hall of Fame alongside composer Steve Reich and the Beaux Arts Trio, among others. It seemed the perfect time to survey Warland’s career and his monumental efforts at establishing a new level of excellence in professional choral singing. Warland grew up in a very small town in Iowa. His father, a farmer, was a self-taught trombone player, marching band enthusiast, and dedicated choir singer, and his grandfather had been a lifelong member of the local church choir. Warland followed his church’s conductor’s lead and enrolled at St. Olaf College, a lynchpin in the Midwest’s ages-old choral tradition that can be traced back to Scandinavian Lutheran churches. Warland’s leadership and conducting skills quickly earned him his own choir there, which he soon used to commission the Berget piece. Warland went on to join the Air Force, stationed in Belleville, Illinois at Scott Air Force Base. There, he formed a choir that quickly grew in reputation, once performing for then-Vice President Richard Nixon. He earned his master’s degree at the University of Minnesota and his doctorate at the University of Southern California, going on to teach at Humboldt State College in Arcata, California and at New York’s Keuka College. He settled in as director of choral activities at Macalester College in St. Paul, Minnesota. The Dale Warland Singers began at a time when professional choirs were not a common part of the arts world. Eventually, the idea caught on, thanks in no small part to the excellent sound of his developing choir. The Singers were described in the most glowing terms possible. BBC Music Magazine wrote their December Stillness album was “splendid, melting stuff.” The Oregonian called the group “peerless.” The group’s sound, which was fine-tuned year-after-year to a nuanced, rich, and beautiful wholeness, became almost in-

“ ”

Choral Director • January 2013

Once you believe in something and you can do it well, you’ll eventually gain support by people who are sensitive to those kinds of things.

stantly recognizable. It paid off in accolades – on top of the Hall of Fame honor, Warland and the singers enjoyed the Michael Korn Founder’s Award, three separate ASCAP honors for adventurous programming, the ACDA’s Weston Noble Award for Lifetime Achievement in Choral Music and Robert Shaw Award in Choral Music, Yale University’s Cultural Leadership Citation Award, the American Composer Forum’s Champion of New Music Award, and many more. It also earned the respect of the choral community at large. The Singers performed works by composers like Stephen Paulus, Robert Shaw, Kryzsztof Penderecki, Libby Larsen, Carol Barnett, and Dominick Argento. They’ve also worked with conductors like Edo de Waart, Leonard Slatkin, Hugh Wolff, Bobby McFerrin, and David Zinman, among many others. Throughout, Warland has remained humble, maintaining strong ties to the Minnesota arts groups that nourished him early on. Choral Director took time to talk with him from his home outside of St. Paul this winter about the careful road he’s followed on this one-of-a-kind musical career. Choral Director: Growing up in Iowa, you must have had a pretty limited exposure to large choral performances.

Dale Warland: I grew up on a farm in Iowa, approximately six miles from Fort Dodge and about three miles from Badger. Badger was a little village of some one hundred people. It was our community and most of our social life centered in and around the Lutheran church there. I went to a one-room country school house through eighth grade and, for most of that time, I was the only one in my class. We sang every day and that was something that became part of my life. CD: You’ve mentioned being inspired by the St. Olaf Choir, which your church’s choir director had attended. How did getting involved with their program affect your career?

CD: A major theme in your career was your desire to develop a culture of professional choruses. What was it like when you started out? DW: My dream in life, after graduating from school, was to be a college choral conductor. But I soon realized that I lost many singers every year when they graduated. I also wanted to do music that would be much better performed if we had mature voices than those of undergraduate singers.

The DWS at Chautauqua Park during the 1987 Colorado Music Festival. Dave Brubeck and Dale Warland.

DW: My life dream was to become a member of the St. Olaf Choir, but I never made the final cut. In my junior year, I was appointed assistant director of the Viking Male Chorus on campus and that really launched my conducting career. My senior year, I was the only conductor and did all the programming and rehearsing and touring. It was a great experience. I had my own college choir when I was 21 years old. CD: Did your interest in both Early Music and 20th-Century Music begin to develop at that time? DW: I was pretty interested in New Music very early. In fact, when I led the Viking Male Chorus as a student, I heard a work by Jean Berger, who was very famous in his day. I wrote him a letter, never having met him, and asked if he would write a piece for my Viking Chorus. He did. I never knew that you paid a composer, so he did this commission for nothing. It turned out that it was his first commission in the United States! He was a refugee, having fled the Nazis and coming to the United States by way of South America. It was his first commission in the United States, but without pay! That’s how naïve I was. I just asked him and he wrote the piece. That’s what you do when you’re naïve and don’t know any better.

CD: Did that sort of situation just not seem to be happening for anyone at that point? DW: There were a lot of community choirs, but as far as I know, no one was paying singers in choir. That was unheard of. Maybe soloists in churches were paid, but no choirs had any kind of an ongoing fee. When I started, what we could afford was very small. But as soon as we could, we did start paying a small amount for each service. That meant so much for rehearsals and so much for performances. However, it took a number of years before we even were able to do that.

Warland (L) at a recording session with composer Norman Luboff (R) in 1976.

Choral Director • January 2013

The DWS performing at St. Jacob’s church in Stockholm, Sweden, in 1977. Warland with Stephen Paulus in 2001 at Paulus’ home studio.

CD: Did you have a certain strategy for raising funds ahead of time or for playing certain types of concerts to target your financial goals at the time? DW: Just singing. [laughs] Corporations and foundations were very helpful but, compared to the instrumental and opera world, our grants were small. The general public just wasn’t used to the idea of paying singers. That’s a whole education in itself, even paying for concerts, for that matter. On top of that, my main interest was New Music. People would stay away from performances when they heard you were performing New Music until they realized how wonderful it could be and learned to trust you and believe that the New Music you did might exciting and beautiful. CD: So you had a whole separate challenge of convincing that New Music could be palatable. DW: Right. I essentially simply gave it time. The choir, first of all, had to learn to enjoy it and do it well. It’s a challenge because not all New Music is quality music. If anyone heard the term “12-tone,” they would stay away. In not too long a time, we became well-known for our commitment to commissioning and our performances and recording of New Music. That really helped us make a name for ourselves – the 270 commissions we did. It’s amazing that if you believe in something and you can do it well, you’ll eventually gain support of people who are sensitive to those kinds of challenges. 14

Choral Director • January 2013

CD: Did you have a concept for a group “sound” early on? DW: Any concept of sound that I had at that time was totally embedded in my subconscious. I certainly had “a sound” in my head, but was not really aware of that being unusual. I realized that the big challenge was to take the raw material I had and, with effective conducting gestures and the right choice of words, somehow develop “a sound” that would be aesthetically appealing, beautiful to the ear, and also appropriate for most all repertoire. CD: Was there a certain type of impact you were hoping to have on the choral music world with this group? DW: I simply wanted to develop a professional choir that could sing anything and sing it at an incredibly high artistic level. I knew that, with half a chance, I could make that happen, even with little funding or a public that really didn’t think there was a difference between college or volunteer adult choirs and a professional choir. One of our missions was to inform the community that singers who have pursued advanced degrees in music and who had extensive performance experience should be paid for their work, just as a violinist or timpani player in a professional orchestra. CD: What was your approach to the composers from whom you commissioned works?

DW: I laid out no specific criteria for the composers that we commissioned over the years except general practical matters of the event or concert: where and when it was to be premiered, a suggested approximate duration, instrumental forces to include, if any, and made it clear that they must keep in mind the amount (exact hours and minutes) we would be able to devote to its preparation. I encouraged each composer to be as creative and unconventional as they wished. Further, I looked for composers who had written mostly or exclusively for instruments, and wanted to encourage them to write for voices. I also felt it was important to seek out writers who would bring a fresh touch to the choral repertoire. Eric Whitacre is a good example of that. He was still an undergraduate and had written very little when we commissioned “Water Night.” CD: You’ve pointed at local relationships as being extremely important in sustaining the group. DW: We were one of the first performing ensembles to be part of the St. Paul Sunday radio program. We produced some 12 programs for them over the years. That alone helped a great amount with our exposure on the national scene. At about the same time, Minnesota Public Radio (which is in St. Paul) began broadcasting our regular concerts and, annually, our Echoes of Christmas programs. Public radio did an awful lot to put us on the map. In our group, there was always a fine line between how much singing time the

around the country. That’s great to see. Choirs are still not paid enough, but at least it’s happening and eventually we will get there. CD: With the DWS, what was the typical lifespan of a singer?

individual singer could commit to, and what the individual’s life style could bear. The Twin Cities offered great opportunities to expand both income and repertoire opportunities with Minnesota Orchestra and the St Paul Chamber Orchestra, both world class ensembles with world class conductors and guest conductors. Other collaborations further expanded the repertoire and breadth of our musical experiences, included the Schubert Club, Minnesota Opera, American Composers Forum, as well as Minnesota Public Radio. CD: As time went on, did you seem to find more kindred spirits in this push to make singers professional? DW: When Robert Shaw came to town, he insisted on having the Dale Warland Singers when he was engaged to do the “Messiah” with the Minnesota Orchestra. That was a turning point as well, because the Minnesota Orchestra had never paid a chorus before and I had turned it down every time they offered it up to that point in time. One has to establish a certain performance level before one can really sell oneself as professional. CD: Do you feel the perception of paying choirs changed relatively quickly throughout the country from that point forward? DW: I don’t know if it was relatively quickly, but it certainly has changed. Now we have an organization that supports professional choirs – Chorus America (originally the Association of Professional Vocal Ensembles). But it’s not uncommon now to have all-professional or at least a paid professional nucleus for choirs all

DW: I don’t think there was one that we would call “typical.” Some of them were with the group 20 years. As the years went on, there was more turnover because people just began moving more. When we first started, people would rarely move out of town. Everyone was required to audition every year, and those expectations were made clear. If you were slipping in terms of musicianship, vocal skills, or discipline, you knew your position was on the line. But everyone was always excited to be a part of it. As we were all paid more, that made it even better. CD: Was everyone typically working day jobs throughout the span of the DWS? DW: Probably a quarter of the singers were freelancers and a good many of them were music teachers. The largest share of the memberships did have full-time jobs. Most of them had jobs, however, that they could be excused from so that when we did do run-outs or tours, they could be able to take a few days off. They all knew the tour schedules well in advance, so we couldn’t take them into the choir unless we knew they could meet that schedule. When we did extensive touring, we had a smaller group (26 voices) that I would engage. Later, we began booking our own concerts with all 40 voices. That was great because I could perform the repertoire that we wished and we could command the appropriate fees. CD: Do you approach the student choirs that you visit now any differently than your professional choirs? DW: No, my approach to both is fundamentally the same. CD: What do you find to be the biggest concerns in choral education these days? DW: In general, my biggest concert with the education of singers is a lack in the development of strong, overall musi-

cianship along with a flexibility in performing effectively in all singing styles, including vibrato control to meet those stylistic demands. In the education of choral conductors, I see a general lack of extensive or even adequate knowledge of choral rep, along with what one would term a truly effective conducting technique. CD: When you’re guest-conducting, what’s something you especially try to impart as an educator and choral advocate? DW: I hope I am able to assist in getting the choirs that I encounter excited about doing good repertoire and doing it well. I’m still amazed that many don’t fully realize the importance of repertoire. That is critical. I try to instill that. I talk about three things – building the instrument (the choir), building the repertoire and programming, and building the musical leadership (the conductor). What really makes the choir what it becomes or what it doesn’t become is the repertoire. The same thing with the conductor – he or she will grow only according to the demands of the repertoire. If it’s quality repertoire, chances are that conductor is going to become quality, as well. CD: What gets your attention when building a choir’s voice? DW: I’m a great attention-to-detail person – where you breathe, balance, everything that goes into making really fine music. Until all the essential details are in place, you cannot really begin making music. You don’t want to waste time telling everyone where to breathe or how to pronounce any given word. All the markings should be done first, then insist that the singers follow them when you do rehearse and perform. I always send markings ahead of time. When I say “markings,” I don’t just mean only where you breathe but also exact pronunciation, dynamics changes, all the phrasing, the divisi assignments, et cetera. All of those go out before I arrive on the scene. I try to instill what I would term basic or fundamental expectations. These are essential to start with before you can even think of making great music.

Choral Director • January 2013

Report: Choral Directors of Note

The 2013

Choral Directors of Note

horal Director’s eighth annual “Choral Directors of Note” features 13 exemplary directors who were selected by CD staff from nominations and recommendations submitted by readers, music educators, choral directors, administrators and staff, industry colleagues, and music students over the past year. This report serves to recognize these outstanding vocal music educators, who represent a slice of some of the vibrant, impactful, and thriving people and programs in vocal music education today. This edition of the “Choral Directors of Note” focuses on these directors’ proudest moments, the impact they hope to have on their students’ lives, and advice for educators just entering the field of vocal music education. Hopefully the wealth of information shared herein will prove inspirational, informative, or even educational. As Travis Rogers of Napa High School in California reminds us, “Never, ever think you know or have all of the answers – there is so much to learn and do to keep a successful vocal music education program maintained and growing!”

Choral Director • January 2013

California Travis Rogers

Napa High School Napa Years at current school: 33 Total years teaching: 34 Number of students in vocal music program: 385 What is your proudest moment as a music educator?

Michigan Pamela Pierson

Massachusetts Michael Driscoll

Brookline High School Brookline Years at current school: 10 Total years teaching: 10 Number of students in vocal music program: 110 What is your proudest moment as a music educator?

I’ve had many proud moments, but here is my most recent one: One of my high school choirs was scheduled to perform some holiday selections for a community event at a venue where we had never sung before. I had another event I had to attend that was scheduled to end in plenty of time for me to get to our performance. Unfortunately, the first event ended 90 minutes late and by the time I was able to leave, the call time for my performance had already passed! Knowing that most of my students check Facebook far more often than email, I dashed off a quick Facebook message to the group’s Facebook page telling them to hold on and that I’d be there soon. By this time I was now stuck in rush hour traffic and was delayed further. I finally arrived at the performance venue one minute late for the performance. I ran in the door – to the sound of singing! They had positioned themselves on an unfamiliar stage, warmed up as a group and started the performance without me! As someone who emphasizes teamwork and musical independence, I was tremendously proud of them! How do you hope to make a difference in students’ lives?

West Ottawa High School Holland Years at current school: 11 Total years teaching: 37 Number of students in vocal music program: 180 What is your proudest moment as a music educator?

Report: Choral Directors of Note

Minnesota Dan LeJeune

The Blake School Hopkins Years at current school: 14 Total years teaching: 27 Number of students in vocal music program: 185 What is your proudest moment as a music educator?

I have brought my school choirs to perform for ten professional conferences since 1995 and I am proud of each of these special concerts. Each time it has been a thrill to see the students’ growth in preparation for those events. As a guest conductor, directing the 2009 OAKE National Honor Choir at Constitution Hall in Washington, D.C. remains a highlight for me. How do you hope to make a difference in students’ lives?

My goal is to unlock the voice in every student so that he or she can experience the beauty of the human voice no matter what the inherent skill level is within the individual. I work to create experiences that connect singers to each other

and to the people of the world by exploring the rich tapestry of music sung by cultures in all regions of the Earth. Long after they leave my room, I hope my students will value singing so that they feel empowered to use their voices for a lifetime. What advice would you give to new teachers entering the field of vocal music education?

I would advise new teachers that the way to thrive in the profession is by enjoying each day with your students. Celebrate the little things and don’t allow yourself to lose sight of the wonderful privilege it is to make music with children every day. Stay current with technology and always be searching for new materials and resources to enhance your curriculum.

Missouri Paula Martin

Oakville Senior High School

St. Louis Years at current school: 20 Total years teaching: 30 Number of students in vocal music program: 300

What is your proudest moment as a music educator?

The times I am most proud of my students are those times when they are all working together in rehearsal and I can see in their eyes that they “get it”! I can see that they are understanding, perhaps for the very first time, that excellent choral singing is more than singing for pleasure. Singing with excellence as a member of a fine choral ensemble is synergy at its best. It’s one of life’s most exquisite experiences. Those moments come and go in rehearsal and in performance, but it’s those moments that inspire me as a teacher to come back and teach another day. There is nothing better this side of heaven. How do you hope to make a difference in students’ lives?

I hope that the lives of my students are changed for the better because of the experiences that they had in one or

Choral Director • January 2013

more of the choirs at Oakville High School. I hope that their experiences in daily rehearsal, as well as their experiences on stage, help to mold them to become the very best person that they are capable of becoming. What advice would you give to new teachers entering the field of vocal music education?

Just keep swimming! The hours go by slowly at times, the day may seem four days long, a week may seem like a month, but almost every time May roles around, I think, “Where did the time go?” As a director of high school choirs for almost 30 years, I can say with certainty, there is no better tool to reach young people than choral music. Just keep swimming!

New York Alan Shapiro

New Mexico Marilyn Barnes Santa Fe High School

Santa Fe Years at current school: 6 Total years teaching: 30 Number of students in vocal music program: 145

What is your proudest moment as a music educator?

I know that I kept one boy in school and because he loved to sing, he stayed and earned his high school diploma. Many of my college students are having music careers. Now, in this sixth year at Santa Fe High School I am starting to see several high school students head off to college to study music ed or vocal performance. It is very exciting. I hope that all of my singers are learning to love singing and will take that with them through out their lives. How do you hope to make a difference in students’ lives?

Through music, many students’ lives can be touched. Many of my singers are filling the local community college choir and almost all are still singing. Singing is a life-long skill, and you can enhance your life always through music. My little sister didn’t want the precariousness of a music career, so she became a chemical engineer but still plays and sings at church and accompanies many local groups on the piano. She was my first piano student when I was 18 and she was eight. Wow! That brings me back. One thing I wish we could get going is a young people’s group of singers in every local town. Many of my singers aren’t very interested in joining a choir where the mean age is well over 60. How could we make that happen? What advice would you give to new teachers entering the field of vocal music education?

The first year is the hardest. Don’t give up and know that you are helping children. When I am stretching and making the singers imitate goofy sounds and bouncing around the choir room, I think, “Who could have a better job?” This is much better than sitting in front of a computer all day.

Edward R. Murrow High School Brooklyn Years at current school: 8 Total years teaching: 26 Number of students in vocal music program: 275 What is your proudest moment as a music educator?

I feel proud whenever, through the choral classes I teach, students come to love a musical work in a style they may have seen as very different from what they had known before. It’s always personally gratifying when, for instance, I hear them in the hallway after class singing a great work by Palestrina or Mozart, or a jazz standard, or a Broadway classic. The educator and poet Eli Siegel, who came to the philosophic principles upon which the Aesthetic Realism Teaching Method is based, explained that, “The purpose of education is to like the world through knowing it.” My proudest moments as a music educator are when I’ve been able to encourage my students, through music, to see the whole world more coherently, as friendlier and more interesting than they had seen before. How do you hope to make a difference in students’ lives?

I hope my students come to see that respecting and trying to be fair to notes, chords, words, the meaning of a song, their fellow choristers, and the people they will perform for – all things that stand for the world they’re hoping to like – takes care of them, and is the most truly selfish thing they can do! I also hope that my students realize that they have more in common with other people than they had ever realized before. To reach these goals, I try to show my students through everything we study – including vocal and choral technique, repertoire, musicianship – that their own everyday questions are related to the music we’re singing and to the structure of music as such. What advice would you give to new teachers entering the field of vocal music education?

Be proud of the job you’re trying to do and the knowledge and experience you already have, but we should all have the honest humility to know there is always more for us to learn. Of course, new and experienced teachers alike should continue studying vocal pedagogy, developing their own vocal skills and musicianship, and learning about the wealth of music around the world and throughout music history. But the most important thing is to try to bring to the classroom a vivid, exciting sense of how music and life comment on and explain each other. And the most powerful means to do that is through studying the Aesthetic Realism Teaching Method (www.AestheticRealism.org). As an undergraduate and graduate music student, I was pursuing a career as a jazz pianist, composer and arranger, and hadn’t planned on going into music education. It was because of what I learned about the relation of art and life through Aesthetic Realism that I saw I could use the subject I love most to have a good effect on other people. This is why I decided to become a teacher. Now, more than 25 years later, I’m so grateful I did! I would tell all those entering the profession: you’re going to have days where things don’t go so well, rehearsals where something you planned carefully just doesn’t seem to work. You’re going to make mistakes—and not only in your first year! Remember that we have the job of trying to understand the people we teach, and people have rich, complex lives; our students are affected by much more than just our classes, and more than we have any idea of. Choral Director • January 2013

Report: Choral Directors of Note

Ohio

Beth Vaughn Arcadia Local Schools

Arcadia Years at current school: 8 Total years teaching: 11 Number of students in vocal music program: 35 What is your proudest moment as a music educator?

In my first year as choral director at Arcadia, the high school choir received a Superior (I) rating at district and state adjudicated events. I also enjoy seeing my students “get it” and making music. How do you hope to make a difference in students’ lives?

I hope that I can help them become better people – more self-confident, cooperative, responsible, creative, open-minded, self-expressive, and positive. I also hope that they leave high school with a life-long appreciation of music. What advice would you give to new teachers entering the field of vocal music education?

Your most important job as an educator is showing your students not how much you know, but how much you care. There will be some rough patches, but you need to enjoy what you are doing.

Oregon Mark Steighner

Hood River Valley High School Hood River Years at current school: 27 Total years teaching: 34 Number of students in vocal music program: 140

Pennsylvania Debra A. Kline-Smith

Warwick High School Lititz Years at current school: 26 Total years teaching: 31 Number of students in vocal music program: 150+ What is your proudest moment as a music educator?

There have been so many proud moments that I find it hard to narrow it down to just one. Most recently, after our Holiday Program, a young student from the 6th grade came up to me filled with joy and enthusiasm. She exclaimed that she had only three more years until she could be here with me at the high school. She has been attending our concerts and musicals for years. Obviously quite an impression has formed in her mind as to what she has to look forward to in her high school years. For me, this is what is all about! Through music, her life has already been touched. She will grow both musically and through the life experiences she will encounter on the Warwick stage. How do you hope to make a difference in students’ lives?

How do you hope to make a difference in students’ lives?

My goal as an educator is to teach the total person. When they leave Warwick, I hope that they will put the same effort into their future careers that they see me put into our music program. My favorite quote, which I live by, states, “Quality – countless, unseen details are often the only difference between mediocre and magnificent.”

I hope to demonstrate the lifelong values of commitment, passion, and creativity; to give them an inkling of the vast and incredibly deep world of choral music; to give them the tools to recognize quality in art and in life.

What advice would you give to new teachers entering the field of vocal music education?

What is your proudest moment as a music educator?

Over the years, I’ve taken over 400 students to the U.K., premiered many new works, and I’m proud that perhaps I persuaded students not to accept a limited view of their potential. I’ve tried to tailor our program around the needs and strengths of the students and offered as many creative opportunities as possible.

What advice would you give to new teachers entering the field of vocal music education?

Three things: First, commit to excellence from the start, and keep learning: bring in the experts, masters, and the successful educators and ruthlessly steal their secrets! Next, accept that building or maintaining a program demands dedication and absurd amounts of time, and it will never be a 9-5 job. Finally, try not to entirely define yourself “as your job” and continue to cultivate interests and relationships that are not bound to the role of choral music educator. 20

Choral Director • January 2013

Give yourself four years to settle into your school. Find yourself first and feel comfortable in your own skin. Until you have those first experiences, the focus will be on you. After your initiation period, only then will you be able to focus on your students. Be patient as you are molding your program and your students’ musical lives!

South Dakota Rebecca R. Fischer

Piedmont Valley Elementary Piedmont Years at current school: 6 Total years teaching: 35 Number of students in vocal music program: 500 What is your proudest moment as a music educator?

There are so many. Here’s the most recent: I asked my second grade students what it would feel like to be an “Olympic singer.” One little boy responded, “I would stand tall and proud and clear my mind of everything but the music!” He was so passionate and profound that I knew that I had chosen the right career!

What advice would you give to new teachers entering the field of vocal music education?

Take your work seriously, but not yourself. Remember that the students are there to be filled with the joy of music. They are not necessarily there to become an extension of your life. Do the best you can with the tools that make you comfortable. Plan, plan, plan, and have fun!

How do you hope to make a difference in students’ lives?

I hope to give them the lifelong joy of singing, playing, creating, and consuming great music.

Virginia Dr. Don Krudop

The Visual & Performing Arts Academy at Salem High School Virginia Beach Years at current school: 24 Total years teaching: 37 Number of students in vocal music program: 125 What is your proudest moment as a music educator?

I’ve had so many that I’m not sure I could narrow them down to just one. Among those would be: having my ensembles perform at Carnegie Hall and Lincoln Center, at the White House and National Cathedral, at Westminster Abbey (London) and Yorkminster (York), and at state and division music education conferences; being named Virginia’s “Outstanding Music Educator” and Salem High School’s “Teacher of the Year”; watching former students become outstanding musicians and music educators; providing my ensembles with challenging repertoire and seeing them rise to the occasion with successful mastery of the works; and perhaps the best “moment” of all is having earned the nickname of “Papa K.” Knowing that I’ve had a positive impact on students’ lives is a significant part of why I love teaching! How do you hope to make a difference in students’ lives?

I hope I’ve made a difference in my students’ lives by giving them the ability to “see beyond the page.” I think it’s vital that music educators encourage their students to understand that the re-creation of the “spots on the page” is not the end product of learning, but just the beginning. It’s only when an ensemble has accurately mastered the notes, rhythms, and words that the joy of creating actual music can begin. The process of building a complete performance must include investigation and discussion of the “message” of the lyrics and the interplay between the music and lyrics imbued by

the composer/arranger; in other words, how do those elements work together to create a complete artistic entity? We must also consider the theatrical and visual elements of performance, the use of body language (not necessarily choreography), and facial expression in expressing the message of the song to the audience. I hope that I’ve also instilled in my students a love and a passion for music, an understanding of both the theory and history of music, and the drive to create excellence in performance; I hope that they have grown to become not only lovers and lifelong practitioners of the art, but passionate, informed, and literate consumers as well. What advice would you give to new teachers entering the field of vocal music education?

Set the bar high for your students and ensembles. I’ve found that students at every level are capable of achieving amazing heights as long as we, as music educators, are capable of leading them there. I have yet to find one song that students aren’t capable of learning as long as I am capable of teaching it. If 14-year-olds can win gold medals at the Olympics, they can be successful with challenging, high quality repertoire. Stay active in your art, for both your professional and personal satisfaction. Outside of school, the time I spend each week conducting the Virginia Beach Chorale (www. virginiabeachchorale.org) and the Heritage United MethodChoral Director • January 2013

Report: Choral Directors of Note ist Church Chancel Choir are the times when my musical heart soars. Keep your passion burning for both music and teaching. The love for your art and your calling has to be evident in your classroom as well as on stage. Success without passion is a difficult, if not impossible, task to accomplish. Stay away from the photocopier. Composers and arrangers make their living by creating new songs & ar-

rangements for us... every single photocopy of copyrighted music removes a tiny bit of salary from their pocket. Make friends with the head secretary, head custodian, and the choral director(s) in your feeder school(s). Keep your administration and guidance counselor(s), involved and “in the loop.” We are our own best friends in advocating for support of our program. Remember that those people listed

West Virginia Joyce Good-Pitchford

Ravenswood High School Ravenswood Years at current school: 39 Total years teaching: 39 Number of students in vocal music program: 82

one breathes or moves in fear that they will break the spell of the moment.

What is your proudest moment as a music educator?

I could easily say whenever hotel management tells me at the end of an overnight stay for a competition that my choral kids were the best high school students that they had ever had stay with them – that is better than a first place trophy in a choral competition. There are so many proud moments, but if I have to decide on one, it would probably be whenever I see the faces of my singers when they know at the end of a song during a rehearsal that they have just done something musical with their voices. It is always a moment when no

How do you hope to make a difference in students’ lives?

Of course, I have a goal to open up to each of my students to the wonderful world of music. I want them to go beyond the small boundaries of Ravenswood, W.V., and experience the wealth of choral music, choirs, musicals, performers, and so on that we have available to enjoy and appreciate. If one of them decides to then pursue music as a career, then that is icing on the cake. However, that is not my main goal as a music educator. I sincerely

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above are very possibly not “arts people,” thus they may not understand the challenges and intricacies that are involved in what we do. Invite them into your classroom, especially when you’ve planned a rehearsal that addresses intricacies of technique, for example, something that goes beyond “just singing.” And, of course, always invite them to your concerts and recognize their presence!

mean the following: my main goal is to equip our young people with the tools they need to succeed in 21st-century America. I want them each to be able to communicate, to be involved with community activities, to make a difference in someone else’s life, to be a team player, a motivator, and a caretaker of other students. I want students to be able to manage their time, to set short and long-term goals, and to contribute to society for allowing them to receive a good education. Every one of these goals can be the result of being in a choral program that cares, and I hope that is what I have been able to develop at this school. What advice would you give to new teachers entering the field of vocal music education?

First of all, you must be very willing to go beyond the eight-hour work day. I do not care how organized and driven you are – it cannot be accomplished without meeting with students beyond a 50-minute class period. Next, I would adamantly suggest that they receive every ounce of keyboard experience as possible. I know of vocal teachers in surrounding school that are relying on their MP3 players, recorders, YouTube, or hiring accompanists to help teach choral music because of their limited keyboard experience. That is not fair to the students they teach. Finally, you cannot look at being a vocal teacher as a job. I have had a “love affair” with my “occupation” for the past 39-plus years. If my body could stand it, I would still be here 39 years from now. We teach music because we love music and our kids, not because we love the money.

Survey: Summer Camps & Workshops

The Impact

of Camps and Workshops

both students and educators. Most

Some 20% Unfortunately, 75 percent of responding readers indicate Few music 66% that “few” or “none” of their students attend vocal None 9% camps and workshops. Meanwhile, 82 percent of educators in this poll attend camps and workshops for their own professional and musical development, where they gain exposure to new repertoire, camaraderie among like-minded people, and are able to learn new teaching techniques, among other potential benefits. Even though only 18 percent of readers see major impact from camps and workshops translated into their school programs, few would deny the potential for growth and inspiration that many of these offerings provide. And yet, economic factors appear to be taking a toll, with a number of respondents pointing noting that a lack of funding is one of the primary reasons more students don’t attend. Read on for the latest trends in these potentially stimulating, rejuvenating, eye-opening – and fun – summertime learning opportunities.

What proportion of your students attends summer vocal music camps and workshops? Most

None

9% Some

20% Few

66%

Choral Director • January 2013

Yes

20% 66% 9%

“All members of both mixed and women’s varsity choir are required to attend camp.” Megan Senter Sunnyvale High School Sunnyvale, Texas “[Camps and workshops] are proMost hibitive for most of my students because of cost. In our 5% district, we do None have an organization that provides scholarships9% to students who wish to attend a summer camp Some – there just isn’t enough money to go around.” 20% Susan Most F. Durham Durant High School 5% Most None Plant City, Fla. Few Some 20% Few 66% “My students are Some so involved in None 9%

9% 66%

other activities like church and sports that those tend to eat 20% up their summer time.” Megan Rudolph Few Vestavia Hills High School None Vestavia,9% Ala. 66% Yes

19% have an Does your music program affiliation with a particular summer vocal music program? No

81%

Few

66%

Yes

19%

“My students who attend the college music camp really sharpen their skills and therefore gain confidence and often become great leaders in our school choirs. The students who attend our own camp also gain skills and confidence, and they, too, become leaders. Both camps are definitely improving the quality of our school choirs and No their numbers.” Nancy M Kennedy 18% Warwick Veterans Memorial High School Warwick, R.I. “Camps are useful for studentsNowho come from school districts without 18%a strong program, but they do not usually provide what the most accelerated student needs.” Michael K. Lisi Learwood Middle School Most Avon Lake, Ohio

“They seem to be going more toward show or jazz choir camps.” Stan Scott Central High School Grand Junction, Colo. “I have seen the typical movement toward pop culture and the idea that anyone can have a successful vocal music career without the requisite work and innate talent.” Raoul Bellis-Squires Arts and Communication Magnet Academy Yes Beaverton, Ore.

82%

Do you typically attend vocal music workshops for your own professional development?

Yes

82%

18%

“The students who attend camps bring back an enthusiasm (not to menSome 20%andExposure to new repertoire tion improved skills knowledge) 20% that is infectious. This alone makes Yes 18%theCamaraderie who share my interests others want to attend next year.” of being around other people 82% Kate Murray 18%Paideia Rejuvenation! School Jonesboro, Ga.

17% 20%

New teaching techniques Exposure to new repertoire

Have you noticed any develop“As many as I can!” who share my interests 13% Camaraderie New vocal techniques 18% ing trends in summer vocal music of being around other people Cyndi Chadwick camps over the past few years? Campbellsville High School

11% 18%

81%

New conducting/directing techniques Rejuvenation!

Campbellsville, Ky. “There are fewer camps available, 3% New Otherteaching techniques 17% Yes and we have to work harder to get stu-20% “Because have some of the top Exposure they to new repertoire 19% dents to come to a camp.” choral clinicians, there is so much to 13% New vocal techniques 18% Bob Chilton18% learn from them.” Camaraderie of being around other people w 42% Mount Airy Middle School Marshall Butler, Jr. 11% 40%do summer choral What impact New conducting/directing techniques Mount Airy, N.C. Jesse O. Sanderson High School 18% Rejuvenation! music camps have on your school No Raleigh, N.C. 81% “They are getting vocal ensembles? 3%shorter Other and more 17% New teaching techniques expensive. However, a lot of school We see major districts in our area are hosting camps benefits 18% 13% New vocal techniques 42% for their own kids, which takes down For the latest news and content, 18% 40% Not much the population of the camps at univer11%follow NewChoral conducting/directing techniques impact at all Director on Facebook: sities.” 40% Ben Luginbuhl 3%www.facebook.com/ Other Normal Community High School Helpful, but not We see major choraldirectormagazine substantial Normal, Ill. benefits

Not much impact at all

42% 18%

18% 42% 40%

40%

Choral Director • January 2013

Helpful, but not

What areas are benefitted most by these workshops?

20%

Exposure to new repertoire

18%

Camaraderie of being around other people who share my interests

18%

Rejuvenation!

17%

New teaching techniques

13%

New vocal techniques

11%

New conducting/directing techniques

Other

“All of the above!” Kelley DePasqua Silver Lake Regional High School Plymouth, Mass. “Incorporating applications of technology into the choral program.” Thomas Hassig Prior Lake High School Savage, Minn.

Choral Director • January 2013

“I thoroughly enjoy participating in vocal music camps. I become a student again and it helps me relate to what my students feel in the classroom. It stretches me as vocalist and allows me to engage in musical performance. I experience the challenge of learning choreography and the thrill of live performance.” Kenneth Morris Eastern Wayne Middle School Goldsboro, N.C. Have you noticed any developing trends in summer workshops for educators?

“There are more reading sessions than just workshops for teachers to learn. They seem to be driven more and more by music publishers.” Connie Coleman Bixby High School Bixby, Okla. “Bring in big name conductors to model techniques and rep. Sometimes this is helpful and inspirational, depending on their experiences.” Susan Wilkes Manchester High School West Manchester, N.H.

Repertoire Forum: Show Starters & Stoppers

Distinctive Pieces

to Begin and Conclude Concerts

By John C. Hughes

inding literature to start or end concerts can be daunting, especially given the important roles those pieces play. For the first piece, I always try to choose a composition with which the

choir feels comfortable, gives the ensemble a sense of the acoustic, and sets the tone for the entire concert. For the final piece, I look for music that cleanses the audience’s palate and sends them home with uplifted spirits. I’ve intentionally avoided including spirituals. While they make wonderful finales, there are many other repertoire options for these slots on the program. However, for anyone considering spirituals for these roles, please review the previous installment of this column.

UNISON “O frondens virga” Hildegard of Bingen, ed. William T. Flynn Treble Clef Music Press Medium Introduce any ensemble to chant with “O frondens virga,” one of the 45 surviving antiphons composed by Hildegard of Bingen. This wonderful edition by William T. Flynn also includes the Magnificat, part of the Vespers office, which Hildegard would have intended to be sung. Flynn’s edition is very accessible with modern clefs and includes significant information about history, performance

Choral Director • January 2013

practice, translation, and pronunciation. A version of the antiphon with an added organal voice is also included in the edition. Singing chant will expand choir members’ understanding of music history, reinforce phrasing and syntax, and teach listening and ensemble. Consider using this piece as a quiet, serene opening to a concert. www.trebleclefpress.com/catalogue. html#TC-144

TWO-PART “All His Mercies Shall Endure” George Frederick Handel, arr. Walter Ehret GIA Publications, Inc. Easy Taken from Handel’s Occasional Oratorio, “All His Mercies Shall Endure” has long been a favorite in the choral repertoire. Ehret has made a wonderful arrangement for two voices rather than the original four. The voices, both with ranges suitable for many singers, are equal. The piano accompaniment is very straightforward. Enjoy introducing your students to the effervesce of Handel’s “All His Mercies Shall Endure,” which functions nicely as a finale. A score preview is available at the link below. www.giamusic.com/search_details. cfm?title_id=9273

SA “Ton Thé” Jeanne and Robert Gilmore, arr. Susan Brumfield Colla Voce Medium-Easy “Ton Thé” is a whimsical French tongue-twister; the text is nonsensical and very repetitive. Written for two pianists, the accompaniment sets the silly mood. The accompaniment is also available for xylophone and percussion (sold separately).

Choral Director • January 2013

If desired, the SA and SATB arrangements can be combined for a joint performance by children’s choir and mature voices. The French is not to be feared, as it is very short. I’ve used this piece to end a concert, and both the choir and audience loved it! A score preview and audio recording are available at the link above. www.collavoce.com/catalog/item/ ton-the-20-96350

TB Three Chanteys Arr. Marshall Bartholomew G. Schirmer Medium-Easy Arrangements of sea chanteys have long served as finales for men’s choirs. Although more recent arrangements exist, Marshall Bartholomew’s arrangements should not be overlooked. Also available for TTBB choirs, these chanteys are easily to learn and allow the singers to sing (and even act!) jauntily, which they are sure to enjoy. The three pieces – “Eight Bells,” “Away to Rio,” and “Old Man Noah” – can be performed as a set, or excerpt one as a standalone piece. goo.gl/cdtU9

TTBB Songs for Men’s Chorus Felix Bartholdy Mendelssohn Peters Edition Medium Mendelssohn wrote many of these partsongs to be sung by guests at parties after large concerts. His SATB partsongs are more well known (especially “Die Nachtigall”); however, his TTBB partsongs are less widely explored. This collection contains 17 pieces, each two to three pages long. Individual pieces are easily excerpted and very accessible. Although not often performed, these pieces are valuable for men’s choirs and should be in more choral libraries. goo.gl/KNE6a

SSAA “Jubilate Deo” László Halmos, arr. Barbara Harlow Santa Barbara Medium Many choral musicians know Halmos’s “Jubilate Deo,” which is scored for SATB (Santa Barbara). At the request of Bethel University’s Nancy Parker, Barbara Harlow arranged Halmos’s work for treble voices. As Harlow notes, the antiphonal writing can be enhanced by physically separating the parts. The stressed syllables of the text are set in bold, which will help singers perform more artistically. The piece is unaccompanied and has some fourpart divisi; however, its melodiousness makes it fun to learn. With a joyful text, this would make a great piece with which to begin a concert. A score preview and audio recording are available at the link below. www.sbmp.com/SR2.php?Catalog Number=915

SAB “Lobet den Herrn, alle Heiden” Georg Philipp Telemann Carus-Verlag Medium Because the lowest voice part is doubled in the accompaniment, this piece can be performed either by an SAB choir or an SA choir. The text is fairly straightforward, but the vocal lines are contrapuntally-conceived and have several melismas, which may require some extra rehearsal. However, the piece is accessible for developing voices. The festive nature of this piece and short duration (two minutes) make it a wonderful way to start a concert. The accompaniment is very flexible; use piano or organ and cello. goo.gl/aXjiq

SATB “O sing joyfully” Adrian Batten, ed. Maurice Bevan Oxford Medium Easy Certainly not a new piece, “O sing joyfully” by Adrian Batten (1591– 1637) is still worthy of performance today. Its uplifting and buoyant qualities make it a great opener for any concert. It is a wonderful introduction to the polyphonic style, especially given its English text and mostly syllabic text setting. For unaccompanied choir, this piece will develop independent singing, sense of line, and sensitivity to text. goo.gl/Vmb6L “Cuncti simus” Arr. Eric A. Johnson Santa Barbara Medium-Advanced Eric A. Johnson has taken a melody from a 14th-century manuscript and arranged it for the modern choral ensemble. The rhythmic drive and dancelike qualities of the piece permeate the entire work, making it a great way to begin or end a concert. Using call and response, canon, augmentation, and inversion, Johnson manipulates the melody in innovative and unique ways that produce an infectious energy. There are some tricky rhythms, especially at the fast tempo; however, these contribute the piece’s exuberance. A score preview and audio recording are available at the link below. www.sbmp.com/SR2.php?Catalog Number=857

but Miškinis also produced SSSAAA and TTTBBB voicings of the piece. The work is fairly straightforward with a tranquil middle section bookended by a rhythmic beginning and ending. There is some divisi throughout; however, the voice ranges are comfortable and accessible to many ensembles. It works very well as the first piece of a concert. A score preview is available at the link below. goo.gl/JIKzZ

North Central College Jazz Studies Program presents the

ANNIVERSARY

SSATBB “Bíonn Siúlach Scéalach” Matthew Erpelding Earthsongs Medium-Advanced “Travelers have tales to tell. Cheers! Good health to you!” This setting of a Gaelic text is a wonderful way to raise an audience to its feet at the end of a concert. The drumlike rhythms on percussive syllables, repetitive melodies, and sudden dynamic changes evoke the energy of a large party. The addition of foot stomps and hand claps make Bíonn Siúlach Scéalach far from ordinary. Just published in 2012 by the emerging composer Matthew Erpelding, Bíonn Siúlach Scéalach will no doubt be on many festival and All-State lists soon. An audio recording is available at the link below. goo.gl/g0KoG 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 music director at The Congregational United Church of Christ in Iowa City. Please contact him directly at his website: www.johnchughes.com.

JANICE BORLA VOCAL JAZZ CAMP July 22–27, 2013

JANICE BORLA Vocal Jazz Director, North Central College JAY CLAYTON Jazz Voice faculty, the New School & Peabody Institute PETER ELDRIDGE Head of Jazz Voice faculty, Manhattan School of Music WITH

Dan Haerle, piano Bob Bowman, bass Jack Mouse, drums Art Davis, trumpet CURRICULUM / ACTIVITIES

Solo jazz Performance Vocal Improvisation Vocal Jazz History Music Theory for the Jazz Vocalist Nightly Faculty Concerts Student Jam Sessions Final Student Concert INFORMATION / REGISTRATION

“Cantate Domino” Vytautas Miškinis Carus-Verlag Medium-Advanced The modern Lithuanian composer Vytautas Miškinis has created a wonderfully joyful piece in “Cantate Domino.” This version is for SAATBB,

For the latest news and content, follow Choral Director on Facebook: www.facebook.com/ choraldirectormagazine

www.janiceborlavocaljazzcamp.org janiceborla@gmail.com 630-416-3911 Janice Borla Vocal Jazz Camp NORTH CENTRAL COLLEGE 30 N. Brainard Naperville, IL 60540

Choral Director • January 2013

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Choral Director • January 2013

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Survey: Summer Camps & Workshops

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h, the brisk and invigorating chill of winter – what thoughts to what better time to summer has to turn our offer? This recent readers to weigh Choral Director in on the latest survey asked trends in summer both students and educators. camps and workshops for Unfortunately, 75 percent of Most responding readers that “few” or Some “none” indicate 20% camps and workshops.of their students attend Few 66% vocal music Meanwhile, 82 in this poll attend None 9% camps and workshops percent of educators sional and musical development, where for their own profesnew repertoire, they gain exposure camaraderie among are able to learn like-minded people, to new teaching and techniques, among tential benefits. other poEven though only 18 percent of from camps and readers see major workshops translated impact grams, few would deny the potential into their school protion that many for growth and of these offerings provide. And yet, inspirafactors appear to be taking a toll, with a number economic dents pointing noting that a lack of of funding is one responmary reasons more of the pristudents don’t attend. Read on for the latest trends in ing, rejuvenating, these potentially eye-opening – stimulatand fun – summertime ing opportunities. learn24

What proportion of your students attends summer vocal camps and workshops?music Most

None

18%

Some

20% Yes

Few

82%

66%

Choral Director • January 2013

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19%

81%

20%

18%

17%

13%

11% 3%

18% 42% 40%

Exposure to new

Camaraderie

repertoire

of being around

other people

Rejuvenation!

New teaching

who share my

interests

techniques

New vocal techniques

New conducting/directing

techniques

Other

We see major benefits

Not much impact at all

18%

40%

Helpful, but not substantial

42%

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