sspecial eventspecial events · 2019. 11. 8. · james macmillan • michael gilbertson • ned...

CHORAL JOURNAL Volume 54 Number 6 65

Special EventsSpecial EventsCentral Division

Taifa Mziki

Taifa Mziki was founded on Febru-ary 20, 2010, by Collins Murambi and Sylvester Makobi, who also serves as the group’s director. The name of the group means, “music which brings people together to make one nation.” Their repertoire is mainly African pop music and folksongs arranged for male voices. The members come from different eth-nic communities and use the diversity as an opportunity to learn songs from different languages.

Known as one of the best all-male choral groups in Kenya, in 2011 they were invited to perform during the premier of the International Student Film Festival in Nairobi, Kenya. In 2012 they sang in the fi rst televised choir competition in East Africa, “The Kwaya,” and thrilled fans with their wonderful and creative performances. They also perform in various corporate and state functions and concerts.

Taifa Mziki members, most of which are university students, are involved in a choral music mentorship program in high schools across the country. Through this program, the group encourages young people to join or form choirs. The performances and workshops create a platform for the group to preach peace. Taifa Mziki aims to be an ambassador of African Music.

the Dale Warland Singers Score Li-brary and Archives and has been rec-ognized by U.S. News and World Report as among the top-fi ve

programs in the United States. Music di-rector of Cincinnati’s Vocal Arts Ensem-ble for twenty seasons, Rivers’s recent conducting activities include the Festival of the Aegean in Syros, Greece; South Korea’s Inchon City Chorale; Carnegie Hall; and residencies at the Sichuan

John Adam's El Nino

Earl Rivers

Earl Rivers is professor of music, direc-tor of choral studies, and head of the division of ensembles and conducting at the University of Cincinnati College-Conservatory of Music (CCM). CCM’s graduate conducting program holds

A source for new music that will engage your singers and your audiences

Dominick Argento • Jenni Brandon • Jocelyn Hagen

James Macmillan • Michael Gilbertson • Ned Rorem

Robert Vuichard • Cristian Grases • Dominick DiOrio

Yale Glee Club New Classics Choral Series

Yale Glee ClubJeffrey Douma, Musical Director

Emerging Composers Competition• First Prize: $1,500, premiere performance by the Yale Glee Club,

and possible future publication • Compositions for a cappella or accompanied SATB Choir

Please visit www.yalegleeclub.org/New_Music for details and submission info

Submission Deadline: April 1, 2014

66 CHORAL JOURNAL Volume 54 Number 6

Spring Symphony with the Xavier Con-cert Choir and CCM Concert Orches-tra, and recorded new works by CCM faculty composer Douglas Knehans.

In 2013–14 the Chorale will perform Beethoven’s Mass in C with the CCM Philharmonia Chamber Orchestra, Missa Pro Pace by CCM faculty composer Miguel Roig-Francoli, and a selection of new works on CCM’s Café Momus. The Chorale will complete its record-ing of the works of Douglas Knehans and combines with the Chamber Choir annually to perform choral/orchestral masterworks

Philharmonia Orhcestra

The Philharmonia Orchestra, under the music direction of Professor Mark Gibson, is CCM’s premier orchestral en-semble and is recognized as one of the world’s elite conservatory orchestras. The Philharmonia has risen to world prominence through the quality of its performances, recordings, and its na-tional and international tours. The Phil-harmonia serves as the opera orchestra for the Conservatory's award-winning opera productions. Members of the Philharmonia are regularly divided into chamber orchestras for a variety of spe-cialized and high-profi le performances.

Conservatory in Chengdu, Chinam, and the Taipei International Choral Festival in Taiwan. Rivers was artistic director USA for the World Choir Games in Cincin-nati July, 2012.

University of Cincinnati Chamber Choir

The University of Cincinnati Col-lege-Conservatory of Music (CCM) Chamber Choir is CCM’s premier choral ensemble of twenty-eight sing-ers. Under the direction of Earl Rivers, the choir performs masterworks with chamber orchestra and miniatures from the historical standard repertory and contemporary periods. The Chamber Choir rotates the cycle of J.S. Bach’s masterworks Mass in B Minor, Christmas Oratorio, St. John Passion, and St. Mat-thew Passion and Monteverdi’s Vespers of 1610. The Chamber Choir has been acclaimed for its staged production in collaboration with CCM’s Opera De-partment of Bach’s St. Matthew Passion (Nov. 2011) at St. Peter in Chains Ca-thedral, and its Monteverdi Project (Nov. 2012), which hosted international and national Early Music guest artists with CCM students in selections from Book 8 Madrigals of Love and War and Selve Morale e Spirituale and was produced for Public Television by WCET Arts Con-nect. The Chamber Choir has received accolades for recent presentations from the canon of contemporary works to


include Tan Dun’s Water Passion after St. Matthew, Schnittke’s Concerto for Choir, Stravinsky’s Les Noces, and the collegiate premiere of Bastian Clevé’s fi lm, The Sound of Eternity, with Bach’s Mass in B Minor. The Chamber Choir has performed before national and regional ACDA conferences, par ticipated in Chorus America’s Masterclass for Cho-ral and Orchestral Conductors at CCM, presented a lecture-demonstration for the NCCO national conference at CCM, and was featured in a program of si placet works of Josquin and his con-temporaries for a national convention of the American Musicological Society.

Among the Chamber Choir’s ac-tivities in 2013–14 are fully staged pro-duction of J.S. Bach’s St. John Passion in collaboration with the Constella Festival of Music and Fine Arts (Nov. 3, 2013, Christ Church Cathedral), Rossini’s Petite Messe Solennelle (Feb. 2, 2014, Corbett Auditorium), and David Lang’s Little Match Girl Passion (April 13, 2014, St. Boniface Church). The Chamber Choir combines with the Chorale annually to perform choral/orchestral masterworks and in September 2013 presented Verdi’s Don Carlos in a concert version of the original fi ve-act setting for the Paris premiere.

University of CincinnatiChorale

The CCM Chorale is an under-graduate-based ensemble of forty-fi ve voices with a core of undergraduate voice majors under the direction of Brett Scott that performs a wide range of music, including unaccompanied and accompanied standard and contempo-rary repertoire. Last season the Chorale performed Fauré’s Requiem, Britten’s


Robyn Reeves Lana is the founder, manag-ing artistic director, and conductor of the award-winning Cincinnati Children’s Choir (CCC), en-

semble-in-residence at the University of Cincinnati College-Conservatory of Music (CCM). Lana has directed interna-tional, state, and regional honor and fes-tival choirs in twelve states, a Southern ACDA Division conference, an interna-tional children’s festival choir at Carnegie Hall, and will coconduct a Chinese/American festival choir in Beijing, China, in 2014. She is a founding codirector of the Coastal Song Children’s Choir Festival and hosts the annual Queen City Children’s Choir Festival in Cincin-

February 26 - March 1, 2014 • Cincinnati, Ohio

Illinois • Indiana • Michigan • Ohio

Cincinnati Children's Choir

The Cincinnati Children’s Choir (CCC) celebrates its twenty-fi rst an-niversary season in 2013–2014 and has become recognized as a leader in the children’s choir movement nation-ally and internationally. CCC provides high-quality music education to over 950 girls and boys, grades 1–12, in Greater Cincinnati, Northern Kentucky, and Southeastern Indiana. It is the mission of CCC to offer all children the oppor-tunity to experience musical excellence in a creative environment. CCC builds stronger communities by creating a comprehensive foundation that sup-ports music educators and develops tomorrow’s leaders.

CCC is an educationally based choral ensemble program. Participants learn healthy vocal technique, sight-reading, music history, and music theory while experiencing performance excellence using the philosophies and techniques of Carl Orff, Zoltan Kodály, Jacques Dalcroze, and Jerome Brunner. The learning environment is creative, explor-ative, and fun. The children form lasting relationships with children outside of their community and develop a lifelong appreciation of music.

CCC is a gold medal winner of the 2012 World Choir Games in the Youth Choirs of Equal Voices category. They were the top-scoring United States choir in this category and fi fth in the world.

nati. Her choirs have performed for state, regional, and national professional development conferences, including an ACDA Central Division conference and an American Orff Schulwerk Association national conference. She has presented workshops for the World Choir Games 2012, NAfME state and regional conven-tions, Chamber Music America National Convention, and regionally at colleges and universities.

Lana regularly prepares her choirs for collaborations with the Cincinnati Symphony, the Cincinnati Pops, the Cin-cinnati May Festival, and CCM choirs and orchestras. Her work can be heard on two Telarc label recordings with the Cincinnati Pops Orchestra under Mae-stro Erich Kunzel.

She earned BME and MME from the

Doctoral Programs in Church Music

BAYLOR UNIVERSITY’S SCHOOL OF MUSIC ANNOUNCES TWO NEW

Doctor of Philosophy in Church Music

Doctor of Musical Arts in Church Music

Application Deadline: February 1, 2014

Contact:Dr. David MusicProgram Director

[email protected]

Learn more at www.baylor.edu/ccms


Ann Arbor Symphony Orchestra on fi ve occasions, including performances of Mozart’s Requiem and Orff ’s Carmina Burana.

Steven Lorenz i s director of choirs at Ann Arbor Pio-neer High School, the 2011 National Grammy Signature School, where he

directs four curricular choirs, oversees seven extra-curricular choirs, and teaches advanced placement music theory. Lorenz also conducts Measure for Measure, a ninety-voice community men’s choir based in Ann Arbor. During the summer, Lorenz is on the conducting faculty at the Interlochen Arts Camp, directing the Intermediate Vocal Arts program.

Lorenz currently serves as president-elect for the Michigan School Vocal Music Association and on the full board of the Intercollegiate Men’s Choruses


University of Cincinnati College-Con-servatory of Music. With a focus in cho-ral conducting, Lana earned a Cognate in Voice and has done post-graduate work with Henry Leck at Butler University.

Festival of AnthemsFor centuries, the church was the

primary arena in which western choral music fl ourished. In celebration of this long and rich heritage, Christ Church Cathedral downtown Cincinnati will host an ecumenical service of anthems featuring choirs from three area church-es and a church-affi liated university with

long-standing choral traditions. Join us for a festive evening of diverse music from the Renaissance to the present!

Performing Choirshf hhfCentral Division

Ann Arbor Pioneer High School A Cappella Choir

The Ann Arbor Pioneer High School A Cappella Choir is an auditioned mixed choir, one of four curricular and seven extra-curricular choral ensembles at Ann Arbor Pioneer High School and the 2011 National Grammy Signature School. The A Cappella Choir has per-formed at the 2012 and 2013 Michigan Youth Arts Festivals, the 2013 Michigan Music Conference, and consistently receives superior ratings at Michigan School Vocal Music Association district and state choral festivals. Over the past decade, they have collaborated with the

Inc. Choirs prepared by Lorenz have appeared at the 2010 and 2014 Central ACDA Division Conferences; 2008 and 2011 Michigan ACDA Conferences; 2010 and 2014 Intercollegiate Men’s Choruses Inc. seminar; 2009, 2010, and 2013 Michigan Music Conferences; 2012 and 2013 Michigan Youth Arts Festivals; and have sung under the batons of Enrique Diemecke, Arie Lipsky, Paul Rardin, David Rayl, and Leonard Riccinto. Lorenz conducted the 2012 MSVMA Region C Honors Choir and 2013 MS-VMA TTBB State Honors Choir. Lorenz holds a BM from Carleton College and an MM from Michigan State University.

The Augustana ChoirThe Augustana Choir performed

for the fi rst time on March 18, 1931, under the direction of its fi rst conductor, Henry Veld, at Orchestra Hall in Chicago. During Veld’s tenure, the Augustana




Choir made a number of recordings for Word Records and RCA Victor and made a number of regional and national tours. Donald Morrison was the second director of the Augustana Choir from 1966 to 1993. Morrison continued to lead the choir on tours throughout the United States and abroad. The Augus-tana Choir’s 1985 Scandinavian tour included a special performance during a state dinner for King Carl Gustav and Queen Silvia of Sweden.

The Choir has been conducted by Jon Hurty since 1996 and has continued its tradition of annual tours—singing in churches and major concert halls. The Choir has performed under Hurty’s direction at Orchestra Hall in Chicago, Alice Tully Hall in Lincoln Center, Carn-egie Hall in New York City, and in many major cathedrals in Europe. The choir has also made tours to Scandinavia, the Peoples Republic of China, and most recently to Germany and Austria. From its inception, the Augustana Choir has focused on the highest-quality choral literature from the Renaissance through the twenty-fi rst century.

Jon Hurty is professor, director of choral ac-tivities, and Gassman Fami ly Endowed Chair in Music at Augustana College in Rock Island, Illinois.

He directs the Augustana Choir, the Augustana Chamber Singers, teaches conducting and is cochair of the music

department. He also directs the adult choir at St. Paul Lutheran Church in Davenport, Iowa, is the conductor and artistic director of Quad City Choral Arts, and serves as the conductor of the Handel Oratorio Society at Augustana. Before coming to Rock Island, he was director of choral activities at Concordia University in Irvine, California.

He completed his undergraduate degree in vocal performance at Bethany College in Lindsborg, Kansas; his master’s degree in choral conducting from Cali-fornia State University, Northridge; and his doctorate in choral conducting and literature from the University of Illinois. He has studied conducting with John Alexander, Don Moses, Chet Alwes, and Ann Howard Jones. He was selected in the summer of 2013 as a conducting participant in the Oregon Bach Festi-val Masterclass under the direction of Helmut Rilling.

Ball State University Singers

The Ball State University Singers have recordings of “Take Me Out to the Ball Game” in the National Baseball Museum, and in 2010 they appeared on the Today show as one of the nation’s best show choir ensembles. In 2012 the group won the gold medal at the World Choir Games, making them the world’s number one collegiate entertainment organization. In November of 2012, the University Singers also won the platinum

medal at the Xinghai International Cho-ral Championships in Guangzhou, China.

Alan Alder is a fac-ulty member of the school of music at Ball State University and also serves on the faculty of Ivy Tech State College

as a professor of humanities. He is the producer/director of the University Singers, Indiana’s Offi cial Goodwill Am-bassadors, and teaches music history. Previously he was director of choral Activities at Anderson High School, Anderson, Indiana.

Alder holds a BME from Indiana State University and an MM and DA in choral conducting from Ball State University. His research is focused on high school choral directors and their perceptions of the impact of their teaching and ad-ministrative practices on their students success in learning and performance.

In December 2011, Alder was the doctoral recipient of Ball State Univer-sity’s Excellence in Teaching Award for outstanding teaching, innovation, and leadership.

Capital University Chapel Choir

Since its fi rst appearance on Palm Sunday 1929, the Capital University Chapel Choir has upheld the rich Lu-theran heritage of fi ne choral singing.


Little Miami High SchoolSelect Women's Chorale

The Little Miami Select Women's Chorale was established in 2003 from a small choral program that had never been involved in competition. Since that time, the ensemble has grown from a before/after school activity to a daily class period. Every year, students in the select choirs are involved in work-shops with guest conductors, either at LMHS or on ensemble trips. The select choirs of Little Miami have worked with conductors in New York City, Chicago, Pittsburgh, Columbus, and Cincinnati.

The chorale has consistently received superior ratings in Festivals of Music and OMEA Adjudicated Events. The Little Miami Select Women's Chorale performed at the OMEA Professional Development Conference in 2011 and 2013, and the Heinz Chapel Chamber Choir Festival at the University of Pitts-burgh.

As a nominated choir for the 2012 World Choir Games, the ensemble re-ceived a silver medal in the Champions Division of Youth Choirs of Equal Voices. This award earned an appearance in the 2013 Interkultur sponsored event, Sing ‘n Joy, in Louisville, Kentucky, and 2014 World Choir Games in Latvia.

Carmel High School The Accents

The Accents, an advanced women’s show choir for grades 10–12, is one of eleven curricular choirs at Carmel High School in Carmel, Indiana. Founded in 1977, the choir has competed around the Midwest since 2000. The Accents, whose repertoire emphasizes musi-cal theater and the Great American Songbook, have won numerous grand championships and awards for their vo-cal and visual performance. They were named the state champion women’s show choir by the Indiana State School Music Association three times.

Ann Conrad has been a choral director at Carmel High School for thirty-eight years. She holds a BA and MA in piano and voice from Ball State

University. She currently serves as music director for the Young Adult Program at the Tarkington Civic Theatre, an outreach program offering workshops and performance opportunities to high school students throughout Central Indiana. Conrad received the James B. Calvert Award for excellence in music education in 2010 and was recognized for a lifetime of signifi cant contributions to the arts community by the mayor of Carmel.

Performing ChoirsPerforming ChoirsCentral Division

Taking Capital University across the globe from Carnegie Hall to schools and music halls in South Africa, the Chapel Choir enjoys national and international acclaim as a premier collegiate choral ensemble. The choir’s long-standing touring tradition allowed the trans-formative power of music to connect people from diverse cultures such as England, Holland, Belgium, France, Switzerland, Italy, the Czech Republic, Austria, Germany, Japan, Taiwan, Hong Kong, the Philippines, China, South Africa, and Oman.

Lynda Hasseler has been the directior of the Chapel Choir since 1990. The choir has been honored with invitations to perform for numer-

ous state, regional, and national confer-ences and conventions, including ACDA, NCCO, Ohio MEA, NAfME, ALCM, and most recently for Interkultur at the 2012 World Choir Games Competition held in Cincinnati, Ohio, where they won gold medals in the Mixed Choir and Musica Sacra competitions. Considered the conservatory of music’s top choral ensemble, the Chapel Choir performs a wide range of sacred and secular choral literature, including motets, choral/or-chestral works, spirituals, gospel music, folk songs, traditional and contemporary sacred anthems, and music celebrating a global perspective. Highlights from their repertoire of major works include performances of Beethoven’s Symphony No. 9, Orff ’s Carmina Burana, Brahm’s the Neue Liebeslieder and Liebeslieder Waltzer, Walton’s Belshazzar’s Feast, the Bach’s Magnifi cat, Mozart’s Requiem, Vaughan Williams’s Dona Nobis Pacem,and Ola Gjeilo’s Sunrise Mass.


Sarah J. Baker is the director of choral music at Little Miami High School in Mor-row, Ohio, where she teaches four choral ensembles

and two levels of music theory. She holds a BME from Muskingum University and an MM in choral conducting from Ohio University.

With thirteen years at Little Miami and over twenty-one years in music education, Baker still maintains a fulfi ll-ing career as a freelance accompanist/collaborative artist, having served as principal accompanist/arranger/guest conductor for the All-Ohio State Fair Youth Choir, the 2008 OMEA All-State Choir, the Ohio University Honor Choir, the District 13 Honor Choir, and the Laura J. Adkins Voice Studio. In 2010 she was appointed accompanist/organist for Heritage Presbyterian Church in Mason, Ohio. She also gets a kick out of playing impromptu Dixieland, jazz, and musical theatre gigs!

Professional memberships include OMEA/NAfME, OCDA/ACDA, and Pi Kappa Lambda National Music Honor Society. Honors include the 2011 War-ren County Project Excellence Innova-tive Teacher Award, featured conductor in the September 2012 issue of Choral Director Magazine, and the 2013 All-Ohio Youth Choir Distinguished Service Award.

Miami University Men’s Glee Club

The Miami University Men’s Glee Club was founded in 1907 and is among the oldest collegiate male glee clubs in the United States. It is the oldest music organization on campus. Throughout its

history, the Glee Club has maintained a tradition of musical excellence, broth-erhood, and camaraderie. In addition to performances on campus, the Glee Club enjoys annual winter tours that have taken the group across much of the nation as well as numerous international concert tours. The Glee Club regu-larly appears at the Intercollegiate Men’s Choruses National Seminars and hosted the 2010 seminar at Miami University.

Jeremy D. Jones is an assistant professor of music at Miami University. His re-sponsibilities include conducting the Col-legiate Chorale and

Men’s Glee Club, teaching choral conducting and choral techniques, and supervising student teachers. He has conducted the Glee Club in concerts throughout the United States and internationally in Belgium, Germany, Switzerland, and Luxembourg.

Jones is an active guest conductor and clinician and serves as the Ohio ACDA Repertoire & Standards chair for youth and student activities. He also serves ACDA as the Central Division representative for the 2013 Interna-tional Conductors Exchange Program



www.music.psu.edu

Master of Music in Choral Conducting

Christopher Kiverdirector of choral activities

[email protected]

Generous podium time

Private conducting lessons

Nationally recognized faculty

Outstanding performance experiences

Graduate assistantships available

choral faculty

Penn State

LynnDrafall

AnthonyLeach

Jayne Glocke


Conductors Exchange Program with China. In addition to campus concerts, the Collegiate Chorale tours regionally, nationally, and internationally performing in some of the most prestigious venues, including the Coventry and Salisbury Cathedrals in England, the National Shrine in Washington DC, St. Patrick’s Cathedral in New York City, St. Peter’s Basilica in the Vatican City, and Maria Maggiore in Rome.

Jeremy D. Jones is the conductor of this choir. His photo and bio can be found on page 71.

Michigan State UniversityWomen’s Chamber Ensemble

Established in 2004, Women’s Cham-ber Ensemble (WCE) represents women from the college of music and academic disciplines campus-wide. With a focus on music of living composers, WCE is committed to the support of new works that uplift the lived experi-ences of women.

As part of a comprehensive program in choral music at Michigan State Univer-sity, MSU choirs under the direction of David Rayl, Jonathan Reed, and Sandra Snow have appeared at regional and national conferences since 2001.

WCE sang at the 2009 ACDA Na-tional Conference in Oklahoma City and for regional and state conferences in 2007 and 2008. Undergraduate and

and will represent ACDA on an ex-change program with the China Choral Association in 2014.

He has studied conducting with Raphael Bundage, Daniel Bara, Earl Rivers, Brett Scott, Richard Sparks, and Elmer Thomas, and voice with David Adams, John Kramar, and H. Stephen Smith. Jones holds a BM in vocal music education from Middle Tennessee State University, an MM in choral conduct-ing from East Carolina University, and a DMA in conducting from Cincinnati Conservatory of Music.

Miami University Collegiate Chorale

The Miami University Collegiate Chorale is an auditioned mixed choir comprised mostly of non-music majors. The choir enjoys singing a wide range of repertoire from Bach, Brahms, and Britten to a variety of multicultural mu-sic. Since 2001 the Collegiate Chorale has appeared regularly with Miami’s Global Rhythms Ensemble and has been featured at Duke University, the University of Pennsylvania, and the Hol-lywood Bowl in Los Angeles, among others. The Collegiate Chorale appeared in the closing concert at the Lotus World Music Festival in 2012 and will present an interest session at the 2014 Central ACDA Division Conference, performing Chinese folk songs as part of a collaboration with the International

graduate programs in choral music edu-cation and choral conducting continue to represent signature areas within the college.

Sandra Snow’s work as a conductor, teacher, and scholar spans a wide va-riety of ages, abili-ties, and musics. She holds appointments

in conducting and music education at the MSU College of Music, where she interacts with undergraduate and gradu-ate students in the areas of conducting, choral pedagogy, and choral singing. She is a past recipient of the MSU Teacher-Scholar Award.

She was a 2013 principal guest conductor and visiting scholar with the Festival 500 International Choral Festi-val in Newfoundland, Canada, and holds a principal residency with the Pacifi c International Children’s Choir Festival.

Upcoming guest conducting appear-ances include the Iowa, Kentucky, Virginia, and New York all-state Mixed Choirs and the Crescent City Children’s Choir Festival. She will conduct the MCP Na-tional Women’s Choir Festival at Lincoln Center in April 2014.

Snow is a founding board member of the Association for Choral Music Education and a faculty member for the Choral Music Experience Institute. She edits In High Voice for Boosey & Hawkes and has various publications through GIA music, including the DVD resource Conducting/Teaching: Real World Strategies for Success.



Mt. Vernon Senior High School Fine Arts Academy

Angelus

Dedicated to the performance of sa-cred music of varied religious traditions and historical periods, Angelus began in 2008 and is comprised of six young women from the Mt. Vernon Senior High School Fine Arts Academy (Mt. Vernon, Indiana). Their repertoire ranges from medieval chant and polyphony to the American Sacred Harp tradition and contemporary American and Irish works. Concert appearances include Asheville, Chicago, Cincinnati, Ft. Worth, New York, Philadelphia, San Francisco, and St. Louis. In 2012, Angelus received the Arts Ensemble Award from the Arts Council of Southwestern Indiana.

Dana Taylor has been teaching vocal music and technical theatre at the Mt. Vernon Senior High School Fine Arts Academy in Mt. Vernon, Indi-

ana, for twenty-fi ve years. In addition to his work at Mt. Vernon, he also serves as technical editor for Dramatics magazine and Teaching Theatre Journal. Taylor was recognized in 2005 as Technical Theatre Educator of the Year by Stage Directions magazine and in 2011 received the Founder’s Award from the Educational Theatre Association for signifi cant con-tributions to theatre education in the United States. He holds an MM in choral

conducting from Indiana University.

Northern Illinois UniversityCor Cantiamo

Cor Cantiamo is a touring chamber choir in residence at Northern Illinois University with the mission to perform and promote contemporary choral music and foster new composers. Since their founding in 2009, the choir has emerged as an accomplished vocal ensemble, receiving accolades for their performances. In their inaugural year, Cor Cantiamo performed with Morten Lauridsen. In spring 2014, Centaur Re-cords will release Cor Cantiamo’s fi rst commercial recording, a CD of choral music by Jaakko Mäntyjärvi. In the fall of 2013, Cor Cantiamo premiered Hear My Voice, a commissioned work by Daniel Knaggs, at the Michigan Festival of Sacred Music. In partnership with Soli Deo Gloria, Inc., Cor Cantiamo presented the United States premiere of a new Psalm setting by Ukrainian-born composer Galina Grigorjeva in January 2014. Over the next three years, the ensemble will be recording all fi fteen of the SDG Psalms Project choral works.

Eric A. Johnson , DMA, is the founding artistic director of Cor Cantiamo and director of choral activities at North-

ern Illinois University. Ensembles under his direction have performed at national, division and state ACDA, MENC, and NCCO conventions; Avery Fisher Hall Lincoln Center; toured internationally; and appeared with many professional orchestras.

Internationally, Johnson has served as a guest conductor of the Clare Col-lege Chapel Choir, Cambridge, England; taught at Makumira University, Tanzania; and directed guest choral residencies at Canterbury and Worcester Cathedrals. Johnson has published music with Santa Barbara Music Publishing, served as a music editor for Earthsongs Publica-tions, and has published articles in the Choral Journal. He is active nationally as a clinician and conductor and is a past-president of Illinois ACDA.

Johnson has collaborated with many leading composers of our time, includ-ing Morten Lauridsen, Libby Larsen, and commissioned new works from Sir John Tavener, Jaakko Mäntyjärvi, and Stacey Gibbs. He currently is collaborating with Soli Deo Gloria, Inc. to perform and record newly commissioned works cre-ated through the Psalms Project, which is made possible by a grant from the Lilly Endowment Inc.

The Ohio State University Men’s Glee Club

The Men’s Glee Club of the Ohio State University was organized in 1875. Conducted by Robert J. Ward, the Men’s




has joined with adult organizations for performances of major works, including Leonard Bernstein’s Mass at Northwest-ern University and Carl Orff ’s Carmina Burana with the North Shore Choral Society. Celebrating their fi fteenth an-niversary last season, the choir produced a lullaby CD, Moonbeams and Sweet Dreams, featuring all levels of singers in the choir.

J a c q u e l y n A u l t Negus, the founder/artistic director of Red Rose Children’s Choir of Lake Coun-ty, received a BME from Ball State Uni-

versity and an MA in choral conducting from the University of Miami Florida. Negus has worked professionally as a public and private school educator, choral director, clinician, early childhood music specialist, church musician, private voice instructor, choreographer, and pro-fessional singer. She is an original mem-ber of Lakeside Singers, a professional choir, and has served as the children’s choir representative for Illinois ACDA. In addition to her work with the middle and senior high levels of Red Rose, Negus is the choral director at Quest Academy in Palatine, Illinois, a school for gifted and talented children.

Sharon Anderson Augsburger, found-er/artistic director of the Red Rose Chil-dren’s Choir of Lake County, received a BME and MME from

Ball State University. She holds a master certifi cate from the Orff Institute in Sal-zburg, Austria. Augsburger has worked professionally as a music educator in the public schools, as a choral director, men-tor for music educators, clinician, church

Glee Club is one of fi ve major choral organizations in the School of Music. The auditioned membership, with 73 percent non-music majors, represents virtually every college and academic discipline in the University.

The purpose of the Men’s Glee Club is to promote participation in choral music, to create awareness of healthy vocal technique, and to provide an op-portunity to experience and perform choral literature written or arranged for male voices. The Men’s Glee Club combines with other university choruses and orchestras to perform major works. Recent appearances include the 2010 Central ACDA Division Conference; 2012 Ohio MEA Conference; 2006, 2009, 2012, and 2014 Intercollegiate Men’s Choruses Conference; 2007 International Kodály Association Confer-ence; and 2007 Ohio Choral Directors Association Conference. The Men’s Glee Club frequently represents the Ohio State University at civic and corporate functions throughout Ohio.

R o b e r t J . Wa rd serves as director of choral activities at the Ohio State University, where he conducts the Men’s Glee Club and Cho-

rale. He also teaches graduate courses in conducting and choral literature. Prior to his appointment at Ohio State, Ward was a member of the music faculty at Oklahoma State University for sixteen years. He has been honored with invita-tions to present concerts and lectures for ACDA, NCCO, International Kodály Educators, OAKE, TMEA, TCDA, and Oklahoma, Kansas, Michigan, Missouri, Mississippi, Ohio, Utah, Arkansas, Louisi-ana, and West Virginia Choral Directors

Associations. He is currently the editor of a children’s choral music series and a men’s choral series published by Santa Barbara Music Publishers. In 2001, Ward was awarded the Director of Distinction Award by the Oklahoma Choral Direc-tors Association, and in 1997 he was presented with the Amoco Outstanding Faculty Award at Oklahoma State Uni-versity for outstanding undergraduate teaching. He holds a DMA from Michi-gan State University.

Red Rose Children's Choir of Lake County's

Bella Rosa

Bella Rosa, a celebrated ensemble of singers from grades 9–12, is the top performance group of the Red Rose Children’s Choir. They perform treble music mainly from classical and folk literature. They were featured performers at the 2008 Illinois ACDA Conference. The Red Rose Children’s Choir has performed with other fi ne choirs in festivals throughout the world and collaborated with children’s choirs in the Chicago area to bring artistic musical experiences to its singers. Most recently, the choir was a part of “Healing the Brokenhearted,” a choral outreach of expression against gun violence by multiaged choral groups in the Chicago area. The Red Rose Children’s Choir



Interest SessionsInterest SessionsCentral Division

Glee Club has a long history of enriching the university community and the lives of hundreds of alumna. Members of the Women’s Glee Club look to the past for inspiration while focusing on the future and striving to become an enduring tradition at the University of Michigan.

Julie Skadsem is as-sociate professor of choral music educa-tion and conducting at the University of Michigan, where she conducts the Wom-

en’s Glee Club and teaches courses in conducting, choral techniques, and vocal methods. She has earned a BA in choral music education from St. Olaf College, an MM from Florida State University, and a PhD from the University of Missouri-Kansas City.

Before coming to Michigan in the fall of 2006, Skadsem was associate profes-sor of music education at the University of Alabama, where she taught courses in choir, conducting, and music educa-

musician, and private voice instructor. She specializes in vocal training and inspiring musicianship in young singers within a choral setting.

University of Michigan Women’s Glee

The University of Michigan Women’s Glee Club is a choral ensemble repre-senting undergraduate and graduate women from diverse fi elds across cam-pus. Composed primarily of non-music majors, Women’s Glee Club gives female students the opportunity to express their love of music through perfor-mance, community outreach, and travel. While allowing students to meet a wide variety of friends who share a common interest. Founded in 1893, the Women’s



tion, and was the founding director of the Birmingham Children’s Choir. She taught vocal music (7–12) in Ironwood, Michigan, and is an active clinician, ad-judicator, and guest conductor. She is a member of the VoiceCare Network and is certifi ed in Dalcroze eurhythmics, Orff-Schulwerk, and Kodály.

In addition to her choral work, Skad-sem is also an active researcher. Her research on choral conducting and re-hearsal techniques has been presented at MENC, ACDA, and the Southeastern Music Education Symposium, and is be-ing published at the state, regional, and national levels. She currently serves on the editorial board of the Southern Music Education Journal.

A Passion for Programming

In this session, Phillip Brunelle will share many invaluable insights and per-spectives regarding “programming with a passion.” He brings a vast and varied wealth of knowledge and experience in creating and developing concert pro-grams for the church ensemble as well as the professional choir.

Philip Brunelle has been organist and choirmaster at Plym-outh Church for forty years. He suc-ceeded his organ teacher, Ar thur B.

Jennings, and was preceded by Hamlin Hunt. Together these three organists have served Plymouth since 1900!

The sacred music program at Plym-

outh Church is known locally and na-tionally for its outstanding senior choir, its superb 1981 Holtkamp organ of eighty-nine ranks, and its glorious service music each Sunday. Hymn singing and the improvisations with which Brunelle introduces the hymns are a weekly in-spiration for members and visitors alike.

In addition to his duties at Plymouth Church, Brunelle is the founder and artistic director of VocalEssence (for-


merly the Plymouth Music Series of Minnesota)—a chorus and orchestra institution not related to the church but providing a full season of concerts devoted to innovative programming. He serves on the board of directors of Chorus America, served by presidential appointment on the National Council on the Arts, and is active in AGO and ACDA. In addition, Brunelle is a board member and vice president of IFCM.

All Roads Lead to Repertoire: Creating a Successful Program

through Appropriate Literature Selection

The responsibilities of choral direc-tors in the classroom are numerous and can often seem overwhelming. Serving as the only voice instructor for most students, teaching music literacy, and providing creative opportunities for all students are just a few of these demands. The focus of this session will be how the selection of literature is the crux of the choral program and the basis for all other decisions that are made throughout the academic year.

When developing the instrument of younger singers, issues such as appropri-ate stylistic and vocal considerations can only be determined by the demands of the literature. Musical literacy must be taught in conjunction with the literature rather than as a separate entity in the rehearsal.

Opportunities to collaborate with living composers, local universities, and other school or community groups ap-pear when literature selection is of the utmost importance. All of these factors work together to produce lifelong sing-

ers as well as an overall successful choral program. This session is intended for directors of young singers elementary through high school, and the tools and ideas presented can be immediately ap-plied to their programs.

Amy Johnston Bloss-er is the National Repertoire & Stan-dards (R&S) chair for ACDA. Prior to this appointment she served as the

National and Central Division R&S chair for senior high school choirs. As R&S chair, Blosser has been active in planning interest and reading sessions at division and national Conferences in Los Angeles, Chicago, Miami, Oklahoma City, and Dallas. She has chaired ACDA conference honor choirs at the division and national levels and has served as a member of the ACDA Honor Choir Handbook Committee and R&S Com-mittee Structure Task Force, which reported to the national leadership conference in 2010. Blosser is also an active member of NAfME.

In her eleventh year as choral direc-tor at Bexley High School in Columbus, Ohio, Blosser conducts six choirs grades 7–12, serves as vocal music director for annual musical productions, and is the Fine Arts Department Chair.

Blosser has been an adjudicator and guest conductor throughout Ohio and the Midwest. She was the guest con-ductor for the Summer Music Camp at Ohio Northern University from 2002–2008. She is listed in the 2002 and 2004 editions of Who’s Who of American Teachers. She holds an MM in choral conducting and a BME from the Ohio State University in Columbus, Ohio. In addition to her work as a high school choral educator, Blosser is the director

of music at Bexley United Methodist Church.

Brothers, Sing On! Engage, Attract, and Empower

Your Male Singers

Recruiting men to sing in choir has long been a discussion of importance. In this session, we will discover, compare, and share successful recruiting strategies used by men’s choruses of all types, in-cluding proven methods for secondary school singers, university glee clubs, gay men’s choruses, collegiate unaccom-panied ensembles, and barbershop choruses. Participants will be presented with repertoire appropriate for recruit-ing male singers.

Jonathan Palant is minister of music at Kessler Park United Methodist Church in Dallas, Texas, and conductor of Cre-do, an ecumenical,

mixed choir with a focus on community service. He is a visiting professor of choral music at Richland College. Palant taught at Western Kentucky University; Madonna University in Livonia, Michigan; University School in Cleveland, Ohio; and San Pasqual High School in Escon-dido, California.

Palant sits on the Intercollegiate Men’s Choruses board of directors. Previously, he was on the board of the Michigan School Vocal Association and Youth First Texas, where he founded Dallas PUMP!, a choir serving at-risk youth. His book, Brothers, Sing On! Conducting the Tenor-Bass Choir, is published by Hal Leonard. Palant holds degrees from Michigan



at Kuyper College in Grand Rapids, Michigan. In addition to directing the college choir and ensemble, he teaches music theory and chairs the arts and sciences department. He also supervises internships in the music and worship program. His diverse career in Hong Kong, Canada, and the United States has afforded him the opportunities to serve at various churches, interchurch events, mass choirs, and institutions of higher education. Chau earned an honor’s diploma in composition at the Hong Kong Baptist University, an MM in choral conducting with Eph Ehly at the University of Missouri-Kansas City, and a doctorate in worship studies from the Robert E. Webber Institute for Worship Studies in Orange Park, Florida. He also holds an MBA and professional designa-tions in accounting and fi nancial planning.

International Conductor Exchange Program

Visiting International Conductor from China

The International Conductor Ex-change Program will be bringing one conductor from China to each divisional conference. Yan Baolin, the Central Divi-sion ICDP conductor from China, will be working with the Miami University Chamber Choir (Jeremy Jones, conduc-tor) in an open rehearsal during the 2014 Cincinnati conference.

Yan Baolin is profes-sor of Choral Con-ducting at Hangzhou Normal University, Hangzhou, China. The Central Division

will host professor Yan Baolin in 2014.

Masters in Miniature: Singing the Great Composers

with a Smaller Choir

As conductors, we are aware of the canon of historical composers whose works are worthy of remembrance and performance with our choirs. However, it can be challenging to fi nd authentic pieces by these composers that are appropriate for smaller ensembles. Drawing upon recent and older publica-tions and internet-based resources, this session will highlight little-known sacred and secular repertoire—including works by composers such as Schütz, Haydn, Mendelssohn, Schubert, Puccini, and Stravinsky—that is achievable by smaller ensembles yet worthy of performance by choirs of all sizes.

David Rayl is direc-tor of choral pro-grams at Michigan State Univer sity, where he directs the graduate pro-gram in choral con-

ducting and serves as associate dean for graduate studies and research. Choirs under his direction have performed at the national conference of ACDA (1995 and 2007); the national meeting of the College Music Society (2002); Florilège Vocale in Tours, France (1998); Maggio Musicale in Florence, Italy (2000); and with the Detroit Symphony and the Great Lakes Chamber Music Festival. His recent appearances include all-state and honor choirs in California, Georgia, Tennessee, North Carolina, Washington, Missouri, Ohio, Indiana, and Illinois; pre-

State University, Temple University, and the University of Michigan.

The Church Choir Reimagined: Priestly, Pastoral, and Participative

Rather than thinking in terms of providing “special” music at a worship service, the church choir can play an active and participative role in leading worship. The church choir, regardless of size and musical ability, has a promi-nent role in worship leading. In many churches, the choir plays a priestly role that represents the Hebrew priesthood of the Old Testament (1 Chronicles 23 and 25). The choir offers a sacrifi ce of praise (Hebrews 13:15) through presenting a weekly anthem and sing-ing other liturgical components. In the New Testament church and particularly in modern church history, in addition to the priestly role, choral music ministry has developed a pastoral aspect—a direct connection with the people through devotional and functional music. Whether a church service is labeled as traditional, liturgical, contemporary, or charismatic, the planning and implemen-tation of the worship components are guided by their theology on worship. In essence, Christian worship should be Christ centered, Trinitarian, and conver-sational. The church choir as worship leader, therefore, can be participative—in praise, prayer, and proclamation of the Word.

Kai Ton Chau holds the position of asso-ciate professor and the Jack Van Laar Endowed Chair of Music and Worship




and Choral Society, and teaches con-ducting, choral methods and applied voice. He also serves on the conducting faculty at the annual Lutheran Summer Music Academy and Festival. Highben’s numerous choral compositions are published by Augsburg Fortress, Boosey & Hawkes, GIA Publications, and Morn-ingStar Music and have garnered awards from the American Composers Forum, ASCAP, and the Association of Lutheran Church Musicians. His scholarly work is

sentations for NCCO, NATS, MTNA; and Missouri, Wisconsin, Illinois, Michigan, and Massachusetts ACDA state confer-ences.

Zebulon M. Highbenis director of choral activities at Musk-ingum University, where he conducts the Concert Choir, Chamber Singers,

published in the Bulletin for the Council on Research in Music Education, the Choral Journal, and Cross Accent. He compiled and edited the recently released Augs-burg Motet Book, an anthology of motets spanning the Renaissance to the present day.

Raising the Bar: Striving for Authenticity

in Performing Multicultural MusicUsing Multi-Media Resources

This hands-on session is designed to inform and empower choral directors to teach music from other cultures with a greater sense of confi dence using multi-media resources.

Mollie Stone and Patty Cuyler will teach participants repertoire from their Raising the Bar teaching book/DVD series, which includes music from South Africa, the Republic of Georgia, and Bulgaria. They will provide helpful tech-niques for rehearsal and performance practice and guidance in teaching proper vocal tone, pronunciation, dance move-ments, style, approach to rhythm, and social/historical context for each song.

Mollie Stone holds a BA from Am-herst College, an MM in conducting from Westminster Choir College, and is currently pursu-

ing her doctorate at Northwestern University. In 2001 she received a grant from the Henry J. Kaiser Family Founda-tion to travel to South Africa to create a teaching DVD (Vela Vela) on learning black South African choral music in the


Choral Conductors Workshopwith Rod Eichenberger

Master Teacher, Conductor, InnovatorProfessor Emeritus, Florida State University

Workshop LocationsAlexandria, Virginia

July 14-18, 2014

Cannon Beach, OregonAug.4-8, 2014

For more information, contact:George Fox University’sDepartment of Music

503-554-2620 [email protected]

Information is also available at choralconductorsworkshop.com

A five-day professional development workshop for choral conductors at all levels

1321 10.13


oral tradition. In 2006 she received another grant to research how South Africans are using choral music in the struggle against HIV. Stone travels all over the United States and Europe, giving workshops at colleges and uni-versities on black South African choral music. She currently serves as director of World Music at Chicago Children’s Choir, assistant director of Choirs at University of Chicago, and a teacher at Village Harmony. Along with Patty Cuyler, she directs the Brooklyn World Music Chorus and recently launched the publication of a series of teaching DVDs (Raising the Bar) to help choirs improve their ability to learn and perform music from other cultures.

Patty Cuyler is a dy-namic workshop leader and choral director with spe-cial exper tise in teaching Corsican, Georgian, and South

African singing and dance. She has co-directed the Vermont-based, non-profi t Village Harmony and its professional touring ensemble, Northern Harmony, since 1995. She also coleads the com-munity world music choir Boston Harmony (founded in 2005) and the Brooklyn World Music Chorus (founded in 2012). She has edited and published two volumes of traditional South Afri-can choral music for SATB choir—the teaching DVD/songbook series, The Folk Rhythm—and two book/CDs of Geor-gian folk songs for three-part choir. Cuy-ler is currently collaborating with Mollie Stone and the Chicago Children’s Choir on a series of teaching DVD publica-tions for children’s choirs, the fi rst three volumes of which (South African SATB and Georgian three-part arrangements) were published in early 2013.

Scholarship and Practice in the Performance

of Early Choral Repertoire

This session focuses on the col-laboration between a conductor and a scholar in the preparation of a program of medieval choral music. We discuss the creation of historically informed performance materials of chant and me-dieval polyphony and demonstrate how primary source material can inform the performance of medieval music for small choral ensembles. This session will pro-vide examples of medieval repertoire appropriate for choral ensembles and a practical guide that provides singers and conductors the tools necessary to successfully perform this music. The ses-sion will be illustrated by the Collegium Vocale of the CCM Early Music Lab, an auditioned early-music ensemble from the College-Conservatory of Music, University of Cincinnati.

Michael Fuchs has enjoyed an active career as a con-ductor, educator, and singer. He is currently getting a doctoral degree in

choral conducting at the University of Cincinnati’s College-Conservatory of Music, where he directs the University of Cincinnati Women’s Chorus and is codirector of the Collegium Vocale. In addition to his academic duties, Fuchs is the artistic director of Musica in Dayton, Ohio, and the director of music at Im-manuel Presbyterian Church in Cincin-nati, Ohio. He has prepared choruses for performances with Joe Miller, Annunziata Tomaro, Mark Gibson, and Joseph Flum-merfelt. Fuchs has held public school



teaching positions in Fairfax County, Virginia, and church music positions in North Dakota, Virginia, and New Jersey. Fuchs holds degrees from Westminster Choir College in Princeton, New Jersey, and Concordia College in Moorhead, Minnesota.

Show Choir vs. Jazz Choirs: Why Can’t We Be Friends?

This sessions is designed for choral directors, regardless of level. Steve Zegree will discuss these two contem-porary and popular idioms and illustrate and compare the differences and simi-larities. The Singing Hoosiers of Indiana University will serve as the demonstra-tion group.

Steve Zegree is in-ternationally recog-nized as one of the most respected vo-cal jazz conductors and educators in the world. He serves as

the Pam and Jack Burks Professor of Music at the Indiana University Jacobs Shool of Music.

A renowned educator, his students are among today’s leaders in jazz and pop performance, Broadway, recording studio production, writing, arranging, singing, and music education. In 2012, Zegree was honored by being inducted into the DownBeat Jazz Education Hall of Fame.

Former ly the Bobby McFerr in Distinguished Professor of Music at Western Michigan University, Zegree’s internationally acclaimed vocal jazz ensemble, Gold Company, won nearly fi fty Outstanding Performance awards from DownBeat magazine.


He auditioned, arranged for, and rehearsed Nick Lachey’s Team Lachey, the winning choir on NBC’s Clash of the Choirs. He is the founder of The Steve Zegree Vocal Jazz Camp for high school and college students and teachers.

Zegree’s choral arrangements have been published by Hal Leonard, Warner Bros., Alfred Publications, Oxford Uni-versity Press, and Shawnee Press, and he has produced several recordings. As pia-nist with the Western Jazz Quartet, he has recorded four CDs and performed throughout the world. In addition, he has performed on keyboards in the national tours of Broadway musicals, including Wicked, The Producers, and Hairspray.

The Indiana University Singing Hoosers have a long and storied tradition of ex-cellence in the contemporary vocal arts, performing popular contemporary vocal music ranging from The Great American Songbook, jazz, and Broadway, to the hits of today. Dazzling choreography and a fun, energetic, and entertaining program that appeals to all audiences and all ages are a part of a Singing Hoosier perfor-mance. The ensemble averages eighty-fi ve student singers and instrumentalists. Smaller, more select groups exist from within the larger ensemble. Auditions for the Singing Hoosiers take place at the start of the school year, and are open to any Indiana University student, regardless of major.

As Indiana University’s ambassadors of song, the Singing Hoosiers continue more than half a century of tradition. In the early 1950s, the Men’s Concert Choir was one of only three choral

ensembles in the fl edgling IU Jacobs School of Music and had fi fty members. After a performance at a football rally, an announcer said: “With a basketball team like the Hurryin’ Hoosiers, a football team like the Fighting Hoosiers, we oughta call these guys the Singing Hoosiers!”

The name stuck. Soon, female voices were added and the ensemble has steadily grown. The Singing Hoosiers have entertained millions in eighteen states and more than twenty-six coun-tries.

Sight-Singing from Step One

In community children/youth choirs and school elementary choirs, time is at a premium. It is imperative, both for the musical development of our students and the growth of our programs, that our singers start to become musically literate right from the beginning. Using an active three-step process rooted in Orff, Kodály, and Dalcroze philosophies, this session will illustrate the music lit-eracy curriculum used by the Cincinnati Boychoir, Training Choir level. The Train-ing Choir (boys grades 3–5) will serve as the demonstration ensemble in a mock rehearsal that incorporates sight-singing and activities focusing on bringing music theory concepts into the choral rehearsal in a creative, effi cient way.

Kel lyAnn Nelsonhas had the priv-ilege of reaching motivated choral musicians as an ar-tistic , educational and administrative

leader throughout her career. She is the director of education and outreach

for the Cincinnati Boychoir as well as the managing artistic director of the Young Professionals’ Choral Collective of Cincinnati (YPCC), and the Associ-ate Musician for Children and Youth at Christ Church Cathedral in downtown Cincinnati.

Nelson has served as guest conduc-tor, clinician, adjudicator, and presenter at various national, all-state and regional honors choir events, conferences, and choral/vocal jazz workshops across the United States. She recently presented in June 2012 at the national Chorus America conference in Minneapolis on the topic of incorporating music literacy activities into the choral rehearsal, as well as at the World Choir Games on “Young Professional Engagement in Choral Music.”

Her most recent endeavor, the Young Professionals’ Choral Collective (yp/CC) allows Nelson the opportunity to work with over two hundred motivated sing-ers, ages twenty-one to forty-fi ve, who work and live throughout the Greater Cincinnati area. The choir reconnects singers to their early music education through quality choral music and suc-cessfully engages with new audiences, partners with local businesses, presents innovative performances in unique spaces, and celebrates the choral music history, growth, and energy of Cincinnati.

The Cincinnati Boychoir’s Training Choiris the fi rst year-round choral ensemble in which a Cincinnati Boychoir singer participates. Regular music theory les-



repertoire will be handed out to those in attendance.

D ominick D iO r io , conductor and com-poser, is assistant professor of choral conducting at the Indiana University Jacobs School of Mu-

sic, where he directs NOTUS: Contem-porary Vocal Ensemble, an auditioned chorus specializing in music of the last fi fty years. He supervises the master’s program in choral conducting and teaches courses in score reading, choral literature, and choral conducting. Called “a forward-thinking young composer fi lled with new ideas, ready to tackle anything,” his original works are pub-lished with Boosey & Hawkes, Peters, G. Schirmer, Lorenz, Oxford, and Santa Barbara, among others. He holds a BM in composition from Ithaca College, and an MM and DMA in choral conducting from Yale University. He currently serves as the Indiana National Board Member for the National Collegiate Choral Or-ganization.

NOTUS: Contemporary Vocal Ensembleis comprised of twenty-four of the fi n-est singers from the Indiana University Jacobs School of Music. Noted for in-novative programming, the ensemble is dedicated to performing works of living composers. This season, NOTUS will host Pulitzer Prize-winning composer Caroline Shaw for a residency in Octo-

yond the traditional goals of “art for art’s sake” to include the social imperatives of healing and peacemaking. How do choral conductors program for and en-gage their students in the kind of study and performance opportunities that empower them beyond the score—and into the world around us?

Doreen Rao is cel-ebrated internation-ally for her moving concerts and inspira-tional teaching. Her pioneering career of fi rsts changed the

landscape of music education in Amer-ica. Linking the standards of concert performance with the goals of diversity, inclusion, and social responsibility, Rao’s seminal work teaching children to sing inspired a generation of conductors and teachers to lead young choirs in schools and communities around the world. In a national tribute presented to her by conductor Robert Shaw, he wrote: “The world of choral music owes her special thanks. She is preparing our future.”

Thirty-Something: New Choral Music by

Today’s Hottest Young Composers

Come ready to sing and hear the hottest new music being written today by some of the most exciting young and emerging composers. Indiana University Jacobs School of Music choral conduct-ing faculty member Dominick DiOrio and NOTUS: Contemporary Vocal En-semble will introduce you to these “hot-off-the-press” works for mixed chorus by Zachary Wadsworth, Dale Trumbore, Caroline Shaw, Texu Kim, Aaron Travers, and many others. Packets of selected

sons (taught during scheduled rehearsal times) enhance the teaching of basic vo-cal and musicianship skills. All rehearsals are structured to fi t multiple learning styles and are specifi cally “boy friendly,” including opportunities for them to sing together, develop choral teamwork skills, play music games, and become contributing citizens within the Cincin-nati Boychoir family. All boys participate in a program of mentorship (in which returning boys serve as “big brothers” to new boys). Specifi c music theory topics include identification/under-standing of musical symbols and terms, identifi cation/reading of simple rhythms and meters, and identifi cation/reading of diatonic scales and melodies. Vocal instruction emphasizes the ability to ac-cess their head voice, proper breathing technique, phonation/placement, and diction. Training Choir singers work on repertoire that is unison or two-part, and special attention is paid to develop-ing “music listening ears” so that singers can focus on intonation and holding his own part in a choral piece.

Socially Engaged Musicianship in Choral Music Connecting

to the World around Us

Being a choral musician in the twenty-fi rst century requires a fl uid rather than fi xed practice suitable for the social and cultural conditions of the world today. Historically, singing in a choir has been linked with the traditional values of uni-formity rather than diversity, exclusivity rather than inclusion, and perfection over social responsibility, contrasting values of human experience shaped by history and culture. The value of choral music in education today extends be-




between two confl icting philosophies and/or pedagogies.

Observations will be shared from teaching in a schedule where private voice lessons are woven around en-semble rehearsals. Through the use of anecdotal evidence and questionnaire results from choral conductors and voice instructors at several different educational levels, strategies (repertoire selection, development of choral tone, rehearsal process, and performance practice) will be shared on how to best serve students as choral conductors by also considering ourselves voice instructors.

John Bragle is the di-rector of choirs and instructor of voice at the Interlochen Arts Academy and is also on the faculty at Interlochen Arts

ber, participate in a professional record-ing session for New Dynamic Records with Juventas New Music Ensemble, and perform as part of the inaugural “A Cap-pella NEXT!” event presented by the DCINY Artist Series at Carnegie Hall/Weill Recital Hall in March 2014.

Two Sides of the Same Coin: Choral Conductor and

Voice Instructor

For many students, the choral direc-tor is the only voice instructor they will ever have. How can we best serve those students and the students who receive private instruction outside our rehears-als? In an ideal world, the instruction offered in voice lessons and choral re-hearsals would compliment each other and would never leave the student in a position where they had to choose

Camp. Choirs under his direction have performed in Lincoln Center’s Alice Tully Hall, DAR Constitution Hall in Washing-ton DC, Detroit’s Orchestra Hall, the Harris Theater in Chicago, and DaVos Hall in Grand Rapids. He is a gradu-ate of Michigan State University with a BME and also received an MA in choral conducting from MSU.

Bragle has also served as director of choirs at Williamston Community Schools, visiting professor of music at Northwest Michigan College, director of the Michigan State University Youth Treble Ensemble, and assistant director of the Michigan State University Men's Glee Club.


Honor Choir ConductorsHonor Choir ConductorsCentral Division

Junior High/Middle School Boys

Julian Ackerley will be the conductor of this choir. His photo and bio can be found on page 54.

Collegiate Repertoire Chorale

Pearl Shangkuan, a sought-after guest conductor and clinician across the Unit-ed States and internationally, is a profes-sor of music at Calvin College in Grand

Rapids, Michigan, and chorusmaster of the Grammy-nominat-ed Grand Rapids Symphony. She has her own signature choral series with

earthsongs and also serves as the music editor of the Calvin choral series, pub-lished by GIA. She was Central ACDA Division president from 2007 to 2009 and Michigan State president from 2005 to 07. Her choirs have performed at ACDA national, division, and state

conferences and for other professional music organizations. She has conducted all-state and honor choirs in numerous states, several ACDA division honor choirs, and taught for Chorus America conducting masterclasses, University of Michigan Choral Conducting Sympo-sium, and many other such programs. Her degrees are from Westminster Choir College (BM, MM) and Rutgers University (DMA).




High School

Bruce Chamberlain, director of choral activities at the the University of Ari-zona School of Mu-sic, has nearly thirty years of collegiate and professional

experience. He has been recognized nationally as one of a group of gifted American conductors who is equally at home in the orchestral and choral repertoire.

Most recently, Chamberlain was appointed the founding director of theTucson Symphony Orchestra’s newly

formed professional chorus. The Arizona Choir, his forty-voice graduate student choir at the University of Arizona, was recently featured in a DVD release by the Kronos Quartet of Terry Riley’s multimedia work Sun Rings.

Collegiate choral groups under Chamberlain’s direction have been featured at ACDA national and division conventions, numerous state music conventions, commissioned and/or per-formed eight world premiers, and have made six European tours to perform with leading international orchestras. The School of Music honored Cham-berlain in 2003 with the Maestro Award, presented to the faculty member whose students have achieved critical successes in their fi eld.

Chamberlain is a graduate of the Indiana University School of Music with a BME, MM and DM.

Junior High/Middle School Girls

Janet Galván will be the conductor of this choir. Her photo and bio can be found on page 38.

v

concepts in rehearsals so students can apply them to the festival music

and, more importantly, take them back home and apply them to the music

they sing with their choirs. Many students would jot down these concepts

in the margins of their scores as we rehei h i f th i ores as we rehea

h h f i l fi i h d d everyone was home againOften, when the festival was fi nished and everyone was home again,

teachers and students would email me and request a complete list. I have

tried to remember and credit all the mentors and colleagues who have

shared their ideas and expertise with me over the y pshared their ideas and expertise with me over the years. I do hope the

following list will be helpful as you share the art of choral singing with.

Designed for those who work with amateur singers at all levels.

pplllllllllllllllyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy tttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttthhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhheeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeemmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm ttttttttttttttttttttttttttttttttttttttttttttttttttttttttoooooooooooooooooooooooooooooooooooooooooooo ttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttthhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhheeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee ffffffffffffffffffffffffffffffffffffffffffffffffffffeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeessssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssstttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttiiiiiiiiiiiiiiiiiiiiiiiiiiivvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaalllllllllllllllllllllllllll mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmuuuuuuuuuuuuuuuuuuuuuuuuus

meeeeeeeeeeeeeeeeeeee aannddddd aaaaaaaaaaaaaaaaaaaaaaaaaaaaapppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppplllllllllllllllllllllllllllllllllyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy tttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttthhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhheemm ttttttoo ttttthhhhhee mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmuuuuuuuuuuuuuuuuuuuuuuuuus

wwwwwwwwwwwwwwwwwooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooouulldd jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooottttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttt dddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddoooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooowwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn ttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttthhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhheeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeesssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssee ccoonnnnnnnnnnnncccccccccccccccccccccccccccccccccccccccccccccccccccceeeeeeeeeeeeeeeeeeeeeeeep

earrrrrrrrrrrrrrrrrrrrrssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssseedd.. arrrrrrrrrrrrrssssssssssssssssssssssssssssssssssssssssssssssssssseedd

d dd eevvvvvvvvvvvvvvvvvvvvvvvvvvvvvveeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeerrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrryyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyooooooooonnee wwaass hhoommeeeeeeeeeeeeeeeeeee aaaaaaaaaaaaaaaaagd aaaaaaaaaaaaaaaaaaaaaaaaaaaaaannnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnndd eeeeeeeeeeeeeevvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvveeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeerrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrryyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyoooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooonnee wwaass hhoommeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee aaaaaaaaaaaaaaaaaaaaag

annnnnnnnnnnnnnnnnnnnndddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrreeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqquuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuueeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeessssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssstttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttttt aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa cccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccccooooooooooooooooooooooooooooooooooooooooommmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmpppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppppplleettee lliissttttttttttttttttttttttttttttttttttttttttttttttttttttttttttt...... III h

entors anddddddddddddddd ccccccooooooolllllllllllllllllllllleeeeeeaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaggggggggggggggggggggggggggggggggggggggggguuuuuuuuuuuuuuuuuuuuuuuueeeeeeeeeeeeeeeeeeeeeeessssssssssssssssssssssssss wwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhoooooooooooooooooooooooooo h

overrrrrrrrrrrr tttttttttttttttttttttttttttthhhheeeee yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy poverrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr ttttttttttttttttttttttttttttttttttttttttttttttttttthhhhhhhhhhhhhhhhhhhhhhheeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyeeeeeeeeeeeeeeeeeeeeeeeeaaaaaaaaaaaaaaaaaaaaaaaaaaaaaarrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrsssssssssssssssssssssssssssssssssssssssssssss.... IIIIIIIIIIIII ddddddddddddddddddddddddddddddooooooooooooooooooooooooooooooooooooo hope

the art ooofff cchhhoorraaallll ssssinging

Available to ACDA members on <www.acda.org>Follow the publications link

sspecial eventspecial events · 2019. 11. 8. · james macmillan • michael gilbertson • ned...

Documents