Fall 2012, Volume 32, Issue 1

ContentsFrom Your President . . . . . . . . . . . 1Bill Zurkey

Distinguished Service Award . . . 4John S. Long

Our Family Choir: A Chance to Sing Together . . . . . . . . . . . . . . . 7Jennifer Call

Help the Historian . . . . . . . . . . . . . 8John S. Long

Stylistically Correct Interpretation of A CappellaJazz/Pop Ballads . . . . . . . . . . . . . . 10Dr. Christopher J.Venesile

The Word . . . . . . . . . . . . . . . . . . . 13Tim Carpenter

2012 OCDA Summer Conference Report . . . . . . . . . . . 16Brandon Moss

Call for Nominations . . . . . . . . . 17Ben Ayling

Upcoming Events . . . . . . . . . . . . 18

Treasurer’s Report . . . . . . . . . . . . 19Kent Vandock

Leadership Roster . . . . . . . . . . . . 20

AdvertisersCMS Publications . . . . . . . . . . . . . 2

Bob Rogers Travel . . . . . . . . . . . . . 3

Musical Resources . . . . . . . . . . . . . 5

BGSU clinic and tour . . . . . . . . . . 6

Soundwaves . . . . . . . . . . . . . . . . . . . 7

Field Studies Center of New York . . . . . . . . . . . . . . . . . . . 9

Charms Office Assistant . . . . . . 10

Stanton’s Sheet Music . . . . . . . . . 12

From Your PresidentAs I begIn my second yeAr as president of OCDA,I am energized by my OCDA Board and by all ofour fantastic choral directors in Ohio who are sodedicated to our choral art. I hope that our eventsthis year will give me an occasion to meet moreof you and express my gratitude for your support.

Our 2012 Summer Conference is now his-tory, but I want to thank all of those that con-tributed to this very successful event, our OCDA Board, and especially ourOCDA members who supported the conference through your attendanceand kind words of appreciation. Without you, there would not be a confer-ence. Plan now to be at the 2013 Summer Conference, June 17–19, 2013.

ere is much activity to report about OCDA. At the summer confer-ence, I made mention of an addition to our constitution. ere is a pro-posed “Past Presidents Council” amendment which will be available inmore detail in the winter OCDA News. All members will have a chance toread the proposal and then, at the Summer Conference, have a chance tovote on it. If the proposal is passed, the Past Presidents Council will beadded to our OCDA Constitution. e first meeting will take place at thenext summer conference. I am thinking of having a breakfast meeting onWednesday, June 19. All Past Presidents will be welcome to attend. Look formore information in a later OCDA News.

We are taking a proactive approach to mentoring in our state. At the lastsummer conference, many of our members had a chance to volunteer to bementors. We will continue to take interested choral directors and pair themwith new teachers in their regions. If you have retired, this is a wonderfulway for you to pay it forward. Our chair of this project is Eric Richardsonand I’m sure he will welcome additional members. He is working onpreparing a database for each region. Write to him at ersings1@yahoo.com.Our regional chairs will also work with Eric, so check the last page of thenewsletter to find out who represents your region.

In an effort to support and assist new choral directors, OCDA willaward five full scholarships to our 2013 Summer Conference to outstandingcollege graduates. e Mentor Committee will determine the recipients ofthese scholarships based on the following:

• an application for the Summer Conference (without a check),• a paragraph stating what they hope to do in their choral career, and

OCDA President Bill Zurkey

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• a recommendation from theirOSCDA advisor, sent directly to the President.

All materials must be submittedto me by April 15, 2013. If you havean active OCDA Student Chapter,please send an email to me atwzurkey@aol.com and to TimUnger, Youth/Student Chair, atetunger@sbcglobal.net so that yourchapter is included in this opportu-nity.

Another opportunity for ourcollege chapters comes from thenational ACDA. e ACDA Na-tional Office will award 5 scholar-ships per state to cover the cost ofregistration for the Dallas NationalConference. e goals behind thisinitiative are:

1. to increase student attendanceat the National Conference inDallas, and

2. to increase student member-ships in ACDA with the hope ofhelping young conductors makethe transition from student toprofessional.

To be considered for thesescholarships, students must submitthe registration form, which can bedownloaded from the ACDA Web-site. Alternately, each chapter rep-resentative can request registrationforms from Tim Unger, or RichSchnipke (schnipke.28@osu.edu).is is a time-sensitive issue, soplease check the ACDA Website ifinterested.

Some sad news to report: dickWesp, a legend of choral music inOhio, long-time member ofOCDA, and great advocate and ex-ample of choral excellence, passedaway on September 18. Dick taughtfor 57 years in the Forest Hills

School District in Cincinnati, retir-ing in June 2011 from AndersonHigh School. He was also choir di-rector and organist at St. JamesEpiscopal Church in Westwooduntil he passed away. He began asorganist there in 1948! Dick justcelebrated his 80th birthday in July.is exemplary choral educatorwill be missed. We will always re-member Dick’s contribution tochoral music through all of the stu-dents that his life has touched.

Make plans now to attend theACDA National Convention inDallas, March 13–16, 2013. Con-tinue to use all forms of communi-cation for our organization atohiocda.org and make a commit-ment to your organization. I wisheveryone the very best year of yourteaching career. d

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Your understanding of our choir students’ needs and your readiness to attend to even the smallest detail make student group travel a breeze!” Beth O’Riordan and Frank Piekarz, Choir Directors, Downers Grove North High School

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Over 30 years and thousands of trips, Bob Rogers Travel has learned that where you travel with your students isn’t as important as what they’ll bring back – eye-opening experiences and life-changing memories. We’ll welcome you into our family and personalize every detail to ensure that your students return with much more than they packed, whether they travel across the state or around the world.

Call Mike or Todd today.Together, we’ll create the moments that in�uence your students’ lives.

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eAch yeAr that I attend the OCDASummer Conference I eagerlyawait the announcement of theDistinguished Service Award Win-ner. It truly is a wonderful honorthat recognizes a person who hasdone much to promote and ad-vance the choral art. is year’s re-cipient has been a major contribu-tor to the choral art and as such isa most worthy honoree.

is year’s Distinguished Serv-ice Award winner is lucindahouck. Lucinda is a master teacherand her passion for developing themusical talent of her students is ev-idenced by their accomplishments.e best measure of her effective-ness as a teacher can be found bylooking at the success of her stu-

dents. ey are school teachers,college professors, Broadway tal-ent, successful professionals, andstrong family members. Many ofthem have renewed contact withher via the latest social media bymaking a “Ms. Houck Fan Club”page on Facebook.

Lucinda earned a Bachelor ofMusic Education degree fromBowling Green State Universityand received her Master degreefrom Ashland University. Lucinda’s32 years of Ohio teaching began inthe Hopewell-Loudon School Dis-trict, followed by Ridgemont LocalSchools and Riverdale LocalSchools, and her last 18 years werespent in the Marion City Schools.While at Marion City Schools, Lu-

cinda served asthe choral di-rector as well asthe Music Department Chair andMusic Supervisor for the schooldistrict. Both the local and districtParent Teacher Student Associa-tions selected Lucinda as Teacherof the Year in 1996.

Choirs under the direction ofLucinda consistently earned supe-rior ratings at both district andstate adjudicated events. On manyoccasions it was my pleasure tojudge her groups and they were al-ways top notch. She also had choirsperform at the Ohio Music Educa-tion Association’s State Profes-sional Development conferencesand at joint regional Music Educa-tors National Conferences.

Lucinda’s passion for developingexcellence in the musical talent ofyoung people is matched by herservice to the music profession. Inthe Ohio Choral Directors Associa-tion she served as the Repertoireand Standards Chair for FemaleChorus. In addition, she was thefirst woman in Ohio to serve thesix-year term of President-Elect,President, and Vice President ofthe OCDA. She also served theOhio Music Education AssociationAdjudicated Events Committee for20 years as the Vocal Affairs Chair,the Vocal Advisor, and the first fe-male chair of the committee in1991–93 and 2001–2003. Lucindawas instrumental in developing thesight-reading portion of the

Distinguished Service AwardJohn S. Long, Historian

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Bill Zurkey, Lucinda Houck, and Ben Ayling

OMEA’s adjudicated events. Herinvolvement with the OMEA is im-pressive: she served as President-Elect, President, and Vice Presidentof District II, as Regional Directorof the All-State Choir, and as anadjudicator for choral and solo ad-judicated events.

Lucinda is also very proud of therecognition she has received for hercommunity service over the years.She was the director of the SenecaSingers 4-H Choir and recipient ofthe Ohio State 4-H Alumni Awardtwo times. She received the Out-

standing 4-H Volunteer award in1995 in North Carolina.

If all of this isn’t enough,through the years Lucinda also di-rected choirs for Hope LutheranChurch in Fostoria and EmanuelLutheran Church in Marion, andshe is now the Director of MusicMinistries for Wesleyan ChapelUnited Methodist Church inWilmington, North Carolina. Shesings with and serves as secretaryof the board of directors for theCape Fear Chorale, Inc. Most im-portantly she lives in Wilmington,

NC, with her husband and friend,Larry Cunningham, while enjoyingthe warm sunny weather; and shehas frequent visits from her sonand daughter-in-law.

Lucinda truly has been a blessingto the students and choral educa-tional organizations of the state ofOhio. She has been a great mentorto many and an example of highstandards of musicianship, profes-sionalism, and service. Great job,Lucinda! anks for your years ofservice to the Ohio Choral DirectorsAssociation, and congratulations!! d

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The Second Annual

BGSU Chamber Choir/Small Ensemble Clinic

Bay High School Saturday, January 26, 2013

(Greater Cleveland Area)

Grandview Heights High School Saturday February 2, 2013

(Columbus, Ohio)

In your one-hour session, members of your 8 to 32-voice chamber choir will: • Perform for a small audience of singers from other high schools • Hear chamber choirs or small ensembles from two other high schools • Have a 30-minute clinic with a member of the BGSU choral faculty

Applications along with a $25 application fee are due on November 1, 2012.

Contact Dr. Mark Munson at munson@bgsu.edu for more information. Applications are available at http://www.bgsu.edu/colleges/music/ensembles/choral/index.html.

BGSU Alumni (and Friends) Choir Tour Amsterdam, Netherlands ! Brugge, Belgium ! Paris, France

• Hosted and directed by Mark Munson • 10 days beginning on July 10, 2013 • Cost is $3,789 per person from Detroit • Non-singing significant others are welcome • Enjoy European train travel and other public transportation • Participants should be prepared to carry their own luggage! • Deposit of $500 is due on December 1

Interested BGSU alumni and friends should contact Dr. Munson at munson@bgsu.edu.

hoW mAny tImes have you heardfrom one of your parents, “Johnnyis a great singer. I can’t sing at all,but he is great!” I can’t even guesshow many times I’ve heard thatfrom a parent. If I do get them toadmit they sing they usually say it’sin the car, when they’re alone. Ioften tell those reluctant singers,“If you can talk you can sing.” atcomment is usually brushed offwith laughter, but it is somethingthat I feel very passionate about.

Our culture is slowly movingtoward music-making as a specta-tor sport. Our families sit in con-certs and listen, politely clapping at

the right time (usually). We en-counter music on TV, at the gro-cery store, in the elevator, provid-ing a constant soundtrack to every-day tasks. at music is typicallyover-commercialized, digitized,and electronically produced. If we,as choral music educators, do notcreate the opportunities for realpeople to sing, we can be accusedof quietly sitting by and watchingour passion fade away.

In response to that societalshift, the Oberlin Choristers beganan experimental group simplycalled “Family Choir.” e purposeof this group was to get families

singing to-gether. Ourchoir consistedof 40 choristers—kids, their fami-lies, and community members out-side our organization—of all ages.

e success of this group as-tounded all of us. Singers and lis-teners bonded by hearing familiarsongs, sung by regular people. Ourcommunity was brought closer bya simple invitation to join us. erewas no performance where peoplein the seats didn’t join in and thehuge smiles showed their joy.

Here are some factors thatmade it work for us:

Our Family Choir: A Chance to Sing TogetherJennifer Call, Children’s Choir R&S Chair

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Common Purpose. Everyonewho joined our group knew whythey were there. We were singingfor fun. No previous experiencewas necessary, just the desire tosing. People were willing to try be-cause that was understood.

Multigenerational Member-ship. Our group of singers was 1 to79 years old. is diversity wastremendously valuable. It providedthe energy and joy of youth withthe skills and wisdom of age. ekids were given freedom to sit onthe floor, in a chair, with their par-ents, with their friends, and theadults helped keep everyone ontask. It was very much a “village”approach in rehearsal and per-formance.

Collaboration. We werethrilled to be part of the OberlinSummer eater Festival. Ourchoir was responsible for providinga 15-minute prelude and finale for10 performances of e CradleWill Rock. is show, set in the1930s, was about the labor move-ment and needed a group of pro-testors. It was a perfect way toshowcase our folksy sound!

Literature. Once the vision ofthis group was established, oursong choices were endless. Wesang folk songs, mostly from thepublic domain. Our repertoire in-cluded: e ree Rogues, I Boughtme a Cat, America the Beautiful,’Liza Jane, and is Land is YourLand. We also learned the finale ofthe show that was sung from theback of the auditorium.

Instrumentation. Our folk songliterature was perfect for folk in-strument accompaniment. Singers

played autoharp, dulcimer, fiddle,banjo, guitar, and harmonica.ese instruments provided theopportunity to be flexible with keysand find the ones that best suitedour group. It also motivated a cou-ple of the older children to learnnew instruments (guitar and auto-harp) and use them in perform-ances.

Flexibility. Because of busysummer schedules, it was impor-tant to provide flexibility with re-hearsals and performances. Singerswere asked to commit to 2 re-hearsals (out of 5, scheduled ondifferent days and times) and onedress rehearsal (as scheduled bythe theater company). We alsoasked that they commit to what-ever performances they could at-tend up front to ensure we had afull group.

Core Group. Along with theflexibility of scheduling, it helpedthat a core group of singers couldmake nearly every rehearsal andperformance. While this wasn’tpart of the initial plan, 4 familieswere able to attend almost every-thing. at provided a strong foun-dation for the folks who could onlycome and go, giving everyone asuccessful performance opportu-nity. Printed songbooks were pro-vided with lyrics, keys, and startingpitches that were suitable to useduring performance, so everyonecould feel confident on stage.

Although the inaugural per-formances by our Family Choirwere part of a professional theatercompany’s season, this arrange-ment is not required to find venuesor opportunities to perform. In

fact, we plan to continue singingonce a month for this next season.We’ll take our songs to the frontyard, the library, city hall, or thestreet corner if we feel the need foran audience. Our endeavor is moreabout building a communitythrough the act of singing andmaking music together than creat-ing another opportunity for peopleto watch and listen to a perform-ance passively.

Consider creating similar op-portunities within your choralcommunity. e model you followin your context will likely be differ-ent from ours, but the key is find-ing ways to engage people in gen-uine music making. You will findthe benefits to be overwhelmingfor you, your singers, their families,and the greater community. Younever know, that mom singingaway in her car may be your nextchorister! d

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Help the HistorianJohn s. long, hIstorIAn

I am trying to collect data forour historical archives. If youhave any type of concert pro-grams, newsletters, conferenceprograms, or pictures that youfeel would be of value to theOhio Choral Directors Associ-ation, please contact me. Infact, if you simply have a greatstory or remembrance aboutthe Ohio Choral Directors As-sociation and would be willingto share it, that would be great,too. Please e-mail me at jslong@inbox.com. anks so much!

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one oF the most ImportAnt aspectsof choral-director preparation islearning stylistically appropriateperformance practice for literaturefrom various style periods and cul-tures. Undergraduate and graduatechoral methods courses invariablyfocus some content on the applica-tion and execution of these per-formance practices. However,throughout my career I have ob-served inauthentic performancesby high school and college choirsof a cappella popular music (mostlyarrangements of jazz standards,

some pop), due principally to thelack of techniques necessary forthese styles.

is article is for any choral di-rector who programs an occasionalpiece of a cappella, American pop/jazz music with a concert choir or asmall select group (show choir,chamber ensemble, vocal jazz en-semble, etc). Included in this articleare an explanation of the stylisticdifferences in American populargenres; an explanation of the tech-niques necessary to achieve properchoral tone, and proper execution

of consonants,vowels, anddiphthongs; a discussion of properphrasing interpretation; and a dis-cussion of harmonic considera-tions. In addition, recent publishedwritings on the topic will serve toreinforce the concepts presented.

A Case in PointA few years ago, I attended a choralconcert at a national professionaldevelopment conference. I was ex-cited to hear two choirs, one colle-giate, the other high school, as they

Stylistically Correct Interpretation of A Cappella Jazz/Pop BalladsDr. Christopher J. Venile, Vocal Jazz R&S Chair

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had excellent reputations. e pro-grams were wonderfully diversewith literature that was drawnfrom European classical, multi- cultural, and American music.Each of the choirs had programmedan a cappella arrangement of apiece from the Great AmericanSongbook (e Great AmericanSongbook is, generally, a pop songfrom the 1920s–1950s, composedby elite songwriters, typically for aBroadway musical or Hollywoodmovie, often performed by jazz in-strumentalists and vocalists).

e concerts were beautifullyperformed, with one glaring excep-tion: neither choir gave compellingperformances of the a cappella jazzballads due to the absence of au-thentic style characteristics. For ex-ample, in a mostly six-partarrangement, the college choir per-formed with the same vibrati asthey had in a Brahms motet or aspiritual. Although the singerswere clearly well trained and ad-vanced, many of the harmonicallydense chords were ineffective be-cause the harmonies, which con-tained dissonant intervals betweenvoices, could not be perceived dueto excessive vibrato rates betweensections. In addition, the overalldiction was performed in the man-ner of a musical theatre choruswith exaggerated consonants. Fi-nally, the piece was conducted in aregular metric pattern without re-gard to the musical line as deter-mined by the text. is left the per-formance stiff, stilted, and not inkeeping with the authenticity ofmusic in the genre.

A look at the program gave me

a clue, as the program notes wereimpressively full of references tohistorical backgrounds and stylisticconsiderations—except for the bal-lad. Although details about thecomposer were included, there wasno reference to definitive record-ings by vocalists or instrumental-ists who would have originally per-formed the song, or any commentson the approach to performance.

It led me to the conclusion andgeneralization that many choral di-rectors have a gap in their knowl-edge and skills in the performanceof authentic American popularmusic styles. Moreover, many donot believe that genuine perform-ance of jazz or pop styles is as im-portant as, say, other previouslymentioned choral styles.

Director ResponsibilitiesFor choral conductors, part of theresponsibility of preparing for re-hearsal is gaining an understandingthe score. Part of the “due dili-gence” is studying the piece in de-tail so that it may inform our planfor teaching. As an example, if oneis preparing the Haydn “Lord Nel-son” Mass, there is a need for somehistorical research. While it wouldbe acceptable to perform it in Ital-ianate Latin, scholars may arguethat a Germanic Latin may bemore appropriate historically, af-fecting the pronunciation. If so,there will be a need for detailedmarkings regarding vowel and con-sonant production.

A cappella jazz charts requiredecisions regarding text also. Forinstance, because ballads containvowels that “lay open” longer, exact

pronunciation choices (preferablywith IPA markings) should be en-tered in the scores. Tunes withslower tempos leave more optionsfor vowel treatment. Consider whata researcher states:

Understanding the breadth ofchoices in vowel productionand treatment in jazz singingwithout applying that knowl-edge to text delivery overlooksa significant set of interpretivetools that must be mentioned. . . .e manner in which the text isexecuted (syllabically) largelydefines authenticity in jazzsinging. . . . (Spradling, p. 32)

e evolving nature of popularmusic styles means that dependingon the artist, style, and tempo,vowel behaviors can and dochange!

A stylistic feature in contempo-rary music is the use of vibrato.Whereas in most traditional classi-cal vocal and choral pedagogy vi-brato is a given, in popular styles itis a stylistic choice (Spradling).us, the when, where, and how touse vibrato as ornamentation is acritical issue. Most choral musi-cians who employ the concept of“straight tone” prefer to refer to itas “minimized vibrato,” which canbe achieved healthily (Zegree).

Since jazz and popular stylesderive from the aural tradition, in-terpretation of the song by singers(and groups) has been determinedby the flow of the words. In otherwords, the meaning of the lyric isdriven by the interpretation by, inthis case, the director of the en-semble. If a small group is moredemocratic in its artistic decision-

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making, discussion of the whenand where to use text phrasing isimportant. Although vowel treat-ment is important, consonant exe-cution must be also be mediated.Again, since popular song stylesutilize vernacular pronunciation,there are multiple options for theuse of consonants. For example, atraditional rendering of the word“little” would use an aspirate “T,”but in the Cole Porter song “Ev’ryTime We Say Goodbye,” the “T”ought to be implosive rather thanexplosive, sounding like “Ev’ry timewe say goodbye I die a liddle.” Asimple technique to test the ver-nacular flow of a lyric is to sing itas you would say it.

A word about the harmonicconcept of dissonance must be in-cluded here. Jazz and popularstyles typically have more disso-nance than the classical styles most

high school and college choirspresent, and therefore greater at-tention must be paid in rehearsal tothe choir learning to hear and singdissonances in chord voicings. Anoted arranger/educator states:

Part of that process will involvethe singer’s awareness of chordswith dissonance, and develop-ing an understanding of the na-ture of the dissonance. ereare two forms of dissonancethat are very common in vocaljazz: half steps between notesand a major seventh betweentwo notes. (Weir)

A rehearsal technique isolatingchords with challenging harmoniesand slowly going from one chord tothe next and back allows thesingers to develop consistency in“placing” their part successfully inthe texture.

e rule of thumb with regardto texture is that for every added

part to the texture, the singersshould sing with an extra degree ofintensity and focus. While unisonsand octave unisons should be sungwith a lighter, transparent ap-proach, each additional voice partneeds more independence. us, insituations where four, five, and sixpart chords are formed, attentionshould be given to the importantchordal tones. For instance, in adominant-seventh chord, the partssinging the third (determines thechord quality) and the seventh(seventh-chord type) should pre-dominate and tune over the others.Typically, “color” tones or exten-sions beyond the 7th and alteredtones (usually in dominant-seventhchords) should be tuned after the3rd and 7th (with the root, if pres-ent).

Finally, it becomes obvious thatwhen we allow the text to deter-

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mine the delivery of the lyric, a ru-bato approach to the conducting isnecessary. Note values and meterbecome secondary sources of in-formation for the conductor. Hav-ing our singers understand thatthere may be slightly different in-terpretations from performance toperformance not only keeps themon their toes, but can be liberating!Whatever the decisions that aremade regarding interpretivechoices, they must be very well re-hearsed and conducted so thateach technique can be executed tobreathtaking display (Rutherford).

Finally, in his book e Com-plete Guide to Teaching Vocal Jazz,Zegree writes: “Many directors are

uncomfortable with interpretationthat includes a slower tempo andrubato, but this is one of the mostimportant elements that will addmusicianship and maturity to theperformance.” A satisfying per-formance of an a cappella balladwill evoke oohs and ahhhs as muchfor the interpretive treatment as forall other concepts like tonal con-cept blend, balance, and intona-tion.

For further information anddemonstrations of these conceptsin performance, consult therecordings of groups such as Take6, e New York Voices, e RealGroup, and Singers Unlimited.Even within these groups there are

variations and exceptions, allowingeach to have its own distinctivesound and style.

ReferencesRutherford, P. e Vocal Jazz Ensem-

ble. Milwaukee, WI: Hal LeonardCorporation, 2008.

Spradling, D. R. Jazz Singing: Develop-ing Artistry and Authenticity. Ed-monds, WA: Sound Music Publica-tions, 2007.

Zegree, S. e Complete Guide toTeaching Vocal Jazz: Including Popand Other Show Styles. Dayton, OH:Heritage Music Press, 2002.

Weir, M. Basic rehearsal techniques foryour jazz choir. Retrieved fromhttp:www.micheleweir.com on July14, 2012. d

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those oF us engAged in the field ofchurch music face a host of dilem-mas every time we select a choralcomposition to present during aworship service. e criteria bywhich we choose repertoire can in-clude finding a selection that con-nects effectively with the pastor’ssermon (or at least the scripture ofthe day); choosing literature thatwill be “do-able” by the choir youhave but that also allows you tohelp them grow in their musician-ship; finding texts that are scrip-turally accurate and support yourdenomination’s belief structure;and—what I believe to be the twomost important criteria—findingmusic that glorifies God and thatenhances the worship experience

of the congregants.As an integral part of the wor-

ship team, we are charged withhelping to lead the worshippers toGod. It has been said that the pas-tor, liturgists, musicians, and thelike are the “directors” of worship,the congregants are the “perform-ers” of worship, and that God is the“audience” of worship. As “direc-tors,” our task is to lead our “per-formers” to practice their craft ofworship in a true and honest fash-ion, and to avoid leading themaway from remaining in the mo-ment of worship. Our musical pre-sentations in worship should edifythe listener (as well as the presen-ters), and not take them away fromthe task at hand: worshipping.

Here are a fewguidelineswhich, in myhumble opinion, are important toconsider as we select music forworship.

1. Text rules; nonsense drools.e text of a sacred piece of musicis what truly makes it a sacred se-lection and therefore the textshould be of prime considerationwhen selecting church-choirmusic. It must convey to the lis-tener (and the singer) a messagecompatible with the teachings ofyour particular church. For exam-ple, no matter how much I mayenjoy Franz Biebl’s beautiful “AveMaria” or any other composer’ssetting of this prayer, this text is in-

e WordTim Carpenter, Music and Worship R&S Chair

compatible with the teachings ofProtestant denominations, in thatMary, the mother of Jesus, isrevered but not worshipped inthese denominations, and Protes-tants do not pray to Mary or askMary to “pray for us, now and inthe hour of our death.” If we need asong honoring Mary, we mightconsider a setting of the Magnifi-cat, Mary’s prayer upon learningshe has been chosen to bear theson of God. is text is compatiblewith both Catholic and Protestantdoctrines. Additionally, there arearrangements of “Mary, Did YouKnow” (Mark Lowry) or the spiri-tual “Mary Had a Baby,” for exam-ple, that are appropriate for Adventor Christmas, and would be finechoices for a traditional, contem-porary, or blended worship setting.

Sometimes, the text of a choralcomposition may be doctrinally ac-ceptable but the setting itself stilldetrimental in a worship setting.For example, when I first arrived atmy church job in 2001, I began pe-rusing the choral library to get toknow what I had to work with.Tucked away in there was a selec-tion called “e Ten Lepers” thatreferred to the healing of the lep-rous men by Jesus in Luke, chapter17. It was written in a form resem-bling “e Twelve Days of Christ-mas” with a progressive text and a“boom-chick-boom-chick” accom-paniment. at selection mysteri-ously disappeared from our librarywithin seconds. Who could keep astraight face while singing that, orfor that matter, who could continueworshipping with a distraction ofthat magnitude? In those files, I

also found a choral arrangement of“Gonna Build a Mountain” fromStop the World, I Want to Get Off.It, too, bore no resemblance toworship music, despite one linethat reads “Gonna build a Heavenfrom a little Hell”—whatever thatmeans. It, too, went quietly away.

In a similar vein, just a couple ofweeks ago, I attended one of ourchurch’s contemporary-worshipservices (the management of whichis not included in my job descrip-tion as Director of Music), and theypresented a selection in which thelyrics (not notes) were projected ona screen as they were sung: “Oh,praise Him! Oh, praise Him! He isholy! He is holy!” So far, so good.en, the next section of the songwas projected, and any sense ofworship that may have been cre-ated by the previous text went rightout the window, as the lyricschanged to “Oh, la la la la la la, ohla la la la la la. . . . ” ey had justpushed the pause button on theworship experience! e use ofnonsense syllables bears little to noresemblance to “worship” by anydefinition. What would be the re-sult of a pastor stepping up to thepulpit and saying “Zwap ba-buhdoo-wop, uh wop bam boom”?Worship? Not likely.

2. Watch your language. It ismy opinion that, in order to en-hance the worship experience for acongregation, the choral directorshould exercise great care in select-ing music with texts in a languageother than the one spoken in thatcongregation. is is not to say thatthe use of foreign language works(or by extension, multicultural

works) should be eliminated fromworship services, but only that onemust discern whether a work in alanguage other than that spoken bythe majority of the congregation istruly contributing positively to theworship experience by moving theworshippers closer to a one-on-oneexperience with the Almighty. Iwill occasionally have my churchchoir (in a United Methodist con-gregation) present an anthem witha short foreign language text, suchas Doreen Rao’s “Siyahamba,”where the short and repetitive Zulutext is translated to English on therepeat; or macaronic texts withmultiple languages, such as “ereIs No Rose of Such Virtue” (as setby any of a number of composers)with verbal, printed, and/or pro-jected translations of the non-Eng-lish sections, or “Sing, Shout, Jubi-late!” by Martin/Angerman, wherea one-word translation is all that isrequired. One might also questionthe use of extended works with for-eign texts (such as the entire Vi-valdi Gloria) in the worship set-ting, even with a translation pro-vided, but especially if thecongregation is not accustomed tothis type of presentation, or has ex-pressed a concern about suchworks in worship. A similar con-cern would be for the use of avant-garde selections where the text be-comes unintelligible, such as one ofmy favorite late–20th centurypieces, “In the Beginning of Cre-ation,” by Daniel Pinkham, set forchoir and electronic recording. Se-lections such as this, where soundeffects and aleatoric elements cre-ate a soundscape of creation, rather

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than actually transmitting a com-plete and understandable versionof the text, may be more distract-ing than worshipful, despite beinga complete blast to perform. Anoption might be to have the choirprepare a sacred concert outside ofthe worship service, where musicthat might not work in worshipcould be presented.

If indeed we as church choraldirectors are there to facilitate wor-ship and to edify the listeners, andcertain choral selections do not ac-complish these goals, then the di-rector should carefully considertheir use. If we are there to pad ourresume in the “works conducted”section, then the cost may well beworship itself. e Enemy is partic-ularly fond of using pride to derailour best intentions, and we shouldbe cautious not to allow pride tooverrule our prayerful considera-tion of what is proper for use inour church’s worship services.(“I’ve always wanted to conductthis piece!” or “It’s Bach . . . theyneed to hear it.”) Bear in mind thatwhat may be a worshipful experi-ence for a college-educated choraldirector or singer may not be wor-shipful for a “seeker” off the streetif they cannot understand the texton the first (and most likely theonly) hearing.

ere are many selections offine choral art music that willsoothe the “artist” in us while stillbeing suitable for enhancing wor-ship—including spirituals, such asthose by Jester Hairston or MosesHogan; hymn settings like those ofRobert Shaw and Alice Parker orAaron Copland; gospel music, such

as “Praise His Holy Name” by KeithHampton; classic works, such as“He Watching over Israel” fromMendelssohn’s Elijah; Britten’s “Ju-bilate Deo” (which is in English,not Latin, despite the title); ormusic of the English School, suchas Herbert Howells’ “Like As theHart.” (Here’s an idea: in the serv-ice, present Howells’ “Like As theHart,” which is a setting of Psalm42, and later in the service, perhapsas a postlude, present Palestrina’s“Sicut cervus,” also a setting ofPsalm 42, so it has already beentranslated. If the pastor is preach-ing on that psalm as well, you havecreated a very special and spiritu-ally satisfying service with a coor-dinated emphasis that will leavethe congregant with a clear under-standing of that particular psalm.)e deciding factor, of course, isprayerful consideration and, insome cases, a consultation with thepastor to decide if a selection ofmusic is right for your particularworship setting.

3. Songs without words. Allowme to preface this section with twostatements.

(1.) J.S. Bach wrote the initialsSDG, standing for “Soli Deo Glo-ria” (which translates as “For theGlory of God Alone”) on nearly allof his compositions, indicating hisdevout dedication to music as aform of worship. To this day, I use“Soli Deo Gloria” on my email sig-nature to remind myself why I dowhat I do.

(2.) Our church, which is theoldest Methodist congregation inthe Northwest Territory, has one ofthe only pipe organs left in Cler-

mont County, as well as a brass en-semble, a flute choir, a handbellchoir, two praise bands, an adultchoir, and a children’s choir.

ose points being made, in-strumental music in worship mayor may not lead the worshipper to-ward God. Let’s say a brass ensem-ble plays, for example, a set ofdance movements from any givenBaroque composer in the middle ofa worship service. It may be pleas-ant, enjoyable, unique, artistic, oreven virtuosic, but if it has no tex-tual (and therefore contextual)meaning, it is by definition out ofcontext and meaningless. A Bachtwo-part invention may be a fan-tastic example of the gift of musicthat God has given us to use to Hisglory, but his “Wachet Auf”(“Sleepers, Wake”) has actual andliteral meaning concerning the sec-ond coming of Jesus (provided thetext is made known to the worship-pers). e text is what makes sa-cred music sacred. A few years ago,our handbell choir played a pieceby Cathy Moklebust entitled “Tow-ers” when we visited some local re-tirement communities. is selec-tion, which uses the concept ofchange ringing, is challenging toplay and impressive to hear andwatch, but it has no religiousmeaning inherent in and of itself. Itshould most likely not be includedas an expression of worship, sinceit is not. Also in our handbell li-brary was “Alexander’s RagtimeBand”. ’Nuff said.

4. Study, train, and interact.As implied by the famous “butter-fly effect,” where a butterfly can flapits wings over Asia and the result is

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a hurricane in the U.S., nothing wedo is truly done in a vacuum. ereare resultant effects of everythingwe do. One way that we can stay intouch with what we do as churchmusicians, and therefore have agreater effect in that position, is tojoin professional organizations andgo to their workshops and confer-ences. I highly recommend thatchurch choir directors attend theOCDA Summer Conference everyyear (the next one is June 17–19,2013, at Otterbein University). Ad-ditionally, many folks are not awarethat if you happen to be an OCDAmember who is not a member ofOMEA, you may attend the OMEAConference (this year, Feb. 7–9,2013, in Columbus) without payingOMEA dues! at’s two confer-ences for the price of only onemembership, folks! (You’ll stillneed to pay conference registration

fees at both conferences.) At these events, you can attend

workshops on choral subjects, go toreading sessions that are tailored tofit the types of choirs you may have,pick up a ton of free choral musicfor your perusal, and exchangeideas with other professionals inyour area. At these events, I havemet and chatted with CharlesBruffy, Bob McGrath, Andréomas, and John Jacobson, as wellas taken workshops with great edu-cators like Jefferson Johnson,Doreen Rao, Henry Leck, Joe Miller(my classmate at CCM), RussellRobinson, and many of our ownfantastic Ohio choral educators.

By utilizing the options avail-able to you as a member of theseorganizations, you can gain knowl-edge and insight into our art formfrom the best of the best, and ener-gize and challenge yourself to be-

come a better you. Surely, that willhave an effect on your churchchoirs and your worship services.

5. It’s not a concert. It isn’t. Re-ally. It’s worship. Worship is meantto glorify God (its “vertical” func-tion), and worship serves to bringtogether the church and unifythem as “the body” (its “horizontal”function). We communicate withGod and each other in our worshipmusic, and it is our duty as part ofthe worship leadership teams inour churches to utilize music in away that serves the worship of thecongregants, not the needs of achoral conductor. I encourage youto be creative and thoughtful inyour work as church choral direc-tors, and to serve God and yourcongregations in song.

Soli Deo Gloria! d

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the 2012 ocdA summer conFerence,

held June 18–20 on the campus ofOtterbein University, was a greatsuccess! e 165 conference atten-dees were treated to a diverseround of clinics and interest ses-sions led by world-class profession-als in the choral field. CharlesBruffy, Grammy-winning directorof the Kansas City and PhoenixChorales, worked with young con-ductors on expression and nuance,while Rebecca Reames, Professorof Music Education at SUNY Pots-

dam, shared a host of ideas for re-hearsal techniques geared towardschool-age singers. Paul Oakley,Professor of Music at KentuckyWesleyan University, entertainedeveryone with his frankness onmusic and worship, and FrankBianchi allowed conference atten-dees to watch an actual rehearsalwith his singers in the ClevelandOrchestra Youth Chorus.

ere were also several terrificconcerts, including performancesby Capriccio! Vocal Ensemble and

the Bay VillageHigh SchoolChoraleers. eOCDA Children’s Honor Choir,under the direction of renownedcomposer and arranger Rollo Dil-worth, was larger than ever andgave an outstanding performanceto close out the conference. atconcert also featured the OberlinChoristers. Other conference high-lights included several reading ses-sions featuring over 50 titles; theroundtable lunches organized by

2012 OCDA Summer Conference ReportBrandon Mo, Conference Commiee Chair

area of specialization; the exhibitshall, which saw both old and newexhibitors this year (thanks toElaine Dwyer, our Exhibits Chair);the return of the Monday nightGemütlichkeit at Max & Erma’s,which was very well attended; andthe very popular All-ConferenceParty at Brio, sponsored by BobRogers Travel.

Conference attendees this yearwere from all over the choralfield—K-12, college, church, com-munity, and the list goes on. I wasespecially glad to see a much

higher number of student ACDAand first-year teacher members at-tending the conference. I hope thisnumber continues to increase eachyear, as this is the future of our or-ganization. Lest anyone ever thinkthat OCDA or its annual confer-ence caters only to one type ofchoir or choral professional, I urgethem to think again, because this isan organization and a conferencefor everyone!

I want to thank everyone whoattended the conference and en-courage even more of our fantastic

Ohio ACDA membership to attendnext year! e 2013 Summer Con-ference should be another greatone, featuring Eph Ehly, long-timeprofessor at the University of Mis-souri–Kansas City and one of thenation’s most sought-after choralclinicians; Jefferson Johnson, Di-rector of Choral Activities at theUniversity of Kentucky; and JodyKerchner, Professor of Music Edu-cation at Oberlin College. e con-ference will be June 17–19, 2013, atOtterbein University, so mark yourcalendars! I hope to see you there! d

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It Is tIme For you, as an OhioChoral Directors Associationmember, to take a moment to makenominations for president-elect,secretary, and several regionchairs on the OCDA Board of Di-rectors. We are also soliciting yournominations for the distinguishedservice Award. As Vice President,I am charged with chairing theNominations Committee.

e president-elect shall assistthe President as requested. He/sheshall become familiar with all func-tions of the organization and dutiesof the presidency, shall be respon-sible for the OCDA session at theOMEA state convention, shall ex-ercise responsibility for member-ship, shall be responsible for pro-grams of development of the or-ganization, and shall develop aprogram of regional membershipsolicitation.

e secretary shall work withthe Executive Committee in keep-ing a complete and accurate recordof all business meetings of the As-sociation and all meetings of theExecutive Committee and theBoard of Directors. At the conclu-sion of his/her term, the secretaryshall update the Policies and Proce-dures Manual to reflect Board ac-tions taken during his/her term.

is spring we will elect re-gional chairpersons for thenortheast, southwest, and southcentral regions. According to thebylaws, each Regional Chairpersonshall attend meetings of the Boardof Directors, promote activities inhis/her region related to OCDA,act as a coordinator for OCDA ac-tivities in his/her region, act as a li-aison between his/her membershipand the organization, promote thecontinuing recruitment of mem-

bers, and act asan advisor tothe NominatingCommittee in selecting a successorto his/her position.

e address of record for eachnominee must be in the region inwhich they are to serve. e southcentral region shall consist ofAdams, Athens, Brown, Fairfield,Fayette, Franklin, Gallia, Highland,Hocking, Jackson, Lawrence, Madi-son, Meigs, Perry, Pickaway, Pike,Ross, Scioto, Union, and VintonCounties; the southwest regionshall consist of Butler, Champaign,Clark, Clermont, Clinton, Darke,Greene, Hamilton, Logan, Miami,Montgomery, Preble, Shelby, andWarren Counties; and the northeastregion shall consist of Ashta bula,Cuyahoga, Geauga, Lake, Lorain,Mahoning, Medina, Portage, Sum-mit, Trumbull, and Wayne Counties.

Call for NominationsBen Ayling, Vice Prident

Please send your nominees forthese positions to me at b-ayling@onu.edu by November 1, 2012.You may nominate yourself. I willmeet with the Nominations Com-mittee and a ballot will be preparedfor the membership vote in thespring.

Nominations are also neededfor the ocdA distinguishedservice Award. Below are the cri-teria and past recipients. Pleasesend your nomination to me at b-ayling@onu.edu by November 1,2012.

A nominee for the OCDA Dis-tinguished Service Award must:

• be a member of OCDA in goodstanding;

• exemplify a high standard ofmusicianship;

• exemplify a high standard ofprofessionalism;

• have a strong record of serviceto choral music in Ohio;

• have a strong record of activeservice in the OCDA; and

• not be a previous recipient ofthe award.

Nominees my come from anyspecialty, discipline, or teachinglevel within ACDA membership. Nominations should include thefollowing information:

• the name of the nominee;• the nominee’s address (street

address, city, and zip code);• the nominee’s phone and email

address;• the nominee’s areas of work:

indicate Elementary, Middle/Junior High, Senior High, Two-

year Colleges, College/Univer-sity, Church, or Community;

• the nominee’s years of experi-ence;

• your statement in support of thenominee; and

• your name, phone number, andemail.

Past recipients of the OCDADistinguished Service Award are:

John Leman (2001)John Drotleff (2002)James Gallagher (2004)Richard Wesp (2005)B. Neil Davis (2006)Richard Mathey (2007)Hilary Apfelstadt (2008)Maurice Casey (2009)Craig Johnson (2010)Ernest Hisey (2011)Lucinda Houck (2012) d

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Upcoming Events

November 2012bgsu A cappella choir, conducted by mark munsonbgsu men’s chorus, conducted by tim cloeterFriday, November 16, 8:00 PM

Kobacker Hall in the Moore MusicalArts CenterRidge and Willard Streets, BowlingGreen, OHbgsu.edu/colleges/music/index.html

bgsu collegiate chorale, conducted by tim cloeterbgsu Women’s chorus, conducted by sandra stegmanSaturday, November 17, 8:00 PM

Kobacker Hall in the Moore MusicalArts CenterRidge and Willard Streets, BowlingGreen, OHbgsu.edu/colleges/music/index.html

Dember 2012bgsu university choral society,toledo choral society, and thetoledo symphony orchestra present handel’s MessiahSaturday, December 1, 8:00 PM

Sunday, December 2, 2:00 PM

Toledo Museum of Art Peristyle2445 Monroe Street, Toledo, OHtoledosymphony.com

February 2013omeA conferenceFebruary 7–9, 2013, Columbus, OHomea-ohio.org

June 2013ocdA conferenceJune 17–19, 2013, Columbus, OHohiocda.org

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Treasurer’s ReportKent Vandock, Treasurer

1/1/2011- 1/1/2012- AmountCategory 12/31/2011 9/5/2012 Difference

INCOME

Advertising 938.50 284.00 -654.50

Children's Choir Income 30,434.00 37,860.00 7,426.00

Elementary Choir Festival Income 810.00 1,760.00 950.00

Int Inc 7.86 4.22 -3.64

Member Deposits 7,553.00 3,294.00 -4,259.00

Other Inc 0.23 0.00 -0.23

Summer Conference Income 28,180.40 30,574.12 2,393.72

TOTAL INCOME 67,923.99 73,776.34 5,852.35

EXPENSES

ACDA Membership Dues Transfer 2,166.00 1,640.00 526.00

Awards 282.90 190.00 92.90

Bank Charge 132.51 45.00 87.51

Board Meetings 1,416.76 991.00 425.76

Children's Choir Expenses 23,953.10 29,639.30 -5,686.20

Elections 207.35 190.85 16.50

Elementary Choir Festival Expenses 0.00 2,128.76 -2,128.76

Fees 150.00 75.00 75.00

High School Honors Choir 134.99 0.00 134.99

Membership 337.50 0.00 337.50

Misc 50.00 50.00 0.00

Newsletter 1,073.00 600.00 473.00

Office 185.18 240.40 -55.22

OMEA 4,505.37 4,953.18 -447.81

R & S Area 13.07 0.00 13.07

Sponsorships 500.00 500.00 0.00

State Officer Travel 0.00 853.43 -853.43

Summer Conference Expenses 28,445.59 28,853.24 -407.65

Taxes 275.00 300.00 -25.00

Travel 2,157.84 1,880.80 277.04

Website expenses 0.00 509.96 -509.96

TOTAL EXPENSES 65,986.16 73,640.92 -7,654.76

OVERALL TOTAL 1,937.83 135.42 -1,802.41

2012 OCDA Newsletter Report - YTD1/1/2011 through 9/5/2012

9

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Leadership Roster

Pridentbill Zurkey32161 Teasel Ct.Avon Lake, OH 44012wzurkey@aol.comH: 440-933-3972O: 440-933-6290 x1501C: 216-407-5500F: 440-930-2798Avon Lake H.S.

V.P. (Past Prident)ben Ayling3820 Forest TrailFindlay, OH 45840b-ayling@onu.edu C: 330-842-2423 Ohio Northern UniversityMusic Dept.525 S. Main StreetAda, OH 45810

Prident Eledara gillis5205 Cascade DrPowell, OH 43065dbgillis1@yahoo.comO: 740-833-1010 x4355C: 614-327-1073Delaware Hayes H.S.

Sraryloren Veigel2851 Sherwood Ave NWMassillon OH 44646lveig@sssnet.com

H: 330-837-8371C: 330-685-2558Voices of CantonUniversity of AkronWitte Travel

TreasurerKent W. Vandock8192 County Road DDelta, OH 43515kndvandock@windstream.netH: 419-822-5716O: 419-445-5579C: 419-270-5396Archbold Local Schools600 Lafayette StreetArchbold, OH 43502

NW Region Chairstephen popa2541 Debbie Dr.Lima, OH 45807spopa@limacityschools.orgsteve@spopa.comH: 419-227-1733O: 419-996-3078C: 937-304-4722Lima Senior High SchoolOne Spartan WayLima, OH 45801

SW Region Chairsara potts990 SpringbrookCincinnati, OH 45224sara.potts@hotmail.com

C: 513-532-4785 Cincinnati Hills Christian Academy

SC Region Chairmike martin8921 Mitchell Dewitt RdPlain City, OH 43064O: 614-921-7300C: 614-214-6716mike_martin@hboe.orgHilliard Darby H.S.4200 Leppert RoadHilliard, OH 43026

NE Region Chaircorey Fowler2342 Williams DrCortland, OH 44410cfowler1@kent.edu330-766-3553Roosevelt High School1400 N. Mantua St.Kent OH 44240

EC Region ChairJulie meinhart dewald1515 Merino Cir. NEMassillon, OH 44646jdewald@massillonschools.orgjdewald@sssnet.comH: 330-837-1996O: 330-830-3901 x51502C: 330-575-0632Massillon Washington High SchoolOne Paul Brown Dr. SEMassillon, OH 44646

tim cloeter, editor • cloetet@bgsu.edu • 419-372-8288 office • 262-527-8151 cell

OCDA News, the official publication of the OhioChoral Directors Association, is published threetimes annually and is distributed without charge tomembers of the Association as well as to selectedmembers and officers of the American Choral Direc-tors Association. Distribution is by PDF file that is e-mailed and posted at ohiocda.org. OCDA reservesthe right to determine inclusion of materials submit-ted and to edit all materials proposed for distribution.

Copy and Ad Submission Deadlines: September 15for the Fall Issue, January 15 for the Winter Issue, andApril 15 for the Spring Issue.

Advertising Rates: a full-page ad is $135 per issue, ahalf-page ad is $80 per issue, and a quarter-page ad is$45 per issue. A 15% discount is offered on the pur-chase of three consecutive ads; other discounts areavailable. Please contact the editor for exact ad sizesand other specifications.

Exhibits Chairelaine h. dwyer26709 Jefferson CourtBay Village, OH 44140elaine.h.dwyer@gmail.comH: 440-871-2968C: 440-724-6789Bay Presbyterian ChurchNormandy Elementary,Bay Village Schools

HistorianJohn s. long9684 Wagonwood Dr.Pickerington, OH 43147 jslong@inbox.comvocalvivace@gmail.com H: 740-927-9008O: 614-548-1800C: 614-579-6359retired

Honor Choir Chairtyler young5361 Chimney RockWesterville, OH 43081mr.tyleryoung@gmail.comC: 419-563-5147

Newsler Editortim cloeter1082 Fairview Ave, Apt. N3Bowling Green, OH 43402cloetet@bgsu.eduO: 419-372-8288C: 262-527-8151F: 419-372-2938Bowling Green State University

Rired/Mentorshiperic richardson32148 Teasel CourtAvon Lake, OH 44012ersings1@yahoo.comH: 440-930-2767C: 440-935-6293Retired

Student Chapter Repchris Walsh361 GreenbriarAvon Lake, OH 44012

walshch@muohio.eduC: 440-228-0453Student, Miami University

Summer Conference Coordinatorbrandon moss7321 Skyline Dr. E., Apt. 308Columbus, OH 43235brandonlmoss@gmail.comC: 614-499-8089

Web MasterJames Vaughn1015 Crystal Meadows Ct.Findlay, OH 45840jamesbvaughn@gmail.com H: 419-722-7418O: 419-299-3384 x429C: 419-722-7418Van Buren Local Schools

Membership Chairdoug o’neal277 S. 17th St.Columbus, OHrdohio@gmail.comH: 614-271-3684O: 740-657-4276Olentangy Liberty H.S.3584 Home Rd.Powell, OH 43065

Repertoire & Standards ChairsC HILDR E N’S

Jennifer call100 Pyle S. Amherst Rd.Oberlin, OH 44704jcall@ochoristers.orgH: 440-774-1633O: 440-774-4079C: 440-454-2813Oberlin Choristers

C OLLEGE/UNI V E R SIT Y

peter Jarjisian316 Carroll Rd.Athens, OH 45701jarjisia@ohio.eduH: 740-592-1998O: 740-593-4231C: 740-503-4086Ohio University

C OMMUNIT Y C HOIR S

Frank Jacobs2444 Shadow Ridge LaneFairlawn, OH 44333330-666-8175summitchoral@juno.comSummit Choral Society715 E. Buchtel Ave.Akron, OH 44305

E LE ME N TARY IN TE R E ST

suzanne Walters6385 Sylvian St. NWNorth Canton, OH 44720suzannewalters24@yahoo.comH: 330-497-8996O: 330-830-8056 x 2223C: 330-309-5076Strausser Elementary School

HIGH S C HO OL

eric Kauffman17630 Robinson RoadMarysville, OH 43040ekauffman@uaschools.orgwww.uavocalmusic.orgO: 614-487-5240 x2053C: 614-284-0883F: 614-487-5238Upper Arlington H.S.1650 Ridgeview RoadUpper Arlington, OH 43221

ME N’S C HORUS

robert Ward1866 College RoadColumbus, OH 43210ward.539@osu.edu H: 614-607-5206O: 614-292-4622C: 614-314-8113e Ohio State University

MIDDLE S C HO OL

michael lisi144 Duff Dr.Avon Lake, OH 44012mklisi@oh.rr.comH: 440-930-2863O: 440-933-8142C: 440-396-6455Learwood M.S.340 Lear Rd.Avon Lake, OH 44012

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MULTIC ULT UR AL

Adam con209 Ardmore RoadSpringfield OH 45504acon@wittenberg.eduH: 937-460-7410O: 937-327-7346C: 912-678-9698Wittenberg UniversityP. O. Box 720Krieg HallSpringfield, OH 45504

MUSIC/WOR SHIP

tim carpenter945 Caribou Run LaneMilford, OH 45150tntcarp@hotmail.comH: 513-575-1606C: 513-885-1606Milford First U.M.C.CHCA Armleder School140 W. 9thCincinnati, OH 45202

SHOWC HOIR

devon gess31500 Tuttle Dr.Bay Village, Ohio 44140devontgess@gmail.comdevon.gess@bayschoolsohio.orgH: 440-871-9553O: 550-617-7480C: 440-821-6223Bay H.S.29230 Wolf Rd.Bay Village, OH 44140

T WO-YE AR C OLLEGE

nancy davis47627 Peck-Wadsworth Rd.Wellington, OH 44090ndavis@lorainccc.edu H: 440-647-6379O: 440-366-7138F: 440-365-6519Lorain County Community College

VO C AL JAZ Z

chris Venesile32868 Fox Chapel

Avon Lake, OH 44012cvenesil@kent.eduH: 440-933-6998C: 216-225-9842Kent State University

WOME N’S C HORUS

rich schnipke391 Frebis Ave.Columbus, OH 43206schnipke.28@osu.eduO: 614-292-0725C: 614-325-9661e Ohio State UniversityTrinity U.M.C.

YOU TH/ST UDE N T

tim unger4511 Oak CircleNorth Olmsted, OH 44070etunger@sbcglobal.netH: 440-716-0137O: 440-327-1175 x9277C: 440-539-8903Lake Ridge Academy

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