acdaeast – american choral directors association ......department. dr. beery has also taught...

VOL. XVII, NO. 2

DECEMBER 2008

In January 2008, Edward Cumming, the music director andconductor of the Hartford Symphony Orchestra, invited TheMain Street Singers to perform with the orchestra in one of aseries of Discovery Concerts. The concerts were to be held onthe mornings of February 5 and 6 at Welte Hall, a 1,700-seatconcert hall at Central Connecticut State University (CCSU)in New Britain. The audience would be local elementary andmiddle school children. The piece was Joan Szymko’s It TakesA Village for mixed voices and percussion accompaniment.1

As the director of The Main Street Singers (MSS), I wasexcited to receive this invitation; the piece is a perfect ex-pression of the philosophy and reality of our young choir. MSS,a 40-voice group, was founded in 2003 with the goal ofachieving harmony through diversity. It is comprised of childrenin grades 4–8 from nine towns, with approximately 30% boys,30% children of color, and 50% receiving financial aid. Infour years, MSS had performed for many local and regionalevents, including three music teacher confe-rences. I felt thatthe group was ready for a big performance with the HartfordSymphony Orchestra (HSO).

However, there were some concerns. Required attendanceat a Monday evening dress rehearsal and morning performancesthe following two days was a lot to expect from the children.Transportation to the concerts could be an issue, as most parentsworked. Also, the arrangement of It Takes a Village is scoredfor SATB, and MSS is primarily a treble-voice choir with afew changed voices.

IT TAKES AVILLAGE:SCHOOL ANDCOMMUNITYCHOIRCOLLABORATION

by Mary Ellen Junda

MATCH OFINTELLECT ANDSPIRIT:An Interview withRichard M. CoffeyPART II

by Nathan Zullinger

- continued on pg. 6 -

(Ed: Richard Coffey is in his 34th year as conductor of ConnecticutChoral Artists. Part I of this interview appeared in the October issue.)


NZ: How many professional choirs were there in thecountry at the time that you found CONCORA (known atthe time as the South Church Choral Society)?RC: Not nearly as many as there are now. I really don’t thinkthat there was another in Connecticut, although Art Sjogrenstarted Pro Arte [in the area of Fairfield, CT] around the sametime. Pro Arte was an auditioned, professional group like ourChoral Society. There may have been the occasional all-professional church choir, but that would have been rare - it’sstill rare. There was no organization called Chorus America,nor an Association of Professional Vocal Ensembles. Thatwas established in 1977. The significant professional chorusesin America at that time were the Philadelphia Singers, theDale Warland Singers, the Gregg Smith Singers, the NormanLuboff Choir, and Westenberg’s Musica Sacra. Shaw was well-established in Atlanta by 1974, and the Robert Shaw Choralehad not toured since the 1960s.

NZ: How did CONCORA evolve from the South ChurchChoral Society?RC: We were moving along at a decent pace, but it wasinteresting to me that in about the third year of the ChoralSociety’s life, some of the singers began to get ahead of me asto where they wanted to go. I was very content with presentingjust two concerts a year on the church’s Music Series. So theyapproached me - “Could we sing elsewhere?” “Could we makerecordings?” “What if we do all the administrative work?”These things had never crossed my mind.

TROUBADOUR DECEMBer 2008

IN THIS ISSUEARTICLES

A Match of Intellect and Spirit - Part II Front CoverNathan Zullinger

It Takes a Village Front CoverMary Ellen Junda

Blessed Be the Ties That Bind Pg. 27Deborah A. Mello

ADDITIONAL FEATURESConstant Contact Pg. 3Research and Scholarship: A Forum Pg. 3Welcome New R&S Division Chairs Pg. 4In Memoriam: Thomas Burt Dunn Pg. 14Richard Keggerreis Scholarship Application Pg. 29 - 30

CONVENTION NEWS!Philadelphia: A Great Place to be “Strand”ed Pg. 12Making History Sing Pg. 12Call for Research Proposals Pg. 15Call for Interest Session Proposals Pg. 162010 Honor Choirs Make Changes! Pg. 17Your Choir Can Perform at the 2010 Convention Pg. 19Application for Choral Performance Pg. 22 - 24

REGULAR FEATURESDirectory of Advertisers Pg. 6Welcome New Members Pg. 31

Deadline for advertisements for the April online issueof Troubadour

Monday, March 2, 2009All ad sizes one price: $100

For reservation and payment information, please go to www.acdaeast.org

Deadline for articles for the April online issueof Troubadour

Monday, February 16, 2009

DECEMBER 2008 TROUBADOUR PAGE 3

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Please ATTACCA!

I am delighted to be the first Eastern Division ProjectChair for Research and Scholarship. Strengthening the waysin which ACDA supports and encourages research within theEastern Division is an exciting prospect, and I would like totake this opportunity to share some of my thoughts and goalsfor the next two years.

One of the great merits of research and scholarship isthat it crosses traditional Repertoire & Standards boun-daries, and can be an excellent vehicle for bringingcolleagues together. From Brahms’s choral music tomotivation in middle school choirs, the range of topics andinterests is virtually limitless, providing a wonderful forumthat can deepen our understanding of what we do, and raisethe level of artistry we bring into our daily rehearsals andperformances.

Creating more opportunities for colleagues in theDivision to share their ideas and interests is one of my maingoals. The 2010 convention in Philadelphia will feature anexpanded research component through the inclusion of botha “Research Gallery” and a series of “Research Round-tables.”The Research Gallery will display posters of recent researchby colleagues throughout the Division. Research Roundtableswill be devoted to the reading and discussion of papers ondifferent choral-related topics. The scope and variety ofthemes will depend on the proposals that are submitted.Please see the Call for Proposals on page 15 of this issue ofTroubadour for more details!

In addition to increasing the research and scholarshipofferings at the 2010 convention, I also plan to take advan-tage of the technology available through the Eastern Divisionwebsite. I am working on establishing a “Research Page”that will list current projects/papers in progress, and providecontact information for colleagues who would like to followup with one another. I also hope to create an online discus-sion group to motivate those engaged in research to dialoguewith one another.

Another goal of mine is to inspire colleagues to collabo-rate by providing small grants to ACDA members wishing towork on joint projects together. Though this is only an ideaat the moment, it would help encourage those who might notordinarily think of themselves as researchers to partner with

RESEARCH ANDSCHOLARSHIP:A Forum forBringingColleagues Together

by James A. JohnProject Chair forResearch & Scholarship

more experienced colleagues in defining and answering newresearch questions. Some of the most interesting and practi-cal research has grown out of partnerships of this kind.

If you have interest in any of these areas, or additionalideas on how to strengthen and encourage research andscholarship within the Eastern Division, please feel free tocontact me. This is the initial installment of what willbecome a new Troubadour “Research Column,” so pleaselook for continued discussion and articles in subsequentissues. The more we engage one another in inspiringconversations on topics we are passionate about, the morerenewed, enriched and inspired we will become in our work.As the new Project Chair for Research and Scholarship, Ican’t think of a more exciting task!

James John is Assistant Professor at Queens College’sAaron Copland School of Music where he conducts theQueens College Choir, Vocal Ensemble and Choral Soci-ety. His dissertation was awarded the ACDA 2002 JuliusHerford Prize for excellence in doctoral research.

TROUBADOUR DECEMber 2008

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LON BEERYJunior High &Middle School Choirs

RONALD JOHNSONEthnic &MulticulturalPerspectives

Dr. Lon Beery teaches vocal musicat Spry Middle School in Webster, NewYork where he directs the 7th and 8thgrade choruses and “Spry Select,” a selectmixed chorus. Prior to returning to public

school teaching, he was an Assistant Professor of MusicEducation at Syracuse University where he directed the SUMen’s Glee Club and served as Chair of the Music EducationDepartment. Dr. Beery has also taught choral arranging at theEastman School of Music in Rochester, NY. He is a frequentguest choral conductor, working especially with adolescentchoruses and has directed middle school honor choirs inConnecticut, Florida, New York, Pennsylvania and Texas.

Dr. Beery has composed or arranged over 70 publishedchoral pieces which appear in the catalogues of Hal Leonard,Alfred, Alliance, BriLee, and others. His TTBB composition,“I Believe,” was performed by the U.S Army Chorus atPresident Ronald Reagan’s interment service in California. Forhis compositions, he has received several ASCAP StandardAwards. He has also written several articles which haveappeared in the Choral Journal and the Music EducatorsJournal and has presented sessions at state, regional, andnational conferences of ACDA and MENC.

Ronald D. Johnson is a long time choral conductor fromthe state of Maryland and has taught vocal/general music atthe elementary, middle and high school levels. He has presentedhis high school choruses at the Kennedy Center in Washington,D.C., choral festivals and choral adjudications throughout theeast coast. From 1994 – 2003, Mr. Johnson was the Coordinatorfor the Visual and Performing Arts Center at Suitland HighSchool in Prince George’s County, MD. During his tenure there,he was the administrator for the music, television production,dance, theatre and visual arts department.

Mr. Johnson’s professional career has enabled him toadjudicate high school and elementary choral festivals. Since

the inception of the Ithaca College Gospel Choral Festival,Mr. Johnson has taken a contingent of students who have beenexposed to some of the country’s most prominent AfricanAmerican choral conductors. At present, Mr. Johnson is thedirector of Vocal/Choral Activities at Rockville High Schoolin Rockville, MD.

In addition to Mr. Johnson’s public school duties, he is theMinister of Fine Arts at the First Baptist Church of HighlandPark in Landover, MD, whereby he oversees seven choirs anda liturgical dance ministry.

In 1997 and 1998, Mr. Johnson was one of the guestconductors for the Washington Performing Arts Society,“Children of the Gospel.” who perform annually at the KennedyCenter. For the last eleven years Mr. Johnson has worked withthe choir’s summer vocal camp.

Mr. Johnson received his BS degree from Hampton(Institute) University and his MM from the University ofMaryland, College Park, with additional studies in educationadministration at Trinity College in Washington, D.C.


Annual Festival of Nine Lessons and Carols Sunday, December 14—4:00 P.M. Saturday, December 20—7:00 P.M. Sunday, December 21—4:00 P.M. Featuring a newly commissioned work by Eleanor DaleyEleanor Daley, along with classic and contemporary seasonal masterworks. Tickets: $12-22, depending on seating preference. Performances at: The Maryland State Boychoir Center for the Arts 3400 Norman Avenue Baltimore, MD 21213

THERE’S STILL TIME!!!

We are still accepting applications for participants in our upcoming Baltimore Boychoir Festival, happening on May 15 & 16, 2009. Guest conductor Rollo Dilworth will lead the two-day festival culminating in a mass performance with over 300 boy singers! Contact us NOW to reserve your spot at this amazing event!

The Maryland State Boychoir

Frank Cimino, Founder / Artistic Director—Stephen Holmes, Music Director

3400 Norman Avenue

Baltimore, MD 21213

(410) 668-2003 / [email protected]

www.marylandstateboychoir.org

Annual Festival of Nine Lessons and Carols

Eleanor Daley


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Berkshire Choral Festival Pg. 12

Cultural Tour Consultants Pg. 4

Mansfield University Pg. 5

Mark Custom Recording Pg. 25

Maryland State Boychoir Pg. 5

Massachusetts ACDA Pg. 26

McCloskey Institute Pg. 25

The Musical Source Pg. 11

West Chester University Pg. 26

World Cultural Tours Pg. 18

Young People’s Chorus of NYC Pg. 32

- continued from pg. 1 -

Naturally, I said yes. By 1976 we had made our firstrecording, music of Bach and Brahms. We had a tour in thefall of 1976 with great reviews. The singers were ready to dothe work, and I’m really grateful for that. This includedvoluntary management and all the rest.

By the early 1980s we all knew that we could go no furtherwithout becoming a 501(c)(3) nonprofit corporation. To dothat, we had to cut our ties to the church. That took a lot ofdiscussion, because the church had established the ChoralSociety as a cultural outreach ministry. There was norelationship to the church choir, except that we shared somemembers. We had to walk through that very carefully so thatwe didn’t appear ungracious or ungrateful - and I think ourpacing was good. We explained, “We can’t go any further. We’dlike to be in residence here at the church, but we need to dothese other things and we need broader financial support.” TheChoral Society had never been a financial investment on thepart of the church; the money was always raised by the musiccommittee from outside sources. We began our new venturewith a very excited committee of singers and friends thateventually became the board of directors once we wereincorporated. As the Choral Society “morphed,” there was ayear-long contest for the name. At that point, and never before,we got our first review from the Hartford Courant. Elevenyears passed before we were reviewed locally. And I still have that review.

NZ: What has the repertoire emphasis been forCONCORA?RC: Our emphasis has been early music up through Bach, andthen contemporary music. We did some small pieces by Verdi,Bruckner, and Brahms — but not the gigantic Romanticoratorios. Such19th century music is for choirs bigger than weare. Those large works were never composed to be sung by aprofessional choir. Who could afford it? I was driven byrepertoire; there was so much early music that I loved andBach that I loved and modern music that I loved. But I wasalso thinking niche and need.

At the very time that CONCORA was being born, theHartford Chorale was being born. It’s interesting to me that,thirty-four years later, I’m the music director of both. Clearlythere was no need at that time to create another symphonicchorus. New Haven had its own chorus, and Hartford was justgetting its own. The town had had the Hartford SymphonyChorus, and they eventually disbanded, and an independentorganization, separate of the symphony, was formed. So forall of this stretch of time, those two choirs have been on paralleltracks, although occasionally intersecting on the concert stage.Together, CONCORA and the Hartford Chorale have reallycovered the bases in terms of repertoire.

NZ: How do you feel that repertoire has changed on anational level during your career?RC: I always love going to conferences and conventionswhenever I can. It’s like a repertoire hunt. But I’ve been verydisturbed to see one specific repertoire trend. Not the trend tocontemporary music, but the trend to a preponderance of so-called gospel and spiritual arrangements, taking the place ofwell-crafted contemporary music. These fresh-spunarrangements are easy to sell, and they work everybody into afrenzy, but that frenzy is fairly short-lived. I’m not disparagingthe giants in the field of gospel and spiritual arrangements inany way – outstanding composers, such as Brazeal Dennard,Moses Hogan, and others. But there’s another rank of composerthat’s not doing our profession – nor our singers, nor ourlisteners – any good. I find these arrangements to be musicthat calls attention to the performer, not the art. I worry aboutwhat this trend is doing, especially to young people beingexposed to it, because this impoverished music is beingconsumed in lieu of much more serious nourishment. What Iwould like to hear on a national level is genuine contemporarymusic, not this churned out tonic for the performer.

NZ: Tell me about some of the highlights of your time withCONCORA.RC: The B minor Mass in1991. I had to go three times to theboard of directors asking for permission to do that. They wereterrified of it; they just couldn’t see how it could be donefinancially. Yet I knew that we had to do it. I had sung it withShaw, so I had it “injected” in me. Preparation for thatperformance was a purely sacred experience, the presenting



of that piece in our region with the right number of voices, theright number of players, and to a packed house. CONCORA’sformer executive director said, “That performance putCONCORA on the map.” It started us down the path of Bach.Later came the St. Matthew Passion, and that was a differentworld altogether. Even now, I think, “Did we really do that?”“Overwhelming” is the word to describe the preparation ofthat piece. It took an entire month just to mark the parts, workingevery day from 9 a.m. to 6 p.m. I marked every phrase of everypart.

There is no piece of music like the St. Matthew Passion; itis THE pinnacle. The rewards were extraordinary – and thegreatest were the spiritual rewards. For example, discoveringwhy the many chorales are there, and why there are fourdifferent harmonizations to the “Passion Chorale” and that itis sung a half-step lower each succeeding time. It was likeearning a degree in music, learning that piece. I thought I waspretty lucky: I was paid to do it, although I probably earnedabout ten cents an hour by the time it was over. The rehearsalsfor that were unlike anything I’ve ever done. The chorus - therewere forty, twenty on each side - behaved as if they werewalking into the Sistine Chapel when they came to rehearsals.It was serious stuff, but it’s not that it wasn’t joyful. The topicof the Passion wasn’t joyful of course, although the experienceof mastering it and embracing it was joy-filled. The orchestrawas the same, very reverent and respectful throughout.

The St. Matthew Passion represents a rite of passage – oneis never the same once in its presence. I was told that therewas a teenage boy who, on the way out, said, “I just have onething to say about that – WHOA!” And when that word gotback to me I knew that we had reached him. “Whoa!” That’sthe right word for the St. Matthew Passion.

NZ: What are your thoughts on upcoming CONCORAseasons?RC: I’m a linear thinker. It’s one of my metaphysical things. Ibelieve that the programs are already out there waiting for us;they already exist. All we have to do is get to them. As toplanning, I try to run on a three-year plan. For instance, I’mthinking about a 2009 performance of Andrew Lloyd Webber’sRequiem with CONCORA and full orchestra, a piece that a lotof people don’t know. I’d also like to revisit the big Bach pieces,the St. Matthew Passion and B minor Mass. And I’ve prepared,but never conducted, the St. John Passion. So much repertoire is out there, waiting. We just have tofind our way to it.

Nathan Zullinger is a DMA student in conducting atBoston University, where he studies with Ann HowardJones and David Hoose. He is also the Music Directorand Organist at the United Church in Walpole, MA, anda member of CONCORA.



“I lovesinging withnew people

and anorchestra.”


The Main StreetSingers and

Slade MiddleSchool Choir

Our initial attempt to solve the problem of three con-secutive days of mandatory attendance was to divide MSSinto two separate treble and mixed-voice choirs that wouldeach sing one concert. However, the smaller groups wereunable to project the quality of sound that The Main StreetSingers is known for – and we still lacked strength in thelower voices. It was clear that simply splitting the group inhalf was not a solution. What we really needed to do was toadd voices, especially in the tenor andbass ranges.

Our next effort was to find anotherchildren’s choir that worked at a simi-lar artistic level and that reflected thediversity in MSS and Greater NewBritain. We found that choir at SladeMiddle School (SMS), with directorKurt Swanson.

Slade Middle School, located in New Britain, consistsof 882 students in grades 6–9 with 57% Hispanic, 23%White, 18% Black, 1% Asian/Pacific Islander and less than1% American Indian. Sixty-four percent of the childrenqualify for free or reduced lunch programs compared withthe state average of 27%.2 Mr. Swanson had assumed theposition of choral director the previous year and during thistime had revived the choral program. He responded quicklyto our invitation with 20 students who had the motivation,discipline, skills and parental support to perform with MSSon the Discovery Concerts.

To participate, SMS and MSS children had to committo a joint rehearsal on January 27, the dress rehearsal onFebruary 4, and one or both Discovery Concerts. MarkFernandes, SMS Principal, endorsed the project and arrang-ed bus transportation for SMS children to both concerts.



PAGE 8 TROUBADOUR DECEMber 2008

The First Rehearsal

On Sunday, January 27, 63 children came together torehearse at South Church in New Britain, the founding agencyand “home” of MSS. The church has excellent acoustics,which inspired the children to listen carefully, then adapttheir voices accordingly. During the warm-ups, children withwell-developed lower voices “found” their upper register toblend with the others, younger children in MSS settled theirpitch so that they were singing accurately, and the boysfound strength in numbers and sang with more confidenceand fuller voices. During the sectionals that followed, child-ren had a chance to introduce themselvesand meet their peers from the other choir.Afterward, everyone returned to thechurch to work on fine-tuning entrancesand subtle changes in voice parts. I wasvery pleased that throughout the rehearsalthe children maintained accurate pitch,even though most of the children hadnever before sung a four-part a cappellapiece.

The Dress Rehearsal

On Monday, February 4, the choirs met at South Churchfor a brief rehearsal at 5:30, and then boarded busesprovided by HSO for the 7:00 p.m. dress rehearsal at CCSU.This time, the performance did not go well. Entrances wereinaccurate and intonation fluctuated. Many children weredistracted, others looked tired. I had to tap one child toremind her and several others to face forward. MaestroCumming decided to conduct the orchestra while Iconducted the choir from the floor, and he arranged theorchestral parts so that the instruments were able to assistthe choir.

What had gone wrong? On the bus ride back to SouthChurch several reasons for the children’s behavior becameevident. They were all exhausted. I realized that rehearsingat 8:00 p.m. had been a challenge, particularly for the youngerones. Also, several children had not eaten before the 5:30rehearsal and were really hungry - they devoured the snacksprovided! The child that I had tapped to pay attention toldme that she had never seen an orchestra before and could nottake her eyes off the players. “They were amazing!” sheexclaimed, and her friends agreed wholeheartedly. Clearly,the children wanted to watch the orchestra, not just sing withthem. I had qualms that we were not ready for Tuesday’sperformance, but the children were not bothered by theirless-than-stellar rehearsal. Instead, they were exhilarated andcould not wait to perform the next day.

The Concerts

The children walked quickly and centered themselves onthe stage in front of the orchestra. Their faces were glowingwith excitement as they looked at the 1,000+ children in theaudience. The eighth-grade soloist began the piece and thechoir and orchestra joined in. The children sang in tune, theyenunciated with clarity and conviction, they kept time andcarried the syncopations that make this song so powerful asthough the rhythms were coming from inside them. At theconclusion, the audience exploded with applause.

After their performance, the choir took their reservedseats in the auditorium and listened to therest of the concert. Parents had free tickets,and many were there. The singers who hadwanted to watch the orchestra now hadtheir reward for a piece well sung!

The Children’s Feedback

The children were asked to complete aquestionnaire about their experience; asummary of the results is listed in Table 1.

(please see following page)

Total responses indicate that the experience of perform-ing on the Discovery Concerts was excellent (70%) or good(28%), with one exception (okay), with mean scores of 3.77and 3.47 for MSS and SMS, respectively. Children couldchoose more than one item in sharing their favorite parts ofthe experience. MSS tended to select only one or two items,but wrote more comments, while SMS children selectedmore items, with fewer comments. Singing with an orchestrawas the most important part of the experience for all of thechildren. Eighty percent would definitely participate in aproject like this again and 20% would consider it.

All of the responses to the question “What did youlearn from this experience?” were positive and focusedprimarily on the singing experience and performingwith the orchestra.

Children also learned: • To be serious about your performance (SMS) • How to blend with the other group (SMS) • That I like meeting the kids from other schools

(SMS) • The more prepared you are, the better (MSS) • How to focus on my conductor and how to

entertain (MSS) • If we work hard, we can really show people what

we can do (MSS)



Table 1 Responses to Questionnaire Items Responses: MSS Responses: SMS Number of responses: 35 out of 40 19 out of 23 Rate the overall experience: Excellent (4) 27 11 Good (3) 8 7 Okay (2) 0 1 Poor (1) 0 0 Indicate your favorite parts: The piece 2 12 Singing with an orchestra 22 17 Meeting new people 6 14 Going to CCSU 7 10 Would you participate in a project like this again? Yes 26 17 Maybe 9 2 No 0 0

“Additional comments” that addressed the collaboration included:

• It was very hard at first when we were practicingbut I got the hang of it. (SMS)

• I love singing with new people and an orchestra.(SMS)

• I really enjoyed my experience with The MainStreet Singers. (SMS)

• The other choir was definitely a differentexperience, but they really helped us out.(MSS)

• The orchestra made us sound great. (MSS) • The Slade Middle School-ers were really good.

(MSS)

Personal Reflections

I discovered that combining forces for even a singlepiece can have a positive effect on everyone involved. Thiscollaboration worked well because the project was short-term,held in local venues, and free for the participating children.Organizational support was critical and we were fortunate tohave the MSS Administrative Director organize busing, con-cert attire, and communication among the groups. Transpor-tation was less of a concern because the rehearsals and per-formances were held in New Britain and the majority ofchildren were local. Mr. Fernandes provided the administra-tive support at SMS, while Mr. Swanson selected children,contacted parents and conducted extra rehearsals. Finally,parents showed support for the project by arranging trans-portation, providing concert dress, and attending theconcerts.

“If we work hard, we canreally show people what we

can do.”

The collaborationworked well as anartistic experiencetoo. The childrenwere of similar

musical ability and open to learning from new directors andeach other. “It Takes a Village” was challenging butattainable, with both choirs performing better together thaneither one could have done alone. Maestro Cumming waswilling to adapt the conducting and accompaniment to helpthe choir sound its best. Everyone benefited from being apart of a community that worked together to achieve acommon artistic goal. Several teachers commented to meafter the concerts that they were pleased not only with thechoir’s performance, but with the fact that the choristersreflected the diversity in New Britain and in their ownschool districts.

For our future collaborative ventures with SMS andother schools, I would consider providing more opportuni-ties for the children to socialize, snack time during extendedrehearsals, concert attire for those in need (a few childrenhad not had correct attire; we handled that by placing themwhere their attire was inconspicuous), and an earlier dressrehearsal time.

Most important, in the future I will arrange for the choirto watch the orchestra rehearse first, so that the children canbe focused during their own rehearsal. I had forgotten howpowerful it is to hear an orchestra perform for the first time.


Conclusions

Community children’s choirs receive numerous invita-tions to collaborate with local arts organizations and performin prestigious concerts. The blending of different choirs witha common musical goal is an effective way to build bridgesbetween community and school choirs and children of variedrace, ethnicity and socioeconomic backgrounds. Such expe-riences may inspire children to further their own musicaldevelopment by auditioning for community choirs and/orseeking out other community music activities and organiza-tions. This type of collaboration could potentially benefitarts organizations, as well, by bringing new performers andaudiences of diverse backgrounds into concert halls. All ittakes is “a village” willing to share and care enough to makeit happen.

Notes

1. Joan Szymko, It Takes a Village. SATB, percussion(Santa Barbara CA: Santa Barbara MusicPublishing SBMP 331).

2. Great Schools, Inc. “ Great Schools”

http://www.greatschools.net/schools.page?district=101&state=CT&lc=m,http://www.greatschools.net/cgi-bin/ct/other/554#students.


Mary Ellen Junda is a nationally recognized teacher ofchildren’s voices, conductor and recording artist. Since2003 she has been artistic director of The Main StreetSingers, a children’s choir in New Britain, CT. Dr. Jundawas awarded the 2002 Howard Foundation Fellowshipfor her work with children’s choirs and has produced threeTreblemakers Children’s Choir recordings, all of whichhave earned Parents’ Choice Awards, with Song ForYoung Singers earning a prestigious 2008 Classic Award.A professor at the University of Connecticut, Dr. Jundahas developed an innovative course, Sing and Shout!, forthe general student population to sing the history ofAmerica in song.


At the October 2008 Division meeting in Philadelphia,the following motions were passed:

1. Paper-publish/mail the October 08 issue and alsoplace it on the website in pdf format. Announce the impend-ing change in the print issue. Advertise as always.

2. Paper-publish/mail an ABSTRACTED Decem-ber 08 issue and place the FULL issue on the website.Announce the impending change. Advertise as always.

3. Publish completely online for April 09 issue andthereafter in pdf format with limited HTML. Web advertis-ing featured on the front page of the site as well as in thebody of the newsletter.

4. Send a 3x5 or 4x6 postcard USPS to member-ship announcing that Troubadour has been posted online andproviding “headlines” regarding what it includes.

5. Send Constant Contact e-mail to membershipannouncing that Troubadour has been posted on-line andproviding “headlines” regarding what it includes.

These procedures will be reviewed periodically by theExecutive Board and the Division Board to assess theirefficacy.

TROUBADOUR

NEWS!

CONGRATULATIONS!

American Boychoir (NJ)Fernando Malvar-Ruiz, conductor

Cornell University Glee Club (NY)Scott Tucker, conductor

James John (NY) - Interest Sessionon Brahms’s Nänie, Op. 82

Paul Head (DE) - Assistant Convention ChairAlan Rowe (VT) - On-site Exhibits Co-Chair

EASTERN DIVISION IS HONORED

TO RECOGNIZE THOSE

CHOSEN TO PERFORM, PRESENT,

AND ASSIST AT

THE NATIONAL CONVENTION

NATIONAL CONVENTION

MARCH 4-7, 2009

Oklahoma City, OK

EARLY REGISTRATION

DEADLINE:

January 15, 2009

See www.acda.org for registration form and details.

SingwithusImmerse yourself in an enrichment week,prepare a great choral masterpiece and performwith a symphony orchestra. Coursework in skill-building, music history, voice lessons, master classesand, afternoons of sightseeing, hiking and seriousfun. Challenge your intellect and nourish your soul.

Download a brochure at www.choralfest.org or e.mail us at [email protected].

245 North Undermountain Road,Sheffield, MA www.choralfest.org

Sheffield, MassachusettsJuly 12 – 19 (concert on July 18)Philip Brunelle, music director, VocalEssenceAfrican-American Spirituals and Freedom SongsHannibal Lokumbe – Dear Mrs. Parks

July 19 – 26 (concert on July 25)Simon Carrington, conductor, Yale Schola Cantorum and Institute of Sacred MusicFauré - RequiemMendelssohn - Magnificat, Hör mein Bitten (sung in German)

July 26 – August 2 (concert on August 1)Dale Warland, artistic director, Dale Warland SingersRachmaninoff – Vespers (All-Night Vigil) (sung in church Slavonic)This is a cappella repertoire and singers must audition for a spot

August 2 – August 9 (concert on August 8)Frank Nemhauser, music director, Berkshire Choral FestivalMozart – Vesperae solennes de Confessore, K. 339Purcell – Dido and Aeneas (sung in English)

August 9-16 (concert on August 15 ) Gary Thor Wedow, conductor & Baroque specialistJ.S. Bach – St. Matthew Passion (sung in German)

Prague/Terezin, Czech RepublicMay 9 – 18 (concert on May 17) Murry Sidlin, conductor, Aspen Music Festival, Catholic UniversityThe Defiant Requiem: Verdi at Terezin, a Concert Drama

Montreal, QuebecJune 26 – July 4 (concert on July 3) Julian Wachner, music director, The Washington Chorus; Prof. McGill UniversityMendelssohn - Paulus, op. 36 ("St. Paul") (sung in German)



American Choral DirectorsAssociation Eastern Division

Philadelphia 2010


PHILADELPHIA:A GREAT PLACETO BE “STRAND”ED!

by O. David DeitzProgram Chair

There are many wonderful additions and changes to theACDA Eastern Division 2010 Convention, and the dailyschedule plan is no exception. Designed with YOU in mind,the schedule will be based on “strands of interest” to helpyou maneuver through the myriad of concerts, interestsessions, reading sessions and headliner presentations.

What’s an Interest Strand?

Interest strands are scheduling suggestions designed tohelp you find the kinds of sessions that are specific to yourwork as a choral conductor. EVERY hour of the entire con-vention schedule includes something specific for EVERYconductor’s area of specialization!

What strands have been created?

Four strands will continue through the duration of thethree-day convention:

CollegiateHigh SchoolMiddle SchoolChildren

Six additional strands will be offered as one-day focusevents:

Multi-culturalStudents/New TeachersMusic in WorshipJazz and Show ChoirCommunity ChoirUrban/Rural Perspectives

What if I don’t want to followan interest strand?

Then don’t! The planners of this convention recognizethat many conductors need to carve their own paths to meettheir educational needs. Unlike the tracking idea used at na-

tional conferences, any Philadelphia 2010 participants cango to ANY session at ANY time.

What if I only like to go to concerts? Reading sessions? Interest sessions?

Then do that! This unique schedule design provides aconcert opportunity, a reading session, and an interest sessionoffered simultaneously most hours of the day. So, partici-pants can travel from concert to concert, from interest ses-sion to interest session, or read choral literature for the entirethree-day convention.

What things are scheduled for the evening?

Gala concerts, large and festive receptions, and beautifulsettings! Be sure to keep checking www.acdaeast.org towatch this convention unfold!

MAKING HISTORY SING!2010 Convention Performance Venues

by O. David Deitz, Program Chair

We all know Philadelphia as the “birthplace of liberty,”the site of the signing of the Declaration of Independence andthe place where the Constitution was penned. The city is alsohome to an equally historic church tradition, and we arethrilled to have the opportunity to offer our 2010 ACDAEastern Division convention performances in some of themost historic and beautiful church sanctuaries of the city.Let’s take a short tour of these musically and architecturallysignificant spaces…

Church of the Holy TrinityRittenhouse Square

Phillips Brooks, the famed preacherand rector, served this historic churchduring the Civil War years. At that time,he penned the words to O Little Town ofBethlehem and church organist LewisRedner composed the well-beloved tune.The triptych on thewall behind the altar, installed in 1942, pays homage to thisevent. The stained glass windows come from English,

French, and American studios, including five windows byLouis Comfort Tiffany. For more information about thechurch and its active music program,contact www.htrit.org .

First Baptist Church ofPhiladelphia

A registered historic landmark, FirstBaptist was founded in 1698 by colonists fleeing religiouspersecution in England. It later served as one of the churchhomes to those who framed the Constitution just blocksaway. The sanctuary is built in the Byzantine style andsurrounded by a circular balcony. Holding a long-standingmusical tradition, First Baptist hosted the Philadelphiapremiere of the Britten War Requiem, as well as twoperformances of the Duruflé Requiem conducted by thecomposer with his wife at the organ. The well-known hymns“At the River” and “He Leadeth Me” were written byorganists of First Baptist and first sung there. Today, SingingCity and Mendelssohn Club of Philadelphia use the FirstBaptist Church sanctuary as a performance venue. For moreinformation, contact www.fbcphila1698.org .

Arch Street PresbyterianChurch

Built in 1855 and on the NationalRegister of Historic Places, ArchStreet Presbyterian serves as thespiritual home of the large Welshpopulation in the Philadelphia area and recently hostedCharles, Prince of Wales, during his visit to the UnitedStates. The recently refurbished church, built in theNeoclassic style, was the church home of Emily Dickin-sonwhen she visited Philadelphia, and boasts one of the bestorgans in the city. As a young lad of 16, Vincent Persichettiwas hired as the church organist, and continued to serve aschoir director and organist for the next 20 years.

Church of Saint Luke and the Epiphany

Performance home to the Philadelphia Classic Symphony,the Philadelphia Singers and the choral program of thenearby University of the Arts, this church boasts a longhistory of outreach to the Center City community. The

merger of two Episcopalcongregations in 1898 gave thechurch its unusual name. Notedas the second largest churchorgan in Philadelphia, thepresent instrument was recentlybeen restored by E. M. Skinnerwith additional digitally samp-led organ stops by Walker

Technical Company. For more information, contactwww.stlukeandtheepiphany.org

Saint John the Evangelist CatholicChurch

A small but beautiful gem only a half-block from the Marriott Downtown, St.John the Evangelist was the home parish ofSt. John Neumann who later became thebishop of Philadelphia. Shortly before thesanctuary was destroyed by fire, the churchhosted the American premiere of the Mozart Requiem(1834). The precious marble statue of Our Lady of theImmaculate Conception remained miraculously untarnishedby the fire, and now serves as the centerpiece of the altararea. Today, the Franciscan friars of St. John’s administrate alarge and active ministry for the homeless. For moreinformation, contact www.stjohnsphilly.com.



In Memoriam:Thomas Burt Dunn

Conductor Thomas Dunn died onOctober 26 in Bloomington, IN. After a first retirement fromBoston University and becoming conductor laureate of theHandel and Haydn Society of Boston, Dunn began a fourthstage of a brilliant career in music when he joined the choralfaculty of the IU Jacobs School of Music faculty in 1990. Heofficially retired from IU in 1999 but continued to serve asmentor to the graduate choral conducting students andfaculty until his death.

Dunn, was involved in church music even as a teen-ager.He began as an assistant organist at Third Lutheran Churchin Baltimore at the age of 11. When he was 16, he moved tothe Episcopal Cathedral of the Incarnation, first as organistand then organist and choirmaster. There, he presided over aprofessional choir of men and women. He studied organ andconducting at the Peabody Conservatory with Charles Cour-boin, E. Power Biggs, Virgil Fox, Ernest White, Renee Longy,and Ifor Jones, while earning a bachelor’s degree at JohnsHopkins University. After graduation, he matriculated atHarvard University, taking a master’s degree, with courses inchoral arranging with Archibald Davison and Fugue withWalter Piston. While at Harvard, he organized an orchestraand chorus to sing Bach Cantatas. Afterward, he studied atthe Amsterdam Conservatory as a Fulbright fellow, wherehis teachers included Gustav Leonhardt and Anthon van derHorst.


(reprinted from Indiana UniversityFanfare, Nov. 7, 2008)

CALL FOR PROPOSALS: RESEARCH ROUNDTABLE AND RESEARCH GALLERY ACDA Eastern Division Convention Philadelphia, Pennsylvania February 11-13, 2010

Eastern Division ACDA members and members of associate professional and scholarly societies are invited to submit application materials for two types of research sessions at the 2010 ACDA Eastern Division Convention to be held in Philadelphia, Pennsylvania on February 11-13, 2010:

1) Research Roundtable (paper reading session); and 2) Research Gallery (poster session)

Anyone currently engaged in research that is of interest to the choral profession is encouraged to apply (including masters and doctoral students). Research that is both completed and “in progress” will be considered. Sample topics could include (but are not limited to) the following: analysis of an individual work or series of works; historical/musicological studies of a particular genre, period or composer; topics in performance practice; music education-based research; vocal/choral pedagogy; conducting technique and/or pedagogy; choral rehearsal techniques; research related to a masters or doctoral thesis.

Submission Requirements: All submissions must be made via e-mail attachment in Microsoft Word or as a PDF file.

1) Research Roundtable a. A cover letter that includes the author’s name, institutional affiliation, address, phone

number, current e-mail address, and the title of the paper. b. A copy of the completed paper, submitted as a separate document that does not identify

the author in any way. c. Papers should be approximately 10-15 pages in length, double-spaced (approximately

20 minutes in duration when read aloud). 2) Research Gallery

a. A cover letter that includes the author’s name, institutional affiliation, address, phone number, current e-mail address, and a descriptive title for the research.

b. An abstract that summarizes the research, submitted as a separate document that does not identify the author in any way. Please give the abstract the same title used in the cover letter, but do not use author names.

c. Abstracts should be one to two pages in length, double-spaced. d. Researchers whose topics are selected will be required to prepare a visual presentation

of their research (i.e. poster) and to be available during the convention to discuss their work with interested colleagues.

Selection Process: 1) All submissions will be blind reviewed by members of the ACDA Eastern Division Research

and Scholarship Committee. 2) The committee will be guided in their acceptance process by the following criteria: quality of

the written abstract/paper; importance and timeliness of the topic; overall conference program balance.

3) Papers should not have been presented at another conference (MENC, AMS, etc.). 4) Papers may have been submitted for publication, but must not appear in print prior to the 2010

Eastern Division Convention.

*** DEADLINE: PROPOSALS MUST BE RECEIVED NO LATER THAN MAY 4, 2009 ***

All submissions should be sent via e-mail to

James John, Project Chair for Research and Scholarship: [email protected]. If a paper includes musical examples or other material that cannot be e-mailed easily, a hardcopy may

be submitted to the following address: James John, Associate Professor/Director of Choirs, Aaron Copland School of Music, Queens College-CUNY, 65-30 Kissena Blvd., Flushing, NY 11367


2010 HONOR CHOIRSMAKE CHANGES !

by Stuart Younse, Honor Choir Chair

Preparations are well underwayfor the 2010 Eastern Division HonorChoirs in Philadelphia. There will befour choirs in which singers canparticipate: High School Women’sHonor Choir (grades 10-12) underthe direction of Sharon Paul,University of Oregon; the HighSchool Men’s Honor Choir (Grades

9-12) under the direction of Jerry Blackstone, University ofMichigan; the Children’s Honor Choir (treble to age 16)under the direction of Elaine Quilichini, Calgary GirlsChoir; and the Jazz Honor Choir (grades 11-12, collegiate)under the direction of Vijay Singh, Central WashingtonUniversity. With these wonderful conductors and talentedEastern Division singers, the 2010 Honor Choirs will beoutstanding! You can read more about each of theconductors at www.acdaeast.org.

The High School Women’s Honor Choir, High SchoolMen’s Honor Choir, and the Jazz Honor Choir will behoused in the Marriott Downtown Philadelphia. Rehearsalsfor these choirs will also occur in the hotel. The Children’sHonor Choir will be housed in the Marriott CourtyardDowntown (directly across the street), and the rehearsalswill occur in the ballroom of that hotel. As these hotels arealso serving as the headquarters hotels for the convention atlarge, this offers quick and easy access for observers to visitrehearsals, and for sponsors to communicate with theirhonor choir participants.

In addition to rehearsals and performances, Honor Choirmembers will also have the opportunity to experience therichness of Philadelphia. We are making plans to sing atMacy’s with the great Wanamaker organ, and also to visitand perform at the Liberty Bell. Singers will also visitIndependence Hall and the National Constitution Center. Wewill be eating at the Hard Rock – Philly, among other arearestaurants, and will have some planned social events inaddition. This is a convention that you will not want yoursingers to miss!

The chairs of the 2010 honor choirs have carefullyreviewed the previous division honor choir experiences, andhave clarified many procedures for Philadelphia. It is hopedthat these clarifications and procedural changes will enhancethe honor choir experience for singers and parents, and willstreamline and simplify the process for sponsors.

Honor Choir procedures for 2010 include the following:

1. All honor choir audition information and registrationinformation will appear online at www.acdaeast.org.Sponsors will be able to print ONE audition form that can beused for any of the four choirs, and mail ALL applicationforms and audition CDs to one address. The auditiondeadline for all choirs is June 15, 2009.

2. Singers AND sponsors will receive notification ofacceptance/non-acceptance by September 1, 2009.

3. Correspondence with singers will occur through thedesignated sponsor, who is fully responsible that singersreceive information in a timely manner.

4. Once accepted, singer registration information for each ofthe four choirs will appear online at www.acdaeast.org. Theonline registration form will also include a direct online linkto the hotel where rooms can be reserved.

5. Singers grades 8 and below must be housed with a parentor parent representative in the hotel room. Singers grades 9and above may room together in doubles, triples, or quads. Aparent or parent representative is not required, although theirdesignated sponsors must stay in the same hotel. Theserepresentatives must register with the singers on site andleave cell phone numbers for emergency contact purposes.

6. High school singers may choose roommates from any ofthe participating high school students, regardless of choir inwhich they sing.

7. High school singers will be allowed either to nameroommates or to elect an option on the online hotelreservation form by which roommates are selected for them.Sponsors will not be held responsible for finding roommates.Singers will reserve and pay only for the portion of the roomthey request (double, triple, quad).


American Choral DirectorsAssociation Eastern Division

Philadelphia 2010


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8. High School singers will be assigned an ACDA chaperonewho will insure that the students receive wake-up calls, aresupervised during rehearsals and meals, and are checked intotheir rooms at night. All hallways where honor choir singersare housed will be monitored by security guards throughoutthe night. Designated sponsors will be called only in case ofemergency.

9. All honor choir singers will participate in similaractivities (eating at the same restaurants, visiting the samevenues) so that we can assure an equitable experience forsingers in all ensembles.

10. All information, audition requirements, and pertinentinformation will be on the ACDA-ED website. Sponsors willneed to check the website consistently for updates. HonorChoir application information should be posted online byDecember 15, 2008.

Our honor choir performances are highlights of ourconvention, and the experience is a wonderful way to rewardand to challenge our best and brightest singers. Excitingmusical opportunities and fabulous cultural and personalexperiences await all of our Philadelphia 2010 honor choirparticipants!


Stuart Younse is Director of Choirs, at Simsbury HighSchool, Adjunct Professor at The Hartt School, ArtisticDirector of the Connecticut Children’s Chorus and currentlyPresident of the Connecticut chapter of ACDA.

What performance oppor-tunity is as exciting and en-riching to your singers andyour program as performingat an ACDA convention? Thisis your call to submit auditionmaterials for consideration bythe Choral PerformanceCommittee. And it’s easy.

Simply submit three recorded pieces on a CD (DVD), fillout the form, pay the audition fee, and mail everything in.1

There is plenty of time to put your application(s) together, asmaterials don’t need to be received until March 21st, 2009.2

At the Philadelphia Convention, many more choirs willhave the opportunity to perform.3 Thanks to an exciting or-ganizational plan, over twenty great auditioning choirs willbe given the nod to perform. If you direct a quality choir thatsings with passion and musicality, you should definitelymake the effort to audition.

Community Choir Festival - Thomas Lloyd, moderator

As part of our efforts to broaden the range and depth ofofferings at our 2010 “We the People” convention, ourdivision will be inaugurating a new “Community ChoirFestival.” Adult community choirs will go through the sameauditioned choir process as in the past, but will also have theoption to designate on their application that they would beinterested in having their 25-minute performance slot be oneof as many as eight slots scheduled for the Saturday after-noon festival. Participating choirs will join other conventionattendees as listeners in the audience when they are not per-forming themselves. We are also making plans for a round-table discussion with representative singers from each choir,group sings, and workshops on vocal health and technique.The day will be capped off with an evening performance bythe historic Singing City Choir in Philadelphia’s newlycompleted Constitution Center.

We are hoping that by scheduling the festival on aSaturday, many larger choirs in the region who have notapplied for performance before due to cost concerns will beable to plan for a day trip without the burden of hotelexpenses. For more information about this exciting newopportunity, contact Community Choir R&S Chair ThomasLloyd at [email protected].

YOUR CHOIR CAN PERFORM ATTHE PHILADELPHIA ACDA

EASTERN DIVISION CONVENTION! FEBRUARY 10-13, 2010

by David Lockart, Auditioned Choirs Chair



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High School Soundtable - Robert Drafall, moderator

Have you ever gone to a high school choral concert, andafter hearing a terrific performance, you wanted to imme-diately sit down with the conductor and ask how did you dothat?

At the 2010 Eastern Division Convention, the HighSchool Soundtable will present an opportunity for that dis-cussion to happen! Four high school choral ensembles willbe selected to present a short performance with a follow-upclinic led by the choir’s conductor.

Each ensemble and its director will present thefollowing:

• A 10-12 minute performance• Demonstration of vocal warm ups• An overview of the school choral curriculum• A demonstration/discussion of rehearsal techniques• A brief history of how each choir/director got to

this point• Opportunity for audience to ask questions

ACDA members are encouraged to submit an applicationand CD to showcase their ensembles and to share techniquesand ideas. It is hoped that this premiere event will feature across section of high school choirs; rural, urban, mixed,single gender, chamber, non-auditioned – you name it!

Application information is available on-line atwww.acdaeast.org.

For those selected, in addition to the ACDA performance,some choirs may enjoy an opportunity to perform a secondperformance in and around Philadelphia.

Gotta Sing! So……………..

Your choir has been accepted to sing for one of theMANY concerts at the ACDA Eastern Division Conventionin 2010. Congratulations! What a great honor, and what a lotof work to get ready for one concert!

Well, that concert need not be the only one! Wouldn’t itbe great to sing where Betsy Ross and George Washingtononce lifted their voices in song, or perform where theworld’s largest operational pipe organ bursts forth withmusic twice a day?

Choirs participating in the 2010 Conference will have ahost of opportunities to sing additional performances whilein Philadelphia. The Liberty Bell and Constitution Hall,famous Wanamaker’s Organ in the Macy’s downtown store,historic Christ Church and many other venues will be open

to ACDA choirs during the conference. Additionalperformances can be scheduled as early as Wednesdayafternoon and as late as a Sunday morning church serviceperformance.

Bookmark www.acdaeast.org to read more informationabout these opportunities as they become available!

The ACDA Eastern Division ConventionAudition Process

So that choral directors understand the process by whichchoirs are selected to perform at ACDA Division Conven-tions, the following description illustrates the careful plan-ning necessary to insure that a) the process is fair and un-biased, and b) excellent choirs are selected for this honor.

In March, 2009, the Auditioned Choirs Chair collects allmaterials from directors. Throughout the selection process,he is the only person to know the identity of the choirs anddirectors. Each CD/DVD is assigned a reference code toassure anonymity. All rankings and evaluations are keptconfidential.

In April, 2009, the recordings are sorted according to theACDA R&S Categories, and are sent to the Division R&SChairs. The R&S chairs convene a committee where theylisten to, adjudicate, and rank the choirs. They decide whichapplications merit consideration for performance. Thosechoirs that pass this process are then ranked. The recordingsare then sent back to the Auditioned Choirs Chair.

In May, 2009, the Auditioned Choirs Chair convenes anexecutive selection committee, the Choral PerformanceCommittee, comprised of quality ACDA choral directorsfrom throughout the Division, as well as the Division lead-ership. The committee will listen to the submitted record-ings, first to verify the R&S judgment that they are ofsufficient quality to merit consideration for performance.They will then assign auditioned performance slots based onthe number of slots available. At least one choir will beselected in each R&S area, unless the committees havedetermined that there are no choirs applying in that areameriting performance consideration. If there are virtual“ties” in the adjudication of the choirs within an R&S area,only then will the Chair step in and help break the tie byproviding general geographical information, helping toassure that as many states as possible are represented.

In June, 2009, all choir directors are notified of theChoral Performance Committee’s decisions. Selected choirsthen will work with the Auditioned Choirs Chair in theexchange of information up to the Convention performance.




The Convention Committee has been working hard topresent what may well be one of the most diverse, interest-ing, unique and exciting Division conventions to be offeredto choral directors in the Northeast. We encourage all direct-ors within the division to plan now to attend this event in thebeautiful city of Philadelphia, but also to take the time toprepare and submit audition materials for consideration toperform, and you may very well be selected to be an integralpart of the exciting choral fabric during these four specialdays.

1. Due to the choreographed performances of Show Choirs, avideo DVD must be submitted. 2. Directors who performed in Hartford in 2008 are noteligible for the 2010 convention. 3. At the Hartford Convention, twelve auditioned choirs wereselected to perform.



For the Eastern Division Conventionin Philadelphia, 2010, we will convene a

FESTIVAL CHORUS of 200 singers from across the division!In addition, there will be choirs from other cultures participat-ing in a glorious hour of worship, full of music and praise.The Festival Chorus will be directed by CRAIG COURTNEY,prominent composer and church musician. Members will en-joy rehearsing with Mr. Courtney, having lunch together, whilemeeting fellow choristers from other states.

Registration will be on a first come-first served basis, withforms and details on line. The costs are $20 for registrationand $75 for those who are chosen. We want the chorus truly tobe a church-choir experience for singers you will recommend.Specific dates and instructions will come via email in early2009!

Start talking with your singers

about this

marvelous opportunity!

CALLING ALL

CHURCH CHOIR

DIRECTORS!

He began his career as a church music director inBaltimore and Philadelphia. In 1957, he became MusicDirector at New York City’s Church of the Incarnation. Heorganized a series of Incarnation Concerts at the church.These concerts were so successful that the church choir andthe accompanying orchestra became the Festival Orchestraand Chorus, giving concert seasons in Carnegie Hall andAvery Fisher Hall in Lincoln Center. He led this festivalfrom 1959 to 1969. In 1959, he was made Conductor of theCantata Singers, an amateur chorus with an interest inperformance practice. With this group, he organized the firstseries of summer concerts in Avery Fisher Hall, which laterwas to become the Mostly Mozart Festival. In 1959, Dunn founded the Festival Orchestra of NewYork and became known to a wider public through a seriesof Bach concerts in Carnegie Hall, championing a return tosmall forces for larger Baroque works and historical perfor-mance practices. He was an influential pioneer during theearly music revival in the mid-20th century. One collabora-tion in particular led to the rare opportunity to perform theAmerican premiere of Haydn’s Cello Concerto in C, whichwas lost to the world until its re-discovery in Prague in1961. It was performed by cello virtuoso Janos Starker withthe New York Festival Orchestra, directed by Dunn.

He became the artistic director of the Handel and HaydnSociety in Boston in 1967, a post he held for 19 years. Whilein Boston, he became chief editor of E.C. Schirmer Music,where he fought to bring the extensive catalog of composi-tions up to modern editorial standards and worked closelywith some of America’s leading composers. In the midst ofhis professional music life, he was always a professionalteacher as well, teaching at many universities and musicschools in the United States, including Peabody, IthacaCollege, Stanford University, Westminster Choir College,Boston University and, most recently, Indiana University. In1985 he was awarded an honorary Doctor of Music byProvidence College.

Thomas Dunn is survived by his nephew Wendall Dunn,III; nieces Shelley Dunn Carda, Pamela Dunn Lehrer, andEdythe Dunn Randolph; and domestic partner of 30 yearsDavid Manuel Villanueva.

A funeral for Thomas Dunn took place on Saturday,November 15, 2008, at 11:00 a.m. in the Church of theRedeemer, 5603 N. Charles St., Baltimore, MD.

Burial was in the family plot at Greenmount Cemetery,Baltimore, MD.


David Lockart is the district music supervisor and a choraleducator for the North Hunterdon Voorhees HS District inAnnandale, NJ. His choral compositions are published byCantate Music Press, and two of his compositions werefeatured at the 2004 ACDA Eastern Division Convention. Heis the author of The Teacher’s Guide to AP MusicTheory. Dave conducted the NJ Region II Honor Choir andhas taken his award-winning choirs on many domestic andEuropean concert tours.

Application for Choral Performance ACDA Eastern Division Convention

Philadelphia, PA; February 10-13, 2010

This application serves four categories of convention participation. Directors may apply for more than one category. Please check all the appropriate boxes below.

Auditioned Choir (available to all choirs)

High School Sound Table (Thursday, February 11 - available only to High School choirs)

Community Choir Festival (Saturday, February 13 – available only to adult Community Choirs)

Interest Session/Demonstration Choir (available to all choirs) ELIGIBILITY

Conductor must be current paid member of ACDA. Conductor must be employed in the same position for this and two previous school/calendar years. Conductor must have conducted the auditioning ensemble for this and two previous school/calendar years. Conductor and/or ensemble did not perform a concert at the 2008 Eastern Division Convention.

(Please Print)

Name of Institution/Sponsoring Agency __________________________________________________________

Name of Ensemble _____________________________________________ Number of Singers ____________

Please check all appropriate areas that describe your choir:

Professional

Community

High School

Middle/Junior High School

College/University

Jazz Choir

Show Choir (video DVD or VHS tape required)

Church/Synagogue

Multi-Cultural

Children (under age 14)

Women/Girls: Age ___ to ___

Men/Boys: Age ___ to ___

Mixed

Conductor Name _____________________________ Email __________________________________________

Institution/Agency Address_____________________________________________________________________

Work Phone ( ____)________________ Home (_____)_________________

Fax (______)_____________________ Cell (_____) ___________________

ACDA Membership Number _____________________________ Expiration Date _________________________

Conductor Signature ____________________________ Administrator_______________________________

ACDA assumes no financial responsibility for

performer travel, food, and lodging.

Those wishing to have materials returned should contact David Lockart

([email protected]) for instructions before submitting.

for official use only

Ensemble Code


Audition Submission Requirements

Please submit one AUDIO CD customized to the audition requirements. Show choir applications must include both an AUDIO CD and a video DVD (preferred) or VHS tape.

The recording should be no longer than 10-15 minutes in length and must include three selections:

o One selection from the current school or calendar year, and o One selection from each of the two previous school or calendar years.

Recordings must be of live concert performances. Professional/studio recordings are unacceptable. (For HS Soundtable only) Please submit a description of your choir and a statement of purpose

regarding your choir’s participation in this event and what you as a conductor would bring to this session.

Include a photocopy of one concert program for each piece represented on the application CD or

DVD/VHS tape. Please photocopy the program page that includes the concert date and the repertoire page.

Please include two copies of the ensemble’s biography and two copies of the conductor’s biography.

Each biography should be up to 100 words maximum. (You will be asked to submit photographs upon acceptance).

An application fee of $35.00 must accompany the submission. Please make checks payable to ACDA

EASTERN DIVISION. ***IMPORTANT!*** Do not place ensemble name, conductor name, performer names, institutions, or

repertoire selections on the CD/DVD/VHS tape. Place the name of the Ensemble, Conductor and Institution on the envelope containing the audition materials.

Process Schedule

March 21st, 2009: Postmark deadline for mailing to Auditioned Choirs Chair. April, 2009: R & S Chair Review May, 2009: Executive selection committee convenes for final screening. Early June, 2009: Invitations extended to choirs. All notification will be sent via email.

APPLICATION MATERIALS MUST BE POSTMARKED FRIDAY, MARCH 21st, 2009

Mailing Instructions

Mail the following:

Completed forms Audition CD/DVD(or VHS tape) Photocopy of Programs Ensemble and conductor biographies- 2 of each One $35.00 check made payable to

ACDA Eastern Division

Mail To: David Lockart Auditioned Choirs Chair 408 Cokesbury Rd. Annandale, NJ 08801


Audition Information

Please list the selections from your audition CD/DVD/VHS tape

Title Composer Date Recorded (mm/dd/yyyy)

Selection #1

Selection #2

Selection #3

Proposed ED-ACDA Concert Program REQUIRED for all Auditioned Choirs and Community Choir Festival Choirs

Total program time (including applause) may not exceed 25 minutes

Title Composer Approximate Length

#1

#2

#3

#4

#5

#6

for official use only

Ensemble Code


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BLESSED BE THE TIESTHAT BIND

by Deborah MelloR&S Chair, Children’s Choirs

During the last weekend of September, my husband, Joeand I returned to our undergraduate Alma Mater, RowanUniversity, formerly Glassboro State College, on theoccasion of a memorial concert for our beloved choirdirector, Clarence W. Miller. For thirty-three years, Clancybrought music majors and non-majors together in song.Experiencing choir the “Miller” way was to perfect musicmaking skills and to learn life lessons. As is the way withmany choirs, we became family. We were in a continuingchoir that transcended a four- year stay.

In the years since graduation, we have had many oppor-tunities to return to Glassboro to sing with the college choirand Mr. Miller. Choir members share a collective memory ofrepertoire, rehearsals, tours and “Millerisms.” As we parti-cipated in the memorial weekend of long rehearsals, reunionswith friends and colleagues and the final concert, it wasbittersweet to know that this would be the last timethat our “choir”, which spanned thirty-three years,would be disband-ed. Each piece that had beencarefully selected for the con-cert recalled specialsignificance in our college choral memory.

Choir is not just about repertoire and musicmaking. It is a complex entity that brings peopletogether to express themselves through aperforming art form. It is about socialrelationships and life. Having been a member ofthe same church choir for close to thirty years, thepeople with whom I have made music have alsoshared in the milestones of my life. Together wetravel the road of life and feel more closely connectedbecause of our collective contributions through singing.When I observe the students in my high school choirs, mychurch and community children’s choir, I see the impact ofthese relationships every day. The simple act of ensemblesinging brings many different personalities together. Howmany of us have had students who come to choir in an effortto connect with another human being? Those students quicklydiscover common ground and there is someone in the choirwho is ready to be their friend. Choir members who enjoybeing with each other find that they are more committed andpassionate about their choral singing.

As I thought about my contribution to this issue ofTroubadour, I kept returning to some of the verses in thefamiliar hymn tune, Blest Be the Tie That Binds.

We share our mutual woes,Our mutual burdens bear;And often for each other flowsThe sympathizing tear.

When from all toil and pain,And sin we shall be free,And perfect love and friendship reignThrough all eternity.

As choir members we are tied to the music, to our musicmaking, and to the people with whom we make music. Dowe enjoy relationships with others that are not “choir-related”? Of course, but some of the most meaningfulfriendships that I have experienced are with people I sangwith in choir. In the midst of celebrating the life work ofClarence Miller, we renewed friendships. With the know-ledge that this occasion would mark a final gathering ofMiller choir members, we all made arrangements to stay intouch in a more permanent way. Clancy Miller’s ties stillbind us even now.

How important is it to stay in touch with people whohave been a part of your music-making life? For me, it hasbeen critical to continue that connection that brought ustogether initially. A few months ago, I received an e-mailfrom Cheryl Dupont who is the Founder/Artistic Director of

the New Orleans Children’s Choir. When HurricaneKatrina hit New Orleans, it devastated everyone inthe city. One impact has been that many choristerfamilies did not return to New Orleans. Cheryl willlikely never locate all of the choristers who chosenot to return to New Orleans. How sad it must be tolose contact with these children and their families. Inan effort to find these missing choristers, Cherylturned to Facebook. She has established a FacebookGroup for the New Orleans Children’s Choir and theresponse has been tremendous.

Using her example, I started a Facebook Groupfor the Children’s Chorus of Sussex County Alumni.

In the 18 years since I founded this choir, I have made it mygoal to keep in touch with alumni. With our twentiethanniversary fast ap-proaching what better way to find thesepast members? This has been an exhilarating experience!One by one, former choristers joined the on-line group.Choir alumni began sending photos of past tours, postingcomments about the choir and to each other, renewingfriendships, and so much more. It is wonderful to hear abouttheir lives and how happy they are to re-connect with ourchoir. We have received responses as far away as Alaska andRussia. This is a wonderful new way to stay in touch and tofind people who are important to our choir.


As choirmembers weare tied to

the music, toour musicmaking,

and to thepeople with

whom wemake music.

Deborah Mello is the Founder/Artistic Director of theChildren’s Chorus of Sussex County. She is also theDirector of Choirs at Randolph High School and Directorof Youth Choirs at Christ Episcopal Church in New Jersey.

When for a while we part,This thought will soothe our pain;That we shall still be joined in heart,And one day meet again.

Technology makes our world smaller and renders greatdistance meaningless. It enables us to stay in touch withpeople who have impacted our lives through music. Thechoral ties that continue to bind us bring meaning to ourpersonal and professional lives.



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THIS IS THE LAST PRINTED ISSUE OF

TROUBADOUR.

BE SURE YOU RECEIVE NOTICE WHEN

SUBSEQUENT ISSUES ARE AVAILABLE

ON THE DIVISION WEBSITE

BY USING

See Page 3 of this issue

and learn how to sign up for this service.

TAKES NO TIME AND KEEPS YOU IN TOUCH!

cONSTANT CONTACT.

I have my own particular sorrows,

loves, del ights;

and you have yours.

But sorrow, gladness,

yearning, hope, love,

belong to all of us,

in all t imes and in all places.

Music is the only means

whereby we feel

these emotions

in their universal ity.

~H.A. Overstreet

RICHARD I. KEGERREIS ACDA 2009 NATIONAL CONVENTION

COLLEGIATE SCHOLARSHIPS

Dick Kegerreis (1928-2002) contributed enormously to ACDA through his service as editor of the Eastern Division Troubadour, as national coordinator of newsletter editors, and as editor of New York’s state newsletter Choral Cues. To honor these contributions, as well as his life as a dedicated choral conductor and mentor, the Board of the Eastern Division in 2002 established the Richard I. Kegerreis ACDA Eastern Division Convention Collegiate Scholarships.

The goal of these scholarships is to support ACDA convention participation by college students. A maximum of eight (8) scholarships will be awarded for the National Convention in Oklahoma City, OK, each in the amount of $500. We encourage all college students to apply for the Kegerreis Collegiate Scholarships. A copy of the application form appears on the following page of this issue of Troubadour as well as on our website at http://acdaeast.org. Applications must completed and postmarked no later than January 1, 2009. Recipients of the Kegerreis Collegiate Scholarships will be notified by mail and by e-mail. The list of awardees will appear in the April 2009 issue of Troubadour. All recipients will need to register for the convention according to normal procedures. They will then receive their scholarship checks at the registration desk of the National Convention in Oklahoma City, March 4-7, 2009.

* * * * *

MEMORIAL DONATIONS INVITED TO RICHARD KEGERREIS SCHOLARSHIP FUND

Funding for the Richard Kegerreis Scholarships described above will come from ACDA Eastern Division funds, supplemented by donations by any persons wishing to honor Richard Kegerreis. Donations are tax-deductible, and Mrs. Kegerreis will be informed of those donating to this fund as a memorial to her husband. Donations should be sent to:

Richard Kegerreis Scholarship Fund 796 The Circle

Lewiston, NY 14092


Application for 2009 Richard I. Kegerreis NATIONAL CONVENTION COLLEGIATE SCHOLARSHIPELIGIBILITY: Any full-time undergraduate or graduate student who:

• Attends an Eastern Division college or university during the 2008-2009 year • Wishes to attend the National Division Convention in Oklahoma City, March 4-7, 2009 • Will not participate in the College/University Honor Chamber Choir during the

convention

TIMELINE: Completed applications must be postmarked by January 1, 2009. Selection of recipients will be made by a committee appointed by the Eastern Division President. Scholarship recipients will be announced via mail and e-mail in late January. Scholarship checks will be available at the registration desk in Oklahoma City.

CRITERIA: Candidates will be selected based on their accomplishments, on their written statement of purpose for entering the choral profession, and on the confidential letter of recommendation written by their college/university choral conductor.

NAME ___________________________________________________________________________________(please print clearly) First name Last name

STREET _________________________________________________________________________________(Please list an address at which you are certain you would receive notification in December 2008)

CITY _______________________________________________ STATE _________ ZIP _______________

PHONE ________________________________ CELL PHONE ___________________________________

EMAIL ___________________________________________________________________________________

COLLEGE/UNIVERSITY _________________________________ CITY/STATE ___________________

CLASS STANDING AS OF FALL 2008 (circle one) Fr. So. Jr. Sr. Grad.

NAME OF RECOMMENDING CONDUCTOR _________________________________________________

Please send all of the following in a single envelope: • Completed application form • A one-page resume of your choral / vocal background and accomplishments • A one-page essay describing your personal goals in entering the choral profession • A confidential one-page letter of recommendation written by your choral conductor. Please enclose this

letter in your mailing, but in a separate, sealed envelope with the recommender's signature over the seal.

Send the completed application to: Questions? Richard Kegerreis Collegiate Scholarship David Fryling at 516-463-5497 c/o David Fryling or [email protected] 109 New Academic Hall160 Hofstra UniversityHempstead, NY 11549-1600

PAGE 30 TROUBADOUR DECEMBer 2008

WELCOME TO OUR NEWEST EASTERN DIVISION MEMBERS!Scott A. Bailey MAKaren A. Sheffield MAAll Together Family Chorus MAJay D. Lane MADustin J. Ferreira MAChristina T. Whittlesey MAEvangelyna M. Etienne MAJeffrey R. Patch MAMatthew J. Schofield MAAustin M. Tannows MAMegan B. Muthersbaugh MAChris F. Zini MASarah K. McMahon MAKreigh A. Knerr MANathaniel S. Haywood MAAndrew Arnold MAErin E. Newcomb MADiana J. Bhys MASara F. Gassea MANichole M. Polizzi MAJohn M. Calanchini MAShawn F. Cross MAMichael P. Day MALatoya V. Devonish MAZarini de Wet MALisa M. Garver MAScott V. Gasaway MAPaola Gonzalez MAAnne Lee MAEvik A. Michamber MAEsau R. Vanterpool MARamu Thiruyanam MAJeremy T. Butler MADavid M. Alexis MAAlicia J. Iaria MARyan J. Beckwith MAHarrison L. Alleyne MAShon W. Gordon MAMatthew A. Burwill MANoah A. Teshu MASoomin Lee MANorwood T. Pearson MAKyle M. Bagley MABethany A. Morris MABenjamin Chin MAIan M. Good MAShei L. Fernandes MASusan L. Wilkes NHEllen J. Katka NHTerry W. Frey VTTom Scavone CTKeith B. Ablahamson CTDonna J. Gallo CTGriffin C. Coombs CTElise C. Boutin CTRachel M. Hibbard CT

William R. Colwell CTCharles F. Irwin CTTian Hui Ng CTDiana M. Brandt CTAndrew F. Vince CTJuliane R. Givoni CTBrent H. Schrader NJBrittany A. Tanis NJKerry M. Dunn NJSam C. Levine NJCassandra L. Boff NJMatthew W. Swiss NJMarie E. Brodrick NJMatthew B. Van Dyke NJDaniel I. Faber NJShawn M. Wydrzynski NJCourtney L. Waddington NJGabriel A. Di Gennaro NJPamela J. Barnes NJJulia M. Dale NJPam Bily NJBryan S. Gross NJVincent A. Grana NJStephen J. Markowski NJRose M. Young AELindsey E. Blackhurst NYDistinguished Concerts Int’l

Jeong-Jin Lee NYSara K. Allen NYChrissy E. Larsen NYTina M. Lauro NYLauren R. Alber NYJennifer R. Tibbetts NYSodie J. Pincus NYHelen Z. Kontoleon NYBrittany J. Nichols NYBarbara E. D’orio NYRuth E. Rice NYShannon Defrancqueville NYPaul Lomax NYChris R. Siegenthaler NYAmanda J. Pitcher NYCailin O’Hara NYChristina Pizzino NYAnnette W. Heilman NYCarol Ann Elze-Sussdorff NYMatthew L. Stearns NYJeffrey Cannon NYMarissa N. Greenwald NYJohn P. Murphy NYRobert M. Pacillo NYBrett A. Judson NYDaniel A. Pickens-Jones NYJayde M. Gray NYKatelyn M. Keating NYRachel L. Knauff NYJessica R. Stevens NY

Loueda Bleiler NYBrittany R. Baker PALeah W. Mueller PABo Young Kang PAMeghan M. Hilker PAKristy R. Drake PAKevin M. Poole PAPeter R. McCachren PALacharlcia C. Phillips PAVanessa K. Murawski PAElizabeth A. Showers PAJamie D. Edwards PAJennifer S. Porter PAArthur O. Black PALauren M. Lessner PASteven A. Yealy PANicholas A. Oaster PAHannah G. Stayer PAElizabeth A. Fair PAJoshua F. Kobel PASarah A. Zschunke PAAshley N. Weer PARachael N. Vansant PAGeorgia Katsourides PAEsther A. Watt PATess E. Bower PAKevin W. Myers PAHolly M. Lapinski PAChristopher S. Kutz PABenjamin P. Murray PAStephen E. Caldwell PANicole M. Palombo PAAlexis R. Ford PABrittany N. Fisher PAJulie A. Skrapits PASara J. Duffey PAStephen C. Lonenecker PAKathryn R. Lessie PADeanna L. Reuben PASamantha R. Rodgers DEAmy L. Beattie DEMalcolm P. Cooper DEAngela K. Gan DECera A. Babb DEAndrea H. Stewart DECalvary Baptist Church DCJason J. McFarland DCAlan T. Reed MDThomas M. Liddle MDRachel E. Taylor MDVerena L. Anders MDTom Benjamin MDRachel M. Kershner MDChristina M. Carr MDKathleen R. De Jardin MDLisa A. Diver MDJason Abel VAAhYoung X. Yoo MA


acdaeast – american choral directors association ......department. dr. beery has also taught...

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