NDACDA Chorister Fall Issue, 2011

The Chorister

FALL ISSUE 2011

TABLE OF CONTENTS:

1. The Chorister: Cover Page 2. Raber: ABC & Do Re Mi 3. Surround the State in Song 4. What’s in the Folder: College 5. North Central Conference 6. Saylor: Selecting Microphones 8. Barnum: My Top Five 9. Hanson: Begin With the End 10. Showcase Choir Audition Form [1]

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Petrik: Motivation From Within Middle School Audition Rubric From the Field: My First Job Moe: Reflections on Teaching Leevy: For Your Viewing Pleasure Sublett: Managing Your Speaking Voice Rasch: Minot Flooding Update News Flash!!

Picture Page A Little Humor

A B C & Do Re M i Rebecca Raber, NDACDA President Chorister Editor

♪ “When you read, you begin with A B C...when you sing, you begin with Do Re Mi.” Do you remember the beginning to that wonderful song from “The Sound of Music?” Those lyrics explain that what initially may seem complicated and foreign, can actually be achieved easily by beginning with the most simple elements of the task. We all are likely spending time teaching these music fundamentals at the start of the year...but what about “that other stuff” that student need to learn? Is it only about the music?

Don’t be fooled into thinking that it’s only “this note,” “that chord,” or the entire choral repertory by Dietrich Buxtehude! If we consider ourselves not only music educators, but human educators, the list grows and grows and we are all the better for it!

What does your list include in 2011-2012? Is is only musical or do you also seek to teach beyond the ink on the page? These are my fundamentals...my A B C’s of good teaching.

The ABC’s of a good choral education go beyond the music!

APPRECIATION: of the art and making music together BUILD: be a contributor...not someone who knocks others down COMMITMENT: to each other and to you DETAIL: attention to detail marks the quality of the artist EXPRESS: this is what we do...and what makes us human FORGIVENESS: understand, find resolution, move forward GIVING: demonstrate giving of yourself as an example HUMOR: show them your silly side...enjoy each other INDEPENDENCE: learn to be self-sufficient & confident JOY: this is why we do what we do...it brings us/others joy KINDNESS: be kind...especially to those in need of it LOYALTY: in an age of “what’s in it for me?” teach them to value and demonstrate loyalty • MEMORY: make wonderful memories with each group, not just your favorite or highest level ensemble.

• • • • • • • • • • • •

What do our students need to learn from us?

• NICE: sometimes an “out-dated” notion, but teach it anyway • ORGANIZATION: help them learn how crucial this is • PASSION: teach them to love what they do and do it well • QUIET: experience inner and outer silence every day • RESPECT: for you, for each other, for what they do • SUPPORT: the group is more important than “me” • TIMELINESS: “early is on-time...on-time is late” Thanks IMC! • UNYIELDING: don’t give up your pursuit of excellence • VISION: know what you’re working towards and let it guide you • WORK TO IMPROVE: each time is better than the last • XCELLENCE: ha ha...spell-checker!

• YES: say yes to the important things • ZEAL: live, learn and love with everything you have

THE CHORISTER HAS MOVED ONLINE! After a board vote at our August meeting, the NDACDA Chorister Journal is following the growing national trend to move online!

Many thanks to Rob Schmaltz, who has been our valiant and capable editor for these past years!

If you need anything included in the Chorister for the next issue or two, please contact Rebecca Raber, who shall be serving as temporary Chorister Editor until someone can take over the position. This newsletter was created using the Mac program, “Pages.” If you are interested, please contact the President.

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Rebecca

Best wishes for a year of outstanding music & students!

“STUDENTS WHO PARTICIPATE IN SURROUND THE STATE IN SONG SHARE THE JOY OF MUSIC AND DEVELOP A SENSE OF PRIDE IN THEIR ABILITIES. IT IS A JOY TO SEE AND HEAR!” ~CHERYL MCINTYRE, SITE COORDINATOR

SURROUND the STATE in SONG!

SURROUND THE STATE IN SONG TO BE HELD OCT. 15 The yearly NDACDA sponsored children’s choir festival is gearing up for it’s 2011 performances!

Students from around the great State of North Dakota shall be joining their voices in song on Saturday, October 15! Students have been registered by their teachers and have been using the online rehearsal files to learn parts for the selected pieces.

Each general music teacher or The Festival day begins with choral director was invited to select registration at 9:00 a.m. and ends with a public concert at 4:00 p.m. up to 5 of his or her best 5th or 6th Singers should wear neat, black pants grade singers to participate in the and a comfortable shirt to rehearsal. event. Singers must be able to match They will change into their festival tpitch, sing in tune, and demonstrate shirts before the performance. Each good rehearsal behaviors for a full day participant should bring the music of music making.

Students are packet, a sharpened pencil, and a water bottle. expected to arrive at the festival “knowing” the music (pitches and rhythms down pat!) so that festival day can be spent on the more exciting and satisfying aspects of choral performance! Rehearsal tracks are available at http://www.ndacda.com

REPERTOIRE: Johnson Boys...arr. Jay Broeker Pacem...Lee Dengler Ton Thé...arr. Susan Brumfileld Winds...Larysa Kuzmenko O, Colored Earth...Steve Heitzeg

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2011 FESTIVAL SITES Underwood * Grafton Jamestown * Dickinson

What’s in the Folder ?

Collegiate/University

The Bismarck State College (BSC) Chamber Singers and Concert Choir: The Prayer to Saint Michael - Andrew Miller The Desert will Bloom - Andrew Miller The Spheres - Ola Gjeilo

University of Mary Concert Choir O magnum mysterium by Ola Gjeilo Voice of an Angel by Tom Porter Salvation is Created by Pavel Chesnokov

VCSU Concert Choir - 45-50 voice mixed choir: Sancta Maria, Mater Dei (K.273), Mozart Sanctus (from Missa Pacem), Marc A. Hafso Stars I Shall Find, David DIckau University Singers: Auditioned Mixed 14-16 members In the Bleak Midwinter, Abbie Betinis O Magnum Mysterium, Robert Sieving Valkyries: Select Women's Ensemble 14-20 members Three Nightsongs, Joshua Shank

Dickinson State University Chorale: The Bluebird, Norman Dello Joio Herz und Mund (Cantata 147), J.S. Bach John Henry, arr. John D. Miller

Dickinson State University Chamber Singers: Vecchie letrose, Adrian Willaert Im Walde, Felix Mendelssohn Laudate Dominum I from Selva morale, Monteverdi

North Dakota State University Concert Choir Chanson on "Dessus le marche d'Arras,” Lassus No Man is an Island, Fissinger Magnificat, Kuhnau NDSU University Chamber Singers Alouette, arr. Robert Sund Ill bell umore, Gastoldi Early One Morning, arr. MaryKay DeMaris The NDSU Madrigal Singers An Elizabethan Spring, Stephen Chatman Magnificat, Francesco Durante Christ the Appletree, Stanford Scriven The Statesmen of NDSU Stars I Shall Find, David Dickau Mary Ann, arr. Mark Sirett When the Saints Go Marching, arr. Don Large

The NDSCS Concert Choir At the River, Aaron Copland, arr. R. Wilding White Te Deum Laudamus, John Purifoy Waka Waka (This Time for Africa), arr. Mark Brymer

Jamestown College Choir Abendlied, Rheinberger Beati Quorum Via, Charles Stanford Cantique de Jean Racine, Gabriel Faure

University of North Dakota Concert Choir How They So Softly Rest, Healey Willan Os Justi, Anton Bruckner O Salutaris Hostia, Eriks Esenvalds Allegro Women’s Choir Nigra Sum, Pablo Casals Le Train d'hiver, Marie-Claire Sandon Dies Irae, Z. Randall Stroope Varsity Bards

O Sacrum Convivium, Tomas Luis de Victoria O Mistress Mine, Neil Ginsberg Whistle Maggie, Whistle, arr. David Stocker

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2012 North Central ACDA

Honor Choirs It’s time to audition your singers!

APPLICATION FORMS, information, and instructions will be sent to all NC members by mail, and will be available for download at www.ncacda.org

DEADLINE: October 1, 2011.

Get your applications in early!

HONOR CHOIR QUESTIONS?

Contact Lynn Seidl at lseidl@luxcasco.k12.wi.us

HONOR CHOIR CONDUCTORS

Angela Broeker

Elementary Grades 4–6

Paul Caldwell

Sean Ivory

Middle Level Girls Grades 7–8

Margaret Jenks

Randy Swiggum

Middle Level Boys Grades 7–8

Brad Holmes

High School Mixed Grades 9–12

NC-ACDA CONFERENCE “BEYOND THE NOTES”...a conference designed to help ACDA members go deeper in engaging choir members to sing more artistically, with greater independence, understanding, and commitment in the rehearsal process.

Join your choral colleagues in Madison, February 8–11, 2012.

Special performance: To Be Certain of the Dawn, Paulus/Browne Outstanding guest choirs • Exceptional clinicians • Collegiate repertoire choir Venue for all performances: Overture Center for the Arts ONLINE at ncacda.org

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HOW TO SELECT QUALITY MICROPHONES FOR YOUR VOCAL PROGRAM Brian Saylor, Show Choirs R & S Chair When choosing microphones for your vocal program there are two primary concerns. First, consider how you are going to use the microphones to accomplish your goals.

Second, make sure that the microphones purchased fit your current technologies.

These will be the primary topics in this article.

Currently there are hundreds of makes and models of microphones available which can make the task of stretching your shrinking budget quite overwhelming. As you dig through the mountains of catalogs or web pages, how do you determine which microphones best fit your needs. Most microphones can be divided into two basic categories, omni-directional and unidirectional. These labels refer to the pattern with which the microphone gathers sound.

An omni-directional microphone is able to pull in a large area of sounds from all sides, which makes it optimal for use with large ensembles that are amplified from a distance. Uni-directional microphones require the sound to be close and direct making them an excellent choice for use with soloists. Uni-directional microphones do not work well for large ensembles unless each singer will have their own microphone.

Within these two basic categories there are many viable and affordable options that can be a great asset to any program.

Omni-Directional Microphones When purchasing omni-directional microphones, key considerations are: How many singers are you planning to amplify?

How much additional “noise” will be in the field of the microphone? Are visual aesthetics important? How much do you want to spend?

I will discuss the microphones and price in the following sections. Please keep in mind that there may be many other great microphones available, however I am choosing to include only models I have personal experience with. Also remember that microphones are an item that will last for many years. I have microphones in my personal studio that are well over 20 years old.

Ensemble Size: If you are planning to amplify a large ensemble (from 30-80 singers) you will need more than one microphone to create an even pick-up pattern. A good rule of thumb is one microphone per 20-30 singers. For example in my performance space I can adequately amplify my choir of

60-80 singers with three good omnidirectional microphones.

Background Noise: The amount of background noise present is an important consideration when looking at omni-directional microphones.

Many schools already own a couple of Shure SM 81’s while these can be adequate for us in quiet environments, they are not intended to pick up singers over a band, orchestra, or percussion. The SM 81 (see figure 1a) is, according to Shure, an instrumental microphone. Their intended use is for use for orchestras, horns, cymbals, and other instruments.

If you are currently using the SM 81 for your choir you may want to consider a change. These microphones are very prone to picking up “sizzle” sounds such as obnoxious “s” and “t” sounds as well as various room sounds. They also are particularly adept at amplifying clapping at a much higher level than the singer’s voices.

In a very quiet environment the SM81 will probably be adequate, however in a “noisy” environment the SM81 is not a good choice There are several affordable options for use in an environment where background noise is problematic.

Large diaphragm microphones tend to pick up more of the sound that is near them and less of the background sound. There are two excellent choices from AKG, the C1000 (Figure 1b) and the C3000 (Figure 1c). Audio Technica AT4040 (Figure 1d). I have personally used each of these and had very good success with all of them. The price for each of these is around $300 making them relatively affordable.

They can also be used as recording microphones for vocals and instruments. Another advantage with large diaphragm microphones is their durability; they can take a bit of jostling without damage.

Another type of microphone that is good in a noisy environment is the small capsule boom microphone (microboom) like the Audix MB 5050 (Figure 1e). This style of microphone is relatively new to the professional audio world. The performance of these microphones is similar to their large diaphragm counterparts. The largest advantage to this microphone is visual appeal. They are so small and the boom so thin that they do not visually detract from an ensemble. A disadvantage is the fragile nature due to the size of the microphone.

Another disadvantage is cost. The Audix MB 5050 is $500. In my opinion they are worth the money but if budget is the primary consideration it may not be the best choice.

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Another consideration for all of the microphones mentioned previously is the need for phantom power (48V) to provide the power to run the built-in condensers.

This is a common feature included on most sound mixers. Before you spend money on microphones, this should be confirmed.

Visual Aesthetics: If visual aesthetics is your primary concern, you will want to give serious consideration to the Audix MB 5050 style microphone. The cost of the Audix 5050 is around $500 per microphone. The microboom is appealing due to their slim profile. While the boom arm is 50 inches long, it is only the diameter of a pencil. This makes the microphone nearly invisible from 100 feet away.

Because of the length of the boom arm there are low profile stands available that make the microphone sit low to the ground as well giving an added sense of invisibility.

While the sound of a large diaphragm may be appealing, their biggest disadvantage is how they look in front of their choir. They take up a great deal of visual territory, and from a distance away can block faces of singers. They also require sturdy boom stands to hold their weight which are bulky and again are visually unappealing. The performance between microboom and large diaphragm microphones is virtually the same.

“What kind of sound do you want?”

Price: As stated above, large diaphragm microphones are definitely where you will get the most for your money. For a choir of 30-80 three or four microphones should be adequate. At approximately $300 per microphone you can outfit your choir for $900-$1200.

To amplify the same choir with three or four microboom style microphones would cost $1500-$2000. The disadvantage is clearly price.

Dynamic (Uni-Directional) Microphones Dynamic microphones are used for direct contact singing. This style of microphone needs to have direct input in close proximity to the diaphragm. Primary uses would be for solos in a concert or groups where each singer has their own microphone. There are many, many handheld microphones that are excellent choices for this type of application. I will share some of the models I have used and highlight some of their key features. $100 Or Less: The most versatile and affordable all-purpose vocal microphone is the Shure SM58 (Figure 2a). They are available for around $100 and are virtually indestructible (I know roadies who have used them as a hammer in a pinch).

They can handle the rigors of travel and being handled (and sometimes dropped).

SM58’s have a very high flat equalization which makes for good sound on almost any voice while also have very little handling noise. They also have an ability to handle high levels of sound without distortion.

Another very versatile handheld vocal microphone is the Sennheiser e835 (Figure 2b). One thing I like about the e835 is their ability to sound good particularly on Male vocals. This is an excellent choice for a tenor voice that can sound “piercing” or bright on

another microphone. They are very quiet in operation with very low handling noise. This also means that they may give an alto voice an overly dark sound that could be unpleasant. The distortion point for this microphone is quite low making it a poor choice for very strong voices. The e835 is an excellent choice to use for some voices, although it is not an all-purpose microphone. $150-$200: The first choice in this price range is the Shure SM58 Beta (Figure 2c). This microphone has all of the attributes of the SM58 mentioned above with one addition.

More gain. The Beta series is designed to be more sensitive than the base model. This makes them an excellent choice for any vocalist. They work particularly well for softer voices.

Another very viable choice in this price range is the Sennheiser e935 (Figure 2d).

Again this microphone is similar to the e835 above, with the added gain and sensitivity present in the Shure Beta. In my experience this microphone is a better choice for getting more volume out of singers, however it is a bit more fragile, and sensitive to feedback and distortion.

The final choice in this price range is the Electro Voice N/D 767a (Figure 2e). This has many of the same qualities as the Beta series SM58. The big advantage over the Shure is for Bass singers. The N/D 767 has a brighter quality which can enhance the clarity of a bass soloist. They work particularly well for Basses in a Jazz Choir who may have a muddy quality to their tone.

This microphone can brighten their voice and enhance it in the mix of vocalists. $250 and Above: In my opinion there is only one choice for schools looking for handheld microphones at a higher quality than those previously mentioned. The Shure SM87 Beta (Figure

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2f) is an excellent all-purpose vocal condenser microphone. The big advantage to the SM87 is gain. This microphone has the highest gain-level of any microphone under $300. They have an ability to directly amplify the sound without “coloring” it. They also are well-built and durable. The big disadvantage is the need for phantom power because of the condenser inside.

Most modern sound mixers will have a phantom power (48V) button on them. If you have the ability to provide phantom power, and are looking for the best sounding microphone available for under $300 the SM87 Beta is worth consideration.

Cables Matter When purchasing new microphones, you need to keep in mind that the cables that you select to use with the microphone can add to or detract from the performance.

Often schools have cables in their storage room that are 20 and maybe even 30 years old. These cables have a diminished ability to effectively transfer audio signal adequately.

When spending a few hundred dollars or more on microphones, it is imperative to also spend a significantly smaller amount to upgrade your cables.

Disclaimer This article is obviously full of my own biases.

Please understand there are many, many qualified audio technicians who will have other opinions about each of the microphones above. Please also understand that my personal preference runs rampant throughout. The point was to give some tested and tried advice based on using the equipment for a like purpose. Often audio technicians have little experience using the microphone for the same use as we will as choral directors.

If you have any questions please contact me at brian_saylor@bismarckschools.org. I will do my best to assist you in any way possible.

M Y T O P F I V E Sarah Barnum, East Representative Picking new repertoire is one of the most excited and frustrating parts of my job. I’ve gone through various methods of sorting my personal library, from plastic totes to large piles to (what I currently use) an extensive set of spreadsheets and filing. Through various positions in ACDA, I have collected 1400+ titles in my personal library and in utilizing 2800+ titles in my school district choral library – I have amazing resources to begin the year.

Here are some of my current favorites specifically for Middle Level Music.

Almost all of these selections are available in different voicings – adapt them for your group. Look for new music – I challenge you to be bold and try something new!

Keith Christopher

B. Wayne Bisbee

“Blades of Grass and Pure White Stones”

“Shojojee” Some of our best experiences connected to this piece were learning about Japanese culture and pronouncing text. We watched clips from YouTube to see American singers performing in a Japanese style.

Roger Emerson

“In Flanders Fields”

This piece speaks for itself -- your audience will be moved by the text while the DVD adds a spectacular new dimension to your concert.

Moses Hogan

“I’ll Make the Difference”

We need to teach our students that they CAN be the ones who I’ve used this in interdisciplinary units for English and make the difference – whether through community service or through their music….there are multiple ways we can talk to our History. The piece of poetry still speaks to students students about giving them the opportunity to be the today and ties into World War I History. one to make the difference.

Ruth Dwyer

“Thanks and Praise” Glorious! The soaring octaves tune so cleanly -- we practiced until we were able to lock in the tuning in a moment.

Educating the next generation of outstanding musicians.

Dr. Tom Porter Director of Choral Activities Katherine Henjum Associate Professor of Music, Voice Contact the U-Mary Music Department to learn more: music@umary.edu www.umary.edu/music 800-408-6279, ext. 8301

The University of Mary Music Department is defined by a commitment to excellence. Vocal music students have the opportunity to study Concert Choir, Vocal Jazz, Vocal Arts Ensemble, Chamber Choir, Musical Theater, and Private and Class Voice Lessons.

Performance ensembles are open to all students. Students from other disciplines mix with music majors to create a diverse and welcoming community. For more information on student ensembles, click here.

Scholarships opportunities to music majors and minors and ensemble participants. For more information on student scholarships, click here.

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BEGI N WITH THE END I N MI ND Sarah Hanson, Middle School R & S Co-Chair Yes, it’s that time of year already! I hope you’ve gotten your postcard in the mail – Middle Level / Junior High All State Honor Choirs audition season is here. A s I’ve been gearing up to prepare this year’s round of students’ audition CDs, my Dad’s frequent advice, “begin with the end in mind,” has been a bug in my ear. I gathered thoughts from recent ND ACDA Middle Level/ Junior High All State Honor Choirs attendees about what they came away with from the experience, and this quote summed it up the best: “The two years I had spent in NDACDA were really great. It helped me overcome a lot of difficulties with my voice and my stage presence. It was also great to meet other students from different schools and cities around North Dakota. I shared a lot of memories and became close with a lot of the singers and teachers during these two years. I would recommend this to anyone who is at all interested in singing, or even getting closer to kids who share their interests in music.

Overall, the years in NDACDA were great and would be a blessing to anyone who enjoys singing as much as I do.”

When I read these reflections, I am excited that students are aware of many of the musical and social benefits of the experience. I am also inspired to consider some of the positive outcomes for my choir program. The audition process allows me to work with students in smaller groups, helping me get to know them better.

I t seems like after honor choir auditions end, my choir room is injected with a burst of energy – students just drop in because the choir room becomes their home through this process.

From an educational standpoint, our district has been increasingly oriented toward making sure our activities relate to the ND State Standards. Obviously, we sing like crazy throughout this process (Standard

1.1-4). Every minute of practice, we’re working on technique, tone, vowels diction, breath management—all of the core singing skills we help students improve. When we’re learning the music, we look closely at terms, musical figures, and expressive markings the students have never seen before (Standard 5). While we dig through these pieces, we talk together and try to make sense of what they are learning; often students will find a pattern that I don’t see, or they’ll make sense of the music in an entirely unique way (Standard 6). Also, I’ve almost always had a student be taken aback by a piece that seems odd to them at first, usually a multicultural piece, that they later come to ADORE after they’ve performed it. Students are not only singing and being exposed to songs they would not otherwise be likely to hear, but they are embracing music and culture in a hands-on way (Standards 1 and 9).

The ACDA Convention and Honor Choir experience has a lot to offer teachers as well. I treasure the time spent getting to know my colleagues and gaining new skills and ideas for my teaching from this outstanding group of professionals. I also appreciate being introduced to fantastic new music at the concerts and reading sessions. But most of all, there’s something inspiring about just being in the place with hundreds of singers who are all amped up about doing what we love – MUSIC. So, now that we’ve taken my Dad’s advice and thought about the end, you can begin by going go online, downloading the audition information and form from www.ndacda.com (then go to the NDACDA Convention tab), and get singing! In short, the process involves the following: 1. Record the audition CDs, including America and an appropriate folk or art song. Fill out one single-sided audition from for each singer noting their range, collect $5 audition fees.

2. Send in your school’s packet containing the CD’s, audition forms, and a single check to ND ACDA on or before October 19, 2011.

3. On November 23, results will post on the website. Collect all singers’ registration forms and $45 fee. Then, send in one packet containing the forms and a single check covering registration on or before Wednesday, December 14, 2011. This year that fee will cover a t-shirt, music, and two meals at the NDSU Student Union Dining Hall (Friday dinner and Saturday lunch).

4.Music will be mailed to you. Distribute music to the selected students, and rehearse with your copy of music. Keep an eye online for conductor notes and Honor Choir updates.

5. Attend the convention at NDSU February 3rd and 4th. Enjoy the outcome of your work!

Middle School Honor Choirs

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Renae Hansen (Choral Music at Carl Ben Eielson Middle School in Fargo), and I (Sarah Hanson – Music at Ben Franklin Middle School in Fargo) are excited to be your co-chairs this year. Please contact us with any questions you have about the ND ACDA Junior High/Middle Level Honor Choirs. We hope to see you in Fargo in February!

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MOTIVATION FROM WITHIN THE CHORAL REHEARSAL Rebecca Petrik, Guest Columnist A question posed during the 2011 unprepared, or unmotivated – and find NDACDA conference at Dickinson State the positive. Have a positive look on your University was; “How do we motivate face. Speak to singers using their name and maintain focus in choir rehearsals?” and make eye contact that is kind and The question was posed during the connective. panel discussion session at the conference. Panelists responded In response to attending to with 2 ideas that have continued needs for belonging and Attend to “cook” in my thoughts 1) valuing, a key teaching to the needs of attend to basic needs of behavior is to look first for the singer singers (especially needs for what singers are doing belonging and being valued) well and articulate these and 2) build success upon things out loud.

Give Build success success. individual feedback for upon success correct demonstration of This question is central to every choral skills in areas such as rehearsal and every age of singer. I rehearsal etiquette, posture for work with a select college ensemble of healthy singing, and facial expression.

12 SATB voices and 2 children’s choirs; Beyond noticing what the group and one of ages 9 and 10 and the other of individuals are doing, have singers ages 11 – 13. Purpose and focus are demonstrate passages within the music. daily needs for every rehearsal.

Ask for volunteers to sing a phrase demonstrating shaping, or word When one thinks about the nature of a accents, or singing without scooping, group of individuals coming together to etc. It is also effective to ask for singer sing, one realizes that every single input regarding meaning and individual within our groups has different interpretation in the music. The depth reasons for choosing to be there. Our of feeling/connection to life experience job, as the director, is to bring the group that singers will share constantly to an awareness of our shared surprises me. Singers can also share purposes; creation of expressive music evaluations of what they hear in the and human interrelationships.

The choir’s performance of a passage within music itself is the motivation and our the music. Ask the ensemble what they purpose as an ensemble is the work we heard. Ask what went well. Ask what do together in the creation of sound and needs to be improved. They will tell you! emotion.

Directors do not motivate singers. We motivate ourselves. The Looking through my files at notes from music, when singers hear the beauty we past presentations we have had as part can create together, motivates us to of NDACDA, I came upon a handout recreate that beauty. from Phil Mattson. At the top of his handout: Ideas for Effective Choral/ I found myself wondering what I do to Vocal Jazz Rehearsals is this statement: demonstrate to my singers that their “Work to develop a philosophy about presence is valued and that they are music, its significance and its integral to the success of the ensemble. relationship to the whole of life, that is The most important director behavior, I your own.

Share and discuss it believe, is to be as upbeat and positive frequently with your choir.” as possible at all times.

Make a concerted effort to take singers where I believe that standing squarely in our they are on that day; be it tired, own beliefs is central to motivation in sick, distracted, sad, the rehearsal/classroom.

We must know what we believe about learners/ singers and we must have beliefs about music and its power in life.

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My scribbled notes from a session presented

by Axel Theimer presented Phil’s assertions about purpose in a different way. Axel told us that much of what we communicate in the choir rehearsal is other-than conscious. He asked; “What is your intention?” When we work with singers we exude our intensions and our beliefs.

I took his words to mean that if we truly have music as our focus, the singers will respond to that. We are here to make music to our highest ability and to support one another in our collaborative practice of the art of choral singing.

Resources: Phil Matson Workshop: NDACDA Axel Theimer Workshop: NDACDA, 2009

“Our job, as the director, is to bring the group to an awareness of our shared purposes: creation of expressive music and human interrelationships.”

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STUDENT TEACHING AND MY FIRST JOB Joseph Perron, Guest Column One year ago I was a senior B.M. Music Education major at Concordia College who didn’t want anything to do with education. My plan was to graduate, take a year and work while preparing for grad school auditions. I began student teaching in spring of this year and completely changed my post-graduate plans within about a month of my experience at my cooperating school.

Currently I’m writing from my apartment in downtown Anchorage, Alaska, where I am almost two months into my first year of teaching middle school choir and elementary music with the Anchorage School District.

When I was preparing to start student teaching I wasn’t entirely sure what to expect.

I had had friends who had gone through the experience already and felt like I was prepared mentally to take on the task, but the fact that teaching professionally was not even on my post-grad radar at the time made me feel a bit uneasy. At least I won’t be doing this forever, I thought, even if I do mess up.

Working with my supervising teacher and the students at the middle and high school completely changed my outlook.

Not only did I begin to see teaching as a reasonable and even attractive opportunity, I began to see myself as a successful educator.

The program that my teacher has set up is a wonderful one for student teachers. She has created an environment where college seniors can use their education training and their musical training side by side. In the classroom I not only learned many hard lessons about classroom management, which I still call on today, but I was also able to take steps musically with the students that I may not have been able to take in another program.

FROM THE FIELD...

The ability to use my musical training to achieve meaningful results in student teaching really made me reconsider my career path, and around halfway through my experience I began scouring the Internet for music education jobs around the country.

school policy and protocol than classroom management, this new position would be a much greater struggle than it has been.

These first weeks have been challenging everyday, and quite frankly, I often go home questioning if I can really do this for a whole year, but I’m glad to be challenged now when my life as a student has only been over officially for a few months and all my experiences are still fresh in mind. I go home exhausted, drag my feet to keep active during my time off, but I wouldn’t give it up for anything. The experience in and out of school that I am having as a first year teaching in big, wild

What has been the most rewarding thing so far?

When my students come up to me and ask to borrow a piece of music to take home and show their parents I feel like I have really made singing relevant to them.

They can hear that the work we do in class is making them better and they want to share it with someone else, which is most I could ever ask for from a choir.

During student teaching I did not lose sight of the student part of the job, and therefore remained spongeWhat has been the biggest challenge? like throughout. I continued to think The biggest challenge is working in a Title 1 school where of myself as a student, albeit a there have been three choir teachers in the last three years. student with only one professor, Building loyalty, trust, and community among my students is so my mind was open to all sorts difficult based on the history of my position, the vast cultural diversity of each class, and the rough reputation that these of new things. Now in my first year, students are under the thumb of every time they walk I often still feel like a student. Every through the front door. day I am presented with more and more to learn not only about what is effective in the classroom, but also about what it takes to be a teacher on all other levels. I was lucky to have a student teaching experience in which the administrative side of the job was present, but not overwhelming. I was able to focus my time on what I needed to do during class, and I’m glad I learned the things I did about managing the The most important thing I learned from classroom when I did. student teaching was to be realistic about my Administrative details are important, but had my student teaching focused more on

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growth as an educator. Being willing to admit fault, reflect on mistakes, and grow from challenges has helped me take myself just seriously enough to be firm in the classroom, yet still flexible in my development as a teacher.

REFLECTIONS ON EFFECTI VE TEACHI NG Charlette Moe, Women’s Choirs R & S Greetings North Dakota ACDA Members! It is with pleasure that I look forward to serving this organization as the Women’s Choir Repertoire and Standards representative. As I begin a new role of leadership, it is with fondness and appreciation that I reflect on past choral educators who contributed to my education. The benefits I received from High School Honor Choir experiences hosted at Dickinson State and International Music Camp were numerous. The “flashback” memories of those performances are absolutely precious to me. My undergraduate and graduate choral experiences I received from North Dakota State University, Concordia College, and Minnesota State University Moorhead shaped me as a musician, and as a person, in more ways than I could explain. Each of my conductors across the states of North Dakota and Minnesota demonstrated effective teaching traits throughout each rehearsal and concert to create many memorable experiences for me.

While appreciatively reflecting on my past, it becomes interesting to identify the effective traits those conductors exhibited. Also, I extend two questions to you… “What effective music traits do music educators/conductors possess?” And “What traits would you tell an undergraduate future choral educator are the most important?”

At a recent conference, I asked music educators to reflect and identify effective teaching traits within master teachers/conductors with whom they were familiar. This informal research, yielded the following list: *cares about students *builds relationships *instills confidence *encourages *possesses high expectations *provides frequent feedback *holds students accountable *believes music is important for all students *plans well *makes parent contact as necessary *communicates well with peers, fellow staff and administrators *continues to learn *serves as mentor for other teachers *selects appropriate, quality literature *thinks through aspects of their teaching to develop successful strategies *anticipates issues *works hard *is involved in professional organizations and in the community *is knowledgeable on discipline *celebrates mistakes as a learning opportunity *creates a safe environment *assesses student achievement *loves their students *is organized *is calm under pressure *innovates *student-centered *has a vision for the program *begs, borrows, and steals from others as they recognize what is good and is able to emulate *adapts *is efficient *understands psychology of student’s development *is self-reliant

The verbs in this list of effective teaching traits are powerful. A master music teacher… instills, encourages, adapts, innovates, assesses, celebrates, etc.

Though the list is daunting when one strives to be an effective teacher/conductor, the list should be affirming and encouraging to all of us. Area choral instructors are demonstrating these traits on a daily basis.

In regards to the second question, “What traits would you tell an undergraduate future choral educator are the most important?” I asked music educators at the conference to complete another exercise.

In an Issues in Educational Research article, Dr. Sam Leong researched and compiled a list of 20 effective music-teaching traits.

I asked the conference attendees to utilize Dr. Leong’s list by numerically ordering the 20 effective music-teaching traits in order of importance with “1” being the most important. The results of the numerical numbering are listed below in order of popularity. It is interesting to note that overwhelmingly, the trait of “establish positive relationships with students” was scored the highest most consistently. (see list on following page) Though the exercise identified a priority of ranking, it is easy to conclude that successful music teachers/conductors possess ALL of the traits. The seven traits, which did not appear in the top 1, 2, and 3 spots are also exceptional and needed.

• Assess and evaluate individual student achievement • Communicate needs of the music to the school administration • Define and teach musical terms, signs and expression marks used in scores • Demonstrate familiarity with current music requirements on the local and national level • Design and administer teacher-made tests • Identify elements of musical style • Understand the development of students

It is probably impossible to agree on 20 effective teaching traits when it is common knowledge that teachers/conductors demonstrate hundreds of effective teaching traits every day. But in the spirit of discourse there is definitely a fascinating aspect to identifying effective music teacher/conductor traits. Here’s a big “shout out” to all of you effectively preparing, teaching, motivating, conducting and inspiring choral singers everyday.

Don’t forget to check out the Women’s Honor Choir information on the NDACDA website. Dr. Sandra Peter, conductor at Luther College, will provide a memorable experience for women singers, 11th and 12th grade through university level.

Bibliography Leong, Sam. “The Plight of Novice Music Teachers in Australia: Initial Preparation and Workplace Expectation.” Issues in Educational Research 9, (1999): 23-31 www.iier.org.au/iier9/leong.html. 20 July 2010.

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The Thirteen Highest Ranking Effective Music Teaching Traits

(cont. from pg 13)

#1. Establish positive relationships with students #2. Create and maintain a cooperative learning environment in the classroom #3. Select repertoire, which optimizes the learning experiences of students #4. (tied) Sequence instruction to optimize the learning experience of students #4. (tied) Encourage students to express themselves through musical performance #5. Express ideas and communicate directives clearly #6. Ability to identify and correct musical elements – intonation, rhythmic, and/or articulation problems #7. Utilize strategies that develop student’s creativity #8. Teach and maintain a balance between music performance, listening and creating #9. Utilize strategies that develop student’s self-discipline and possess ability to deal appropriately with students who are constantly disruptive #10. Select clear guidelines for student assignments #11. (tied) Establish a system to keep accurate records in regards to performance attendance, class participation, involvement with extra curricular and grades #11. (tied) Plan student assignments in a progressive manner “Singing has always seemed to me the most perfect means of expression. It is so

spontaneous. And after singing, I think the violin. Since I cannot sing, I paint.” ~Georgia O’Keeffe

How many times do I have to tell you to wear BLACK SOCKS with your choir uniform ????

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~Beethoven

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Fun with Composers

FOR YOU R V I EW I N G P LE ASU R E Leesa Levy, Past President, Membership One of the things that I am sure about as a choral director is that I have learned more from my colleagues than I ever learned in a classroom! For the past few years I have had the honor of being part of this state ACDA organization and have benefitted tremendously by the expertise of my fellow members. All of you have careers full of experiences to share with other directors, experiences that help us all become better conductors and teachers.

Another group of directors that I have learned from are professionals who have taken the leap of putting their ideas and techniques on DVD. Two of the DVDs that I have invested time in learning from are "What They See is

What You Get" by Rodney Eichenberger; "Choral Conducting/Teaching: Real World Strategies for Success" by Sandra Snow.

Rodney Eichenberger is one of America's foremost choral conductors and is wellknown for his technical and interpretive conducting skills. The DVD, "What They See is What You Get" explores the details of Eichenberger's approach. The DVD is easily segmented into different elements of technique so that the viewer can take as much time as desired studying and assimilating the information before moving on to the next element. One of the main focus points of the video and Eichenberger's approach is the ability to influence the tone color of the choir through the use of gesture, and the facial expression and posture of the conductor.

Eichenberger quite effectively demonstrates this approach. He employs the assistance of various conductors and choirs to identify which postures, gestures and expressions elicit which responses from the choir. The DVD is available on line at <http:// www.rodneyeichenberger.com/ store/store.htm>.

rehearsal plans for the choir. By mapping out the main characteristics of the selection the conductor can use these as a basis for teaching the musical skills that the choir should learn from the piece.

Identifying the various ways that a singer can experience the piece – rhythm, melody, text, texture, phrasing, tempo, etc. – and strategies, such as physical motion and sharing emotionally important experiences, that help to bring a particular element alive for the choir can make a tremendous difference in the quality of the choir's performance.

Snow advocates that continued use of such an approach, in which the director acts as a facilitator, developing pedagogy appropriate for each situation and helping the students to discover the core intent of the composer for themselves, helps the students develop deeper musicianship. Snow presents a fairly efficient step-by-step process to implementing the approach in her video.

Snow's video is available through GIA Publications at <http:// www.giamusic.com/search_details.cfm? title_id=10016>.

I hope that you have the opportunity to Sandra Snow has assembled an view these DVD's and wish everyone a excellent DVD on choral rehearsal successful choral season! techniques. Snow's principle approach is a thorough understanding of the vocal score and text that serves as a basis for the development of

“Choral Conducting/ Teaching: Real World Strategies for Success”

“What They See is What You Get” Rodney Eichenberger with Andre Thomas

Sandra Snow

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MANAGING THE HEALTH OF YOUR SPEAKING VOICE Dr. Virginia Sublett, Guest Column As choral directors and teachers, we try to be very attentive to our students’ vocal health. We encourage their good habits of vocal technique, such as the basic elements of low, relaxed breathing, a noble posture, and a relaxed jaw position, and work to help them achieve the best tone they can produce. We are aware of the damage that can be brought about by inadequate vocal technique and/or over-singing.

We may be far less attentive to our own vocal health, however. We may also be surprised to learn that vocal nodes are very commonly caused by abusive speaking habits and that, as teachers, we are among those who are at the greatest risk of developing vocal problems.

speaking voices. They operate with exactly the same machinery.

3. Breathe. Although we frequently remind our students to breathe deeply and fully when they sing, we may forget that the same deep, relaxed breath is as important when we speak. Taking frequent breaths as we talk is very restorative to the voice. Conversely, continuing to speak on residual air after we have run out of active breath is quite damaging, especially if we tend to speak “on the cords” in a vocal fry at the end of a sentence. As the old pols used to say of voting, we should “breathe often.”

Teachers speak constantly for several hours a day in what can be relatively noisy environments. They find themselves having to talk loudly to be heard. Female teachers may feel the need to speak at a lower pitch level than might be natural for them because high-pitched voices do not command authority in our culture. It is not uncommon for teachers to develop chronic hoarseness that increases over time, especially when they must continue to talk, day in and day out.

early and

4. Speak at optimum pitch. Each of us has a natural pitch for our speaking voice, and it may be quite different from the one we habitually use. If we continually speak at a pitch level that is lower or higher than optimum, even by as little as a major third in either direction, our voices will become fatigued more easily. If we have doubts about where our optimum pitch should be, visiting a speech pathologist can help.

5. Resist the temptation to sing along with the choir, even in warm-ups.

And that is just considering the classroom environment. When you add the increased volume of an ensemble rehearsal, the modeling a choral director does for the various sections, and the constant energy it takes to keep the rehearsal vibrant and engaging, it’s not hard to see how the challenges multiply.

6.Sing in the right octave. When modeling a phrase for a section other than our own, we need to be careful not to force our voices in their ranges. I think this is especially true of female choir directors who try to model for the men in their octave. If we sing a phrase beautifully in our own octave, modeling the kind of tone we want the singers to emulate, they will probably be able to hear it better anyway.

We should keep several things in mind.

Most important, chronic hoarseness should never be considered normal. If we find ourselves suffering from constant hoarseness, have a cough that just won’t go away, or lose our voices frequently, we should make an immediate appointment with an ENT and request a laryngoscope. There are many possible causes for hoarseness, some of which are very serious, even life threatening.

Other vocal issues can signal the onset of conditions that need immediate attention. The first signs of Parkinson’s disease, for example, are often manifested as changes in the voice.

7.Resist shouting instructions while the choir is singing. Perhaps relying on gestures and hand signals would work as well, or walking over to the section and speaking to them more directly.

8. Use a microphone if available. It can save a lot of vocal wear and tear.

Frequent vocal fatigue, on the other hand, may not seem so urgent. Since we depend on our voices for our livelihood, however, we need to be as attentive to our own vocal health as we are to our students’. Fortunately, there are a number of relatively small changes we can make to our daily vocal habits that will help. Many of them are exactly the same habits that we already know are helpful in singing. We simply tend to forget that the singing voice and the speaking voice are the same.

9. Maintain regular sleep habits. Lack of sleep contributes to vocal fatigue, as we so often tell our students.

10. Keep well hydrated.

Drink a lot of water.

While some of these adjustments may seem frivolous or over-protective, they are well worth making, especially since our voices are so important to us, both expressively and professionally. Paying as much attention to our speaking voices as we do to our students’ singing voices will help us maintain our vocal health and freshness throughout our lives.

1. Vocalize before class starts. Make a habit of warming up the entire range before speaking.

2. Stand up straight. Just as our singing voices require good posture to sound their best and project well, so do our

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MAKING THE MOST OF THINGS IN MINOT Beth Rasch, Guest Column Minot Public Schools began school two weeks late due to the flooding that occurred in Minot, ND. Instead of beginning school on August 24, we began Sept. 6. I teach 6th grade general music and 7/8th grade chorus at Erik Ramstad Middle School. Erik Ramstad was the school that was hardest hit by the flood, Ramstad had water up to its roof for several weeks. We recently found out that the school was deemed non reparable but at this point it is not known what they are going to do.. There were over 30 walls completely washed away by the flood. You were able to look through 5 different classrooms at once, the walls between the music office and my classroom was also gone. Due to the flood the complete music library was lost. But not only the choral library, the band library, along with various instruments and the 6th grade orchestra library were also lost. It is like beginning your teaching career over but on the bright side, this time your know what to expect you have the opportunity to completely build your program from scratch.

Minot Auditorium is now Erik Ramstad Middle School. There are also portable classroom units called ‘pods’ being used for classrooms just “You have the opportunity to completely build your program from scratch”

outside the auditorium. It was an interesting start to the year as we were unable to get into our classrooms until a few days before school began. We relied on donations and staff support to get ourselves up and ready. My classroom is in the center ‘pod’. It is a very nice room and even has air conditioning! I do have to move to another classroom for two periods but it is definitely workable. The 6th grade orchestra uses my classroom for those periods - which works out fine as I am happen to be married to the orchestra instructor.

I am just now beginning to feel as if I am catching up. In the beginning, I felt a little lost and not sure where to go or what to do, but things always come together. The district has been very good at getting us the basic supplies that we need. You tend to forget about the basics - staplers, tape dispensers, pens, pencils, etc. They had saved my clavinova and some basic classroom instruments. They were not able to save the pianos though. I am able to borrow music from Jim Hill, the other middle school in Minot. Lindsay Kerzmann, Jim Hill Middle School vocal music instructor, along with many others have been extremely kind and helpful in donating music and supplies to replenish what has been lost.

NDACDA is very pleased to offer vocal music departments that were damaged in the Minot flooding some funds to help replace their music libraries!

My daily lessons and future lessons are taking on a different hue. Since I do not have the costumes that I had before, I am looking for programs/musicals that require less costuming. I find as I go through the days that many times it is the little things that I miss - that vocal warm-up book with all my notes, the pictures and programs from past years, posters and bulletin boards and of course my Snoopy collection.

So far things are going pretty well, staff and administration are very helpful and supportive. The students are doing great. I know this is going to be another great year!

Other schools damaged by floodwaters include Lincoln, Longfellow and Little Flower

NDACDA

Date

9-30-2011

hools Minot Sc

Order of: Pay to the

Minot’s

usand Two Tho

Erik Ramstad Middle School

Memo

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Relief Flooding !

$2000 DOLLARS

ota ACDA North Dak

Signature

MINOT FLOODING NEED A MENTOR?

Are you a new teacher, or someone that would like a few fresh ideas to work into your classroom? Contact the NDACDA president to be connected with a veteran teacher to mentor you!

COMMISSION

In August, the NDACDA board voted to invest in commissioning a composition to rotate for the All State festival honor choirs.

A committee was set up to begin work on this exciting task! More details to follow soon...

NDACDA

RECRUIT & INVITE

News Flash!

North Dakota ACDA will offer a total of $2000 to the four Minot school music departments that sustained damage due to the spring/summer flooding.

We wish you well in 2011-12!

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Donâ&#x20AC;&#x2122;t forget to recruit new members to our organization! We want to make our organization a vital and living resource to all of our stateâ&#x20AC;&#x2122;s teachers.! If you know someone who should be a NDACDA member, please refer them to the President or Membership Chair.

Picture Page

NDSU Choral Festival: Mixed Choir

University of Mary: Menâ&#x20AC;&#x2122;s Honor Choir

Send in your classroom and concert pictures!

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A Little Humor

Suggested fines for the following “offenses” committed by choir members: Vocal Offenses:

Impersonating a Professional:

Unsuccessful Pitch “Approximation” $10 Eerie Vocal Similarity to: Elmer Fudd $10 Brittney Spears $15 Slipknot $20 Snoring $15 Snoring While Singing $20 Death Screams (not in score) $50 Failure to Negotiate Register Breaks $10 No facial Expression While Singing $75 Scooping $5/offense

Stupid Questions $5 Really Stupid Questions $10 Questions Just Answered 5 Mins Ago $100 Stupid Questions That Prolong the Length of the Rehearsal or Recording Session $200 Historical Nitpicking Obtrusive Foot Tapping Humming the Pitch When Not Asked Uninvited Conducting Uninvited Percussion

$50 $10 $10 $5 $5

General Bad Form:

Over-laughing at Conductor’s Bad Jokes $5 Not Laughing at Conductor’s Bad Jokes $10 Unwarranted grinning While Singing $5 Conversing With Conductor in Language Other Than English $10 Obsequiously Erect Posture 24-7 Actually Looking up From the Music Flamboyant Score Marking Marking the Score in Pen

Pretending to Understand Conductor’s Obscure Metaphors $10 Actually Understanding Said Metaphor $15 Holding the Notes 1/4 beat longer Than Everyone Else on the Cut-off $20 $5 Voluntarily Singing Unassigned Solos $15 $5 +$20 Discussing Vocal Technique at Lunch $40 Singing in Full Voice From Front Row $5 +$10 $500 Memorizing Music (not required)

Criminal Bad Taste

Offensive Fragrances $10 Drooling $15 Absurd Fashion Statements $20 Wearing Neon Yellow Belt with Tux $75 Swaying to the Music $5 Swaying and Smiling to the Music $10 Swaying, Smiling and Tapping Foot to the Music $25 Conspicuous Nodding of Head and Pretending to Take Notes as Director Tells Obscure Story to Make a Point $20

Using Cute Pencil with Music Notes on it $5 Using Cute Pencil with Music Notes on it...and You’re a Bass $35

Actually Knowing What the Point Was $30 Remembering the Point in 2 Days Time $50

Returning Your Choir Music Long After it’s Been Filed in the Library $40

Mozart + Jazz Hands Getting up to Get a Drink of Water Right in the Middle of the Director’s BEST Story/Metaphor of the Year

$30

Wearing White Socks with Black Pants $50 Wearing Flip Flops with Your Choir Gown$50

$1000

Making Director’s Veins Bulge out by not Maintaining Eye Contact in Performance $75

Having Stickers on Your Folder $5 “Friend Requesting” Eric Whitacre $25 Making Top Ten Lists on Why Your Section is Better Than all the Other Sections $35 Dressing Like the Director on “Nerd Day” $50 Not Being on Time on Choir Tour $100 Getting a 2 Liter Bottle of Mt. Dew Before a Really, Really Long Road Trip $85

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