CD March 2010 by Choral Director Magazine

MARCH 2010 $5.00

Bill Liberatore & the Gunn High School Choirs

A Fervor for Music & Travel Report: Travel Rep Forum: Music About Music

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Contents

March 2010

Features 10

UPFRONT: TOOLS FOR SCHOOLS Choral Director reports on the Best Tools for Schools awards, presented by CD’s sister magazine, School Band & Orchestra, at the 2010 NAMM Show, the largest musical instruments and products convention in the country.

REPORT: TRAVEL CD checks in with a number of travel industry insiders who share tips on planning a cost-effective performance tour with the group’s safety in mind.

UPCLOSE: BILL LIBERATORE In this recent CD interview, Bill Liberatore, the director of a well traveled choral program at Gunn High School in Palo Alto, Calif., details the ins and outs of taking his groups on the road.

SURVEY: SUMMER CAMPS & WORKSHOPS

REPERTOIRE FORUM: MUSIC ABOUT MUSIC In this installment, Drew Collins reviews pieces of music written about music.

TECHNOLOGY: AUDIO ENHANCEMENT Dr. John Kuzmich presents software designed to enhance and “clean up” audio recordings.

28 Columns 4 5 32 34 35 36

Opening Notes Headlines New Products Vocal Tip Classifieds Ad Index

Cover photo by Donald Anderson, Palo Alto, Calif. Choral Director® 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 © 2010 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

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Opening Notes ®

Choral Music Makes it Big on the Little Screen

ondering about what kind of exposure vocal music is receiving during primetime these days? The answer is “an awful lot.” Between “Glee,” “Clash of the Choirs,” “American Idol,” “The SingOff,” and the upcoming “Makin’ the Choir,” it seems that vocal-music-oriented television programming has never been more popular. While “American Idol” has been producing big ratings for almost a decade, mainstream television’s focus on choral music took off in 2007 with “Clash of the Choirs,” a reality miniseries produced by BBC America and airing on NBC. This prime-time music contest featured celebrity singers who recruited and auditioned choristers from their “Are students hometowns to form a 20-member ensemble and sing for more likely $250K in prizes. Incidentally, the choral group led by Cinto sign up for cinnati’s Nick Lachey, of 98° fame, took home the grand prize, which was donated to the Children’s Hospital of chorus or band Cincinnati. Although NBC decided not to air a second seabecause of Zac son of the show, it can still be seen on The Gospel Music Efron or Vanessa Network, and versions of the show continue to exist in Hudgens?” Australia, Sweden, Finland, and Holland. Following 2007’s “Clash of the Choirs” was the “The Sing-Off,” which aired on NBC in December of 2009. Featuring a cappella groups performing live and without accompaniment (of the musical or celebrity variety) in front of a panel of celebrity judges, “The Sing-Off ” has already been slated for a second season, perhaps in 2011. FOX Television, meanwhile, is looking to parlay its “American Idol” success into the choral and gospel markets with “Makin’ the Choir,” a reality show in which contestants will have the opportunity to audition to become one of 30 vocalists and 10 instrumentalists to be flown to New York City to record a live gospel album and embark on a major performance tour. In addition to the reality shows, “Glee,” a sit-com about members of a high school show choir, and “High School Musical,” the first movie of the Disney franchise about seemingly incompatible students who bond through shared experiences rehearsing and performing music, have both been wildly successful. The pertinent question is this: do these types of television programming actually foster interest in prospective singers and players? Are students more likely to sign up for chorus or band because of Zac Efron or Vanessa Hudgens? With this increased exposure of music, are school board and city council members more likely to think of the music department as untouchable when drawing up annual budgets? One can only hope...

March 2010 Volume 7, Number 2 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff

EXECUTIVE EDITOR Christian Wissmuller cwissmuller@symphonypublishing.com

EDITOR Eliahu Sussman esussman@symphonypublishing.com ASSOCIATE EDITOR Denyce Neilson dneilson@symphonypublishing.com Art Staff

PRODUCTION MANAGER Laurie Guptill lguptill@symphonypublishing.com

GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com Advertising Staff

CLASSIFIED SALES Maureen Johan mjohan@symphonypublishing.com Business Staff

CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com

ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@symphonypublishing.com WEBMASTER Julie Gibson julie@peepscreative.com Symphony Publishing, LLC

CHAIRMAN Xen Zapis PRESIDENT Lee Zapis lzapis@symphonypublishing.com

CHIEF FINANCIAL OFFICER Rich Bongorno rbongorno@symphonypublishing.com Corporate Headquarters 26202 Detroit Road, Suite 300 Westlake, Ohio 44145 (440) 871-1300

www.symphonypublishing.com Publishing, Sales, & Editorial Office 21 Highland Circle, Suite 1 Needham, MA 02494 (781) 453-9310 FAX (781) 453-9389 1-800-964-5150

www.choraldirectormag.com

Member 2010

RPMDA Eliahu Sussman Editor • esussman@symphonypublishing.com 4 Choral Director, March 2010

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HeadLines Roland Sponsors Most Powerful Voices Choir Contest

oland Corporation U.S. is the musical instrument sponsor of the Most Powerful Voices choir contest, presented by the Gospel Music Channel and the American Heart Associations Power to End Stroke Campaign. This online choir competition is designed to involve entire worship communities, encouraging church members and their friends, co-workers, or others in their social network to vote for their favorite choir on the contest Web site. Choirs can register and upload a video or MP3 recording of one song and provide pictures and background information. There are two categories: one for large choirs with more than 50 members and one for small choirs with 50 members or less. A panel of judges from the AHA, GMC, Roland, and a celebrity gospel artist will select the top 10 choirs in each category to advance to the final round where voting will be done by the public. The winning choirs will receive $5,000 in musical instruments and recording gear from Roland, including the new V-Combo VR-700 Keyboard, the AXSYNTH Shoulder Synthesizer, KC-110 Battery-Powered Keyboard Amplifier, and CD-2e SD/CD Recorder with CS-15R Stereo Microphone Kit. Winners will also be featured on the Gospel Music Channel, receive personalized coaching by EMI Gospel artist Myron Butler, and have the opportunity to perform live at the 2010 Power Awards in New York City. Open submissions for the Most Powerful Voices contest will be taken through March 20, 2010. For complete information on how to enter the Most Powerful Voices choir contest, visit www.choir.gospelmusicchannel.com

National Memorial Day Choral Festival

ndiana State University director of choral activities, Scott Buchanan, will make his Kennedy Center debut conducting a 250-voice festival chorus in Gabriel Fauré’s Requiem and other choral masterpieces for the annual National Memorial Day Choral Festival. Choirs from across the United States will join in the commemoration of Memorial Day at the John F. Kennedy Center for the Performing Arts, in Washington, D.C., on May 30, 2010. For more information, visit www.kennedy-center.org.

National Arts Action Summit

he 23rd annual Arts Advocacy Day: The National Arts Action Summit will be held on April 12 & 13, 2010 in Washington, D.C. The event will bring together a broad cross-section of America’s cultural and civic organizations, along with grassroots advocates from across the country, to underscore the importance of developing strong public policies and appropriating increased public funding for the arts. For more information, visit www.artsusa.org.

Online Survey Results Does your program include a show choir?

Yes

35% 65% Visit www.choraldirectormag.com and let your voice be heard in the current online poll – results to be published in the next issue of CD.

2012 World Choir Games Online

tanard Design Partners has developed and launched the Web site for the 2012 World Choir Games. The games will be hosted in Cincinnati, Ohio, spanning eleven days in July 2012. Referred to as the “Olympics” of choir competitions, the event draws more than 20,000 participants and hundreds of thousands of visitors from over 90 countries. The Web site features a slide show of performances and event videos, among other features. In addition to providing details about the World Choir Games, the site contains visitor information about Cincinnati, volunteer and sponsorship opportunities, and a media center. The site is designed to grow, with plans to build out the site as the games approach. Plans are in place to incorporate an online shop for the 2012 World Choir Games’ merchandise, a portal for purchasing tickets to 2012 World Choir Games events, and translations of the site into multiple languages. To visit the Web site, go to www.2012worldchoirgames.com. Choral Director, March 2010 5

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Keepin’ HeadLines Carnegie Hall National High School Choral Festival

A Travel with the country’s top student travel planner.

pplications are now available for the 2010–2011 Carnegie Hall National High School Choral Festival. The Festival brings together selected choirs with professional singers for a year-long educational program. The Festival offers students the opportunity to perform selections from a piece of major choral repertory

Performance Tours s Festivals Parades s Cruises s Bowl Games Clinics s International Disney© in Carnegie Hall’s Stern Auditorium, under the baton of a renowned choral maestro, accompanied by a professional orchestra, professional choristers, and professional soloists. For more information, visit www.carnegiehall.org.

2010 Concorso Corale Internazionale

Official Sponsor of

email: info@bobrogerstravel.com

www.bobrogerstravel.com (800) 373-1423

rom March 28th to April 1st, 2010, the biannual “Concorso Corale Internazionale” competition will take place in Riva de Garda, Italy. For the 11th time, Interkultur has invited choirs from all over the world to beautiful Lake Garda to demonstrate choral singing of the highest quality in competitions and concerts, while at the same time, demonstrating international solidarity and friendship between the peoples of the world through outstanding musical performances. Following the tradition of combining competition performances in Riva with evening concerts and a diverse supporting program, the festival will serve to compare the abilities of the choirs among themselves and encourage people to play music together. This year, singers from 13 nations have registered to take part. For more information visit www.interkultur.com.

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You’re one of a kind.

So is the copyrighted music you rely on.

... Did you know • t Infringemen law ht rig py co e th of can result in fines of up to

$30,000?

Keep it legal. You want your students to value music. When you observe the copyright law you show them the way. The future of music is in your hands. Here’s how to keep it legal: 1. Know what you can do 2. Know what you can’t do legally 3. Get permission to use other’s property

Music Publishers’ Association of the United States 243 5th Avenue, Suite 236, New York, NY 10016 • admin@mpa.org • www.mpa.org

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[ Y O U A R E G R A N T E D P E R M I S S I O N T O M A K E C O P I E S O F T H I S PA G E T O S H A R E W I T H Y O U R S TA F F. ]

Keep It Legal.

Copyrighted music is a piece of property, and if you want to use it, you must ask the owner for permission. You may or may not receive permission, but when you use someone else’s property, you must have their permission. This is true for musical works as much as for anything else you own. The music you use is created by composers, arrangers and publishers, and, to ensure future music is available, they must be compensated for it. The future of music is very much in your hands. Music Copyright Law Guide*:

What You Can Do:

Getting Permission:

1. You may make emergency photocopies to replace missing parts for an imminent performance, provided you replace all copies with purchased music in due course. 2. You may edit or simplify music as long as the fundamental character of the work is not distorted. Note: You may not alter or add lyrics. 3. Teachers may make 1 copy per student of excerpts of musical works for academic purposes. Note: The excerpts can not be used for performance. The excerpt can not comprise more than 10% of the complete work or comprise a performable unit. 4. Teachers may make a single copy of a student performance to be used for evaluation or rehearsal purposes. 5. Teachers may make a single copy of a recording owned by the institution or teacher for creating aural exercises or examinations. Note: This pertains only to the copyright of the music itself and not to any copyright which may exist in the sound recording.

The Music Publishers Association of the United States helps you find information on our website mpa.org so you can obtain permission from copyright owners.* 1. If you have a copy of the music, look for the copyright holder or publisher's name, and use the “Copyright Search” link on mpa.org to access the Music Publisher Directory and index of Publishers’ Imprints to find the publisher’s contact information. 2. If you do not know or can’t locate the publisher of the music, research further by accessing one of the three U.S. performing rights organization websites. Links to each are provided on mpa.org in the “Copyright Search” section. • ascap.com/ace ACE is the searchable database of the American Society of Composers, Authors and Publishers • bmi.com Search by song name to access publisher information on songs licensed by BMI. Some additional non-BMI publishers will also be listed. • sesac.com Access the “repertory” link to search titles for the SESAC. While the organization is called the Society of European Stage Authors & Composers, the organization now spans internationally and in all genres. 3. How to secure permission for sound recordings? If you copy and distribute recordings of songs which you did not write and are not in the public domain. • harryfox.com Use the Songfile search and the License Music link to obtain mechanical and other rights information. 4. Permission forms are available on many publishers’ websites or use the forms provided at mpa.org/copyright_resource_center/forms 5. How do I know if a work is still protected by copyright, or if it is in the public domain? • Know the law: Works in the U.S. wth a copyright date of 1922 or earlier are in the public domain. Works created after January 1, 1978 will be protected for the life of the composer (author) plus 70 years. Copyrights in effect on that date, if renewed, will continue for 75 years from the date copyright was originally secured. Those works in their initial 28-year period of copyright on January 1, 1978 can be renewed for an additional 47 years, while the copyright of works in their renewal term on that date were automatically extended for an additional 19 years. • Still not sure? Try the Library of Congress. Visit copyright.gov/records to search for copyrighted works.

What You Can’t Do: 1. Do not copy or download music to avoid purchase. 2. Do not keep photocopies in your library. Destroy any unauthorized photocopies immediately and replace them with legal editions. 3. Do not copy out-of-print works without permission of the publisher. Note: If it is vital you obtain music that is out-of-print, contact the publisher directly. They can confirm if the work is out of print and can sometimes arrange for you to obtain a legal copy. 4. Do not make arrangements of works without permission of the copyright owner. 5. Do not copy music for use in performance unless you replace it with a legal edition in due course. 6. Do not copy without including copyright notice. 7. Do not copy to create anthologies or compilations. 8. Do not reproduce material designed to be consumable, such as workbooks, standardized tests and answer sheets. 9. You can not use the excuse of not knowing the copyright owner for not following copyright law. Resources are readily available to help you do so.

* This guide is based on the U.S. copyright law of 1976. The links to various sites are offered as a search tool. The MPA assumes no liability for any errors or omissions in the information found at these organizations' web sites. For more information, see The United States Copyright Law - A Practical Outline, available online at MENC.org

Music Publishers’ Association of the United States 243 5th Avenue, Suite 236, New York, NY 10016 • admin@mpa.org • www.mpa.org

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CDUpfront

2010 Best Tools for Schools As presented by

he 2010 NAMM Show in Anaheim, California offered music educators a unique opportunity to participate in the music industry convention featuring hundreds of instrument, accessory,

and software manufacturers, publishers, dealers, and artists. For the first time, School Band & Orchestra,

CDâ&#x20AC;&#x2122;s sister magazine, invited educators to walk the NAMM exhibit halls in search of the most useful products for use in the classroom and with student musicians. Teachers and school administrators in attendance filled out specially designed ballots indicating their top choices in 13 different categories. On Sunday, January 17th, a panel of five educators, along with SBO and CD publisher Rick Kessel, presented the winners of the 2010 Best Tools for Schools.

Best Recording Tool

Best Tool for Music Theory

SoundSoap Pro

Essentials of Music Theory, Vol. 1-3

Biasâ&#x20AC;&#x2122; SoundSoap Pro is an advanced noise reduction and audio restoration program that can remove individual frequencies, eliminating hums, crackles, rumbles, and clicks from a recording. www.bias-inc.com

Essentials of Music Theory, Volumes 1-3 is an all-in-one series that includes concise lessons with short exercises, ear training activities, and reviews. It is available in three separate volumes or as a complete set. www.alfred.com

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Best Notation Tool

Best Rewards & Incentives

Noteflight

AIM Musical Gifts Noteflight is an online music writing program that allows users to write, view, print, and hear music notation right in a Web browser. www.noteflight.com

AIM Musical Gifts offers over 10,000 musical gift items, including musicthemed pins, magnets, toys, stickers, and key chains. www.aimgifts.com

Best Web Tool

Other Winners

YouTube in Music Education by Tom Rudolph and James Frankel

Best Tool for Beginners Sound Innovations Method Book

Noted educators and authors Tom Rudolph and James Frankel have published this handy volume which takes educators on an exploration of how to best utilize YouTube in the classroom and beyond. www.halleonard.com

www.alfred.com

Best Tool for Intermediates Guitar and Piano for Dummies, 50 Guitar Licks You Must Know www.emediamusic.com

Best Tool for Improvisation Definitive Piano Improvisation Home Study Course www.yokewong.net

Best Innovative Tool BodyBeat Compact Pulsing Metronome www.petersonemp.com

Best Time Saver/Assessment Tool SmartMusic Gradebook www.smartmusic.com

Best Eco Friendly Tool

Coolest Game

Wheatware www.wheatware.com

Best Gadget

Muzundrum: the Game of Musicians Muzundrum is a music-theory crossword game featuring 12-sided musical dice that are used to form scales and triads. www.muzundrum.com

Jammit app for iPhone www.jammit.com

Honorable Mention Rhythm Ring www.rhythmring.com Guitar Hands Cleansing Lotion www.truemoisture.com Sound Disk Beanies www.www.aerial7.com Mixcraft 4, Spin It Again www.acoustical.com iZotope RX www.izotope.com Choral Director, March 2010 11

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CDReport: Travel

Travel: Where There’s a Will…

raveling with a performance group is often one of the most memorable and exciting aspects of a school music program, for students and directors alike. The opportunity to set a goal far in advance,

and then put in the hours of preparation to actually achieve that goal serves to bring a group together like little else. From performing and preparing musically to the process of fundraising and even developing the maturity necessary to venture afar, there is so much to be gained from taking a school music group on the road. Yet, planning a successful performance tour with a group of children (or young adults, if you prefer) is no walk in the park. Between current economic hardship and ever-heightening security concerns, not to mention rising costs for airfare and even gas, directors looking to take their groups on the road have some significant hurdles to clear. To gain a better understanding of how current affairs are affecting the world of school music travel, Choral Director caught up with a number of industry professionals, who were eager to share their thoughts on the subject while providing some vital travel tips. “Safety is of paramount importance and actually involves the totality of the organization, planning, and travel process,” says Ronald Blake, manager at Casterbridge Concert Tours. “There is no substitute for proven experience and continu-

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ity over decades of operating safe and successful performing programs overseas. Look for a specialist company accredited by international travel associations, such as ASTA (American Society of Travel Agents), ETOA (European Tour Operators Association), IATA (International Air Transport Association), that specializes in performing tours and educational group travel with staff that have extensive travel backgrounds. This will bring benefits from the outset, including a unique level of expertise and personal attention. It is also imperative that a group travels with a professional tour operator who can provide some degree of protection and peace of mind.” When thinking about safety and security, Kyle Naylor, vice president of Heritage Festivals, also advises that school music directors stick with established professionals. “Make sure that the trip provider is experienced, stable, and adequately insured. Many ‘mom and pop’ operations are sweet and nice to deal with before departure, but ill-equipped to handle many kinds of emergencies.” Jane Larson, a manager at Witte Travel & Tours, suggests that student discipline is a large part of travel safety. “The primary safety concern for any student group is to make sure that students follow the rules and do not do things they shouldn’t,” she says. “The following suggestions are applicable regardless of the destination: First of all, there should be a ‘conduct contract’ that parents sign. The parents must agree that the student will be sent home at the parents’ expense if the students break the contract. Second, the group’s director (choir or band director) must be considered as the overall group leader working in partnership with tour personnel (tour manager, driver, et cetera). And thirdly, the chaperones should be assigned to a particular group of students (and when possible, they should not be the chaperone for their own child). The chaperones must support the rules and decisions of the director. The safety of the students must be their number one priority.” While there are a number of precautions one can take to help ensure a safe trip, travel and tour professionals are

“We have not seen national security issues affecting our group travels.”

split on how national security concerns have impacted traveling school music groups. “To this point, we have not seen national security issues affecting our group travels,” says Donna Adam, general manager of Educational Tours, Inc. Heritage Festivals’ Kyle Naylor, on the other hand, disagrees, noting, “It has certainly made it more difficult to secure permission from administrators and school boards and drastically impacted international travel – including in and out of Canada.” And then there are financial realities that school districts, parents, teachers, and students must contend with. Some programs find an increased need for fundraising, while others opt to save on costs by reducing the duration of the trip or simply not going as far. However, one thing is for certain, and that is that student music groups are still hitting the road. “We still have a lot of groups traveling,” says Todd Rogers of Bob Rogers Travel. “We have found that parents overwhelmingly still want their children to have the

travel experience that their siblings or they had as students. Fundraisers are key during tougher economic times. We are also seeing many groups get donations from local businesses to help fund the trip.” As for cost-cutting measures, for groups flying domestically, Rogers recommends renting a van for the equipment and having two parents volunteer to drive to the destination. “This alleviates extra charges for luggage and equipment at the airport,” he says. While perhaps immune from security concerns, Donna Adam admits that she has seen the down economy affecting school music ensembles. “Many of our groups are staying closer to home, with many groups having lower than normal participant numbers,” she says. “Some have had to postpone their trip for an additional year, allowing more time to raise funds. To address the economic situation of many group participants, some groups have shortened their trips from three or four nights to one or two nights. Some have revised their itinerary to a destination closer to home. This can significantly reduce the cost of the motorcoach to the group, and

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MUSIC APPRECIATION at the 2010 Norfolk NATO Festival April 28 â&#x20AC;&#x201C; May 1, 2010

Let Performing Arts Consultants help you orchestrate an unforgettable trip! Join us in Norfolk for a weekend filled with outstanding entertainment and performance opportunities for your students. Exciting events include the Virginia International Tattoo and the Parade of Nations along with Choral, Jazz and Instrumental groups performing at Chrysler Hall and much more. Call 1-800-USA-FEST or email mike@usafest.org and start planning today.

Capital University

Conservatory of Music Dr. Lynda Hasseler Director of Choral Activities

UĂ&#x160;Ă&#x160;Â&#x2DC;>Ă&#x152;Â&#x2C6;Â&#x153;Â&#x2DC;>Â?Â?Ă&#x17E;Ă&#x160;>Â&#x2DC;`Ă&#x160;Â&#x2C6;Â&#x2DC;Ă&#x152;iĂ&#x20AC;Â&#x2DC;>Ă&#x152;Â&#x2C6;Â&#x153;Â&#x2DC;>Â?Â?Ă&#x17E;Ă&#x160;renowned Chapel Choir]Ă&#x160;iĂ&#x192;Ă&#x152;>LÂ?Â&#x2C6;Ă&#x192;Â&#x2026;i`Ă&#x160;Â&#x2C6;Â&#x2DC;Ă&#x160;Ă&#x160;Ă&#x160; Ă&#x160;Ă&#x160;Ă&#x160;Ă&#x160;ÂŁÂ&#x2122;Ă&#x201C;Â&#x2122;]Ă&#x160;Ă&#x153;Â&#x2C6;Ă&#x152;Â&#x2026;Ă&#x160;Ă&#x20AC;iViÂ&#x2DC;Ă&#x152;Ă&#x160;Ă&#x152;Â&#x153;Ă&#x2022;Ă&#x20AC;Ă&#x192;Ă&#x160;Ă&#x152;Â&#x153;Ă&#x160; Â&#x2026;Â&#x2C6;Â&#x2DC;>]Ă&#x160; Â&#x153;Â&#x2DC;}Ă&#x160; Â&#x153;Â&#x2DC;}]Ă&#x160; >ÂŤ>Â&#x2DC;]Ă&#x160; Ă&#x2022;Ă&#x192;Ă&#x152;Ă&#x20AC;Â&#x2C6;>]Ă&#x160; iĂ&#x20AC;Â&#x201C;>Â&#x2DC;Ă&#x17E;]Ă&#x160; Ă&#x160;Ă&#x160;Ă&#x160;Ă&#x160; Ă˘iVÂ&#x2026;Ă&#x160;,iÂŤĂ&#x2022;LÂ?Â&#x2C6;VĂ&#x160;>Â&#x2DC;`Ă&#x160;Ă&#x152;Â&#x2026;Ă&#x20AC;Â&#x153;Ă&#x2022;}Â&#x2026;Â&#x153;Ă&#x2022;Ă&#x152;Ă&#x160;Ă&#x152;Â&#x2026;iĂ&#x160;1Â&#x2DC;Â&#x2C6;Ă&#x152;i`Ă&#x160;-Ă&#x152;>Ă&#x152;iĂ&#x192; UĂ&#x160;Ă&#x160;Ă&#x152;Â&#x2026;iĂ&#x160;ďŹ nestĂ&#x160;Â&#x2C6;Â&#x2DC;Ă&#x160;musical educationĂ&#x160;>Â&#x2DC;`Ă&#x160;Ă&#x152;Ă&#x20AC;>Â&#x2C6;Â&#x2DC;Â&#x2C6;Â&#x2DC;}]Ă&#x160;VÂ&#x153;Ă&#x2022;ÂŤÂ?i`Ă&#x160;Ă&#x153;Â&#x2C6;Ă&#x152;Â&#x2026;Ă&#x160;>Ă&#x160;ÂľĂ&#x2022;>Â?Â&#x2C6;Ă&#x152;Ă&#x17E;Ă&#x160; Ă&#x160;Ă&#x160;Ă&#x160;Ă&#x160;liberal-arts educationĂ&#x160;Ă&#x152;>Ă&#x2022;}Â&#x2026;Ă&#x152;Ă&#x160;Â&#x2C6;Â&#x2DC;Ă&#x160;>Ă&#x160;V>Ă&#x20AC;Â&#x2C6;Â&#x2DC;}Ă&#x160;iÂ&#x2DC;Ă&#x203A;Â&#x2C6;Ă&#x20AC;Â&#x153;Â&#x2DC;Â&#x201C;iÂ&#x2DC;Ă&#x152; UĂ&#x160;Ă&#x160;ÂŁnĂ&#x160;Ă&#x2022;Â&#x2DC;`iĂ&#x20AC;}Ă&#x20AC;>`Ă&#x2022;>Ă&#x152;iĂ&#x160;Â&#x201C;>Â?Â&#x153;Ă&#x20AC;Ă&#x192;Ă&#x160;Â&#x2C6;Â&#x2DC;VÂ?Ă&#x2022;`Â&#x2C6;Â&#x2DC;}Ă&#x160;vocal performanceĂ&#x160;Ă&#x153;Â&#x2C6;Ă&#x152;Â&#x2026;Ă&#x160;Â&#x153;ÂŤĂ&#x152;Â&#x2C6;Â&#x153;Â&#x2DC;>Â?Ă&#x160; Ă&#x160;Ă&#x160;Ă&#x160;Ă&#x160;music theatre emphasis]Ă&#x160;>Â&#x2DC;`Ă&#x160;vocal music education UĂ&#x160;Ă&#x160;master of music in music education, KodĂĄly track]Ă&#x160;>Ă&#x152;Ă&#x152;>Â&#x2C6;Â&#x2DC;>LÂ?iĂ&#x160;Â&#x2C6;Â&#x2DC;Ă&#x160; Ă&#x160;Ă&#x160;Ă&#x160;Ă&#x160;three summer sessions Â&#x153;Ă&#x20AC;Ă&#x160;Â&#x2C6;Â&#x2DC;vÂ&#x153;Ă&#x20AC;Â&#x201C;>Ă&#x152;Â&#x2C6;Â&#x153;Â&#x2DC;Ă&#x160;>LÂ&#x153;Ă&#x2022;Ă&#x152;Ă&#x160; >ÂŤÂ&#x2C6;Ă&#x152;>Â?Â˝Ă&#x192;Ă&#x160;Ă&#x2022;Â&#x2DC;`iĂ&#x20AC;}Ă&#x20AC;>`Ă&#x2022;>Ă&#x152;iĂ&#x160; ÂŤĂ&#x20AC;Â&#x153;}Ă&#x20AC;>Â&#x201C;Ă&#x192;]Ă&#x160;VÂ&#x153;Â&#x2DC;Ă&#x152;>VĂ&#x152;Ă&#x160;Heather MasseyĂ&#x160;ÂĂ&#x152;Â&#x153;Â?Â?Â&#x2021;vĂ&#x20AC;iiÂŽĂ&#x160; >Ă&#x152;Ă&#x160;ÂnĂ&#x2C6;Ă&#x2C6;ÂŽĂ&#x160;x{{Â&#x2021;Ă&#x2C6;ÂŁĂ&#x2021;xĂ&#x160;Â&#x153;Ă&#x20AC;Ă&#x160;Â&#x2026;Â&#x201C;>Ă&#x192;Ă&#x192;iĂ&#x17E;JV>ÂŤÂ&#x2C6;Ă&#x152;>Â?Â°i`Ă&#x2022;Â° Â&#x153;Ă&#x20AC;Ă&#x160;Â&#x2C6;Â&#x2DC;vÂ&#x153;Ă&#x20AC;Â&#x201C;>Ă&#x152;Â&#x2C6;Â&#x153;Â&#x2DC;Ă&#x160;>LÂ&#x153;Ă&#x2022;Ă&#x152;Ă&#x160;Ă&#x152;Â&#x2026;iĂ&#x160; Ă&#x160; Â&#x153;`?Â?Ă&#x17E;Ă&#x160; ÂŤĂ&#x20AC;Â&#x153;}Ă&#x20AC;>Â&#x201C;]Ă&#x160;VÂ&#x153;Â&#x2DC;Ă&#x152;>VĂ&#x152;Ă&#x160;Tracy HerrmannĂ&#x160;>Ă&#x152;Ă&#x160; ÂĂ&#x2C6;ÂŁ{ÂŽĂ&#x160;Ă&#x201C;Ă&#x17D;Ă&#x2C6;Â&#x2021;Ă&#x2C6;Ă&#x201C;Ă&#x2C6;Ă&#x2021;Ă&#x160;Â&#x153;Ă&#x20AC;Ă&#x160;Ă&#x152;Â&#x2026;iĂ&#x20AC;Ă&#x20AC;Â&#x201C;>Â&#x2DC;JV>ÂŤÂ&#x2C6;Ă&#x152;>Â?Â°i`Ă&#x2022;Â°

music.capital.edu Choir recordings available at www.capitalbookstore.com

can then make the trip affordable for more students. Many are also choosing activities that are not quite as costly, while still ensuring their students are getting a great experience.â&#x20AC;? Directors looking to travel on a tight budget should also be on the lookout for â&#x20AC;&#x153;freeâ&#x20AC;? opportunities that student groups can participate in or visit. â&#x20AC;&#x153;The CVBs (Convention and Visitors Bureau) in each area can assist the travel planner in finding these activities,â&#x20AC;? continues Adam. â&#x20AC;&#x153;Dining options should also be reviewed. Less costly meals can significantly reduce the trip cost. Also, doing a performance and clinic rather than a festival can help considerably with keeping cost down. Be open to shortening the length of the trip. A group can still have a wonderful experience with only one or two nights at a destination rather than three or four nights.â&#x20AC;? Tim Hill, director of Special Programs for Disney Destinations, also has seen that many groups have been affected by the rough economic climate, but notes that this hasnâ&#x20AC;&#x2122;t translated into a decline in attendance at Disney programs. â&#x20AC;&#x153;We continue to see students, schools and families want the best for their children and they continue to support student travel because it is an important educational and performance moment for studentâ&#x20AC;&#x2122;s growth,â&#x20AC;? he says. â&#x20AC;&#x153;We hear from our traveling groups that the economic cutbacks have been significant in the schools and they are relying more on fundraising.â&#x20AC;? Yet, Hill notes, â&#x20AC;&#x153;Disney Performing Arts has not experienced a significant decline in traveling groups.â&#x20AC;? Keith Snode, president of New Horizons Tour & Travel, suggests pooling knowledge and resources as a cost-saving measure. â&#x20AC;&#x153;One of the best ideas is to talk with other school groups that travel about combining trips. If you donâ&#x20AC;&#x2122;t have other groups in the same school, talk to educators at neighboring districts. When planning the tour, start out conservative in your inclusions. If you end up making more money than anticipated in fundraising, you can always add items to the itinerary. This way it makes the trip more affordable, upfront, for more people.â&#x20AC;? â&#x20AC;&#x153;The surprising thing is that the student groups are still traveling â&#x20AC;&#x201C; and not

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just from the more wealthy school districts,” observes Jane Larson of Witte Travel & Tours. “If the teacher or music director is committed to the value of travel, the parents will make other sacrifices so that their child has this opportunity. We have found that more and more student groups are choosing to travel off-season for international travel (spring break instead of summer). Also, the typical international tour is now seven or eight nights instead of 10 or 12. If international travel or long distance travel is not within the budget, groups are planning shorter tours closer to home.” Larson also suggests combining school groups, and perhaps planning shorter trips closer to home, but there is one aspect of traveling that she thinks absolutely must remain in the budget. “We do not recommend taking out all of the sightseeing and meal costs out of the tour cost to lower perceived expenses,” she cautions. “The students will still have to pay for these things. If some of the meals are op-

tional, they need to make sure there are inexpensive options.” Casterbridge’s Ron Blake recommends taking a “holistic” approach to planning a tour – and starting the planning early. “Think about the most cost effective times of the year to travel and bear in mind that at some point in the cost cutting process quality of the tour experience can start to be eroded. Begin planning as early as possible. Simply adding concerts to a sightseeing tour does not make a performance tour. A holistic approach to music and art does. Daytime activities should tie in with concerts. The cultural and educational content should be a natural extension of the performances. These tangible ingredients can add to the full musical experience of a performance tour. Truly remarkable performance tours are composed of many layers and details.” “Plan as early as possible and give your students plenty of time to pay for the trip,” reiterates Keith Snode. Although some people might not fully grasp the value of getting a per-

forming group out on the road, the potential positives must not be overlooked. As Ron Blake notes, “Performing overseas offers a unique musical and cultural experience. Today more than ever before, travel is an invaluable means of personal growth and promotes cultural understanding.” Donna Adam concurs, noting, “So much can be gained from traveling with your peers. Group trips during the school years teach kids to take care of themselves when they’re away from home and give them the confidence they need to go out into the world after graduation. Traveling opens up a whole new world to these young adults, many of whom never would get to have such an experience if it weren’t for these school trips.” Factors like group security and fundraising might complicate the planning process and deter the undetermined, but for those directors who are intent on bringing their performing groups on the road, where there’s a will, there’s a way.

Your students won’t just experience the 18th century. They’ll be part of it. Students always leave here with memories and stories about the past that last long into the future. Join us for unforgettable, interactive experiences that are both fun and educational, including guided tours, special programs, and hands~on activities. Fife and drum groups perform daily, along with demonstrations of 18th~century instruments.Visits can be tailored to any group’s needs, including lodging, dining, 18th~century tavern meals, and entertainment.

Group packages are available for 15 students or more. Be sure to ask about performance opportunities for music or choral groups of 25~75 students. To plan a trip or make reservations, call 1~800~4oo~2862 or visit colonialwilliamsburg.com/grouptours.

Be part of the story.

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Bill Liberatore:

A Music & Fervor for

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BY DENYCE NEILSON

Travel

As we all know, being a music educator requires a great amount of patience, logistical wizardry, a sense of humor, and an infectious passion for music that can be relayed to students. There are those teachers who fearlessly face these demands every day, and then there are those who embrace these challenges with a sense of excitement.

Gunn Choirs perform at St. Nicholas Cathedral, Prague, Czech Republic. All Photos by Donald Anderson

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Choral director Bill Liberatore is one who is not afraid to seek out challenges and explore new possibilities for his students. To do this, Bill has reached out and gained the support of his local Palo Alto, Calif. community. His choirs perform at local churches, senior centers, and local holiday events. The Gunn High School choral program has not only grown in numbers, but has gained recognition locally and even internationally. Bill likes to think big. He believes in giving his students experiences and opportunities of a lifetime such as singing under the dome of Saint Paulâ&#x20AC;&#x2122;s Cathedral in London or performing at the Spanish Synagogue in Prague. Choral Director caught up with Bill to chat about his Gunn High School choral program and what motivates him to reach higher and want more. Choral Director: What is your musical background? What inspired you to pursue a career in music education?

Bill Liberatore: When I was a sophomore in college I transferred to San Jose State University. Charlene Archibeque was the choral director there, and she introduced me to the thrill of great choral music and the excitement of teaching. Charlene was a master teacher of teachers and inspired many of her singers to become teachers themselves.

CD: Obviously you were one of those she inspired. How long have you been the choral director at Gunn High School? BL: I started my career in 1986 and have been at Gunn High School since the fall of 1989. I was actually hired at Gunn as the band director, not the choir director, even though my back-

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ground was choral. I had just done three years as a band director at another school, and I somehow managed to grab the job. CD: Since taking the helm what have you brought to the program that wasnâ&#x20AC;&#x2122;t there before? BL: I started my position as choral

director with a total of 14 girls. Now I have 140 students. It was very exciting in those early years because there was nowhere to go but up. A lot of different things have contributed to the growth. I think putting out a quality product is the first thing you have to do when you want to build numbers. My small girlsâ&#x20AC;&#x2122; choir that first year got unanimous superiors at CMEA and a gold rating at a festival during their first trip. CD: Your program has successfully grown in numbers. What are your own personal highlights of your ensemblesâ&#x20AC;&#x2122; accomplishments? BL: I think the things I am most proud of are the connections we

have made in the Palo Alto community. We are a group that sings for many community organizations, and over the holidays we are giving concerts almost daily for senior citizens, church groups, and all kinds of events. My favorite yearly event is a musical starring not only our choir students, but a huge number of teachers and staff. Itâ&#x20AC;&#x2122;s a great tradition at Gunn, and it really pulls the Palo Alto community together. I am very proud that we have sung in so many places around the world. We have performed at Saint Paulâ&#x20AC;&#x2122;s in London; we have sung mass at the Vatican, we have sung in churches in New York, Prague, and Vienna. I am very proud of those performances and all the work we put into them. We have also received lots of unanimous superiors at festivals and received awards at Heritage Festivals, but it is really the connections to the community and the traveling that I am most proud of.

Gunn Choirs at a Glance Location: 780 Arastradero Road, Palo Alto, Calif. On the Web: www.gunnchoir.org Director: Bill Liberatore Choral Ensembles: Treble Choir Concert Choir Chamber Singers There are 140 singers in the program. CD: Why is traveling so important for choral programs? BL: I think trips build community and really inspire the kids to work harder as we move towards the end of each year. Some of my favorite tours have been to England, Australia, Italy, Prague, and

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CD: How do you go about planning a tour? BL: I work with Kingsway International when I am planning to travel outside the country, and I work with Heritage Festivals when I am doing something in the U.S. I absolutely adore both companies. If you go with an established company you can trust, you are going to have a great trip. CD: Europe can be quite the costly destination. How do you raise funds?

Gunn choirs perform at St. Peter’s, Vienna, Austria.

Vienna. I also love any chance to take the choir to New York City. CD: What motivates you year after year to travel these long distances with your students? It is a tremendous amount of work. BL: I see it as something that fuels

my whole program. Touring motivates everyone, especially me, to work for a higher level of quality. The stakes are much higher. It brings us together as a community to raise all of that money for the students who are unable to af-

ford to go on a trip. It also brings us together when we are traveling; we become more of a group. When I was in school choir, I found those experiences life-changing. One of my high school teachers brought our chamber choir to Mexico City and Oaxaca. I also went on choir trips in college. I just love to travel; I love the energy it brings. I’m an adrenaline junkie. What’s more of an adrenaline rush than putting 100 teenagers on a plane to Prague?

BL: We don’t sell cookie dough – you can’t get a choir to Rome by selling cookie dough. We do a lot o singing to raise funds. Last week we sang for the Palo Alto Kiwanis, and they paid us $500 bucks. Once a year, we put on a big, lavish show, charge a very high ticket price, and make a huge profit. We also receive many donations. Palo Alto has many families who can afford to send their students on trips, but quite a few cannot. We raise all the funds we can and distribute them to the families who cannot afford the full cost. It is a little tricky to sort through all of that and to figure out how to allocate the funds, but it always works out. We work really hard to make sure that every singer who wants to go on the tour gets to go on the tour. CD: That inclusiveness can be a positive message to convey to students. Do they absorb that and how do they react? BL: The whole community is supportive of it. I think that’s why I’ve been able to do it over and over again. I’m lucky to be in a place where people

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have a lot of resources â&#x20AC;&#x201C; not everyone does, but many do. The ones who do donâ&#x20AC;&#x2122;t mind paying the full price. They donâ&#x20AC;&#x2122;t mind that I use the money from our local performances, Christmas caroling, and donations to give to the people who need it. The parents who can help donâ&#x20AC;&#x2122;t mind helping because they appreciate the experience their child is getting â&#x20AC;&#x201C; by making it possible for every student to travel, their child is singing in a 100-person choir, rather than a 24person choir of unbalanced voices. The parents are a large factor in this. I have a great relationship with the parents. Many of them travel with us as chaperones, and we just have a great time. Some of the parents have been doing these trips with me for years, even after their children have graduated. They still want to be a part of it. But, I know that every community is not like that.

when you think you have a great crop of tenors and basses, you turn around and everyone has graduated or left, and you have to take a deep breath, go back in there and do it again and again. There is no relying on your past accomplishments. Every year is a new challenge. This year was really tough. We came back from our tour of Prague and Vienna and most of the senior boys dropped out. They decided that they had gotten all they were going to get out of choir. That had never happened to me. It was hard, but what is so wonderful is the energy and enthusiasm that has come with the new blood. My new guys are so fantastic and enthusiastic, and it has turned into one of my favorite school years ever. But it was hard those first few weeks. You just have to be willing to keep looking forward and connecting with the choir that is in front of you at that moment. CD: What have you found to be the most rewarding aspect of your job? BL: I like giving my students opportunities that many of them will not have again â&#x20AC;&#x201C; traveling with a perform-

ing group, singing in some of the most amazing churches in the world, experiencing the thrill of choral music that they would have never connected with if it were not for choir.

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CD: The economy and the school budget cuts in California have not impacted your program? BL: I donâ&#x20AC;&#x2122;t get that much money for my program to start with. What they give me is such a minimal fraction of what it takes to run a program. I spend 10 months out of the year hustling money. Itâ&#x20AC;&#x2122;s fine â&#x20AC;&#x201C; I accept that as part of what you do when you work in the arts, whether itâ&#x20AC;&#x2122;s at a high school or a community theatre. Thatâ&#x20AC;&#x2122;s the nature and history of the arts. I donâ&#x20AC;&#x2122;t see it as a negative thing. I find it exciting to plan big things that are challenging.

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CD: What are some of the tougher, not so fun challenges you have had to face as a music educator? BL: I think one of the most challenging things is to get used to the fact that these programs are ever evolving. Just

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CDSurvey: Summer Camps & Workshops

rom symposiums to conventions and workshops to summer

camps, opportunities for musical enrichment abound in the summer time. Both choral directors and their students can find a program that will introduce new concepts and rep-

ertoire, reinforce technique, and provide likeminded choristers a chance to bond and learn together.

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While the responses to this recent Choral Director reader survey were chock full of educators singing the praises of vocal camps and workshops, it seems that less than half of the responding choral directors regularly attend these types of programs themselves. Unfortunately, student attendance appears to be even more sparse, with only eight percent of readers indicating that more than a few of their students regularly make it to a summer vocal music workshop or camp. As several readers mention, be sure to check for summer singing opportunities with your local branch of the ACDA and NEMC, at local colleges and universities, and with other national music education organizations. Also, don’t hesitate to share your thoughts on this recent reader survey by emailing: esussman@symphonypublishing.com.

Do you regularly attend or work at summer vocal workshops or music camps?

“I have not seen much interest in camps from my students for the past 10 years. I post the flyers from various schools, so the info is out there. It may be a financial issue.” Denise Ewers Dixon High School Dixon, Ill. “I have 140-150 students in my choirs out of a school population total of 340. Most are there because it’s fun. I have perhaps 10 who attend camps.” Wendy S. Swartley New Cumberland Middle School New Cumberland, Pa. “I teach in an urban setting. Most of the students do not have access to transportation to get them to camps outside of the downtown or northside parts of Chicago. Cost is also a factor.” Brooke Tippett Thompson Pierce School of International Studies Chicago, Ill.

Yes

46%

“My students have not gone to camps in the past, but I hope to change that this year.” Harriette Lovin South View Middle School Hope Mills, N.C.

54%

“I direct two choirs at USDAN Center for the Creative and Performing Arts. It is the greatest joy of my professional life!” Eileen M Benedict Edith L Slocum Elementary School Ronkonkoma, N.Y. “I used to attend about every other year, but financially have not been able to in the past couple of years.” Anthony Redman Luther Burbank Middle School Burbank, Calif.

How many of your students attend these types of programs? Most Some A few None

2% 6%

Do you work with any summer workshops to coordinate curriculum? Yes

12%

88%

“The showchoir camp gives us our curriculum for the next year.” Missey Graville Valley Park School District Valley Park, Mo.

54% 38%

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What is the ideal length of a summer workshop for high school vocal music students? One day

5% 27%

Two or three days

55%

One week

Two weeks One month

“My students are so busy that more than a week is probably hard for them to schedule. Two weeks would be great and a month even better, but I’m not sure kids from my district would go so long.” Wilma Messenger Briarcliff Manor Middle School Briarcliff Manor, N.Y. “My kids use the summer to make money, and many of them don’t want to sacrifice the hours at work in order to attend a [week-long] workshop. Going for two or three days would be more convenient for them.” Alisa Brown Concordia R-II Concordia, Mo.

Would you briefly describe some of the unique benefits of attending a vocal music workshop? What experiences would you expect your students to come away with? “I always walk away with fresh, new ideas for my choirs when I attend summer workshops. I cannot go through a summer without attending at least two. As for my students, they become stronger choral musicians and leaders amongst their peers whenever they attend a vocal camp or institute.” Jennifer Jessen-Foose Cedar Grove High School Cedar Grove, N.J.

teacher for an extended period. Working closely with their peers can help them gain confidence as well as give them an idea of the kind of talent they may be competing with in the future! Invariably, when my students have done a summer program, they come back with renewed interest and a better understanding and appreciation of what we aim to accomplish during the school year.” Margaret Anne Butterfield Wilmington Friends School Wilmington, Del. “Our local college provides a week-long workshop and it really widens the students horizons as to their abilities and what is out there for them to take advantage of. They are not all ‘American Idols’ and need to grow and develop their voices and performance techniques.” Kay Williams Austintown Fitch High School Austintown, Ohio

Are there any reservations you have about students attending summer music workshops, or is there anything that students should be wary of when seeking out such programs? “Generally, no. However, the less competitive and more collaborative it is for the average student, the better. The more aggressive vocalist might find that less fulfilling, but the majority of singers want to enjoy while they learn, not have to deal with tension and stress – especially at a summer camp.” David Hiett Regina Dominican High School Wilmette, Ill. “It should be understood by the student that some clinicians’ techniques will differ from the normal techniques they are used to using in the classroom. Have students understand that being open to other vocal techniques will help them become more diversified in approaching their individual vocal performance.” Jonathan Gunter Eastlawn Elementary School Burlington, N.C.

“Students have the opportunity to sing with other students that have common musical interests and skill levels. They hopefully would be exposed to a wide variety of literature that they may not get in their school setting.” Lenore Strouth Sibley East Arlington, Minn.

“Students and teachers should verify that the workshop is run by reputable individuals who are both experienced educators and performers. I recommend researching various camps and speaking to students and teachers who have attended the specific workshop you are interested in.” Skip Morris Eastern Wayne Middle School Goldsboro, N.C.

“Getting a fresh perspective on singing can be very helpful, especially if students have been with the same

“I think too much emphasis on music theatre can be an issue if it is not done well. Camps that try to offer a wide

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variety of the vocal spectrum are more appropriate for high school students.” Jason Sickel Louisburg High School Louisburg, Kan.

Additional thoughts on summer vocal music workshops?

“I think it’s a great idea, but probably the only students who would be interested in attending are the real ‘die-hard’ singers who are planning on majoring in voice. Other students, including some good singers, may still gravitate to other types of camps, including music theatre or arts camps with greater variety of activities.” Anna Marie Snader Saints Simon and Jude School West Chester, Pa.

“Unfortunately, I have students who cannot attend the workshops due to financial reasons. Our music parents organization does give partial scholarships, but more aid from other organizations would be helpful for some deserving kids.” Stacey Joseph Whitewater Middle School Whitewater, Wis.

“I wish there were more opportunities for children in early elementary grades to attend workshops that provide solid experience in general/vocal music, with an emphasis on singing games and music literacy. Not just ‘stand still and sing.’” Jean Mattoon Perley Elementary School Georgetown, Mass.

“When a student expresses interest, I always do some research into the camp’s history, reputation, and the resumes of those who are to be directors or clinicians. There are too many wonderful opportunities available to risk any student’s time in something less reputable.” Mindy D. Domer Carrollton High School Carrollton, Ohio

“Summer vocal music workshops provide a wonderful experience. Teaching at a Title I school with 70-80 percent on a free or reduced lunch makes it well nigh impossible for many of my students to even dream of being a part of such a program. If there was a federal or local grant that would provide funds for students in need, I know many of my students would benefit greatly from this experience.” Pat Gunning Garry Middle School Spokane, Wash.

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CDRepertoire Forum: Music About Music

Music About

Music It seems that composers, publishers, and conductors alike are drawn to music about music. Many composers – past and contemporary – have written music setting texts about music. Each year, several new works that fall into this category are released. This issue, I offer for your consideration a few ideas of choral works with texts about music. As usual, this article attempts to touch on old stand-bys as well as new releases. Also, please note the variety of voicings and difficulty levels in the following pieces, which come from a wide range of publishers and composers. - Drew Collins, forum editor

HANDEL Let’s Imitate Her Notes (G. F. Handel) This beloved Handel chorus is the final chorus of Alexander’s Feast or The Power of Musick. It is available in several voicings and editions.

orable lilt. There are many editions available, and they vary widely. To provide an opportunity for a talented soloist, the recitative Sweep, Sweep the String can precede it, though it is not included in most editions.

PURCELL

With Voices All Unite (G. F. Handel, arr. Wagner)

Come, Ye Sons of Art (Henry Purcell)

This is the final chorus of Handel’s oratorio Samson. For high school and festival choirs, I recommend Wagner’s simplified edition. “Sing and rejoice, with voices all unite. Music forever lives in notes of high delight.”

This is the first chorus from Purcell’s 20-minute long, multi-movement ode of the same title (also commonly called “Birthday Ode for Queen Mary”). It is secular, tuneful and has the kind of tune your singers will leave the rehearsal humming. There are several editions of just this movement in Purcell’s original SATB voicing, including one by John Haberlen (SATB; Kjos). Most SATB editions available with this title are actually of the entire ode, and so are quite

Music, Spread Thy Voice Around (G. F. Handel) A chorus from the oratorio Solomon. This is a charming piece in a fast triple meter, which results in a mem-

expensive. The whole ode is worth doing, and completely approachable by a high school choir, but I recommend you download the vocal score, full score and parts for free from cpdl.org. Depending on the edition you use, there will likely be several odd leaps for the voices, however you may find that they are easier to sing than they look. Note that in Purcell’s original SATB voicing, the altos have the melody throughout. Piano alone will work fine, or add trumpet for some color. There are also several re-voicings in print for 2-part treble and 3-part mixed ensembles that work quite well and which your singers will enjoy.

Sound the Trumpet (Henry Purcell) This is another excerpt from Purcell’s ode Come, Ye Sons of Art. Purcell intended it as a duet, but it is often performed by treble choirs. Teaching

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tools include free throat on held notes and vocal flexibility.

If Music Be the Food of Love Purcell’s own SATB arrangement of his solo melody is available for free download from cpdl.org. It is easy, and a good pick for a young madrigal group. Many contemporary composers have set the text as well, including David Dickau (SATB, SSAA, or TTBB; Colla Voce), Michael Larkin (SATB, Alfred), Donald McCullough (SATB; Hinshaw), James Mulholland (SATB; Colla Voce), and others.

CONTEMPORARY Musica (Matthew Armstrong) – pub. Lawson-Gould Lush harmonies and arching phrases provide a powerful and appropriate backdrop for this centuries-old text: “Music, the highest gift of God, affects mortals, affects gods. Music calms the angry soul and lifts the mournful spirit. Music even stirs the trees and moves wild beasts.” For advanced mixed choirs; note that it is unaccompanied, and that all parts divide. The texture starts out as homophonic, then expands and contracts with the dynamic map, taking the listener on an engaging journey. The opening bar may sound bet if sung by a small group of your best sopranos. Balance the opening chords carefully to achieve the mellifluous effect sought by the composer. The reader is encouraged to explore others of Armstrong’s choral works, available from a variety of publishers. This same text has also been set by Lassus (available for AATBBB, SATB div, and SSA voicings), Dvorak (in a recent SSA arrangement by Robert Sieving, which is quite lovely), and many modern composers including John Rutter and Stephen Chatman.

ways. There is great variation from moment to moment as the score progresses (changes in articulation, meter and key) giving the listener an exciting listening experience, yet Henderson finds ways to unify the music.

Cantus In Harmonia (Mack Wilberg) – pub. OUP Prolific and respected composer Mack Wilberg composed this piece over a decade ago. It is scored for piano four hands (both parts are easy), 3 percussionists, and SATB (with only brief and mild divisi). The text, which uses both Latin and English, is adapted from Alexander Pope’s 18th century poem Ode for Music on St. Cecilia’s Day, while the melody is based on the medieval secular tune “Olim in Armonia”. The scoring, text, and modal feel of the melody give the work an ancient feel.

We Are the Music Makers There are many settings of this Arthur O’Shaughnessy text (“We are the music makers, and we are the dreamers of dreams…Yet we are the movers and shakers of the world for ever, it seems.”). The text seems to evoke vastly different responses from each composer who sets it: tempos and

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styles vary widely. There are about 20 settings available from traditional publishers for just about every voicing and difficulty! That is far too many to discuss here, so I will simply encourage you to seek out the setting that resonates with you.

A Song For St. Cecelia (Brad Ellingboe) – pub. Kjos This John Dryden text was set by Handel in his Ode for St. Cecilia’s Day. University of New Mexico Director of Choral Activities Bradley Ellingboe has set it masterfully for choir and organ. His setting has a fanfare feeling to it, and would make a great opener.

Drew Collins is a choral conductor, composer and educator. He teaches choral music and music education at Wright State University (Dayton, Ohio). He is in demand as a clinician, festival conductor, author, composer, producer, and consultant. Visit www.drewcollins.com.

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Music Comes (Ruth Watson Henderson) – pub. Roger Dean Henderson originally wrote this setting of John Freeman’s poem for SSA choir, and published it just a couple of years ago. An SATB voicing has now followed. Both voicings employ piano, flute and oboe parts. Henderson uses the instruments to help depict the text, both in overt and subtle

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CDTechnology: Audio Enhancement

Audio Tools for Music Educators: Noise Cleaning & Audio Enhancements BY JOHN KUZMICH, JR.

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this is no longer the case. “Audio restoration” is a generalized term for the process of removing imperfections (such as hiss, crackle, noise, and buzz) from sound recordings. It can also enhance the audio quality of the original recording. There are 19 before-and-after recording examples to listen to help illustrate this process for you at www. kuzmich.com/Audio_Tables.html. A list of recording challenges that new audio 28 Choral Director, March 2010

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restoration software can correct include: • Removing Broadband Noise from a concert recording. • Using EQ and other tools with the spoken word. • Restoring an Historical Speech making voice more intelligible. • Removing clicks and pops from a concert on record. • Cleaning up a phone interview clipping. (You can’t remove clipping, but you can use click/crackle repair to minimize it. At the URL above, check out the WWII recording of a heavily clipped recording that was salvaged. • Removing guitar string squeaks. • Filling an audio gap. • Restoring old recordings removing unwanted noise. • Putting analog tapes or vinyl onto CDs. Before reviewing the audio restoration software applications, let’s look at some of the audio problems frequently found in recordings.

Hum and Buzz Hum is usually the result of electrical noise somewhere in recorded signal chain heard as a low frequency tone based between 50Hz or 60Hz. It only takes a few harmonics to create a hum or buzz. Software can suppress some of the harmonics.

Clipping Clipping is a common problem that occurs when a loud signal distorts on input to a sound card/converter, mixing console, field recorder or other piece of equipment. The result is overload distortion.

Intermittent Noises Intermittent noises appear infrequently and may not be consistent in pitch or duration. Examples include coughs, sneezes, footsteps, car horns, cell phone rings, et cetera. Because noises like this are often unpredictable, they usually need to be removed manually.

Gaps Sometimes a recording may include short sections of missing or corrupted audio. Using information around the gap to fill in the missing information with patterns and advanced re-synthesis is the usual remedy.

Audio Restoration Products I have found five products that remedy noise and audio problems while enhancing the audio recording by boosting high and low frequencies. • Spin It Again by Acoustica, standalone for PC.

• Magix Audio Cleaning 15 by Magix, stand-alone for PC. • SoundSoap 2 by BIAS-Inc., both plug-in and stand-alone for Mac and PC.. • SoundSoap 2 Pro by BIAS-Inc., for Mac and PC plug-in only. • iZotope RX and RX Advanced by iZotope, for Mac and PC plug-in and stand alone. As noted, some of these are standalone products and some are plugins that interface seamlessly with audio applications through either VST hosting applications, Audio Units (supported by Apple computers) or RTAS/AudioSuite (Real Time AudioSuite) for ProTools hosts. Popular VST hosting programs include Peak, Audition, Cubase, Digital Performer, GarageBand,Live, ProTools, Premier, and SoundForge. For a complete list of plug-in products, along with a host of other supplemental information related to this article, including links and examples, go online to www.kuzmich.com. A plug-in product lets you can run it seamlessly from inside of your familiar audio editing program using the editing program’s transport button, timeline, in-an-out markers and apply buttons. The advantage of a stand-alone application is that is it doesn’t require a compatible host program.

Hiss and Broadband Noise Unlike hum and buzz, broadband noise is spread throughout the frequency spectrum and not concentrated at specific frequencies. Tape hiss and noise ventilation systems are good examples of broadband noise. Addition examples can be heating, ventilation, and air condition systems, as well as DV camera motor or needle hiss.

Clicks and Pops Clicks and pops are common on recordings made from vinyl and can also be introduced by digital errors, including recording into a DAW with improper buffer settings. Most audio restoration products include both automatic and manual tools for removing clicks and pops.

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erything that you hear via the sound card. Non-copy-protected audio CDs and MP3 files can be imported without any problems. With a single click, you can eliminate clipping, crackling vinyl, audio disturbances, noise, popping, and humming from any recording. The cleaning wizard automatically analyses the audio material, selects the appropriate effects and goes to work. Fine tuning is also possible with the equalizer. There are numerous effects for producing a perfect, neutral stereo image. MAGIX Audio Cleaning Lab 15 Deluxe can also optimize the audio on your video recordings and even remove typical basic noise caused by nearly every camcorder.

Primer & Intermediate Levels For PC users who want an easyto-use product, Spin It Again by Acoustica does a superb job of basic noise reduction for tapes and records. It uses a wizard, which makes it very easy to achieve good results. I like how the product records vinyl LP or cassette to CD, dividing tracks, and also burns CDs. You can also record your LP collection and cassettes to your iPod or another portable MP3 player. There are 16 cleaning tools to get rid of clicks, pops, and crackles. MAGIX Audio Cleaning Lab 15 Deluxe offers an amazingly clean interface. Simply click “Record” and the integrated recorder records ev-

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Exporting restored files to various audio file formats is both simple and powerful. The interface works seamlessly with loading files, making recordings, and ripping CDs, all within one application. Another entry level application that works on both Mac and PC is the iZotope Music & Speech Cleaner based on their more powerful RX program. For more details, go to the supplemental Web site previously cited. It doesn’t have the wizard like Spin It Again, but it does have settings specific to speech instead of just music. SoundSoap by BIAS-Inc. is designed to be very easy to use, for the digital audio novices among us. The interface is set up to allow “one-click” noise reduction on pretty much any kind of unwanted background noise. SoundSoap is optimized for speech, but also works well with music. SoundSoap 2 dramatically reduces tape hiss, buzzing and hum, rumble and most other types of background noise. Just click the one-step “Learn Noise” button, and watch SoundSoap2 automatically clean your audio. This product can also fine-tune with its intuitive controls for even more professional results. Users will like the Enhance slider, which boosts highs and lows, bringing old recordings back to life. SoundSoap 2 works on both PC and Mac and is a step up from Spin It Again with a few nice features such as: Preserve Voice, which removes anything that is outside of the range of the human voice, and Learn Noise, which finds the “noise” in your recording and removes it. The first few seconds of a recording will usually have silence before the music starts, so this is a good place for SoundSoap 2 to “learn the noise.” If you don’t have a full two seconds of silence, you can use the “Loop” command in a host app, or in the stand-alone edition of SoundSoap, in a shorter section. SoundSoap 2 will work as a stand alone or as a plug-in within another audio editing program. SoundSoap is the most widely used cross-platform

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high-quality noise reduction tool available in its price range. It is also used by law enforcement agencies for forensics because it is so easy and effective.

a particular product works. Contact manufacturers for a demo version or a 30-day money back option. And for those who are new to audio restoration and digital audio

editing I suggest keeping it simple. If not used carefully, these unfamiliar controls and options could conspire to make the audio sound worse!

Professional Level SoundSoap 2 Pro exposes dozens of parameters that are preset in the more basic version. For advanced users who understand the different controls, this is the powerful audio restoration/noise reduction tool of choice. SoundSoap 2 Pro is the professional version of SoundSoap 2 and adds a number of features for advanced noise reduction. You can even compare 4 different settings at the same time to make the best selection. It combines four advanced restoration tools: BroadBand, Click & Crackle and Hum & Rumble, as well as a “Noise Only” setting so users can listen to what the program plans to remove. SoundSoap 2 Pro is particularly efficient in respect to click and crackle removal. Another powerful audio restoration software products is iZotope RX, which is basically a comprehensive toolbox for cleaning and repairing audio. RX removes hiss, buzz, eliminates clicks and crackles, and repairs distortion and even gaps in audio. It was designed for audio restoration and archiving, recording and mastering, broadcasting and podcasting, video production, and forensics. Key features include a denoiser, Spectral Repair, Declipper, hum removal, declicker, spectogram, and more. In addition to the usual noise reduction tools, iZotope RX has some very powerful tools such as the “Declipper” which can rescue recordings that were too “hot” and distorted. The “Spectral Repair” can actually fill in drop-outs or remove intermittent noises. Despite advanced features like these, the program is actually fairly easy to use.

Closing Comments While features themselves may seem important, educators really need to try the products to create an independent evaluation of how

Dr. John Kuzmich Jr. is a veteran music educator, jazz educator and music technologist with more than 41 years of public school teaching experience. He is a TI:ME-certified training instructor and has a Ph.D. in comprehensive musicianship. As a freelance author, Dr. Kuzmich has more than 400 articles and five textbooks published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S., Europe, Australia, and South America. For more information, visit www.kuzmich.com.

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NewProducts Superscope 400 Series of Digital Recording Systems

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per. The V-BANK features two 500GB hard drives, dual USB drive and SD card inputs, digital key control, pitch control, and media ripping capability. This unit builds on VocoPro’s Media Jukebox technology to create a massive media vault to store and play a digital library of music and video. With disc ripping capability, you can copy any non-copy protected CD, DVD, or DivX discs that you own to the on-board hard drives.

based recording studios, economically minded broadcast facilities, and traveling musicians. The new microphone comes in a black or nickel finish. The foam-lined grille of the TLM 102 helps to naturally reduce harsh “p” and “s” sounds, without the need of a pop filter. In addition, the elastically mounted capsule helps to reduce the sound of structure-borne noise without the need for an expensive shockmount.

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Avid’s Auralia and Musition Music Hal Leonard’s Don’t Stop Theory Software Believin’ Sheet Music Avid has released Auralia 4 and Mufrom “Glee” sition 4, new software solutions that tice and digital recording systems are portable SD Card and HDD audio recorders that can record MP3 files or WAV files using 16 or 24 bit. The USB interface allows for easy transfer of files to a computer or onto a USB storage device. The PSD410 is a SD Card recorder and the PSD450 features a 40GB hard drive and a CD burner for creating audio CDs and custom play lists. Both models are portable and can be battery operated.

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On Broadway Songbook

Alfred Publishing’s On Broadway Songbook was compiled by Andy Beck and Brian Fisher. This collection features musical theatre repertoire in original keys, suitable for auditions or performance and appropriate for singers of any age. The book includes a full page of background information about each song. The CD includes “full track” piano accompaniments as well as “short track” accompaniments (without repeats) for nine of the solos.

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provide musicians, student, and educators with flexible tools for ear-training and music theory education. Designed for musicians of all levels, Auralia and Musition offer drill-based, interactive instruction through versatile but structured exercises, and give users instant feedback to their performance so they can achieve maximum potential. Both programs also offer comprehensive Solfge support, and include customizable syllabi from AP Music Theory and Trinity Guildhall. And for the first time, Auralia and Musition are available for both Windows and Mac OS X platforms with the same feature set.

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Performed by the cast of 20th Century Fox Television’s musical comedy “Glee,” singers can recreate the sounds from the show as Mr. Schuester (Matthew Morrison) attempts to transform the Glee Club and inspire a group of ragtag performers to make it to the Show Choir Nationals. Available separately for: SATB, SAB, SSA, ShowTrax CD. Combo parts available digitally (tpt 1, tpt 2, tsax, tbn, syn, gtr, b, dm). Piano accompaniment sheet music is included.

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BriLee Music and Carl Fischer’s Part-by-Part Series

BriLee Music and Carl Fischer’s Part-by-Part Series is a resource of downloadable choral MP3s. An example of the many works that are available is “Antiphonal Kyrie,” two-part, unaccompanied, with music by Susan Thrift. The traditional ABA form of the “Kyrie” is supported by a change from the ‘antiphonal’ section of the “Kyrie” with the more homophonic treatment of the “Christe” in this setting. Susan Thrift also uses meter to reinforce form as she moves from the common time of the “Kyrie” to the 3/4 signature in the B section. This is a very sensitive setting of the familiar prayer and is suitable for both concert and festival use.

www.carlfischer.com

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1-800-964-5150 Rick Kessel - Publisher - x14 - rkessel@symphonypublishing.com Sidney Davis - Group Publisher - x13 sdavis@symphonypublishing.com Maureen Johan - Classified - x36 mjohan@symphonypublishing.com Iris Fox - Advertising Sales - 954-973-3555 ifox@symphonypublishing.com

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P R I N T • D I G I TA L • E - M A R K E T I N G 36 Choral Director, March 2010

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