Choral Director

SEPTEMBER 2011 $5.00

Miracle

Worker

Crenshaw Senior High School's

Iris Stevenson Report:

Fundraising

Survey:

Mentoring

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

Contents 26

6

September 2011

Features 6

REPORT: FUNDRAISING A handful of fundraising professionals share best practices for school groups running fundraising campaigns.

10

SURVEY: MENTORSHIP CD readers weigh in on mentorship, that critical support network that can be so beneficial to both new and experienced teachers.

14

UPCLOSE: IRIS STEVENSON Iris Stevenson, the revered choral director of South Central L.A.’s Crenshaw Senior High School, sheds some light on the choral program that has created incredible opportunities for thousands of kids from this notoriously underserved, gangriddled community.

22

GUEST EDITORIAL: GRANT WRITING Contributor D. L. Johnson goes in depth on the grant writing process, including his own effective approach.

26

ROUNDTABLE: A CAPPELLA Directors of collegiate a cappella choirs discuss emerging trends in this classic staple of campus life.

Columns 4 5 30 31 32

Opening Notes Headlines Vocal Tip Classifieds Ad Index

Cover photo by Sara Press, Los Angeles, Calif. www.sarapress.com Choral Director® Volume 8, Number 5, 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 © 2011 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

2 Choral Director, September 2011

14

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PERFORMING ARTS C

Opening Notes

Turning the Page

A

midst the myriad of elements that determine the identity of an ensemble, perhaps none defines it as much as the actual music its members perform. Repertoire is also the vehicle through which music is taught; through it, techniques can be introduced and reinforced, music theory is applied, and music history and appreciation become relevant. Repertoire also dictates how parents, administrators, other students, and the community perceive school music groups. And when selecting literature, its merits in both educational and entertainment value must be considered, as well as appropriateness in terms of difficulty, subject matter, and ensemble fit. Of the many challenges facing music directors and educators, finding and discerning great literature from the cacophony of available repertoire is among the most common sources of frustration.

Since 2004, this publication has been blessed with one of the premier authorities in choral literature today (and also a terrific writer), Drew Collins, who has sought to ease the burden of identifying great choral music for our readers through his “Repertoire is regular column, “Repertoire Forum.” Over the past seven years, Drew has analyzed and recommended hundreds of the vehicle pieces from all conceivable genres, from the great works through which in choral history to new compositions, from sacred music music is taught.” to jazz choir, from holiday classics and American folk music to selections from various cultures around the world, for all of the ensemble levels and voicings relevant to school vocal groups. By his estimate, Drew has written approximately 37 articles that have appeared in the pages of this publication, and within each of those are between 10 and 20 individual pieces reviewed for their overall feel and difficulty level. (These articles are all archived and available at www.choraldirectormag. com.)

However, the August 2011 edition of the Repertoire Forum written by Drew Collins was his last, as he is turning his full attention back to teaching, composing, conducting, and adjudicating. On behalf of our staff here at Symphony Publishing and our readership across the U.S., thank you, Drew, for your singular and exceptional contributions to this publication. Of course, the beat goes on, and CD is searching for the next great choral reviewer who can keep the Repertoire Forum alive and strong. (If you’re reading this and you have any suggestions or nominations, please email me at esussman@symphonypublishing.com.)

On another note, be sure to check out this issue’s interview with Iris Stevenson, a choral director who has given kids from a school in one of the most famously tough neighborhoods in America, South Central Los Angeles, opportunities that are, quite simply, miraculous…

®

September 2011 Volume 8, Number 5 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff

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HeadLines Beijing Philharmonic Vocal Groups Win Big at St. Petersburg

T

he Beijing Philharmonic Chorus emerged big winners in the annual Yuri Falik International Contest of Choral and Vocal Ensembles held recently in St. Petersburg, Russia. In the competition, 25 choirs competed to present the best in technical and artistic performance and overall presentation of the event in 12-minute programs. The Beijing Philharmonic group walked away winners in the grand prix, children’s choir and female choir categories. The event also awarded special prizes for best presentations of modern music, best performance of a St. Petersburg composer’s works, best folkloric performance, best soloist, best conductor and more. Read more at singingworld.spb.ru/.

Madeline Choir School Celebrates 15 Years

A

Salt Lake City kindergarten-through-eighth grade choral school turns 15 years old this fall. Madeline Choir School first opened its doors in August of 1996, when this year’s graduating eighth graders were just starting kindergarten. That year, the school counted 20 students in its youngest class. The school enrolls 275 students total, some of which have performed with the Utah Symphony and Opera during their studies at the school. Madeleine Choir School hopes to maintain two classes in each grade by 2018 and is in the process of raising $5.5 million to refurbish the 100-year-old Jacquelyn M. Erbin Hall to accom-

NAfME Announces 2012 Biennial Music Educators Conference

T

he 2012 Biennial Music Educators National Conference will take place next spring in St. Louis, Mo. It will provide a forum to share current research and pedagogical innovations that could shape the

future of the profession. The dates are set for March 28–31, 2012.

This conference is organized by the National Association for Music Education (NAfME), which recently changed its name from MENC. the has a special focus on research in music education and on music teacher education. It is aimed at music education researchers, music teacher educators, college students, and PreK–12 teachers interested in the cutting edge research and pedagogical innovations that will shape the future of the profession.

Conference chair Glenn Nierman said he believes sessions at the Biennial “likely will explore the latest musical brain research, information on how technology could enhance pedagogy and assessment in general music classrooms and rehearsals at all levels.”

Proposals for the conference are being accepted until October 14.

For more info, visit the conference website at NAfME at www.nafme.org.

A children’s choir performing at summer choir camp organized by the Madeleine Choir School.

modate additional classrooms, a song school, piano lab, science lab, library and technology center. The school’s performance choir tours regularly; this year they are scheduled for a Bay Area tour for 2012, a tour of Poland, the Czech Republic and Germany is planned.

For more info, visit www.madelinechoirschool.org.

If you come across headlines or breaking news that you want to share, e-mail editor Eliahu Sussman at

esussman@symphonypublishing.com!

Choral Director, September 2011 5

CDReport: Fundraising

Finding Fundraising Success

W

hen it comes time to think about fundraising,

it’s

crucial to con-

sider which campaigns might work best in a particular community and when and for how long to run fundraisers, while bearing in mind the ever-important what-not-to-do check list. Sometimes a word of advice from those in the know can make all the difference between achieving goals and wondering what went wrong.

Without a doubt, running a successful fundraiser can be made easier by following a few simple strategies.

6 Choral Director, September 2011

Choosing a Fundraiser The first step is to make a plan, suggests Nancy Nardella of eFundraising, an organization that provides non-profit groups with quality products, low prices and hands-on service (www.efundraising.com). “There are all types of fundraising products and ideas out there, so it is important to make a plan before getting started,” Nancy says. “This can be as simple as answering a few questions, such as: What is the goal? How many people are helping out? Do we have an initial budget? Answers to these questions can help determine what type of fundraiser will be most successful. For example, an online campaign might be a good idea if a group’s supporters are spread out across the country. Or if there is no initial budget, running a brochure fundraiser like cookie dough or gifts, which do not need any initial investments, might be a good option.

Fundraising companies will usually be able to help people answer these questions and guide them towards the most appropriate program.”

One option is to work with a local sales representative who can help determine what fundraisers work best in a particular area. Tyler Jeffrey of World’s Finest Chocolate, one of the leading chocolate fundraising companies

(www.worldsfinestchocolate.com), explains, “They have years of experience and can help make the fundraising process work more smoothly. Also, keep it simple. Fundraisers that are easy for students to execute and require a minimum amount of volunteer effort will deliver the best results. Ask some parents/colleagues/neighbors what types of fundraisers they would be most likely to support.”

“There are many options from which to choose when selecting a fundraising program,” notes Jeff Ellenberger, owner of Dutch Mill Bulbs, a company with over 50 years of fundraising experience (www. dutchmillbulbs.com). “They include the edible (cookies, candy, popcorn, pizza kits, frozen desserts, etc.) and the inedible (flower bulbs, magazines, gift catalogs, cleaning supplies, etc.).

Base selection on the likes, dislikes and economy of the community. If the sale of food products in schools is frowned upon because of health/diet concerns focus on non-food items to sell. If a community has been hit hard by the recession, less expensive items will be an easier sell.”

Timing The timing and duration of a fundraiser is another factor critical to its success. Fundraisers should go on long enough to maximize potential profits, but not drag past the point of usefulness.

Tyler Jeffrey of World’s Finest Chocolates recommends that fundraising campaigns be kept relatively brief. “Fundraisers should be about two weeks long,” he says. “Any longer, and people lose interest and are more likely to misplace the fundraising materials. Any shorter, and your group won’t have enough time to raise the money you need. And for those people doing multiple fundraisers in a year, space them out so there’s appropriate time in between. You don’t want to overwhelm your supporters with requests for donations.”

Nancy Nardella of eFundraising agrees on the time frame, with a caveat for online compaigns. “The best way to optimize return on both effort and capital is to keep the fundraiser as short as possible,” she suggests. “Usually a period of two-to-four weeks is an ideal time frame for a traditional fundraiser, such as chocolate, cookie dough, and the like.

A shorter time frame creates a sense of urgency with supporters and allows you to keep a certain buzz surrounding the campaign. Online campaigns can run a little longer since contact with supporters is primarily through email. Also, because it requires very little effort and no investment, it can be ongoing to benefit from incremental sales throughout the year.”

Sam Fowler, director of fundraising sales at Krispy Kreme Doughnuts, a company that has been a fundraising partner with schools since the 1950s (www. krispykreme.com), thinks that it can be detrimental to keep a fundraiser active for too long, and that there are actually specific days that work best to start and end campaigns. He recommends, “If you are doing a pre-sell try to keep it to maximum of three weeks. Ideally kick it off on a Thursday, sell over two week ends and have orders turned in on MondayTuesday.”

The optimal number of fundraisers run in a year should probably be limited to four or fewer, notes Jeff Ellenberger.

“Determine the number of fundraisers you need to run annually to meet your

financial goal,” he says.

“You’re really pushing it with three or four. Effectively run, two per year should be ideal. Be careful not to overburden your group or your customers by running consecutive programs. Fall and spring seem to be the best times of year to fundraise. Once you’ve selected a fundraising program, establish a start and stop schedule. Generally a selling period of two or three weeks is appropriate. Beyond this, sellers become less motivated and sales lag.”

Tips for Success “Make the fundraiser as personalized as possible,” recommends Tyler Jeffrey.

“Make sure you communicate to your supporters who your group is and what you’re raising money for. You’ll raise more money when people are personally connected to your cause. It’s also important to stay organized. Give participants a clear explanation of what is expected of them up front. Let them know the fundraising start and end dates, the fundraising goal, and any other instructions they’ll need to know.”

Another key that some might not think of is getting the word out about

the campaign. “Advertise!” says Jeffrey. “Let people in the community know about your fundraiser by putting a sign in the front yard of the school, hanging signs in the windows of local businesses, and listing it in any parent communications. There are many community members that would like to support your group, but they can’t if they don’t know you’re doing a fundraiser.”

In addition to advertising, the participating students should also be involved in selling the fundraiser, not just whatever items are being sold. “One of the best ways of maximizing results is to get the highest participation rate you can,” notes Nancy Nardella. “You need to motivate your participants to draw in supporters. One way to motivate them is through communication. You need to make sure everyone is aware of the fundraising campaign as well the reasons behind it – this can be accomplished verbally, by email, with handouts, by phone, and so on. Another good motivator is a prize program, where students can win prizes based on individual sales or top sellers.”

Jeff Ellenberger advises looking for programs that offer at least 50 percent

Choral Director, September 2011 7

profit. He also suggests other criteria that educators should look for when comparing fundraising companies, including ones that • Have been in business for years and has a solid reputation • Require no up-front cost • Furnish free sales brochures and support materials at no charge • Offer free shipping • Guarantee the product (there’s no risk to the group or to customers – makes selling much easier).

The last important tip is to stay on target. “To maximize results, always do a presale and set a goal for each person in the organization to be responsible for meeting,” says Krispy Kreme’s Sam Fowler.

“If the target is $5,000 and there are100 members, then each person’s goal is only $50 profit. Have an incentive for going beyond the goal, but reaching the individual goal should be everyone’s objective.”

What Not to Do While keeping in mind the elements of a successful fundraiser, it can be helpful

8 Choral Director, September 2011

to also examine common mistakes made by fundraising groups.

“Try not to have a fundraiser each month,” recommends Fowler. “Do several good fundraisers spread out over the year so that you don’t burn everyone out.”

“Do note run your fundraisers too close to school breaks,” cautions Tyler Jeffrey. “They’re more likely to get forgotten about in the excitement of the upcoming vacation. Also, don’t allow children to fundraise door-to-door alone.

Make sure all fundraising is supervised by a parent or teacher.”

Nancy Nardella warns against setting unrealistic goals, as those could lead to disappointment for everyone involved, including supporters, if goals are not met.

She continues, “It is also important to focus on one or two programs and not try to do too much. This will avoid burning out both your participants and supporters.”

Of course, one should also make sure that inferior quality goods, services, and companies get nixed early in the planning phase. One way to do that, sug-

gests Ellenberger, is by asking for references. He also cautions against selling products that are not popular in the community, selecting a group leader who is not both organized and motivated, and running a fundraiser at the same time that other groups in the community are running theirs.

The Bottom Line The bottom line is that with a bit of careful planning, retail fundraisers can be quite successful. “Organize a kickoff meeting so everyone is on the same page,” says Ellenberger. “Set a goal for the amount of money that needs to be raised and explain what the money will be used for. Make sure everyone is aware of the start and stop dates, and when orders and monies collected are to be turned in. Once submitted, coordinate a delivery date with the fundraising company and set up a distribution date with the group. Remember, avoid making the effort a chore – this is supposed to be fun!”

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CDSurvey: Mentorship

The Reciprocal Benefits of

T

Mentorship

he conventional wisdom is that what many young teachers lack in experience, they make up for with energy and enthusiasm; and what many older teachers lack in

Read on as Choral Director readers pinpoint the specific teaching areas that benefit the most from mentorship, as well as methods for best establishing a mentor/mentee relationship.

pep, they make up for with savvy and know-how. It

stands to follow that a cross-pollination of these traits is of great benefit to both parties. And the good news is that this is easily accomplished through mentorship. Based on this recent reader survey on the topic, it seems that mentorship among vocal music educators is alive and well, with some 94 percent of responding choral directors indicating that they currently mentor other educators, while almost two thirds have a mentor themselves.

10 Choral Director, September 2011

Do you have someone whom you consider your mentor?

39% No 61% Yes

94%

“I have been teaching for 18 years and still call on my cooperating teacher from student teaching for advice!!

I was very fortunate to have such a wonderful mentor.”

Megan Wicks-Rudolph Vestavia Hills High School Vestavia, Ala. “Oftentimes, educators feel uncomfortable asking for help because they think that it will be seen as a weakness; but there is so much to learn from working with, or even being, a mentor.”

Stan Scott Central High School Grand Junction, Colo.

Yes 39% No 61% Yes No 7%

Do you employ peer mentorship with any of your ensembles (older students helping younger students, student leadership, etc.)?

No

(I don’t think that would work well with my groups)

19% No 6% 74% 39% Yes No 61% 94% Yes Yes “I have many people in the music profession that I go to for advice but I don’t have a mentor.”

Sister Lauretta Linsalata Archbishop Ryan High School Philadelphia, Pa.

Do you consider yourself a mentor to other educators?

No

“In the Hampton Choirs, we have Big Brothers/Sisters to new choir members.

Senior choir members are challenged to lead by example and to help ensure that new choir members get a solid indoctrination of the Hampton Choral Program.”

Royzell L. Dillard Hampton University Hampton, Va.

“NJ has mandatory mentoring for first year teachers; I am one of those mentors in my district.”

Susan Saposnik Mt. Olive Middle School Budd Lake, N.J.

No 7%

“Recently, in particular, it has be(I don’t think that would come a distinct honor to mentor forwork well with my groups) mer students who have become choral (but I would like to) directors.”

Mindy Domer Carrollton High School Carrollton, Ohio

19% 74% Yes

(I don’t think that would work well with my groups)

(but I would like to)

students who demonstrate leadership skills are given an opportunity to lead sections and/or vocal warm-ups. New students will also ask, and I give them a chance as well. It is interesting to watch their work and see their feeling of accomplishment.”

Wendy Traeger East High School Wauwatosa, Wis.

. . .Yes or No

Around the World

with Bob Rogers Travel since 1981

• Performance Tours • Festivals • Parades • Cruises

How about associations with area colleges – do you getvocal assistance Teaching/learning and directing technique from (and help train) student Working with difficult students teachers?

Finding and evaluating repertoire

No

34% 8%66% Yes 7%

Working with administration

Planning concerts/travel/festivals Fundraising

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No

No “I do this an a fairly limited basis.

7% About 25 percent of my students are No new to my program every year. Those 66%

34% 6% 19% Yes 74% 94% Yes

Yes

No

(but I would like to)

Walt Disney World

Travel to

• Clinics • Bowl Games • International • Disney Parks®

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Choral Director, September 2011 11

In what area is mentorship most useful?

21% 19% 18% 14% 13%

Teaching/learning vocal and directing technique Working with difficult students Finding and evaluating repertoire Working with administration Planning concerts/travel/festivals Fundraising Working with parent groups

8% 7%

Do you have any advice for building a relationship with a mentor/mentee?

“Establish goals right away – what does the mentee hope to get out of the relationship? How can you help to facilitate that? How quickly can you prepare the mentee to be ready to teach and be comfortable teaching? Make sure the mentee has the necessary skill set needed to get in front of a classroom. Be honest in your feedback.”

David Ranen Amherst Regional Middle School Amherst, Mass.

“I feel mentorship is most important in classroom management, rehearsal planning, and pacing. Most young students need help with the selection of quality literature and the appropriateness of literature for specific age groups.”

Jeffrey Lipton Five Towns College Dix Hills, N.Y.

“Communication is the key to everything! Don’t drop the ball and assume they will call you. Call if you have a question and especially continue to call if you are the mentor. Even if it is just to grab a lunch together, building the relationship is so important!”

Susan Brown Hunter’s Creek Middle School Orlando, Fla.

“Learning to select quality music from the immense quantity of trash that litters the shelves of music stores is an extremely important skill.”

Diane Dingler Mount Vernon City Schools Mount Vernon, Ohio

“There needs to be a mutual respect between the new or less experienced teacher and the ‘master’ teacher. Both can learn from each other!”

Nancy A. Fohn Richards R-5 West Plains, Mo.

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“Set up a language of mentoring that includes observation look-fors.

Talk about things like community building, questioning techniques, and choosing repertoire for the rehearsal rather than the performance. Begin by centering conversation based on teaching techniques rather than the mentee’s personal/individual performance. Share beliefs and ideas, then slowly lead and critique.”

Marcia Patton University of Wyoming/Casper College Casper, Wyo. “I think empathy is most important in developing this relationship. An attitude of superiority is not conducive.

There must be mutual trust and a spirit of collegiality.”

Susan F. Durham Durant High School Plant City, Fla.

Additional thoughts on mentorship in vocal music education?

“This is a very difficult profession in which to become proficient, in my opinion. There are so many aspects that require expertise. I know I wouldn’t have made it past the first few years without my mentor, both because of the information and advice she provided, but also because of the encouragement she provided. She believed in me when I doubted my ability to cope with choral directing in middle school.”

Pattie Andrews Newton Middle School Centennial, Colo.

“Student teachers can’t learn everything they need to know in a methods class. It is vital that they have people willing to help them ‘learn the ropes’ at the teaching site or within the district.

Experienced and seasoned teachers can be a lifesaver for these new beginning teachers. Anytime, at any level, a teacher or more experienced student is willing to

Fund Raising

give of his or her time to help a fellow teacher or student, it is a worthy endeavor that, most of the time, will be greatly appreciated by the recipient. It becomes a learning and growing experience/process for both the mentor and the mentee.”

Darryl Jones McNeese State University Lake Charles, La. “Vocal/choral teachers are often very sensitive to unbidden (and sometimes asked for) feedback regarding their technique. Not all have the same solid vocal pedagogy background, and many have no vocal training whatsoever. It is important to build a relationship, make them feel that what they have to offer is important, invite them to teach in your classroom, and share concerts with you and your groups.

The ‘technique’ and other questions will grow out of a peer-to-peer relationship.

Being a senior peer is not a hierarchical relationship; it is an even relationship.”

Susan Nace The Harker School San Jose, Calif.

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Choral Director, September 2011 13

Miracle

Worker

Beloved Crenshaw High School Choir Director Iris Stevenson Gets a Helping Hand on the Way to China

By Matt Parish

14 Choral Director, September 2011

For decades, director Iris Stevenson has led her sprawling choral group from Crenshaw Senior High School in South Central Los Angeles just about anywhere she could manage. The strategy has paid off – giving generations of kids trips they’d never dreamed of and the inspiration to make take steps forward in all aspects of their

life. But with a program as large as this one (currently around 800 members, but topping off at one point around 1,200), there can be precious little time left for fundraising. This year, with a little help from MSNBC host Mika Brzezinski, the group was able to secure last-minute funding for a life-changing trip to China.

Choral Director, September 2011 15

The now-legendary Stevenson has served at Crenshaw since 1985 and her groups have consistently blown away audiences across the country, in foreign nations, and in churches right in their own backyards for decades.

They’ve been personally invited on tours of France by President Jacques Chirac and good will campaigns across Asia. Word got around this summer that they might have a chance to send the choir to China with an international student delegation, but her group had no plan.

A well-timed pep rally-style symposium on the school’s progress with politicians and corporate donors televised live from the school on MSNBC changed all that. The cable station’s Joe Scarborough and Brzezinski met Stevenson and got a first-hand look at the choir’s high-energy gospel, step, and traditional arrangements. Brzezinski in

away for the Crenshaw choir that ensure that for any newcomers to the urban school, there’s a lot more than meets the eye.

Spread across a wide swath of storied Los Angeles neighborhoods that border nearby affluent areas like Baldwin Hills and View Park, the Crenshaw neighborhood of South Central L.A. isn’t the first place Buffalo, N.Y. native Stevenson thought she’d end up. Fresh out of graduate school for music education, she says she picked up the job almost as a missionary position, expecting a short-term commitment to help breathe life into a program besieged with gang violence and high drop-out rates.

Before she knew it, things were turning around by leaps and bounds and her music education program had evolved into a tight-knit family support network for hundreds of kids a

“I think you need to just serve – serve your community, serve your school. School should be fun. At this age, in high school, these are the last years of their so-called ‘free education.’ After that, life happens. They may never have another opportunity to travel anywhere in their life. So they need to use this time to see other cultures.” particular made it her mission to get the choir to China and spent a few days plowing through her contacts until former Walgreens executive Hal Rosenbluth stepped up to sponsor the whole trip.

A few weeks later, Stevenson and 59 of her students were singing civil rights anthems on the Great Wall of China.

Just another chapter in the long line of programming miracles to file 16 Choral Director, September 2011

year. Her school, which serves a neighborhood vividly portrayed for its social problems in music and films like “Boyz N the Hood,” became known as a stronghold for youth from a wide variety of domestic backgrounds.

Today, the program is known throughout the world for its spirited performances, moving personalities and Stevenson’s own thoughtful ar-

rangements. The Crenshaw choral universe is ever-shifting, but made up of a core of six groups – a mixed choir, chorale, glee club, men’s chorus, women’s chorus, and jazz choir.

The Crenshaw Elite Choir includes everyone. Stevenson builds the group’s skills in all directions, and though there is no specific gospel choir, their performances of gospel music are legendary. “I thought if I’m the only vocal music teacher here during this time, then they need to learn everything from the arias to country music,” says Stevenson.

Choral Director recently caught up with Stevenson talk about her approach to maintaining such a special program, using the choir as a way to open the eyes of both her students and her audiences, and her uniquely hands-off approach to fundraising.

Choral Director: Let’s get into this recent trip to China, which seems to have grown exponentially once the story was picked up on cable news just a few weeks before the trip.

Iris Stevenson: It’s something I’ll never forget. I remember being at our school and we heard that about 14 of our students were maybe going to China as student ambassadors from our school. We didn’t know who was putting on the Crenshaw to China trip, but we heard about it. And we were happy that they’d chosen 14 students to go to China and our Los Angeles Urban League evolved into making opportunities happen for our school.

CD: MSNBC did a broadcast with you to talk about the school going to China, and at that point you already had choir members volunteering just to be part of the video interview. There were no intentions of actually getting to China at that point?

IS: What you couldn’t see was the choir sang all night, even when they weren’t filming. The students that were involved in the MSNBC program asked if they could just bring pillows and sleeping bags to the school and we just slept in the area waiting for the interview to start. We just didn’t want to miss that interview, which was early the next morning. So we sang from

about one o’clock in the morning until seven in the morning. All night long. We had our step show the next day, and the kids stayed in school all day and then performed that night on next to no sleep! But they did it for MSNBC. I’m a fan of Joe Scarborough and I like the “Morning Joe” show! The person I also like is Mika Brzezinski. She said “I think this choir needs to go to China.” I remember looking over my shoulder and saying, “Did Mika say she wants the choir to go to China?” Really, you hear a lot of stuff like that. In our neighborhood, we hear a lot of promises. Some of them come to pass and some don’t. Well, right away, within four days, I received a call. “You guys are going to China.” I’m so grateful that other people feel as passionate about investing in young people as I do. And that they had the money and they stepped up and put their money where their mouth was.

The Other Side of Crenshaw’s Powerhouse Music Program

CD: What was the material that you performed?

They’d had a few but they’d only stay a few months and then never come back. In inner city schools, it’s a different level of energy that you’ve got to deal with. If you’re not ready, it’s going to take you by surprise. I hadn’t taught, but I’m from Alabama and I went to a school exactly like this one. In way of speaking, I’m from the streets, so I just really understood them and knew the different things to do to keep it running smoothly.

IS: We used “Ezekiel Saw the Wheel,” “Long John Done Gone” by Jester Hairston.

Our whole presentation was about our presentation from Africa to the United States and beyond. So we went through the trans-Oceanic period then the Civil War period. What happened during the Civil Rights period and different periods of our history, and even now with current music trends. It was received extremely well. In fact, I think that we’re going to keep the presentation together and just take it out on the road.

We did about 15-20 songs, including the civil rights songs. I wrote, “The Day of Our Capture,” which included call-and-responses in Swahili, we sang in the Urhubo language and danced. They’d been passed down from generation to generation. We did “tree songs,” the call from tree to tree. With that whole piece, we scripted a day from 4am to the time of capture. We went from “tree songs” to a “A Call to Hunt,” which was “Ose Yia” – “Are you ready to hunt?” Then we went from that, completing the hunting and eating, into their jumping of rope and their celebration and on into their dance after we sang a part of Allunde, which is a lullabye. It’s really different.

Iris Stevenson isn’t just the choral director at Crenshaw Senior High – she’s also the chairperson of the music department (and even has an entire wing of the school named after her). One of her closest colleagues is band director Al Tarver, who began teaching at Crenshaw 15 years ago after a career as a classical and jazz trombonist. He spoke with Choral Director about the examples and inspiration he’s taken from Stevenson throughout the years.

What is it that helps Ms. Stevenson develop such successful relationships with her students?

She really cares a lot for the kids and goes out of her way to make sure they’re learning everything.

She’s like a mother to the music department and the entire school.

What have you learned from her as an educator?

Patience. Simple as that – more patience. Before coming here, I was just a freelance musician in classical and some jazz. You get used to working around mature and older people, there are certain things that you just take for granted. When you start working at the high school level, you’ve got to have patience because these kids are going through those puberty years.

You have to love what you’re doing and you have to love the kids you’re working with. If that love is not there, you’re just going through the motions. The money isn’t all that great so you have to have something beyond that. It’s really the love. She’s really locked into that. Before I came, the music department didn’t have an instrumental program for years, but she kept the instruments locked in the cabinet and exclaimed that the school better get a music director. She told me all of this and that was instrumental in me taking the job, because I saw her commitment.

Had she been looking for a band director long?

What are some things that you’d picked up that came in handy?

I just know that the students need to know somebody cares for them. They get a lot of nonsense in the streets so they’ve got to at least be able to identify with one person that’s got their back.

When I came here, I could see some of the same things with Ms. Stevenson. You’re looking for someone to identify with, especially with a lot of the kids coming from broken homes or singleparent homes. Sometimes they’re looking for a male role model, someone to care for them.

What do you see with Iris – what are some ways she connects with students that you learn from?

See, it’s just that Iris is from New York and basically the streets too, so she can identify with and look at things subjectively and tell if something is going on at home or they’re not at peace. She will either talk to them or do something to alleviate that.

Is there anything from her program that you found musically inspiring?

What I really enjoy is the energy. The music has to be energetic in the instrumental program if you have a lot of energy in the choral program. When I first came here, I said it wasn’t just going to be all about marching band music and hip-hop. I said that’s good for football season, but I said we’d also learn the classical repertoire and jazz music. And the kids actually really bought into it because they identify it with cartoon music and motion picture themes. So I said, “Okay!” They really got into it and started learning their instruments. That’s been my outlook from day one, and she has a similar approach to make sure the kids learn from all aspects. And each year, all of our seniors get scholarships. They buy into the program and then they know they’re going to college somewhere.

Al Tarver

CD: How did the Chinese students react to the visit?

IS: What we enjoyed about the Chinese delegation was that they didn’t have a choir but they all had pure singing tones. Just beautiful. They wanted to sing for us and they just sang and we had a young lady who was almost Choral Director, September 2011 17

afraid to play the piano. I let her play the piano and she played a Chopin etude. I mean just to see that – she had it memorized and I was able to assist her with it. Piano is what really started it for me. I love piano. I kind of fell into the choral music and it just looks like I have a dual emphasis, but my first love is piano.

They were just so shy because they were suddenly the center of attention. But that’s the way our kids do it – if you’re singing, everybody gathers around you. And if another person’s singing, everybody gathers around that person. They wanted to sing and dance together, you know with the latest dances. Then they began doing some of the Tai Chi sort of demonstrations. It was first-hand and really wonderful.

CD: You had also made a promise to trek to the Great Wall of China and sing when you went on MSNBC.

IS: Right. Now at the Great Wall–

that was maybe 500 people watching.

What we did there was really impromptu. I had stated that we’d do it, but we were just going to do a little something. But it turned into singing and stepping and performing and they wanted more and more.

CD: Any other locations?

IS: I remember singing in Tienemen Square and so many people just ran 18 Choral Director, September 2011

over. It was just a few of us – we were just singing because we were by the Mao Zedong Mausoleum. We’d heard how the young students in that square were talking about freedom, they were basing it upon Martin Luther King, Jr. and non-violence. So we wanted to sing some of the songs from those days to let them know that these songs are associated with your struggle. But we didn’t come over to be a political catalyst or anything like that. We didn’t want to do anything like that. We sang “Woke up this morning with my mind stayed on freedom,” things like that.

There were just so many people that came over to where we were standing.

There was only seven or eight of us at that point. But it was just a moving tribute, I remember, that even the

IS: I can’t do a lot of fundraising, honestly. I just can’t. I went really deep into my head, but it’s just that fundraising really takes away my creativity. I can’t do it and maintain the level – you hear a lot of people that say, “Okay, we need you, Iris.” At this point, I tell people that when it comes to fundraising, the “F” word is not allowed. It’s just not allowed. But, we’ll do it. I will plead, I will beg, I will do that. But fundraising will just stifle me creatively.

CD: Was there a time when there was more pressure to work on fundraising?

IS: You’re always pressured to provide funds. So since we know we don’t have the deep pockets, we raise funds

“We’d heard how the young students in that square were talking about freedom, they were basing it upon Martin Luther King, Jr. and non-violence. ”

police were rocking and singing. We stopped singing because I felt like we needed to disband to avoid an unlawful assembly. We didn’t want to cause any problems.

CD: It must have been incredible to get these kids over there for all that, but you actually have a lot of different trips throughout the year that different parts of your choir gets to participate in. Does that mean that you end up spending a lot of time with fundraising in general?

through mom and pop contributions.

So we’ll do the concerts and sometimes they’ll pay. We don’t require payment for performances – I think that’s awful. You can’t be paid for every performance. But we’ve been blessed to have people that look at us and invest in us and we’ll perform to the highest degree necessary to keep our program going. So we do a lot of community things. Nothing is too small.

An example of that is a project we did called “Food from the Hood.”

Our project was that we were going to grow our own vegetables and do Farmer’s Market-type activities.

We grew vegetables and made our own salad dressing, we marketed our own dressing and raised scholarships for our young people. It was a great project. Our horticulturalist asked us to sing to the ground so it would produce. All of us laughed it off because we’re singing to this fallow ground at this point, but it was a fun thing.

Out of that investment came a call from Prince Charles, who is an avid gardener. He called and said that he was going to be in Los Angeles and would like to visit the garden and have our choir sing for him. I wound up arranging a his song, “God Bless

the Prince of Wales,” and hugged him when he visited. He arranged for us to go to St. James Palace in London. It was a fantastic trip to perform for, as they say, “our friend, Prince Charles.”

say, “I can have this.” That’s been my thing since I started here.

CD: It’s amazing how many opportunities just seem to open up for the group.

IS: I’m a product of Villa Maria Institute of Music in Buffalo. It was one of the first Fine Arts institutions in the country. 16 kids from across the country that could do college work in junior high. There were some of us in 7th grade, some 8th graders, some 9thgraders. We thought we were mighty.

I was born and raised in the projects of Buffalo, N.Y. I started playing the piano at three and started writing music at four and I guess I was considered a child prodigy.

So I was picked for this program and from there I decided to go to the Oberlin Conservatory of Music. I went to teach at Canisius College in Buffalo but decided the college scene was not for me. I was seeing all the minority students dropping out of school. I wanted to find out where they were, so I left teaching on that level and continued my quest and wound up attending SUNY in Buffalo for teaching, where I got my Master’s.

IS: I think you need to just serve – serve your community, serve your school. School should be fun. At this age, in high school, these are the last years of their so-called “free education.” After that, life happens. They may never have another opportunity to travel anywhere in their life. So they need to use this time to see other cultures. That’s been my shtick from the very beginning – I’ve had the opportunity to travel and I want other people to have the chance to have a classroom without walls. I believe that. I believe we need to learn and be globally minded. We have to believe in global education.

We’ve done so much that a lot of our stuff is on YouTube so people end up seeing it and finding ways to contact us. We did the NBA All-Star weekend this year. You have to be popular in other areas other than music circles.

When that came up, we were the coolest choir in L.A. because we were there when Blake Griffin jumped over a car.

I believe in exposing them to a lot of different things. After that, a lot of things came up, like “America’s Got Talent.” And living near Hollywood and all that filming, they’re always looking around for people who are willing to perform. You have to have a sound and be willing to work hard and work out something different.

CD: That must be amazing for the kids to wake up and head to something like that and then perform on national TV later on that same day.

There aren’t a lot of places where that’s an option at all!

IS: I know. We try to keep them focused and appreciative for those opportunities. There are a lot of places where they don’t have these opportunities and since we rotate, we don’t want the same students to have the same opportunities all the time. I also have a lot of special needs students. I give them opportunities so they can

CD: Let’s talk about those early years – what had your experience been leading up to Crenshaw?

Iris Stevenson with U.S. President Barack Obama.

CD: There was something of an exponential growth in membership after you arrived at Crenshaw High School, right?

held the fascination to me, that we can actually plug in and make a change.

And we did. I believe in basing the choir upon a family concept and that’s what was missing. We found that the parents were abandoning the kids and grandparents were picking up the reins.

When I saw that we were dealing with a lot of grandparents, I asked them to come out of retirement be the grandparents of our musical department. So I would have these volunteers and some would just come through and walk through campus. That’s really what we did to stop the gangs – the gangs saw their grandparents. Who wants to beat up anybody when your Big Momma’s watching or your Big Daddy’s watching? They stopped that nonsense.

IS: When I started, there were 12 members, and at some point soon it had grown to 1,200.

CD: Do you have any changes in your goals for the kids to get to by the end of the semester?

CD: Wow. That must have a profound impact on the culture of the school.

IS: When I came, I was brought there because they were havin g a little bit of a gang problem and it gave the young people something else to do besides participating in a gang. You get in the choir gang and it gives you a place to belong. The 1,200 was overwealming – I’m a paperwork person so I was working myself to the bone. Grades, reading papers – it was too much. We cut down to 1,000 or 850, gradually.

We met with a lot of resistance because people want to participate.

CD: That gang problem changed over time?

IS: There are gangs but they’re

greatly reduced. I believe that’s what

IS: Our councilors tried to give me the same students for the entire year.

Sometimes, if we can, we’ll get them in for four years. Because music evolves, the teaching methods evolve. You always have new examples that are out there, but the techniques are the same.

You have to breathe properly and you have to articulate and we have to make sure their blend is there, their tone.

That never changes, it’s just a matter of blending it all together, just like cooking, you know. The techniques change, but you better get those proteins and vegetables in there!

CD: You’re not dealing with the same students every semester?

IS: Yes. It is really amazing that we can accomplish as much as we accomplish and we have them for just Choral Director, September 2011 19

a year. Wow. If we can get them for even a whole year, that’s great. We have some that remain, a nucleus that remains for four years. They don’t want to go anywhere else or experience anything else, but for everyone else there’s not enough time. But they stay around. It’s not just “Wham, bam, thank you m’am.” They’ll spend lunches with me. So I don’t really have preparation time because they all want to be there. But I love my students and I think that’s what they look for. They look for the love, the acceptance and someone to really believe in them and keep them on the cutting edge of society. They know that’s the link, so they come on into the hallway for some new energy and revitalize and then go on.

at a glance

Crenshaw High School Location: 5010 11th Avenue, Los Angeles, CA On the web: www.crenshawhs.org Students in the CHS Choral Program: 800 Students Enrolled at CHS: 2,600

CD: So when you went to China, were you sure to include kids from the nucleus to go over?

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20 Choral Director, September 2011

IS: I know I’m crazy, because you know if you’re going to China you have to take your best voices, but it’s not like that at our school. A lot of times the ones with the best voices stay home. We’ll take the ones that need the experience more. I don’t know what they’ve been through that particular year, but I want to make sure we provide an opportunity not to the smartest or most talented, but to the ones that need it the most. I have to know each one personally. We know their parents, their sisters, their brothers. We know their ups and their downs. We know their names and their stories, so whatever opportunities come in, we try to plug them in.

CD: Does any student in particular stand out as someone whose personal life has touched you recently?

IS: So one of my keyboard students was this guy who just loved playing keyboards and was a great, gifted football player. And the other guys won’t tease the people because at our school, it’s really cool to be a football player and be in music. So this guy was playing, just smiling and everything, and I had him for four years. This last year, his weighted average was 4.3 which he carried all

the way through high school. And I said, “Where do you want to go to school?” He said “Air Force Academy.” I said I knew he could – he was a very smart young man. Then, as I was reading his application, I noticed something very peculiar – he was homeless. The whole family was homeless and he wanted to make sure that he excelled so his brother would know that you could smile and excel even though you were in the back of a car.

But that’s how important education is. This guy was really special. He was accepted to Harvard and Yale, but he chose the Air Force Academy and people started pouring scholarships into this guy. He says, “I could make it, but I want to make sure my mom and my brother could make it.” So the Academy made sure that his mom and brother were housed before he left Los Angeles. He wasn’t leaving otherwise.

I mean there were hundreds of stories just like that. He just graduated and has a full ride.

Just a great guy and loved to sing.

We have hundreds of students like that.

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CDGuest Editorial: Grant Writing

Shaking the Money Tree

By D.L. Johnson

G

rant writing is not hard, just a little time consuming. Whether you’re an instrumental or choral instructor, grants are out there for your use. My suggestion

for everyone is: “Go for it.” The worst they

can do to you is say no. However, if you don’t even try, you will never know if there is a “Yes” out there.

Grant writing and corporate sponsorship are by far the most mysterious and challenging ways of obtaining funding for a music program. I have been writing grants for about 20 years. Sometimes I get lucky, sometimes I don’t. However, every year we get something. The past 15 or so years, however, have been entirely different because I really started widening my scope of inquiry as to where grants can be found with success. It is absolutely amazing where some funds come from. For my one high school band program, I was able to secure $260,000 in grants for new instruments, and another in excess of over $100,000 when we raised over $250,000 for the band’s trip to play for the 53rd Presidential Inaugural Parade (for President Clinton) in 1997, and we only needed $130,000 to go.

We used the excess money to remodel 22 Choral Director, September 2011

the band room. From there, I taught my music students to write their own simple grants for our tours. Since 1997 both my students’ parents and I have secured funds close to 750,000 dollars, mostly for tours. We have toured Washington, D.C. (twice), Colorado (twice), Hawaii, Canada (four times), Italy, and three times to The Peoples Republic of China. Most all of my students had their way partially or fully paid by someone else. I can now account for over $2 million that has crossed my desk over the past 15 years.

But that was then, now is now.

The economy has crashed, and music teachers are looking anywhere they can for sources of funds. Fortunately, most foundations are still active. Yes, they have been inundated with requests, but their desire to support our causes still exists.

You Only Have To Ask When I originally started writing grants, it was usually for operational funding of the regular year-to-year expenses of running a general high school band program. For example, I always knew that certain smaller foundations in the area will give $1,000$2,000 to any music program that sent a simple request. Some of the larger agricultural corporations and construction companies in the area will do the same. While this was not enough to really answer our real problems of aging instruments and uniforms, getting those smaller grants can start to add up.

About 20 years ago, I accepted a hard reality. Through extensive studying of my school districts budget, I came to only one conclusion. The district wasn’t trying to cover up its financial problems. They really didn’t have any extra money. In recent years it has gotten so bad the state has us on their “worried list” that we may financially fail. Therefore, going to them wasn’t going to solve my equipment problem.

With that in mind, I changed the format of my grant writing. I focused on the actual problem, rather than operational costs. I also backed up my grant letter with proof that my program was strong and had community and district support. I showed specific amounts needed, and what, how, and when the instruments would be used.

Grant givers want the security that what they fund will be used as stated, and in an appropriate manner. They really like to know their investment will last for years to come. School musical instruments do just that. I have instruments we have maintained that are over 30 years old, still in use, and equal in quality to the day they were first bought. This is what grant makers like to hear.

Here are the major issues most grant makers and corporate sponsors are interested in: 1. The school and/or district general operation budget, including the portion designated for the music program. Annual Music Booster

and ASB end-of-year budget reports are very good to have. Often, grant makers view those with the idea of possibly matching funds. They also do not want to know they are the only support for a program. As long as there is documented cash flow, everything should be okay.

This is the only area where it would be appropriate to show yearly general operating expenses. They may

the hardest part of the grant request. Some organizations may ask for both a pre-impact report and a post impact report after grants have been awarded. They just want to know if the grant worked as intended. Small variables really have no impact of future grants.

4. The approval and signature of the superintendent of schools for the

“Remember: if you say nothing, expect nothing.” also request a copy of the budget for the year in which the grant will be spent. Sometimes they also like to see the most recent financial statements (budget) that have been or are being audited. ASB offices are always audited, as are district accounts. If the booster group is set up as a 501c3, a copy of their final end or year tax statement may be all that is needed. Other grants received in past years would also be a good thing to show. If grant makers see that a program is receiving grants from other groups, this is looked on as a positive.

2. The specific budget for the improvements to be implemented.

This should include any quotations or bids received for the equipment and improvements to be purchased.

Do not give them the general operating budget of a basic program as part of a grant request. Many grant providers thing general operation of school music program should be the district’s or boosters’ responsibility (and, in reality, it should be). If a district can’t afford what a music program needs, only then should you let the grant makers know.

3. A description of how the success or differences made by the grant funds received will be evaluated. This is often called an “impact report.” Say what is expected to happen. This can be included in a general statement on what the grant will be used for. I personally find impact reports

district – a “Verification of Need.”

It would be nice if the superintendent also supported the reasoning for the application. In most cases, the superintendent will already know exactly what kind of letter is needed from him. It simply verifies from a district level that what is being requested is on the “up-andup.”

5. Any other efforts that have been made to raise additional funding for projects. These efforts can include other grant requests and grants received, fundraisers, PTA resources, school site funds, music boosters clubs, and more. For example, if you have a healthy booster organization with a strong financial base, that might be of great value to grant makers. Please note that if they request to meet with booster officers, make sure they are there.

Often times grant makers want to meet with the actual 501c3. This usually means they are interested in your project. Do what they ask.

6. Other items they may request include: • A current IRS letter of determination (every district office should have this), and a copy of the music booster club’s IRS 501c3. There are a lot of foundations and corporations that would rather donate to a non-profit organization than the school, as less paperwork is required.

• List of the sources from which your organization has received funding, Choral Director, September 2011 23

both public and private (this may be already be covered in step #1 above), and for some reason, they want to know what your music booster board and school board members’ affiliations (occupations) are. It could be that they are watching out for conflicts of interest. They could also be willing to support individuals and companies they do business with on those boards.

7. If they have their own application, use it! If you have your grant on your computer, you can often download the application online.

Then the information can be transferred directly to their grant application. Be careful! Include what they want in the manner they want.

If it says eight lines or less, make sure it is eight lines or less! Most grant makers will turn down a grant if the application does not use their form or follow their template.

All of the above seems like a lot.

Some grant makers that use their own format and template now provide a checklist, which is so useful for anyone who is new to this. Just work on one item at a time, and eventually it all get done correctly.

24 Choral Director, September 2011

Locating Grants and Corporate Funds Any money donated from any corporation, foundation, or individual is a form of a grant. Any grant requests from a local corporation can usually be directed to their main office, along with a request that it be forwarded to their foundation or contribution fund.

Most companies will know what to do with such requests, and this is true across most industries. I have many electronic and agricultural companies in my area. I send often send the same grant to as many as I feel will donate to music education.

When working on a corporate sponsorship for a project, be sure to send a letter of request to see if they are willing to consider it. I do corporate sponsorships for tours. I put together a packet just like a grant addressing the project we are working on or towards. Be sure to send an extra copy of the request to their marketing director. They may want to use your group in advertising.

Most counties have a single source for finding the addresses of grant makers. In mine, it is called “The Community Foundation for Monterey County.” They are also called “Regional Foundations.” I found this organiza-

tion by talking to my district’s business manager. Others sources might be found by calling the county office of education or the county government offices. Grant makers are also easily found on the Web, by searching for “foundations” and the name of a county. Several websites I have often used include www.studyweb.com/ educate/found.htm for national grant givers, and www.looksmart.com ( then search for [Foundations/Your State].

Please note that many list the counties they are willing to fund.

The list of statewide grant makers is much harder to find. I would take time to read the areas they like to cover so as not to be wasting my time. Also, if it says grants are made to education or the fine arts, it may be worth a quick call to see if these include music education. Again, no need to waste time.

It is appropriate to actually contact selected large corporate foundations and ask if they grant to a particular county or area. County grant makers

are much more likely to support local projects. Because most foundations are now online, it’s easy to look up the types of organizations and projects they fund, along with any restrictions.

When sending out grants, send the project request to several grant makers. I send out about 25 per year. Don’t be discouraged if success doesn’t come immediately. I usually get two or three responses, and that is money I would never have gotten if I hadn’t tried. It is never the same foundation every year.

But I send one to all the grant makers I have on my list. It has happened several times where I have been turned down at first, later called to see if we could apply for another grant, and then found out that they have extra money available.

Remember: if you say nothing, expect nothing. And if you’re turned down, the only thing you have lost is time. However, consistency year after year will land you something, eventually.

D.L. Johnson is the past president of CMEA – The California

Association For Music Education.

He has been in music education for 30 years, and has been director of bands at North Monterey County High School for 28 years. D.L. Johnson’s bands have performed all over the country, including California’s sole representative to the 53rd Presidential Inauguration Parade for William Clinton and the 2004 WWII Memorial dedication. His groups have also performed in Canada, Colorado, Oregon, Hawaii, Washington, D.C., Italy, and China.

Choral Director, September 2011 25

CDRoundtable: A Cappella

Making A Cappella Work with University Vocal Programs

F

or anyone who’s wandered the halls of college student unions, it’s no secret that a cappella groups have long been an obsession among vocally-minded aca-

demics. But there’s no doubt that over the last few years, the art of singing in as many styles and contexts as possible has grown to new levels of prominence thanks to television contest shows like “America’s Got Talent” and “The Sing-Off ” and dramas like “Glee.” A cappella groups may be better suited than any other ensemble on campus to enjoy the increased acceptance and genuine fandom of this wave of bona fide pop culture curiosity. But the correlation to actual choral programs and music students is a little trickier than that; a cappella groups often exist entirely outside of any formal academic programs at schools and are sometimes even discouraged for young vocal majors. Still, we couldn’t resist looking into this issue. After all, you can’t complain about more and more people showing an interest in singing.

26 Choral Director, September 2011

Laura Zdrowski (far left, back) with UCLA’s Signature A Cappella.

Choral Director spoke to faculty members of choral departments and student organizers of a cappella groups all across the country to get a feel for how things have changed for these groups steeped in tradition.

First off, let’s start with an idea about how these different types of a cappella programs fit in with the actual music programs at the various schools. Do these groups tend to have any faculty involvement? How are they a part of the greater aim of each school’s academics?

Stephen Gleason (Five Towns): They are vital. In fact, vocal ensembles are the central nervous system of the music program here at the college. Those students who major in music education, performance, and musical theater are required to be a member of a vocal ensemble at some point in their academic career this does not follow suit for any other course. We are fortunate to have a number of a cappella groups that cover a wide range of styles from traditional choral and chamber ensembles to barbershop, gospel, and jazz, of which I am currently the musical director.

Laura Zdrowski (UCLA): A cappella groups are completely separate from the choral and music department. A cappella groups are extracurricular activities that members participate in on top of their normal class load and student responsibilities. In the end, this separation is very beneficial because it gives non-music majors the opportunity to stay involved in music after high school.

William Weinert (Eastman): There are always several Eastman voice students involved in these groups, although the groups consist mainly of liberal arts students. The a cappella scene at the University of Rochester is very active, with several groups maintaining active performing and touring schedules.

Sharon Paul (U. Oregon): Our a cappella groups are all student-directed and extra curricular, but there is a lot of crossover between the students who sing in the UO choirs and the students who sing in our a cappella groups. The a cappella groups have a wonderful audience appeal and they have been able to generate a good following and an excitement about what they do.

Kent Tritle (MSM): At the Manhattan School of music, there are two ensembles in the program and no a cappella – the Symphonic Chorus, which is by definition all accompanied repertoire, and then there’s Chamber Choir, which does a combination of repertoire including a cappella works. It’s a combination of classically influenced repertoire. We don’t have what you might call a show choir or they used to call a swing choir or a pop jazz choir. That’s not part of the program at this point.

We’re building the program more from the classical traditional side here.

William Weinert Director of Choral Activities Eastman School of Music, University of Rochester

Sharon Paul Director of Choral Activities University of Oregon

Erica Satin-Hernandez Director of Essence A Cappella Community Health and American Studies major at Tufts University

Ed Polochick (Peabody): One of my two groups here, the Peabody Singers does often do a cappella works, but we would do things like Ligeti or Brahms. I try to make a mix of baroque through 20th century for them, but not much pop stuff. Frankly, I don’t have anything against pop stuff. I was on a staff partly as an associate director of a chorus that did pops all the time and I love pops.

Ed Polochick Director of Choral Ensembles The Peabody Conservatory

What’s the attraction of these groups? What can students – vocal or non-vocal – find while participating in an a cappella group that they can’t find anywhere else?

LZ: A cappella is extremely versatile – groups can perform virtually any genre, so the style can appeal to a very diverse audience group. It’s also a very creative experience. Although members don’t usually compose their own songs, members of the groups generally arrange their own versions of popular songs giving them the opportunity to put their own creative twist on them. A cappella also puts a lot of emphasis on performative aspects like choreography, movement, and audience interaction, making it an engaging art form to both listen to and watch!

Erica Satin-Hernandez (Tufts): At our school, they give students the opportunity to pursue their passion outside of the academic realm and sing with people who have similar musical preferences. For example, Tufts has Christian and Jewish a cappella groups and groups who sing music of the African diaspora and African-American tradition including R&B, hiphop, soul, and gospel. All singers can find their place in the a cappella world while also pursuing other academic interests.

I feel that a cappella groups have a lot more freedom with their music, not only in terms of the styles and genres of music but also the way that the music is sung and arranged. We aren’t restricted to “oohs” and “ahhs” and “lalalas” but we can make strange sounds to mimic instruments, we can beat box.

C.J. David Director of UNC Clef Hangers Biology and Music major at University of North Carolina

Kent Tritle Director of Choral Activities Manhattan School of Music

Stephen Gleason Professor of Music Five Towns College

Laura Zdrowski Director of Signature A Cappella English major at UCLA

Choral Director, September 2011 27

SG: Vocal ensembles in general provide the student with an organic learning experience; one that enables them to collectively develop their skills in harmony, sight-reading, and ear-training. In addition the exposure to different literature is a fundamental aspect of ensemble singing which grants a student access to a new world of discipline and technique, not to mention an intimate study of language.

Academia aside, the organization of vocal groups, particularly a cappella groups, require little overhead and maintenance making them attractive to both faculty and administration.

All you need to start a great a cappella ensemble is dedicated and talented students, exciting arrangements, and a seasoned director and you are almost home.

Tufts University’s Essence A Cappella.

so singers build their skills in these areas.

CD: Friendship. In addition to rehearsals twice at least week (more during concert week or in preparation for large gigs) and various gigs up to 5 or 6 times a week, we live with each other, eat together, hang out on the weekends together, take classes together, and spend pretty much all school breaks together. It shows on stage when we perform because, as corny as this may sound, we honestly go up there and just have a good time with 15 of our best friends.

UNC Chapel Hill’s Clef Hangers.

WW: Because the groups tend to be small, each singer has significant responsibility – not only musically, but also a responsibility to add personality to their singing. Also, much of the music they sing is fairly challenging rhythmically and harmonically, and sometimes involving improvisation,

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CD: Are students in your program discouraged from getting involved or starting up any a cappella groups for fear that they’ll develop bad habits or accidentally damage their voice?

EP: I have seen that, but if they’re voice majors studying with a good teacher they’re generally safe. Every once in awhile, someone slips through the cracks a bit and pushes it a bit too far and then they end up with some vocal problems, but generally it’s not that big of a problem. There are several on our voice faculty who have done pop stuff and know how to train for it and, frankly, it’s just like any other instrument. It’s a different kind of technique that you use and you have to learn how to develop it.

C.J. David (UNC): The program here teaches a classical style of singing instead of the more pop/musical theater style that a cappella has adopted.

So much of what we do in rehearsal is counteractive to what they teach.

They do allow and encourage a cappella participation if your musical focus is leaning toward a modern musical theater style, but they do caution students about the damage the a cappella style of singing can do to your voice without proper care.

KT: There’s a lot of use of the voice where people are using more Broad-

way techniques – you know, “belting” – or popular techniques that are not conducive to, for example, a conservatory situation, where your voice majors are really training to be future oratorio and opera singers. Frequently there will be kids who were in high school singing, let’s say, “Rent,” which you could say definitely uses extended techniques beyond the classical cannon! If they end up going to a conservatory environment to study voice, they really cannot be singing that way.

At least until they have really garnered what is a classical technique.

CD: The impact of media on a cappella, from viral internet videos to all the different vocal performance showcases on television, must be tremendous. How are you noticing it in your work?

SG: On the positive side, Internet media sites and social networking have unlocked a veritable treasure trove of musical performances, both classic and current. On the other hand, the commercial success of vocal and a cappella music featured on shows such as “Glee” and “Sing-Off ” do not always showcase groups with the best literature, arrangements, or talent even.

The internet and television are certainly a major contributor to the current vocal music boom, and have certainly garnered interest from a younger demographic. The bottom line is there are wonderful groups and fantastic vocal music is being performed in many places, but the volume far outweighs the quality.

CD: I definitely think that interest in singing has increased and is becoming more popular because of shows like “Glee” and “the Sing Off.” For the Clefs in particular, we had a member graduate in 2008 who was on American idol, and we saw a pretty decent increase in ticket sales at our concert during that year and in the years following.

WW: I think it is always great to see

singing promoted among young people.

One way or another, though, this always seems to be happening. Different decades see it manifested in different ways, but young people have always found ways to get together and sing.

CD: Finally, let’s look at the evolution of a cappella at your school and in general. How do programs of today compare with their predecessors?

SG: I’d have to say they have grown not only in size but in diversity as well.

Ten years ago your choices as a student for a vocal group were limited to either the chorus or select choir, both traditionally based. Maybe as an extra curricular activity you could participate in a Barbershop quartet or gospel chorus. Fast forward to today and you have a plethora of vocal/a cappella oriented classes ranging from Broadway and cabaret, to jazz, pop, you name it!

Most of which are offered as either a degree requisite or at the very least for course credit.

My own student experience with vocal ensembles pre-date (just a little) the Internet and the sophisticated mobile and telecommunications we have today. We sang arrangements that were provided by instructors who were knowledgable and experienced, they distributed material using musical discretion and care. The do-it-yourself vibe that is perpetuated by YouTube stars and blog journalism has infiltrated its way into music composition, arranging, and distribution. I’d like to see a more academic mobilization of vocal and a cappella music where there is a mentorship between teacher and student, more of an intimate connection between singers and their material. This keeps music beautiful and clearly makes the distinction between folk art and fine art.

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LZ: With more established roots, technology, and attention given to a cappella, these groups have been challenging themselves to improve musically and to expand awareness of a cappella throughout this huge campus.

The number of groups has increased exponentially from 2 groups 10 years ago to 10 groups currently -- the demand for these groups is extremely high because everyone wants to be a part of it!

CD: A cappella is completely different at UNC than it was in the past, especially in regards to the Clef Hangers. In the past our singing style has been musical theater and classically based, whereas we now use a more breathy tone that projects more sound and better blends to create what we call a “wall of sound.” Our repertoire has also changed, becoming less choral and incorporating more rock and pop songs. We still try to keep our choral roots by doing two or three songs that are TTBB choral pieces each semester.

Listening to CDs like “Voices Only” and the yearly BOCA CDs, I hear recording techniques like autotune and voice alterations, which I think is great; I love using technology to experiment with the human voice and see what it can become. I do hope though that groups don’t get too crazy with the music they create and don’t forget about the power of the simple human voice. Making songs sound like the original is great, but I hope people don’t forget that voices alone sound pretty cool and can still be epic.

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