Choral Director Magazine

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Francisco Núñez and the Young People's Chorus

RenewableEnergy

Noteof

Choral Directors

Roundtable:Choir Camps

Survey:Singers with

Special Needs Repertoire Forum:

Baroque

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20

Features

Cover photo by Stephanie Berger, New York City, N.Y.

4 Opening Notes

5 Headlines

30 Vocal Tip

31 Classifieds

32 Ad Index

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Columns

Contents January 2012

6 ROUNDTABLE: CHOIR CAMPCD checks in with a handful of experts who share best practic-es for educators in setting up and running a choir camp.

10 UPCLOSE: FRANCISCO NÚÑEZFounder of the Young People’s Chorus of New York City and recent MacArthur Foundation “genius grant” recipient Francisco Núñez discusses his mission to unite children of all backgrounds and better communities through choral music.

16 REPORT: CHORAL DIRECTORS OF NOTEThe seventh annual “Choral Directors of Note” report high-lights 11 outstanding vocal music educators from across the country.

24 SURVEY: SPECIAL NEEDSThis recent reader survey explores integrating students with special needs into school vocal music groups.

28 REPERTOIRE FORUM: BAROQUE CD contributor John C. Hughes recommends Baroque music in a variety of voicings for school choral groups.

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Choral Director January 2012 3

Eliahu SussmanEditor • [email protected]

Opening Notes

Just RewardsT

he phrase “life-changing phone call” rarely brings positive imagery to mind. However, if that phone call comes from the MacArthur Foundation, it could be that quite pleasant news is in store. Every year, the John D. and Catherine T. MacArthur Foundation surprises a handful of creative, inspirational, in-novative individuals with a phone call inform-ing them that they have been named MacAr-

thur Fellows. A MacArthur Fellowship, also known as a “genius grant,” includes a no-strings-attached gift of $500,000, paid out in installments over a five-year period. And the recipients rarely have any idea they’ve been selected until they receive a seemingly out-of-the-blue phone call.

Among the 22 MacArthur Fellows in 2011 were ar-chitects, economists, scientists, professors, a former U.S. poet laureate, and a choral director, Francisco Núñez.

Núñez is the founder of the Young People’s Chorus (YPC) of New York City, a program designed to bring children from all ethnic, religious, and economic back-grounds together to make and learn about music. A cen-

tral goal of the YPC was to use this ensemble as a model of artistic excellence and humanity that enriches the com-munity. Since its founding in 1988, the YPC has grown to include over 1,200 children each year, ages seven to 18, and the caliber of music they’ve achieved is astounding. The YPC is a regular at Lincoln Center’s Alice Tully Hall and Carnegie Hall, and has appeared numerous times on shows like Good Morning America, The Today Show, and the award-winning PBS series, From the Top at Carnegie Hall, in addition to countless national and international tours. As if that weren’t enough, the Young People’s Chorus has rejuvenated the lit-

erature for children’s choirs through an ambitious series of commissions from some of the top composers in choral music today.

Upon receiving that fateful phone call, “I was dumbfounded, I actually cried,” said Núñez, according to a September 2011 story in the Wall Street Journal. “I get this call from a gentleman. He tells me to tell whoever I’m with to leave and go into a private room. Next thing I know I have to sit down at my desk. I started shaking.” The article continues, “I feel like I have an opportunity here and a challenge to figure out something really great.”

In this issue’s cover story, Núñez declares: “I always knew our music would be great. That was never truly my first mission, though. My first mission was to bring these kids together and use music as a means of allowing children to understand themselves better and become stronger.”

Aside from the laudable and inspiring work that has already happened in the YPC, a genius grant isn’t exactly a reward for one’s already-noted accomplishments. In the aforementioned Wall Street Journal article, MacArthur Foundation president Robert Gallucci elaborates on this idea, stating, “We hope we’re giving these people an op-portunity they wouldn’t otherwise have to pursue their area or interest and let that spirit that has driven them to be free to accomplish more in the future. We’re aiming here at the future.”

And with people like Francisco Núñez leading the way, the future of children’s choral music is bright indeed.

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January 2012Volume 9, Number 1

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HeadLines

Joplin High Singers Win $25,000

R avaged by tornadoes last summer, Missouri’s Joplin High School Vocal Music Department was recently selected as winners in the Glee Give a Note Con-test, presented by Twentieth Century Fox Television, Twentieth Century Fox

Home Entertainment, and the National Association for Music Education (NAfME) and its new Give a Note Foundation. The Glee Give a Note campaign plans to dis-tribute $1 million nationwide in grants ranging from $10,000 to $50,000 designed to relieve struggling music programs.

Thousands of students across the country created video submissions for an open call for entries in September. In October, the eligible entries were posted on www.GleeGiveANote.com for public vote for one month. A panel composed of NAfME members conducted a final round of judging and, together with the public vote, determined the winning programs.

The stated mission of the Give a Note Foundation is to expand and increase music education opportunities for all children, especially those in low-wealth and underserved areas of America. To learn more, visit www.giveanote.org

Kate Nash Expands After-School Program to Develop Female Songwriters

P latinum-selling singer Kate Nash, who has already established six after-school music programs, is set expand her bold program

designed to encourage young women as songwrit-ers. Nash, a Brit Award winner, leapt into action last year after learning that only 14 percent of the 75,000 members of the British Performing Rights Society, which collects and pays songwriting roy-alties in Britain, is female.

Her organization, the Rock ‘n’ Roll for Girls After-School Music Club, was set up as a free program for her to shop around to schools across the country.

Nash has said that she fears the influence of popular talent shows like The X Fac-tor in only encouraging performers to sing cover songs, as well as sex-object images perpetrated by singers like Rihanna.

Guangzhou Symphonie Orchestra to Participate in Xinghai Choir Fest

In Guangzhou, China, host of the 1st Xinghai Prize International Choir Champi-onships next November, it was recently announced that Guangzhou Symphony Orchestra will participate in the event’s Opening. It will also accompany the

International Festival Choir at the Closing concert.

More information on the course of the Opening ceremony is reportedly on the way in March 2012. Guangzhou will wel-come choirs with a repertoire including different styles of music.

The 1st Xinghai Prize International Choir Championship will be Novem-ber 8-14, 2012. To learn more, visit www.xinghai.interkultur.com.

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From Show Choir to Acapella to Traditional Choir, vocal groups who take part in a Disney Performing Arts program — whether that’s in a performance or in a workshop or festival — share a common bond. And now, Disney Performing Arts is celebrating this bond and commemorating

this once-in-a-lifetime experience with an exclusive badge of honor. So, if you think your vocal group has Ears for the Arts, then there is no better time to plan your next Disney Performing Arts trip. For more information, contact your travel

planner or call toll-free 1-800-951-8254.

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Summertime choir camps run by school music programs

come in all shapes and sizes. Some are just a few hours of

singing and introductions on a single day. Others can be a

week or longer, with educators, staff, and students brushing

up on choral skills and bonding in relative seclusion. While the

circumstances of each school, educator, and group of students will

dictate the appropriate duration, location, and content of a sum-

mer choral camp, there are a number of underlying factors that,

when properly considered, can contribute to

a fun and effective choir camp experience.

CDRoundtable: Choir Camp

“Recruiting is essential to a successful camp,” says Ryan Marsh, the choral director at Lafayette High School in Lexington, Kentucky, who has been running a choir camp at his high school for the past eight years. “I can’t overstate the importance of this. It is important to have a good number of kids so they are able to perform a fin-ished product at the end of the week. Recruit men so a

Making Choir Camp a Successgood balance is achieved. Recruit sing-ers individually that will help make the camp a success. Recruit upperclassmen for leadership within sections. More stu-dents attending makes for a more robust sound and there is synergy that a large group brings.”

Steve Lorenz of Pioneer High School in Ann Arbor, Michigan has run camps ranging from several hours to over-night camps that are a week or more in length. Each type of camp has different benefits and merits depending on what the students and community can accom-modate, but the key is finding the right length that will enable the most people to participate. “Rather than have a mul-tiple day or overnight event, I started out by doing a single day camp to maximize the student turnout,” he says. “One of the overarching goals at the beginning of the year is to set a good tone with the students and to allow the upperclassmen to help welcome new students and set the goals for the years. Regardless of the length, the higher the turnout, as far as the percentage of students, the better the opportunity to have more carryover. You’re trying to build buy-in from the students, get them engaged in the pro-cess, and get them acclimated to the rou-tines and expectations of the program.”

Michael Gaffney is the choral direc-tor and Arts Department chair at Balti-more, Maryland’s Archbishop Curley High School, where he founded the choral program in 1997. The “essential ingredients” to success that he cites fo-cus on scheduling and staffing. “A well thought out, minute-by-minute sched-ule must be published to all participants, staff and choristers, and, thereafter, must be carefully followed,” he advises. “The second ingredient is a well-trained staff, thoroughly versed in the goals and procedures of the camp. Staff members must be models for the choristers.”

Ryan Marsh

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Choral Director, January 2012 7

Honing SkillsGaffney’s camps are generally rep-

ertoire-focused, with an emphasis on skills such as sight-singing, vocal tech-nique, and interpretation. “This means that choristers are expected to leave choir camp with the ability to perform new literature, but also with new or refreshed choral skills,” he says. “Sometimes a choir camp might even be focused on a specific aspect of choral craft, such as sight singing or enhanced vocal range, using full group, small group, and individual sessions designed to enhance this focus.”

Ryan Marsh also has specific goals regarding skills and technique that he hopes to demonstrate, and that starts with choosing repertoire. “I try to choose a variety of repertoire that is of high quality and will challenge stu-dents – accessible yet challenging,” he says. “Foreign language (Latin excluded) pieces are great fun and offer a good challenge, especially in pieces with fast tempi. I always choose one very fast for-eign language piece – the more obscure language, the better. I also limit popu-lar or show tune selections to one or none. It may be difficult to predict the ability level, especially with many new

students, but have a variety of pieces and difficulty levels. If you have recruited strong leaders you can count on, this be-comes easier.”

As for the specifics of the technique, Marsh uses Kodaly solfege syllables to aid in sight reading and in learning

virtually all of their music. “During vocal camp, we of-ten learn four or five of the pieces on solfege,” he notes. “So we spend part of the first day teaching students to write in solfege syllables and using it in rehearsal. We also use the camp to teach our All-State audition piece to give students a head start. Each morning we use extended

warm-up time like a group voice class to teach vocal techniques as related to pos-ture, breathing, tone, and so on.”

StaffingBringing in the right amount of staff-

ers and counselors, and finding knowl-edgeable and trustworthy individu-als, can be a huge relief for the choral director running the show. “Be sure to hire enough adult help,” advises Ryan Marsh. “This might include private voice teachers, hired section leaders, as-sistant directors, and/or accompanists. Bring back former students who might now be studying music or music educa-

tion to give them an opportunity to lead sectionals, vocalizes, and do some teach-ing. Involve newly graduated seniors to be student section leaders. We hire one recently graduated senior in each sec-tion, in addition to any college students serving as section leaders. We pay them each $100. It’s a good idea to involve parents in organizing and delivering food, taking money, registration, and so on. Having extra people around is good practice and makes life easier for the directors. One director should not do it all.”

Steve Lorenz starts his search for help early. “I start securing cabin counselors in January or February, as soon as we’ve nailed down dates for the summer,” he says. “Most of the counselors are alum-ni of my choral program, although not necessarily music majors or professional musicians. However, they’re all people who have kept music in their lives in some way, and that serves as a really good for our high school students, most of whom will not pursue music profes-sionally.”

Work vs. PlayOne challenge directors must decide

is the balance between choral activities and other forms of recreation or team-building activities. “It’s always a hard balance for the kids,” confirms Lorenz. “When the kids walk out of the end of

Michael Gaffney


www.note-perfect.com


camp, it’s important that they’ve made musical strides and that we’ve established a foundation for learning. But that means that it has to be a positive experience. So it can’t be all rehearsal, all sectional, all music theory, or all sight reading all the time. I set out by selecting repertoire which is manageable within the time frame and then spacing our rehearsals so they last a maximum of about an hour and fifteen minutes. We have breaks, we change the format between section-

als, and we have some non-structured downtime in the middle of the day to give them a chance to rest, hang out, and participate in other activities or whatever they want to do. For us, we do a morning rehearsal, a post-lunch rehearsal, and a post-dinner rehearsal. After the post-dinner rehearsal, it’s all structured downtime until lights out that evening. Varying the format and what the

students are doing matters a lot to the students, and finding that balance is really key to keeping everyone engaged.”

“Set up a good schedule that gives structure, yet allows for flexibility if needed as the week progresses,” suggests Marsh. “Allow for sectional time and social time. We provide a lunch

hour that allows student to be supervised but have social time. If a gym is nearby, consider providing free time in the gym or outside. We also schedule in group games or other group activities. Great activities include getting-to-know-you, leadership, and trust games. Have a des-ignated activities director or spread out the responsibilities to multiple people. However, don’t advertise ‘Game Time’ on the schedule to the students. Make it a surprise and vary the length so if you need more rehearsal time, you can short-en game time without disappointment.”

Just Do ItTo borrow a tired phrase from a pop-

ular shoe company, the bottom line with choir camps is to simply make it happen. “I’d say definitely do it,” urges Lorenz. “I have never had a bad experience, and I’ve never received negative feedback about the overall experience. Everyone always walks away with a very positive experience. Students want a musical ex-perience, but they’re also very interested in the social element, as well. Giving students an opportunity to sit and eat to-gether, to sing together, and to play to-gether creates a great team environment. Start with a three-hour retreat. If that works out, make a day-long event. From there, go to an overnight, and keep build-ing until you have something that you feel really works for you and your group. Students find it incredibly beneficial.”

The benefits of choir camp will reso-nate all year long. “Choir camps are a crucial building block for a choral pro-gram,” agrees Gaffney. “Not only do they provide additional, uninterrupted time for rehearsal and ancillary instruc-tion, but also for the essential ‘bonding’ that must take place in a successful en-semble. Although choir camps involve a great deal of work if they are to be suc-cessful, the ultimate benefit far outweighs the initial investment of time and effort!”

Steve Lorenz

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National High School Choral FestivalApril 17–20, 2013We are now recruiting high school choruses for a one-of-a-kind experience guided by leading choral director Kent Tritle that culminates in a performance of Mozart’s Requiem at Carnegie Hall with the Orchestra of St. Luke’s and world-renowned conductor John Nelson.

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10 Choral Director, Januaey 2012

Renewable EnergyFrancisco Núñez Develops New Masterpieces with Young Singers from All Over the Map

The Young People’s Chorus performs at a Transient Glory concert. (Stephanie Berger)

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Renewable EnergyFrancisco Núñez Develops New Masterpieces with Young Singers from All Over the Map

Much has been made in the contemporary music world of the recent push toward so-called “alt-classical” – creative approaches to showcase, perform, and commission new works of music that utilize new instrumentation, new venues, and new com-posers. A premium has been placed on opening up fresh audiences and unexplored formats. The world of classical music is getting smaller and smaller, so the search for alternative resources is on.

By Matt Parish



New York native and pioneering choral director Fransico Núñez has found what might be the most alterna-tive resource yet: the children’s choir.

Núñez is the founder of the Young People’s Chorus, a New York-based music education organization that has gained widespread attention by assembling world-class choirs from diverse neighborhoods. The 46-year-old mastermind mixes kids of as many different cultural and economic back-grounds as he can and winds up with some of the most unique ensembles in the world. They not only develop jaw-

dropping performances of established classics, they also premier incredible new work through their own commis-sion series, Transient Glory, which has already commissioned over 60 pieces.

The whole thing has earned Núñez accolades worldwide. Last fall, he was awarded the MacArthur Foundation “Genius” grant for his work. The YPC has grown from a small after-school

program of 120 students to a sprawl-ing enterprise with over 1,200 stu-dents and has gained renown for its presentations of everything from Bach to Meredith Monk pieces, and has even served as a vehicle for Núñez’s own compositions.

In the process, they’ve won awards like the 2011 National Arts and Hu-manities Youth Program Award, Cho-rus America’s Education Outreach Award, and two Chorus America/ASCAP Awards for Adventurous Pro-gramming. Since first performing at the World Choir Symposium in Japan,

they’ve been invited back three times. This February, the YPC plays host

at Carnegie Hall for its Transient Glory Symposium and Carnegie Hall Choral Symposium, designed to bring together choral directors from all over the country.

Not bad for a group of kids who, were it not for Núñez, might never even have a chance to meet each other.

That kids are learning from each other and pushing each other into new levels of skill is what Núñez might call his dream come true.

“I always knew our music would be great,” he says. “That was never truly my first mission, though. My first mis-sion was to bring these kids together and use music as a means of allowing children to understand themselves bet-ter and become stronger.”

Choral Director spoke with Núñez recently after a very busy holiday sea-son about his outstanding achieve-ments so far and the group’s ambitious plans for the future.

Choral Director: What’s your early background as a musician?

Francisco Núñez: I always had music because of my mother. She was a working class woman. She had two boys to take care of but really want-ed to be a professional. Even though we were poor, she wanted arts to be in our lives so she purchased a piano. By the time I was six years old, I had started playing. I started to be able to learn things very quickly and learned how to read. Soon I was concertizing throughout the neighborhood.

What the piano did was give me an outlet to meet children of means. There were not a lot of poor kids play-ing the piano. There were a lot of rich kids. But my mother made me prac-tice, too. It was better to go home and practice than to be in the street. What happened in the street was dangerous. In high school, I’d practice around five hours a day. It opened up a whole dif-

I wanted to do it the way I had it when I was young. How can I create a program where I combine the rich and the poor, the black and the white, Hispanics and Christians and Jews, all together, and create a very so-phisticated music program?

“

”

In 1990, Núñez teaching his first chorus. (Courtesy Francisco Núñez)



ferent world. It showed you that if you put your mind to something, it can ac-tually get better. It was inspirational.

CD: So after you graduated school, after having studied to become a pianist, what was the turning point for you? When did you decide your career would be so wrapped up in kids singing?

FN: When I was in college, I was a piano major and I told my guidance counselor, “I never want to teach. I want to play.” She said, “If only you’d try to teach, you might actually end up getting a job.” I said, “No.” I was young. She told me to do some student teaching.

So I did one stint at student teach-ing and I saw this man named Jerry Kerlin in the Lower East Side. He was a white guy and he was teaching in the daytime through the public school systems – black and Latino children – and on the weekends, he’d teach the children of means, which were mainly white children at that point. He taught them not just how to sing songs – he was teaching them to read music and understand music in their own way.

Once we get those kids together, it doesn’t matter. They don’t care who the person next to them is other than the fact that they’re important. So that was the turning point. I was 22 years old, and that’s what I decided I wanted to do. It was an approach that helped me and changed my life when I was young. If I had just stayed in my neigh-borhood with the people that I knew, I would have been limited.

CD: What was your first job trying to put that into action?

FN: I got job at Children’s Aid Soci-ety, which is sort of like the Boys and Girls Club of America. I went to them and said I’d love to start a music pro-gram for them. They said they didn’t need that, but they did need someone to pick children up after school and bring them here and work with them.

So I’d pick the kids up, take them to the program, we’d play chess, we’d play basketball, and we did our home-work. A couple weeks in, I said, “Hey, do you guys want to sing a song?” So that’s when I started the whole pro-gram.

I didn’t want to separate them. I wanted to do it the way I had it when I was young. How can I create a pro-gram where I combine the rich and the poor, the black and the white, His-panics and Christians and Jews, all to-gether, and create a very sophisticated music program? It was two important factors – a high level of musicality and multiculturalism and diversity.

“I don’t want to only work with the kids from Greenwich Village,” I said. “Can I go visit your other com-munity centers and try to bring them all together?” They had two commu-nity centers in Black Harlem, one in Spanish Harlem, one in a very rich neighborhood in the Upper East Side and one in a middle class part of the Lower West Side. So I got some busses and started bringing the kids and that’s how I started the chorus, which at that time was called the Young People’s Chorus of New York City, which was very successful.

In 1996, we went to Prague for a competition with all these “ragamuf-fins” and the New York Times wrote a story about these underdogs going to an international competition. Well, we came back winning the competition. The New York Times again writes an article about that. So I wanted to go independent.

CD: So here it must have been key to get help from the right people.

FN: My old teacher Seymour Ber-nstein talked to another of his piano students, who was director of the School of Music, Mark Riggleman, at the 92nd Street Y, so that we’d be in-vited to perform there. Being that we were a multicultural program definitely helped. I also brought my friends to-gether – about 15 men and women – and created a board of directors. They would help with the financial structure of the YPC. So it took some working on my part to put all the pieces into place. That’s where we started. 1997 was our first rehearsal. By then we had about 120 kids or so. So now we have 1,200, but the concept has never changed – di-versity and musical excellence.

CD: Is it challenging to maintain the cultural diversity as the pro-gram grows?

FN: The social work mission is very strong. With diversity, you have the entire array of challenges. People who are poor have very different needs. Other people can never re-ally understand it – it’s something you have to work to understand. It’s much harder to maintain diversity than it is to sing a Bach motet. It’s much harder to keep children en-gaged who come from a very difficult background, and that’s what we do. It’s my mission to do that.

I always knew our music would be great. That was never truly my first mission. My first mission was to bring these kids together and use music as a means of allowing children to under-stand themselves better and become stronger. The only way that society can understand itself is to find bench-marks. How are other kids doing this? If you’re comparing yourself only to the kid next door, then you’re using a very small area.

CD: It’s very interesting that you assign so many different types of music – different kids can be experts by virtue of their own cul-tural backgrounds.

FN: Exactly. I mean, to the kid that grew up with Swahili, singing in He-brew is fine – you’ll learn it. You might even hear a rhythm there that’s sweet. But do you understand what it is be-ing Jewish? Do you understand what the song really means? Or can you ask the kid right next to you? He’s been sitting with you for several months and speaks it with authenticity, with a good accent coming from a particu-lar part of the culture. You can finally understand why the song is important and things like what Hannukkah and Passover are about.

Or if you’re a Jewish kid, sure you can learn a little Swahili – learn the phonetics and learn the words and hear about Kwanza, but being next to a kid that lives with it every day – you can ask what it’s like. You see their parents coming in, what they look like, how they dress, what they eat. You start to realize that there are dif-ferent dialects of Swahili and different accents of Swahili. Holy cow, that song is completely different to you now. By having all those cultures together right


there, when you sing Swahili it’s very different. It’s very social. And they all get proud.

CD: It seems so built to succeed in New York – how do you adjust to make the satellite program work in a place like Erie, PA. which can’t possibly have the same sort of diversity, can it?

FN: Erie is a very divided city. There’s a railroad track in the middle and one type of people on one side and another on the other side. Erie’s con-cept was that they’d work very hard at combining those children – to bring them together. That’s why we did this.

We have another program in New Jersey, which is part of the JCC – the Jewish Cultural Center. They’re put-ting together kids from all economic backgrounds. They have 90 children.

So there are two very basic pilots that we’ve got going. Now I’m work-ing on creating YPCs in other places in America and other countries. The first country that approached me was Japan. I started to do workshops in Japan with the children there, where I found a need in bringing children of diverse economic backgrounds togeth-

er. It’s not just about color. It’s about money, really.

CD: The most recent develop-ment is in the Dominican Republic, right?

FN: We put together a proposal that was accepted by the Dominican First Lady to create a choral system based around using choral music to bring di-verse neighborhoods together. It’s our goal over the next five years to have the Young People’s Chorus of Santo Domingo – all of the people of Santo Domingo put together so that they can represent the Republic of Santo Do-mingo to the rest of the world.

CD: Have there been surprising results from the YPC for you?

FN: The biggest surprise is that it’s actually working. When kids leave YPC, they’re so comfortable in other communities that they start to seek out diversity. That is to me the most beau-tiful thing. Many kids become music majors, they study music, they become singers and want to become conduc-tors – the whole thing. That, to me, is going to happen in any choral envi-ronment.

But I don’t want to just be a teach-er. I want to make a difference inside. That is what I’m seeing is happening. I’ve seen so many of my students who are not music majors, but when they find themselves in a place that’s inhib-iting their thought process about other people, they’re not happy to be there and they’ll walk away.

We have a huge problem in this area in the choral world. I think a re-spect comes because, musically speak-ing, we’re able to succeed. But, qui-etly, I’m showing people who think, “Holy cow, you can do Brahms with black kids? And then do gospel with white kids? And they all sound great?” That’s how we’re winning.

CD: You go out of your way to de-velop ability and skill in all of your kids.

FN: What I was taught was how to find the right voice to sing something a certain way. And I’ve always ques-tioned that because you can’t always come from a certain background and your genes can sing something the right way – you have to be taught to do it, and anyone can be taught. That’s why we become teachers. So if you’re just going to wait for the person to walk through your door who can sing that music perfectly from the start, I find that limiting. If you can take anyone and create an existence of music, then you have changed society because that person begins a generation. You’ve got to start somewhere.

CD: What’s been your mission in terms of seeking out new collabo-rators and writers?

FN: Early on, the only people com-ing to our performances were my family members. I thought I needed to get people there who weren’t my family members, so I started study-ing programs of orchestras outside of my genre. They were doing music like Bach and Beethoven and Mozart – se-rious pieces! I thought, “Let me go to those composers.” I went to people like Mozart and Bach and Stravinsky and Britten, and the number of pieces for children’s choir was very small. They wrote a lot for boys’ choir. A lot for women’s choir, but very little

If you can take anyone and create an existence of music, then you changed society because that person begins a generation. You’ve got to start somewhere.“

”

Núñez conducts the YPC on tour in Japan. (Courtesy MinOn Concert Association)


for children’s choir, which is boys and girls. There was a little, but it was not enough to make year after year of mu-sic.

So I decided to figure out how to get today’s Mozart to write for chil-dren’s choir. Here we had people winning Pulitzers, Oscars, and Ma-cArthurs and Grammys, being com-missioned around the country, never writing for children. I wanted to get someone to write a substantial piece of music. That’s where “Transient Glory” comes from. I wanted to get glorious music written for children during the time when the young voice is very unique and beautiful. “Transient.”

CD: This all must have come to a head at your first concert at the 92nd Street Y.

FN: We had pieces by Nora Kroll-Rosenbaum, Michael Torke, John Tavener, Elena Kats-Chernin. We had a panel discussion of “What is chil-dren’s choir music in America?” I had the president of Boosey & Hawkes and the radio host John Schaefer from WNYC come in and speak with the composers. That’s where it all began.

At that concert, I was able to attract a whole new audience and I was able to attract media. They came in to hear these composers writing for this new instrument, and the composers wrote masterpieces.

People started to pay attention. “Hold on, hold on – you mean that in New York City, these compos-ers who were winning these major awards are going to write great, serious, hard pieces for kids and they’re going to sing it well?” Other great composers started writing, even asking to write. We got some really big names – Steve Reich, Joan Tower, David Del Tredici, Mere-dith Monk – the list went on. After awhile, composers began to just call me directly to say, “Please commis-sion me.” It’s so cool. Then we have organizations like Bang On a Can, Kronos Quartet, American Compos-ers Orchestra – all saying, “What’s going on here?”

CD: Is it helpful to children’s choirs in general to have all this new mu-sic being written?

FN: It changed the perception of what children can do. The idea of diversity became common and the artistic excellence became real and it was understood that they were both there. That to me was very cool. Then other children’s choirs start-ed to propose outside of the choral realm. So I think that’s the door that we opened.CD: Advice for other choral direc-tors moving on with programs?

FN: I think we’re doing a great job with choral music. I feel that there’s a divide between community choirs and classroom choirs. We have to

work together and support each other to bring the children togeth-er so that they can understand that the world is much bigger than their community. The community has to understand that they’re much bigger than their own community – it goes on and on. And you have to figure out how to educate our students and still be challenging. I think we tend to get nervous about whether any-thing’s too hard for them. I think they’ll stay if you make it hard and interesting. People love to be chal-lenged. A challenge, in my opinion, is what keeps a kid coming back.

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CDAnnual Report

Noteof

The 2012

Choral Directors

16 Choral Director, Janury 2012

In this seventh iteration of the

annual Choral Director feature,

the 2012 Choral Directors of

Note report shines the spotlight

on 11 outstanding choral direc-

tors from California to Maine and

Florida to Wisconsin. Selected from

nominations and recommendations

sent in by fellow teachers, students,

administrators, and colleagues, these

following educators represent just

a slice of some of the wonderful

people and programs in vocal music

education today.

This edition of the report seeks out the philosophy, methodology, and im-pact of these outstanding individuals through three questions: their underly-ing teaching philosophy; the most im-portant lesson they have learned as mu-sic educators; and how they hope to be making a difference in students lives.

Directors of Note.indd 16 1/16/12 2:16 PM


What is your teaching philosophy?The content is often the least important topic discussed. Helping stu-

dents develop a life-long drive to be a better person today than they were yesterday is a far better measure of success.

What is the most important lesson you have learned as an educa-tor?

Take care of yourself first. If you aren’t well taken care of you can’t take care of anyone else.

How do you hope to be making a difference in students’ lives?I want each student to know that he or she can make a difference.

Students should understand that competition is a good thing because it pushes them to improve, but the only person they should ever truly compete against is themselves. Make the world a better place by being a better person. Provide beauty and respect through music. Honor the past, develop the future, and live in the present.

ARIZONA

Jeffrey A. MedlockSkyline High SchoolMesa

Years at Current School: 8Total Years Teaching: 17Students in Vocal Music Program: 150

What is your teaching philosophy?My goal as an educator and choral

director is to motivate people to suc-ceed. I aim to create life long learners, by peaking their interest in the world around them through the vehicle of music, by creating memories and urges to dig deeper into why things are the way they are in music and in life! We don’t just sing the music; we also strive to understand the text and the reason

CALIFORNIA

Michael ShortOrange High SchoolOrange

Years in Current School: 30Total Years Teaching: 32.5Students in Vocal Music Program: 225

behind the music. What was going on in history? Why was it written? Who was the composer? What does the song mean to the student today? When we understand these things, we understand how to sing the music.

What is the most important lesson you have learned as an educator?We are not just teaching music/singing; we are teaching culture and how to

be a complete human being! Everyone can sing and learn to love great music of all cultures!

How do you hope to be making a difference in students’ lives?Students who walks into my room and will learn the names of 31 –100 other

singers. They will learn to breathe, count, give back rubs, and be flexible; like when we were asked to have the choir sing for the visiting Congressman the day before he arrived. In the advanced choirs, students spend hours in and out of class performing for nonprofit organizations as well as paid company par-ties. This develops friendships that will endure and some just might eat enough meals with the choir to know who eats pizza with mushrooms but no pepper-oni. The students who accept these tasks will succeed, achieve and tour places such as Europe (every 4 years), Northern California, San Diego, Washington D.C. or New York. As we say at Orange High School, “Try it! You’ll like it” because “It’s all good at Orange High!”

Students in choir find that if they are willing to work hard, persevere, and have integrity, they will be successful in achieving their goals. A great example of this is with the tours that the choir will go on: Every four year we sing our way through Europe. The other years we travel to Northern California, San Diego, New York, and Washington D.C.

All students who have worked hard, persevered, and had integrity have at-tended these trips. It is guaranteed! Through these tours students find that they want to know more about where they are going and where they have been. They want to learn the history, economics, languages, cultures and philosophy of these amazing areas. These are traits of a life long learner.

Students in my class are going to be excited about music, learning, and being suc-cessful. They learn that through hard work and perseverance, goals can be achieved.



What is your teaching philosophy?I believe that all students should have

the opportunity to be part of a thriving music program that allows them to grow into strong musicians. So often I see music teachers with the “Ivory Tower”

FLORIDA

Scott LeamanLincoln High SchoolTallahassee

Years in Current School: 11Total Years Teaching: 20Students in Vocal Music Program: 175

What is your teaching philosophy?My favorite philosophy of education

came from my undergraduate Education Methods teacher, the late Stephen Smith: “to get people to unlearn the irrelevant.” And that resonates with me to this day, particularly in our discipline where inac-

MAINE

Rob WesterbergYork High SchoolYork


mentality that only want the top musi-cians in their classes. Our responsibility is to help all of our students blossom into musicians, not just those that have natu-ral talent or have purchased their music education through private lessons. We would never expect a student going into Algebra to be able to solve an equation on day one, so why should we expect ev-ery new chorus student to match pitch on the first day of school? If you have a love of music and want to sing, I want you in my classroom.

What is the most important lesson you have learned as an educator?

Academically, I am always aware of how important our literature selection is to the growth of our ensembles. I see so many young directors that want to impress the world by programming tough lit, but then they don’t perform it well. My motto has always been “Program for the choir you’ve got, not the choir you wish you had.” Sing something that is accessible to your own group of singers and sing it beautifully. Our literature becomes our textbook, so we need to find pieces that not only work best

for our singers but also teach and reinforce the concepts we are trying to get across to our singers. Smart literature selection is one of the most critical skills we need to develop as conductors.

How do you hope to be making a dif-ference in students’ lives?

I always want to have wonderful choirs that are full of amazing musicians, but I also want to help mold my students into responsible, caring, and hard work-ing people. Sometimes we think that a performance is the end result of our work, but I like to believe that our influ-ence on the lives of our students goes well beyond the concert stage. I value punctu-ality, kindness, and dependability just as much as I value the ability to sing in tune to make a beautiful musical phrase. Yes, I have very high expectations of my sing-ers and I want every concert to be full of wonderful moments, but I also recognize that we are raising the next generation of concert goers and patrons of the arts. If we can get our students to the point where they value music education for a lifetime, we have been successful.

curate preconceived notions exist of what we do and what our value is. So I have adopted the premise that, “Singing is fun, but music is work. The reason we commit to it is because it’s a labor of love... both in equal measure.” Consequently, there’s nothing wrong with talent, but no one is so talented that their vocal (or teaching) qualities are more important than who they are as people. In other words, I be-lieve that we’re in the business of develop-ing people through rigorous musical de-velopment. And if we succeed at the first, we’ll soar at the second.


If the kids know you love them and love working with them, but never at the sacrifice of your professional agenda, they will develop a trust and love for what you’re asking of them... and the culture of an entire music program can be transformed. In each choir I’ve ever worked with, it has been an overt goal of mine to push them well beyond their comfort level and perceived limitations. With that push simultaneously accom-

panied by unconditional support, under-standing and rigorous musical develop-ment (reading skills, vocal skills, Shaw rehearsal techniques to develop the indi-vidual choral disciplines), my choirs have always blossomed in extraordinary ways.


Help establish in them a sense of self esteem for all the right reasons; earned accolades as a result of tangible care and commitment to each composer, as well as to their peers. We implemented a gradu-ation requirement specifically for music at York High School because this goal is relevant to every teenager in York, not just those who are already interested in or excel at music. Again, developing people through a vibrant and demanding music program. They need to discover the trans-forming power of working with a hetero-geneous group of peers in accomplishing a common goal over a long period of time (isn’t it true that we’re the last remaining process oriented discipline in a product oriented society?). That mission accom-plished, everything else flows from there.



What is your teaching philosophy?My teaching philosophy involves

developing a connection with each and every student in every class. I strive to engage students by knowing what they are thinking about and how comfortable they feel while interacting with others as they learn vocal music. Each student is vital to the whole. They need to feel that they contribute in positive ways, and that they are noticed for their contributions


The most important lesson I’ve learned is that excellence in vocal mu-sic teaching involves a sense of forgive-ness. Allowing students to be them-selves and accepting them for who there are as persons is paramount. Stu-dents make mistakes in their personal lives, in their relationship with others, and in their music-making. Teachers must allow for these mistakes, utilizing healthy strategies that provide struc-tured consequences.


I hope to make a difference in stu-dents’ lives by showing them how mu-sic transcends human thinking into an aesthetic form. I hope to teach that hard work and a drive for excellence in performance helps us to be critical thinkers, and gives us the ability to gain insight towards building commu-nity. Teaching kids to sing perpetuates healthy human interactions that help sharpen the mind and feed the heart.

MICHIGAN

Dr. James BorstEast Grand Rapids High SchoolGrand Rapids


What is your teaching philosophy?Music is more than just singing or playing the correct notes and rhythms.

Similarly, teaching is more than just introducing a song and going over it time and time again until it gets performed. The more active and thoughtful the learn-ing environment, the better the chance that students will enjoy the music process and continue to value music in their lives.

Every student deserves the opportunity to enjoy the benefits of music educa-tion. They should get to sing a wide variety of literature, spanning different time periods, cultures, styles and musical challenges. While I have never met a musi-cian who loves every song they have learned, demonstrating to each musician that every song has something to learn from is the important educational lesson for us all.

What is the most important lesson you have learned as an educator?During my second year of teaching, I was enjoying a conversation with several

music teachers at the state music educators conference. Each person was sharing with one another what music their choirs were singing and what teaching strate-gies they were using to teach certain ideas or concepts. Then one teacher in the group made the comment that she was most interested in what the students were learning and able to demonstrate successfully.

As I reflected on her comment, I realized that I had spent the first year and a half of my teaching focused on me rather than on the students. If a choir I taught had gone all the way through a sight-singing curriculum for the year, would I know they were proficient at the skills learned in that curriculum or was I more focused on simply finishing the curriculum regardless of how they were doing with it? Shifting my educational thinking to the process of student-focused in-struction has been the most important lesson I have learned as an instructor to date.

How do you hope to be making a difference in students’ lives?I try to make a difference by being a model for life skills such as hard work,

discipline, and focus.For many music teachers, it begins with sharing our joy for music and hoping

that others can find a similar joy or appreciation for music. By demonstrating that I am still learning as a musician and teacher, hopefully my students will un-derstand that being a lifelong learner is important. Establishing excellence as an expectation in the classroom and always striving to improve musically can help students in all areas of their life.

Promoting a classroom environment that is comfortable and inviting can be a great comfort for high school students. Letting each student know that they can be themselves in your class and that they will be accepted just as they are can re-ally be powerful. The support of each other then inside and outside of the class has such a positive influence on so many students.

Philip BrownHopkins Senior High SchoolMinnetonka


MINNESOTA



What is your teaching philosophy?Teaching fundamentals and helping students develop a strong work ethic

will help students excel in the choral ensemble, as well as in life.

What is the most important lesson you have learned as an educator?The most important lesson I have learned is there is no substitution for

hard work. It is amazing how students will raise the bar when given high standards and goals.

How do you hope to be making a difference in students’ lives?It is my hope that through the music we learn and perform students will

feel a sense of pride and accomplishment. I would like them to take the les-sons learned as part of a choral ensemble and apply them not only to music, but to their life outside choir, and that hopefully, these lessons will help them be positive and productive citizens within their community.

NEVADA

Karen RogersElko High SchoolElko


What is your teaching philoso-phy?

Teachers choose to surround their lives with the lives of young people. Loving and caring for them as individuals and respecting them as young artists is a combination that can reap wonderful benefits. Never underestimate the power of young peoples’ hearts and minds.

OKLAHOMA

Tony GonzalezNorman North High SchoolNorman

Years at Current School: 15 Total Years Teaching: 33Students in Vocal Music Program: 200

What is the most important lesson you have learned as an educator?The greatest obstacle for actors to overcome is to abandon their vulnerability

and to completely open themselves up as human beings. This is a great lesson that I have learned to accept and that has enabled me to more closely communicate the power that music and text can have over someone.

How do you hope to be making a difference in students’ lives?The power to influence and shape lives goes beyond the immediate impact that

the printed note has on the students. Sometimes the influence that teachers have over students goes way beyond the time they were in your classroom. I’d like to share a letter I recently received from a former student as an example of this enormous gift teachers have to give to their students: the sharing of musical experiences.

“For so many reasons, I am writing you to say thank you. I have recently be-gun a new career as a teacher and it has made me think back to my own teachers often. So many times, the first memories are of you and of choir. You shaped my life in so many profound ways. For starters, you introduced me to things I had never experienced. I can still remember the feeling of seeing the curtain lift for the start of Phantom of the Opera. I had butterflies in my stomach from the seer awe of it all. That was a 9th grade trip to Dallas that changed me forever. I remember the pride I felt in myself, and from you, for making All State Choir my first year! Through these experiences and so many more, you instilled in me a love of culture and the arts that goes far beyond singing. As a teacher you were fun and goofy, yet serious and stern. That turned out to be the perfect combination. You demanded perfection and pushed me far beyond what I thought were my limits. You have a true gift in which you motivate and inspire your students. I will forever be grateful for my years as your student.”

One hopes, as a teacher, that our students receive the love and passion we feel for the music through their exposure to the arts and musical experiences.



TENNESSEE

Vincent OakesThe Baylor SchoolChattanooga

Years at Current School: 6 Total Years Teaching: 12Students in Vocal Music Program: 120

What is your teaching philosophy?Every student has a voice. It is my job to find students where they are and

use the choir as a vehicle to build up technical skills, musicianship, confi-dence, and – eventually – mastery. While we can spend a lot of time refining the smallest details of a finely-tuned product, one should never overlook nor fail to celebrate the genuine growth and achievement of even the most basic of musical concepts.

What is the most important lesson you have learned as an educator?The best singing comes from even better listening. The greater good of

the ensemble is served when each individual insists on hearing others more than he hears himself.

How do you hope to be making a difference in students’ lives?In music education circles, we talk a lot about the lifelong skills and ben-

efits of choral music, both musical and extra-musical. While this is certainly true, the benefits of having a safe place to explore a student’s interest and passion in music pay immediate and enriching dividends. I hope that my students will have found participation in choir – both during school and far beyond – to have been a place where students of all levels, abilities, interests, and places in society can come together for a common good, the sum efforts of which are much greater than of any one individual.

UTAH

Adrianne J. TawaCanyon View High SchoolCedar City


What is your teaching philosophy?Music is an integral part of education. Music awakens imagination, opens

the mind and activates the body. I believe vocal music training has merit for all learners. I strongly believe in the power of music to build bridges between logic and emotion. I am committed to helping all students gain organizational and study skills to help them be independent learners, to learn to ask well thought out questions, express themselves creatively and use music and a ve-hicle for introspection and personal growth.

What is the most important lesson you have learned as an educator?I have learned that it is important to find or create something beautiful

every single day. If I forget to make something beautiful, I go home feeling frustrated and dissatisfied. When I keep my focus on beauty, I feel like I float out the door.

How do you hope to be making a difference in students’ lives?I hope that my students will leave their experience in my classroom feeling

like they have a deeper understanding of themselves and a deeper understand-ing of how they connect to each other and the world around them. Music stirs us up inside and helps us make sense of everything else we think we know or are trying to understand. It is our mode of transportation to greater personal growth and artistic expression. It would be wonderful if my students would leave their high school experience with a desire to keep singing!



What is your teaching philosophy?My teaching philosophy is based on a maxim attributed to Goethe.

It states, “If you treat a person as if he were what he ought to be and could be, he will become what he ought to be and could be.” Many of my students have been inundated with others’ low expectations of them as scholars, musicians, and citizens over a long period of time. It takes time, patience, and nurturing to mitigate those negative messages, but it is well worth the effort. Music, particularly singing, is the perfect vehicle to impact my students with the highest expectations imaginable.

What is the most important lesson you have learned as an educa-tor?

I have learned that my life is enhanced and enriched by virtue of the fact that I know and experience my world through the lens of music on a daily basis. Music is inextricably woven into the fabric of humanity in all cultures and societies.

How do you hope to be making a difference in students’ lives?I hope to leave my students with the understanding that someone ex-

pected great things from them, was willing to help equip them with the skills and tools to meet those high expectations, and that they should, for the rest of their lives, hold themselves and their children to those same lofty expectations in all of their endeavors.

WISCONSIN

Raymond RobertsMilwaukee High School of the ArtsMilwaukee



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CDSurvey: Singers with Special Needs

Music education should be available to all students, regardless of mental or physical acuity.

However, managing the range of personalities and abilities in a large ensemble can already

be a tremendous challenge, and even more so when students with mental, physical, or so-

cial disabilities are brought into the fold. On the other hand, there can be great life lessons

and learning moments when

a wide spectrum of students

from different backgrounds,

abilities, and capabilities work

together towards a common

goal.

Music for All: Incorporating Singers with Special Needs

This recent CD survey aims to pro-vide insight into how students with special needs are being integrated into school choral groups around the coun-try: what proportion of choral direc-tors have students with special needs in their classes and ensembles, how integrated these students are into the choral activities, and what some of the particular challenges and benefits can be of working with children who have disabilities.

Survey January.indd 24 1/16/12 2:19 PM


Do any students with special needs participate in your choirs?

“I have Autistic /Aspergers students, ESL students, behavior-issue students, LD, and gifted students all in the same choir.”

Ben LuginbuhlNormal Community High School

Normal, Ill.

If yes, do you have separate instruction for them or are they integrated into the class as a whole?

“While I expect the special needs student to fully participate in all aspects of the choral classroom, I do incorporate accommodations that will help that stu-dent to succeed in chorus. I utilize modified grading and assessments where needed. I adapt choreography for the physically challenged. I tell students to do as much as they can do.”

Kenneth “Skip” MorrisEastern Wayne Middle School

Goldsboro, N.C.

“They participate fully to the extent that they are able. Some with severe needs are able only to come to class and enjoy the music; some can participate to a limited extent; some can participate in the singing, but not in the theory aspects; some have modified theory.”

Pattie AndrewsNewton Middle School

Centennial, Colo.

Is there dedicated staff that assists special needs students in your ensembles?

Do your student leaders assist in working with spe-cial needs students in your groups?

“If the special needs students tend to be a little ‘slower’ in learning music and/or choreography, other students work with them in small groups or one-on-one.”

Sherry AdamsLakota Local Schools

Kansas, Ohio

“It is wonderful to watch the interaction between student leaders and the special needs students. It ben-efits both parties greatly.”

Charles BatemanSusquenita High School

Duncannon, Pa.

What are the most challenging elements of including children with special needs in your choral groups?

“Every child has special needs because every child is unique with different strengths and challenges.”

Kimberly MorganSun Valley Middle School

Indian Trail, N.C.

Yes 87%

Yes 35%

Yes 76%

No 13%

No 65%

No 24%

They participate fully in all aspects of the regular classes

73%

They have some specialized instruction and also participate in some areas of the regular choral curriculum

27%

Yes 87%

Yes 35%

Yes 76%

No 13%

No 65%

No 24%


73%


27%

Yes 87%

Yes 35%

Yes 76%

No 13%

No 65%

No 24%


73%


27%

Yes 87%

Yes 35%

Yes 76%

No 13%

No 65%

No 24%


73%


27%



“We employ movement along with the music, and this sometimes pres-ents challenges to those students. Rep-etition is key to success in most situ-ations, although some modifications are made to assist students who might have difficulty with certain tasks.”

Chris FowlerBuford High School

Buford, Ga.

“It’s a personal challenge as a profes-sional musician to be patient and accept the time each student needs to learn the music at his or her own learning pace.”

Gael BerberickTiverton high School

Tiverton, R.I.

“Students with social issues find a class with many students and close quarters very difficult to han-dle. These are the hardest students I have to incorporate.”

LizOldenburg Academy

Oldenburg, Ind.

Are there any unanticipated or surprising benefits from integrat-ing special needs children in your choral groups?

“My special need students seem to thrive in choir. Singing allows them a place to be successful in school.”

L. JulianWillowbrook Middle School

S. Beloit, Ill.

“I think it is beneficial from ev-ery aspect to include special needs students, and all directors should do their best to make them a part of the ensemble.”

Paula GormanWoodstown Middle School

Woodstown, N.J.

“My students with disabilities are no longer thought of as having disabilities. They are seen as peo-ple worth knowing. Our homecom-ing king who was nominated by the choir and elected by the entire stu-dent body has Downs. It made the local news.”

Ken AhlbergHermantown High School

Hermantown, Minn.

“All of the students benefited from the program. The chorus class became advocates for them, building self esteem for both aca-

demic students and those with spe-cial needs. Peer support is crucial to each student’s success, regard-less of abilities.”

Kathy CatonNew Field High School

Selden, N.Y.

“I love my choir, and I love my special needs students. I feel like they have taught me how to be a better teacher, communicator, and, most of all, musician.”

MaryMontessori Peaks Academy

Littleton, Colo.

“Each learner brings something different to the group and, many times, others can learn from the strengths and weaknesses of fellow students – both special needs and non-special needs.”

Jill WoodwardIndian Creek SchoolCrownsville, Mary.

Additional thoughts on including children with special needs in standard school choral groups?

“I am always amazed and sad-dened when I am talking with a choral director who states the rea-son they are hesitant to ‘allow’ stu-dents with special needs to perform with their group at concerts is be-cause their sound might take away from the sound of the group itself. There are many ways of helping this situation and they need to be discussed. All students should be allowed to sing, especially if the group is a non-select ensemble.”

David RanenAmherst Regional Middle School

Amherst, Mass.

“Place yourself in the parent/guardians’ shoes for a second be-fore you exclude students. Some-times performances do not need to be perfect to be successful.”

Bill NaydanHatboro-Horsham High School

Horsham, Pa.


www.charmsoffice.com


“If the students can match pitch, learn their parts and contribute to the choirs performance in a positive way, I think it is a great thing to have them in the class. However, if they cannot, then I do not agree with their participation. The other members of the class have the right not to have their learning impacted in a negative way just because the laws says there is no choice. Inclu-sion can be counterproductive, as it is in my situation. Other students have expressed their frustrations and though I encourage them to do their best, they have a legitimate complaint. I have suggested to the special needs teachers an alternative class for the students who clearly cannot positively contribute to the choir set-ting, but, while some agree with me, others feel it will single out those students. What they fail to realize is that by putting them in a class they should not be in, they have already singled them out to the very students they want to include them with. The rest of the class is not blind or deaf and can see and hear for themselves what these teachers and parents are oblivious to. I am an advocate for these students, but not at the expense of other students.”

Dale MorganSt. Charles North High School

St. Charles, Ill.

“The ‘least restricted environment’ for special needs students is not always the regular choir class. Some students benefit from more specialized instruc-tion designed for their ability level and interest. It is not always possible to offer specialized classes due to scheduling and expectations of parents and/or admin-istrators. Ideally, every student, regardless of ability, should be provided the opportunity to reach his or her full potential.”

Dianne JohnsonJefferson County Board of Education

Birmingham, Al.

“I have had many students over the years who have had disabilities of one kind or another and most of them could sing in a group without it interfering with the sound and success of the group. I have had a few who were not able to do what was required and it has been frustrating to me and the other students when they must remain in choir because a parent is demand-ing it. That is not a good experience for anyone.”

Camille BlackburnHillcrest High School

Ammon, Idaho


www.worldchoirgames.com


New Releases

CDRepertoire Forum: Baroque

Baroque music can be some of the most joyous, rhythmic, and fun music to sing. However, many choir directors are afraid to program it because it falls outside of our contemporary idiom. As we encourage our students to be life-long choristers, it is important that we expose them to the entire body of choral literature. In this forum, I discuss several pieces from almost every difficulty level and voicing. Remember, you don’t have to start your choir with Bach’s Mass in B Minor! While certainly not an exhaustive list, I hope these suggestions prove to be helpful.

UNISONBist Du Bei MirJohann Sebastian Bach (ed. and trans. by Doreen Rao)Boosey & HawkesMedium-Easy

Arguably one of the most beauti-ful melodies ever written, all choirs will love singing this piece. It is completely unison throughout, so it can be successfully performed by small or developing choirs, but more advanced choirs can expand their listening skills through this piece, too. Bach’s harmonic lan-guage allows for an opportunity to explore moveable do. Doreen Rao includes a singable English transla-tion, or try the German text.

Score preview: www.jwpepper.com/5351242.item.

TWO-PARTCome, Ye Sons of ArtHenry Purcell (ed. and arr. by Emily Crocker)Hal LeonardMedium-Easy

This is a wonderful concert open-er: “Come, Ye Sons of Art, Tune all your voices and instruments play, to celebrate this triumphant day!” Emily Crocker has done a great job reducing this piece to two voices. Emphasize the initial consonants, especially on the word “Come” to produce crisp articulation. With a fair amount of repeated material and memorable melodies, choirs will learn this quickly and enjoy the process, too.

Score preview: www.jwpepper.com/3212560.item.

SAWir Eilen Mit Schwachen, Doch Emsigen Schritten, (Cantata No.78)Johann Sebastian Bach (ed. by Ar-thur S. Talmadge)E.C. SchirmerMedium

This is a more difficult two-part women’s piece, which would serve as a wonderful introduction to melismas. The imitative writ-ing would also reinforce the im-portance of being an independent singer. In da capo form, this piece may have been originally sung as a duet. For groups that have two par-ticularly strong singers, consider using them as soloists the first time through and adding the full chorus on the repeat.

By John C. hughes

Baroque Music for All Levels

RepForum.indd 28 1/16/12 2:21 PM


SSACantate DominoHeinrich Schütz (ed. by Nancy Grundahl)Colla VoceMedium

Nancy Grundahl has produced a very good edition of this piece. She has made some very helpful perfor-mance suggestions while retaining a very “clean” score. This piece dem-onstrates the rhythmic vitality of Baroque music and even has a brief shift to triple meter. This piece will challenge choirs to be rhythmically independent and secure in their parts (it is unaccompanied); howev-er, the choir will be richly rewarded for their labor.

Suscepit Israel (Magnificat in D)Johann Sebastian BachColla Voce

While all the other pieces sug-gested so far have been moderate-ly arranged and edited, this piece is very close to what Bach wrote. The vocal ranges are intended for developed singers. For example, the alto part delves down to a low F#. Choirs will enjoy the serene and tranquil mood of this piece. The piano accompaniment is very straightforward and would be a good opportunity to feature a stu-dent accompanist.

THREE-PARTPraise Ye the LordGeorg Philipp Telemann (arr. by Wallace DePue)Alfred Music PublicationsMedium-Easy

Like many of his contempo-raries, Telemann composed canons; “Praise Ye the Lord” is the seventh of his 12 canons. This piece can be performed by any combination of voices. The ensemble sings the first verse in unison, then divides into three parts for the duration of the

second verse. While not simple, this piece can help develop autonomy and confidence in your choirs.

SATBHanacpachap CussicuininJuan Pérez Bocanegra (arr. by Christopher Moroney)World Library PublicationsMedium-Easy

This piece was published in Lima, Peru in 1631, making it the one of the first known pieces of polyphonic music printed in the Western world. The text is in an Incan language, Quechua, for which Moroney has included a phonetic transliteration. Moroney also included parts for an optional three-part Peruvian percus-sion ensemble (Wankara or Bombo, Chaqchas, and Gourd), but the piece can be successfully performed unac-companied, as well. The piece is eas-ily learned because it is two strophic verses of homophonic material. Con-sider using this as a processional.

Ehre Sei Dir, ChristeHeinrich Schütz (ed. by Matthew Michaels)Hal LeonardMedium-Easy

“Ehre Sei Dir, Christe” is the con-cluding chorus of Schütz’s “St. Mat-thew’s Passion.” It is unaccompanied and strictly four parts. The mostly homophonic texture will develop choirs’ sense of ensemble, while the brief polyphonic sections will serve as a nice contrast. The text is in German

throughout; however, at the end, Schütz shifts to Kyrie eleison, Christe eleison, Kyrie eleison. This would be a good selection for choirs relatively

new to SATB literature. Score preview and audio recording:

www.jwpepper.com/10087654.item.

Soul of the WorldHenry Purcell (ed. by Holland Jancaitis)AllianceMedium

From his 1692 Cecilian ode, Pur-cell’s “Soul of the World” is fresh and vibrant. With light articulations and leggero melismas, choirs will enjoy singing this piece. Consider rehearsing this piece under tempo and working up to a brisker perfor-mance tempo. Its somewhat usual text speaks of music’s ability to join the “scattered atoms” and “various parts” in “perfect harmony.”

Swell the Full Chorus (Solomon)Georg Frederick HandelGalaxyMedium

Another great opening piece, “Swell the Full Chorus” is exuber-ant. Choirs will need to work to align their articulation of the ho-mophonic beginning. The B section



starts serenely; however, it quickly shifts mood when the text changes to “rouse the whole nation in songs to His Fame.” After this, the choir returns to the A section in typical Baroque fashion. Advanced high school choirs will enjoy this piece.

SATB With ORCHESTRALooking to pull out all the stops

for a concert? Add strings! Here are two suggestions for accessible piec-es for both choir and orchestra.

Laudate Jehovan omnes gentesGeorg Philip Telemann (Realiza-tion of the figured bass by Fritz Oberdoerffer)ConcordiaMedium

Calling for two violin parts, cel-lo, and organ, “Laudate Jehovan omnes gentes” is a festive piece. It begins with a fast, joyous section, then moves to a slow, ponderous triple meter. The piece concludes with a grand “Alleluia” section. Not terribly long (about four minutes), this would be a good introduction to singing with orchestral instru-ments. Advanced high school play-ers will be able to play the string parts, which are available separately through the publisher.

GloriaAntonio Vivaldi

Every choral singer should have the chance to sing this piece at some point in his or her life. From the

glorious opening movement, to the fugue at the end, and everything in

between, this piece is magnificent. Choose to perform a few move-ments or program the entire piece. It requires two soprano soloists and an alto soloist. The orchestration is fairly straightforward--trumpet, oboe, violin I, violin II, viola, cello/bass, and organ. If your school has an orchestra program, this would be a wonderful opportunity to collabo-rate. Advanced high school orches-tras can play the string parts. How-ever, the trumpet part is very high (in C) and the oboe part is quite ex-posed; if possible, consider asking colleagues or hiring professionals to play these parts.

SSATTBPlorate filii Israel (Jephte)Giacomo Carissimi (ed. by Giora Contino)Roger DeanMedium-Advanced

The final chorus from Carissi-mi’s oratorio is absolutely stunning. Based on Judges 11:19-38, “Plorate filii Israel” is a lament for Jephte’s daughter. The descending ground bass is typical of Baroque laments. The choral parts are full of emotion produced by gorgeous suspensions. Experiment with a variety of instru-mentations for the continuo part. Advanced choirs will absolutely love this piece!

John C. Hughes is currently pursu-ing a D.M.A. in Choral Conduct-ing and Pedagogy at the University of Iowa and serv-ing as music direc-tor at The Congregational United Church of Christ of Iowa City. He has earned degrees from Augustana College and Northern Illinois Uni-versity, and also has experience as a K-12 teacher and collegiate conduc-tor. He may be reached directly at [email protected].

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Attack the Consonants“Rhythmic energy comes from the consonants. If the tempo is dragging, especially in soft passages, or the song needs more energy but not more volume, prac-tice speaking the words in rhythm with exaggerated popping of Ps and clicking of Ks. Then keep the same exaggerated consonant sounds while singing in a soft, almost whispered singing voice. The result is the words become a little more staccato and crisp, and the tempo ceases to drag, while the rhythmic energy returns to the music and excitement becomes the effect. From there, you can bring it up to the desired dynamic level.”

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Symphony Publishing | 21 Highland Circle, Suite 1 | Needham, MA 02494 | (781) 453-9310 | FAX (781) 453-9389 | 1-800-964-5150

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